Well I’ve been quiet for a little while, catching up with my writing and catching my breath between journeys to Europa. Mostly preparing to leave Alaska permanently. Being back here has been tinged with a kind of nostalgia already. I am doing things that I know I will probably never do again: Picking spruce tips for tea, harvesting devil’s club, drying morels, puffballs and boletes to rediscover in over a year when my container is finally sent to Georgia; Taking people on tours to float down the Chilkat River or to see bears on the Chilkoot; Meeting friends to discuss my plans; Stopping others to let them know that my farewell event will be coming up on September 8th at the ANB/ANS Hall. Plus remembering the things I won’t miss here. Everyplace has its curses. In New York City it was crime, rats , roaches, ultra hipness. Here in Haines it’s small minded pettiness, bovine tourists and other forms of myopia. But there is much goodness and many friends that I will indeed miss.
Meanwhile on October 4th I leave for good. And there has been much to consider. Fortunately last summer’s insane moving crunch has left me in perfect position to move. Everything I own is in unit number 3 at S & W Storage. And I have gone through it all to remove things I won’t need in Tbilisi: lamps, waffle irons, heaters, microwave ovens, anything that simply plugs in and gets hot. Also I’ve put the finishing touches on my boxes and reorganized everything into the most efficient shape. And finally I’ve gone through the last of my mother’s things and mailed off the items connected more to my stepfather Mike’s family. And so my life here seems nearly completely closed down. Only a few final details left. They could be finished in a day. My storage unit is paid through October 2019.
Then there are the more complicated problems associated with my departure. New passport? It arrived last week after being rejected once for too much shadow in my photo I assume, but they didn’t specify. Airline tickets to Paris? Yes. But I still need to buy my December tickets from Paris to Tbilisi. I’m waiting for my funds to resolve a bit first. Train tickets for the Western European portion of my journey? Yes. Though I have to wait until I get to Europe to buy my specific reservations. A rental in Prague for a week? Yes. Though I am reminded how much hotel prices have risen since my first visit to Prague in 2000. Letters to friends in Paris, Switzerland and Germany? Yes and they are waiting for me. My apartment for the first three months in Tbilisi? Yes. Same place. (Thanks Mariam.) Continuity is a good thing.
But there is much I am struggling to get done. I have been working a lot to try to get the money I need to survive until my European money kicks in, which won’t be until early 2019. So after all of this summer’s traveling expenses, which also includes new clothing, a daypack, medical check up, car repairs so that I can sell it in good shape before I leave, and many other sundry things I am hoping my funds will hold to get me through the valley. (You can help out below through PayPal.) And I am trying to get my little book of puppet plays ready to sell before I leave. There are so many other things that I had hoped to finish before I leave. Because once I get to Georgia everything will change. (Mail is terrible there, which is a major problem.)
And so what am I doing once I leave?
On October 4th I leave on Alaska Marine Lines’ ferry for Juneau. I’ll spend a night at the Best Western Hotel then ricochet from Juneau to Seattle to Portland to Reyjavik to Paris. Then I’ll spend a couple of weeks in Paris with the Carons decompressing from all of my summer finalities. I’ll then spend two weeks at L’Abri in Switzerland where I hope to give two lectures: one on rediscovering beauty; one on the meaning of texture. Then I have been granted a four week residency at the International Institute of Puppetry in Charleville-Mézières France.
At that point several things will happen: I will give a presentation on the state of this Gravity From Above documentary project. And then there is an important moment for both the life of the project and my own future. I don’t know how they will decide. (There have also been changes in the leadership since I was last there.) I will also interview more students for the project as well as do more research on the project especially for older imagery and cinematic images. All in all it looks to be a time to keep an eye on.
Then at the beginning of December I will travel up to northern Germany to visit good friends and then slingshot over to Prague for my final Gravity From Above interviews and images. Then I will return to Paris to wrap things up to go to Tbilisi, Georgia on December 14th.
When I arrive in Georgia I will immediately go to work getting ready to edit Gravity From Above on professional equipment. I will also check in with Nini Sanadiradze at the The Union of Tbilisi Museums at start to prepare for a tojina conference in late January. And thus my new life begins.
Watch this to be mesmerized by the dancers at Erisioni that I saw last March.
And so is this the finish line for Gravity From Above? Maybe. Or close to it. The end is in sight though. I still have to get my translations done. I still need to get music composed and recorded. I’ll probably need a few shots that I forgot about. I will need to get the films and their rights. But that’s what I’ll be working on from October to January. And how much of what gets done depends on what the International Institute of Puppetry provides.
Oh! And then there is trying to get the thing seen!!!
And so maybe there is more left than I thought. But we are certainly closing in on something!
And dear readers, friends and puppeteers I still need your support. The challenge isn’t over.
But thank you so much for helping me get this far.
August 26th 2018
One of the things I’m attempting to do while in Georgia is to explore the culture to understand where the music, the dance and the puppetry comes from. In order to do this I find myself haunting some fairly out of the way locales. And that means finding museums that are not only ‘off the beaten path’ but almost abandoned. It’s weird to find yourself being the only person in a museum for over an hour. And these are ‘national museums’ and certainly listed as such. And yet when I arrive it seems that the main job of the friendly museum staff is to care for the treasures that they are sitting on. I’m also imagining that in the summer they get a bit more traffic than I’ve seen so far. And I hope they are getting school field trips and other purposeful visits as well. And yet as I open these cabinets of curiosities I am frankly entranced by what I find. And when I pay a few lari more I can get a personal guide to walk me through the collection and explain everything to me in the most knowledgeable ways.
The Quay Brothers once told me that it wasn’t simply that they were attracted to puppets, rather it was the discarded things found at the fringes of art and society, the cultural marginalia, that inspired them. And I seriously understand this. To say you’ve been to Europe and that you’ve seen the Mona Lisa means almost nothing. Especially when you’ve entered the Louvre along with thousands of other visitors only to stare for a few moments at the small painting ensconced behind bulletproof glass and surrounded by endless quantities of tourists taking videos and selfies of the experience rather than actually seeing the thing itself. I get the same feeling when someone tells me they love films, then go on to list popular fantasy and science fiction films that quite literally 90% of earth’s population has seen. It all becomes part of what Walker Percy describes as a preformed symbol complex, making it nearly impossible for the average person to actually see the Grand Canyon or the Colosseum, even while standing before them. Thus those who really are able to grasp meaning from art or culture are not those who will wait for hours at the most recent super show at the Met, rather it is those who can stop and gaze at the patterns of embroidery on a regional costume. Those able to see through the musty scratches of an old silent film. Or those willing to find arcane treasures in forgotten museums.
In some sense every museum in Tbilisi, Georgia, is already obscure by the standards of present day art and relic consumption. How many Americans could tell you who Niko Pirosmani is? And he is the most important artist from Georgia. Not to mention Lado Gudiashvili or Davit Kakabadze? Few indeed. But then again how many of my fellow citizens could even name a living artist? So even the most prestigious galleries and museums in Georgia are, by definition, marginal outside of Georgia. But I will save a discussion of the art for another essay and will only incidentally mention it here. (For more on Georgian art and culture follow this link.) (And since I have already written about my encounter with the Stalin museum elsewhere I leave aside that visit here.)
So let’s dive off the edge!
One of the most consistent features of these strange little Georgian museums is the fact that they are rarely advertised or even well advertised, even on the buildings they inhabit. Consider the most recent museum I discovered: The State Museum of Georgian Folk Songs and Musical Instruments. Sounds pretty interesting no? Especially if music interests you. So I walk up a street out of the way off the main tourist route. I’m looking for a sign. I see a little sign. So I turn towards the sign. Nothing. I walk a little into a passageway. What would you expect if you were looking for a museum? Not what I found. I basically entered a backyard, descended steps, and did not feel at all that I was about to enter anything resembling a museum. (See photo below.)
I enter the building to find what I always find in these odd museums. Police guards. Who seem to be on the most boring duty imaginable. No one else. Nothing that immediately suggests museum. Just police. It was the same at the silk museum, and at the various small art museums. They must be there for a reason! But they usually look at you as if to insinuate ‘What are doing here?’ When I say something like ‘Museum?’ they point further back into…. what? I never know. I don’t know which way to turn. I am obviously the only person there who isn’t being paid something by the state. But then this is where the interesting stuff starts to happen. I find a closed door with people behind it. I motion at them. I hate to disturb them. Then they look at me as if to say ‘Did you want something?’ I say ‘Gamarjoba’ (‘Hello’ but literally Victory!). And ask if they speak English. Then offer to pay the entry fee. Which sometimes leaves them scrambling for something resembling change. Am I the first person today? And it’s an hour and a half until closing time! The fee is usually about 3 to 5 lari; less than two dollars. This time they asked if I wanted a guide. And this time I said Yes! And so they asked for 5 lari more. And so at the State Museum of Georgian Folk Songs and Musical Instruments my guide was a friendly and knowledgeable woman named Eka.
She started to walk me through the exhibits explaining to me the various instruments, how old they are, where they are from, and what they do. And then she is pleasantly surprised to discover that I am not your average tourist. But then again what on earth would the ‘average’ visitor to this museum be like? Nevertheless it is clear that I already know more about Georgian music than 99.9999% of all non-Georgians. So she gives me even better information than I was expecting. And then she stops and plays an old 78 rpm record of the song Tsintskaro on an ancient wind-up Victrola. Later she starts the mechanism of a street barrel organ, opening it to show the barrel and pin as it plays. Eka even sits to play an ancient Georgian church melody on an antique wheezy German foot pump church organ. Now that is five lari well spent!
I also managed to locate the Georgian State Museum of Folk and Applied Art in the old town. Again I enter it takes fifteen minutes to make change for 20 lari. They did let me start looking at the museum as they were sent into a spiral of questions amongst themselves. (Am I the day’s only visitor again?) But soon I find myself drifting through Georgian carpets, traditional costumes, intricate parasols, and beautiful porcelain tea cups. And they were featuring a special exhibit of primitive paintings by random Georgians of Shota Rustaveli and Queen Tamar from the Golden Age of Georgia’s Medieval Period. Fascinating stuff. (Click on the photos to open up the images.)
By far one of the most unusual experiences I had was at The State Silk Museum. First of all read that title again: The State Silk Museum. What could that be? Are they showing silk fabric? Well yes. But you see Georgia was a major stop on the Silk Road. And like Lyon, Tbilisi was a silk manufacturing town. And so not only was this a demonstration of fabric… It was also a display of silkworms! And all things sericulture. This is the kind of place Guillermo del Toro could only dream of. The lights were off in the cold museum and they turned one on and told me how to turn the rest of them on. Half of this museum was dedicated to silk cocoons, silk caterpillars in glass, and strange devices for silk harvesting, all in dark wood and aging glass cases from the museums opening over 125 years ago. And there was a whole room dedicated to mulberry shrubs, the silkworm diet. And did you know that silk quality depends on the mulberry quality? I didn’t. But my faithful guide Mariam did. She knew more obscure facts about silk than I could possibly ask. But somehow we ended up talking about music. It is Georgia after all. And not only is she conversant sericulture but she is a musicologist as well. And as our conversation veered from Jimi Hendrix, to Bach, to John Cage, to Bernard Herrmann she kept up eagerly with all of the twists and turns. I can’t even begin to tell you how many discussions about music I’ve had here. Worth all five lari I spent on the day!
Oh and speaking of obscurities, while visiting the musical troupe Erisioni (Be patient for that one!) I met a former BBC, NBC, etc cameraman, documentarian, an Australian of Ukrainian heritage named Vladimir Lozinski, who would later fill me on the turbulent politics of Georgia’s post-Soviet history. He had heard that there was a locked door in the building Erisioni rehearsed in. So he managed to get the room opened up while I was there. And we entered. This was genuinely a surprise. The vast chamber had been a movie theatre prior to the fall of the Soviet Union. Ornate designs were encrusted on the walls. But in the 90’s the Georgian Civil War, raging on the streets of Rustaveli Avenue below us, had destroyed it. The floor was dirt and debris. But the walls remained magnificent. We were allowed to take all the photos we wanted. And I could only hope that someday this along with many other structures would be restored… And not removed by the powers that be to build some hideous postmodern monstrosity.
And of course the most mysterious museums of all were the ones I most want to see. The puppet museums! A few days ago I sought for the illusive Tbilisi Puppet Museum, which supposedly was not too far from the Gabriadze Marionette Theatre. I didn’t find it. Today my friend Elene Murjikneli from Budrugana Gagra explained why. One day it was simply emptied out. Then the building was torn down. And now in its place stands sterile contemporary architecture housing a hotel. And what happened to the puppets? No one knows. The puppeteers didn’t know. Were they stolen? Hidden? Buried? Sold?
And finally there is the most mysterious museum of all which I discussed in my first visit to Tbilisi in 2016. The Animation Puppet Museum. Does anyone know that Georgia used to make puppet films in the Soviet Era? All I ever found was a corroding sign on the door. But!!! Now I have good news. The daughter of one of the animators has contacted me. And will open the doors of the museum soon… Just for me.
Speaking of the marginal and magical: Really I don’t need anyone else to come find me here. I’m fine. I’m happy with empty museums in this mysterious place.
But do come back soon to read my next adventure.
16 / 2/ 2018
PS. The way things are going I’m pretty sure I’ll be counting my tetri (Georgian cents) in March. The financial losses I took at the beginning of my journey are starting to become apparent. If you are appreciating this reportage from the other side of the world then you can be a part of it by using my PayPal account to contribute. It’s safe and easy to do and anything would be helpful. Thanks! Byrne
My road did indeed lead me to Rome on a 13 hour train ride from Palermo, which also included driving the train onto a ferry to get it across the Strait of Messina. I arrived, late of course, at night in the Eternal City at my hotel a few blocks from the Vatican, where a woman, whose accent I guessed, much to her surprise, as Ukrainian, was waiting for me and late for her dinner. And soon I was back on the streets of Roma where I discovered that everything near a tourist site is expensive and nearly everything seems to be a tourist site. But I strolled over to Saint Peter’s Basilica in the dark and reflected on the fact that I was truly in Rome for the first time in my life.
Now the reason I had never come to Italy before was mostly out of (a perhaps not misplaced) humility. There’s just too much history here. And I love history. Researching this trip I discovered that state of Tuscany alone has more cultural and historic treasures than any other single country on earth. And while you are rereading that line let me then add that Italy in total has more historic and artistic treasures than the rest of the world combined. That’s why I’ve never been here before. It is impossible for me to consider Italy as a quick vacation stop. And for that reason I didn’t even consider going to Florence or Venice. There’s just too much to see. There’s even a Florentine Syndrome that relates to people trying to squeeze in too much of Florence in too few days. The eyes just get clogged and one is unable to take anymore visual splendor. So Palermo Sicily was my specific introduction to the Italian world. And this would be an introduction to Rome. And if I was fortunate I’d be able to see a puppet show while I was here.
First things first. I wanted to go to the Vatican museum. I needed to see the Sistine Chapel. I almost bought a ticket the night before online. But I decided against it for practical and budgetary reasons. I decided to take my chances and stand in line. Curiously the line was less than 15 minutes long, I guess that’s what you get on December 1st. That isn’t to say it wasn’t crowded inside. It was 11:00 and pretty much like a cattle car. I learned long ago how to visit museums from a lecture by Dr. Hans Rookmaaker, you don’t mosey and look at everything. Especially in crowds like this. You save your eyes, avoiding Florentine Syndrome, and go straight to what you want to see. And so I passed up as many gawkers as I could, dodging in and out of the human traffic, using mi scusi and permesso often to push my way passed the bovine hordes. And at last I arrived at the place. And even with the relatively crowded room, the museum guards regularly saying ‘No Photo!’ to the selfie addicts I was able to find enough space to pause and explore the Michelangelo’s Last Judgment for ten minutes and the ceiling for another twenty. I was completely impressed by the life sized figures being sent off to judgment. Having seen them largely in coffee table books. Even the grandest off them does no justice to the size and intensity of the work. I was also caught off guard by Michelangelo’s various uses of trompe l’oeil, which did literally deceive my eyes.
I spent another couple of hours in the museum, basking in the statues and Raphael’s The School of Athens among many others. And I ended up walking through the Sistine Chapel once again. And I was glad I had gotten there early. Now it was so overcrowded that the assemblage were standing shoulder to shoulder. But at least I had had my time for reflection earlier.
The next morning was Sunday and so I walked the few blocks to Saint Peter’s Basilica to see Pope Francis give a short message at noon. While there I decided to walk through great church. It was indeed more than suitably impressive. Massive. Yet light as though floating somehow. I came up to Gian Lorenzo Bernini’s great Baldacchino. Far grander than the photos had given me any notion of. And I continued making a loop along with many others, though it felt much less crammed with tourists than the museum had been. I almost left St. Peter’s when I noticed a group of people gathered around something. I was looking for Pope John Paul II’s tomb. And then I realized I was standing in front of Michelangelo’s Pieta. This depiction of Mary holding the lifeless body of her son, with young face and aging body is easily one of the greatest works of art ever made. Carved in marble, or should I say revealed in marble, for the carver’s art is not like the painter. The carver removes pieces very carefully to find this image. And as I was standing in front of the Pieta I was suddenly moved so deeply by it that I almost burst into tears. There was something in the face. That Michelangelo had found somehow the perfect face of tenderness and sorrow in the beauty of his Mary. And also knowing what it meant to my mother, one of the few artistic visions to haunt her, maybe because I was her only child, her son. But also the consolation in the face of Mary and that stark need we often crave when confronted by some of life’s darker tidings. I had to control myself so as not to be reduced to tears in public.
A little later it seemed anticlimactic to be out in the piazza with thousands of others as the Pope, the size of a postage stamp, gave his message. But it was good to know that on some level this journey had received the Pope’s blessing. And as I passed among people from so many countries again I choked up a little at the sight of Germans who were singing and dancing.
My task for the rest of that Sunday, perhaps a bit too ambitious, was to find two more Bernini sculptures hidden in obscure churches and find the burattini (Italian for both puppets in general and also hand or glove puppets) featuring commedia dell’arte characters. So I hopped on bus from near the Vatican and ended up somewhere further up the Tiber River. I was looking for the Church of San Francesco a Ripa in Trastevere with the funerary statue of the Blessed Ludovica Albertoni. I arrived to find the church locked for lunch. (!) And since this was Rome lunch would take over two hours. So I decided, sensibly, to find my own lunch. I wanted something authentic. And I found it. A little pizza place called Don, which served Napoli style fried pizza. (?) And that was a bit like a small round calzone that was fried on both sides in hot oil. Absolutely sensational. Biting into it released steam, everything completely fresh. Overwhelming satisfaction. (Not a pineapple to be seen anywhere on the premises.) Eventually I went back to sit on the church steps. A mother and daughter from Connecticut and New York City respectively came to wait, another half hour, with me. The daughter worked at the Museum of Modern Art in NYC. And she was here exactly for the same reason that I was. Bernini!
When at last, late in traditional Italian fashion, we were let into to see the Bernini it was indeed as awe inspiring as imaginable. The Blessed Ludovica Albertoni reclined in a nook of the church. A euro turned on a lamp to illumine her. A fence kept us a few yards/meters away. But I also appreciated the statue without the light. Cloaked in shadows. Exquisite. Profound. Bernini’s work has the ability to say many things at once. And this mysterious statue is a prime example of that.
As is the Ecstasy of Saint Teresa, which I was also on my way to see in another church in another zone. A steady rain began to wash the streets, making it all the more meaningful to step into the dry Baroque church Santa Maria della Vittoria. This Saint Teresa is a little more well known than the Blessed Ludovica. Simon Schama spent an hour discussing it on his British documentary, The Power of Art. And there were a few more visitors. And indeed the image of the angel plunging the arrow into Teresa is potent and sensual. Beautiful beyond a mere description. My photos hardly doing it justice. The whole church was indeed a dark Baroque masterpiece on ornate emotion.
But sadly I realized that my camera battery was nearly dead and I had left my spare at the hotel. Thus I had to forego the puppets I had come to see. And they weren’t performing the next day. Alas…
On my last full day in Rome I walked among the ruins of the Colosseum, but didn’t go in. The tourism seemed too thick, too much like a theme park. I eventually walked by a far too bustling Trevi Fountain, where my coin dutifully disappeared and made haste to leave the area. But not before seeing the Pantheon. And this proved to be the highlight of my tourism day. This really was the greatest Roman building from ancient Rome. After being converted into a church it had remained in use since its construction. It was the largest structure made of unreinforced concrete in the world. And completely majestic. And because it was free the crowds weren’t too oppressive. And just as I left the area I found one last great Bernini sculpture, a great Baroque elephant in a small piazza. And my esteem for his work grew with my discoveries. (Not too forgot his contributions to St. Peter’s Basilica itself!)
Over all while I was made many crucial discoveries in Rome, Palermo really was the highlight of my time in Italy. Yet I can fully imagine coming back here and making another round of aesthetic searches. My understanding of sculpture took on a new depth, having stood before Michelangelo’ and Bernini’s works in the ‘flesh’. I saw that sculpture in many ways was the noble cousin to puppetry. But for now I was tired. I had picked up a little sniffle from the Metro while I was there. I would be happy to return on an overnight train to Paris.
17 / 12 / 2017
And sometimes you just have to make observations apropos of nothing. Travel does that to you. You see things that puzzle and intrigue you, amaze and amuse you. And so in no particular order here are a few dispatches from the road.
First of all there’s that moment when you enter a new country with a language you don’t understand. And that happened this time in Italy. I decided to break my tradition of avoiding it (for reasons of humility) and get myself down to Sicily, which I’ll write about soon. But here’s the confusing part. So I take a train from Switzerland to Italy. (I was really expecting the tunnel through the Alps to be longer.) I get out at Milan, which was just going to be a train transfer on my way to Genoa (Genova), where they still are quite proud of Cristoforo Colombo. I see that I have arrived early enough to jump on an early train so I don’t have to wait at the Milan train station for two hours. So far so good. An hour ride deposits me at Genova Centrale. I have a map, or rather a Google page, that is suppose to guide me. I get out of the station carrying my backpack load. And I start walking the direction I think I should be going. But it doesn’t feel right. I walk a bit further and nothing is resolving. Then I realize I should have gone another direction. So I go back to station and try another road, which doesn’t feel right either because its straight up hill. And supposedly I’m near the Mediterranean. At this point I just wanted a real map made out of paper. Finally I give up and go back to the white taxis I saw near the station. I use my few words of Italian and then find out my short ride is going to cost me 15 euros. Almost $20. And this is for a ride about five minutes. But the taxi driver indicates it’s ‘standard’. And so we take off. And then I get a shock. I was completely turned around. I was walking the absolutely wrong direction. And so I became grateful for my expensive little ride.
Another thing worth discussing here is sickness. Let’s just face it. If you aren’t on a slick two week package tour you are going to eventually get some foreign illness you’ve never had before. In 2012 I received two different strains of the local cold. In 2016 I had gastroenteritis so bad I was bleeding. And if I didn’t know what it was I would have been very worried. And this year I received a whopping fever. And here’s the point of all of this. In each of these cases the culprit seemed to be the Paris Metro. And specifically holding the metal poles, the perfect conductor of germs and bacteria. And I always forget to bring hand sanitizer. I also get the feeling the Europeans aren’t nearly as germophobic as we Americans are. So there’s not much to do but get sick.
And when you are sick travel changes immensely. New foods that might have seemed interesting to try now seem unappetizing. The customs of the locals seem all wrong. Does no one ever cover their face when they sneeze or cough? And they never have the kinds of things you want when you have a cold. But that’s okay there really isn’t anything you can do but rest, drink liquids and build up your body’s immunities.
On the subject of food I’ve been pushing it further this time. Of course there is French food, which I love. And yet I always have to get used to the fact I’ll be on a largely bready diet while in la francophonie. But also there are so many wonderful things that I can scarcely contain my desire to try as much as possible. There is a guy who sells cheese at the Sunday market in Les Häye les Roses where I stay while in Paris. And I am sure that this man alone knows more about cheese than everyone in the state of Alaska put together. And I have eaten cheeses that are so good I just want to cry.
And I have tried new things mate. In Brussels the central Carrefour had kangaroo meat! And since I actually had cooking facilities for once. I decided to give a try. Not bad actually. Tastes a bit like beef, without the heavy fatty feel and it had a bit of a tang to it. I didn’t get to the zebra meet sitting next to it though. But I cook up a little horse in Switzerland.
Also in Belgium I finally had Belgian frites, the original French fries. And here’s what I have to say. Astounding! They are thicker, with an amazing crust. And a wonderful flavor which I’m told comes from frying them twice in beef fat!?! Which is about as healthy as injecting pure cholesterol. But oh my! It was worth it. They actually had a big health issue over this. But the traditional frites makers argued that this is the tradition. And they won. And God bless them. Just don’t eat les frites too often.
And does everyone have annoying music on their phones in Italy? And do they ever use their earbuds? Why do I need to hear the pointless video you are watching on the bus? (Gripe number 326.) And no one seems to care. And then there is the ubiquitous presence of terrible electronic dance music, especially the excrescence know as nightcore, which involves taking old pop songs and adding new music to a vocal track sped up to chipmunk speed. This just strikes me as the most anti-musical notion I’ve ever heard.
Meanwhile back in Charleville-Mézières I forgot to mention my time spent in the Museum of the Ardennes. I had been there before, but the second time was just as enlightening. And I was able to get better photos this time. And I had a chance to watch the marionette clock work from the inside!
Speaking of museums? Yeah, I went to one of the greatest museums on earth, the Vatican Museum. I’ll save my thoughts about the contents for later. But let me get a couple more gripes off my chest about tourists. Two things drove me crazy this time round. It’s happened before but this time I’ve got to say something. Are we done with smartphones yet? These things are really polluting reality. You enter the Sistine Chapel, which clearly is marked No Photos. Guards are saying ‘NO PHOTO’ over and over. And still people can’t stop. Someone really needs to invent a phone jammer. And smartphone selfies? I have no end to my disquiet over those who can only experience something by putting themselves in front it. Once in a while. Okay. It proves you were there. All the time? It proves you weren’t. Period.
Next: Tour groups following people with flags. Does this mean you do not have to pay attention to anything at all? A whole group just stops and blocks walking traffic. No one can get around them. They look at no one. And in a place like the Vatican? (I’ve heard that that the Tokyo trains are less crowded.) My advice when you travel: Do not take a tour group anywhere that is already crowded. Period. To take a tour group when you are the only ones in the building? Exceptionally great idea. But a tour group (or thirty) with five thousand others swarming you. Stay home. Or come alone. You are just in the way.
And finally there are just the inexplicable things. In Brussels early in the morning, around 6, twice I heard this strange mysterious piping. 5 or 6 notes. High shrill. Discordant. Played at irregular intervals out in the near distance. It was not a bird. It sounded like a piccolo, even higher. But it wasn’t. It reminded me of the mad piping of the blind idiot god in H.P. Lovecraft’s short stories… and that’s something I’m not about to discuss here.
Instead let me end this praising Sicilian, more specifically Palermo, Palermitan, street food and a mention of two items in particular, stigghiola (grilled sheep or goat guts) and pane ca meusa (a spleen sandwich). Wow! I’m just impressed. I’d say one of the top three reasons to get down to Sicily is the food. (There is something for everyone.) End of essay. Go!
But we’ll discuss Palermo and Sicily next time. Stick around for that one. It’s about life and death. And that’s no metaphor.
From Rome, the Eternal City
PS. A reminder we’ve had many hefty unforeseen expenses since the beginning of our trip, including a crashed hard drive and now broken glass on my laptop screen. Though I had excellent news about my film financing from the International Institute of Puppetry, none of that funding will affect me at all for at least a year. So if you are wondering if I need anything or if you can help out? The answer is yes. You can put some coins in my PayPal account. And I can assure you anything would be practical and useful.