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Quote by Mario Maruffi

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Mario Maruffi

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“An Italian romance may begin in a gondola amid the marvel of Venice, but a traveler looking for the great stories of Italy will board a sailboat amid the gale force of mistral winds, confront the rough seas and warnings of “the insane mountains” that have addled visitors for thousands of years, and then traverse the Strait of Bonifacio in search of Sardinia.”

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“In fact, it might be more accurate to speak of “le Sardegne,” as in plural, instead of “la Sardegna,” a singular entity, with a singu- lar culture or set of ways. The “fundamental misunderstanding” in the Mediterranean, as historian Abulafia wrote in The Great Sea, was the illusive search for some sense of unity and clarity in such a place. Instead, he suggested, “we should note diversity,” among the shores in a “constant state of flux.”

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“One map, titled “Mediterranean without Borders,” by French cartographer Sabine Réthoré, turns our view ninety degrees to the right, the “west” facing up—imagine North Africa to the left and Europe into Turkey to the right with equal stature, the Levant stretching to Egypt at the bottom, and the Rock of Gibraltar at top. Our perspective shifts, the Mediterranean Sea unfolding almost like a lake, the shores mirroring each other along these ancient corridors dotted by islands and waterways. It’s a busy thoroughfare. The Mediterranean is “probably the most vigorous place of interaction,” as eminent historian David Abulafia observed, “between different societies on the face of this planet.” There in the upper reaches, the island of Sardinia sits in the middle, a focal point of entry and inspection. Instead of being on the periphery of empires or a nebulous island west of the Italian mainland, Sardinia is central to the Mediterranean story and a nexus for navigators heading in any direction. The idea of isolation, as one medieval historian would note, no longer appears “tenable.”

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“The second map is of Sardinia itself: the main island with its many islets. It is not a floating green mountain with a defining valley that splices along the south by southwest, as a topographical map would show. Instead, this map is as colorful as a neon strip of nightlife you might download on a cell phone for the latest cultural events. In fact, devised as a geoportal and online app by a volunteer organization called Nurnet in 2013, the map pinpoints the thousands of Neolithic and Bronze Age monuments across the islands with the fanfare of an open museum. As part of Nurnet’s mission to “promote a different image of Sardinia in the world,” the map is nothing less than astounding. If you actually illuminated all of these ancient monuments, from the Neolithic array of Stonehenge-like dolmens and menhir stone formations to the thousands of burial tombs, Bronze Age towers and complexes called nuraghes or nuraghi, the entire island would light up like a prehistoric hotspot. The vastness of the uninterrupted cycles of civilizations and their architectural marvels still standing today would be incomparable with any place in Europe on that first Mediterranean map. The Sardinians call it the “endless museum.”

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“While Sardinian authors, like Giuseppe Cossu in 1799, had been lamenting the oversight of the island’s history and “unfaithful geo- graphic maps” for centuries, there still seemed to be a lingering nar- rative of historical ambivalence, as if the island had been an empty stage until the arrival of Phoenicians and Romans; as if Sardinians had no ancient civilization or role in their own destiny—or, more importantly, as if they had no role in shaping Italy and the worlds be- yond their island. I couldn’t help but wonder if we were missing the most vital parts of the island and its history; that perhaps we needed to understand Sardinia if we were to truly understand the rest of Italy.”

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Book:In Sardinia: An Unexpected Journey in Italy
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