13 Mayıs 2012 Pazar

Le Château

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Vianden, Luxembourg, March 8, 2012 UP PAST THE WALL and to the Château today. The Romans built a fort up there late during their Empire, and throughout the Dark Ages its ruins stood as a reminder I suppose of the good old days. by the time the early Middle Ages rolled around civic pride and perhaps an enhanced local economy led to improvements, and by the 15th century the place had become quite palatial, near what you see above. Then hard times set in again. Vianden had been the capital of its fiefdom, but times changed. By the middle of the 19th century — odd:how recently I would have written that "the last century" — the two main gates in the town walls had been pulled down and the château itself had lost its roofs and interior carpentry. How, I don't yet know: fire, I should think. In any case, it was again a ruin, this time not Roman but Romantic. In the 1980s, though, miraculously, the enthusiasm, technique, and above all money was found to restore the place. The result seems quite persuasive to me. There were of course plenty of descriptions and sketches and engravings to go on, and, I suppose, analogous buildings elsewhere (though not many of this caliber, I would bet). We spent an hour or so wandering the galleries, the huge rooms, the kitchen, the residence — I took thirty photos or so: masonry, carpentry, fascinating photodocumentation, scale models of the building at three different epochs. And we were entirely alone. Lindsey read in a travel website that Vianden is to be avoided on summer weekends, when the town is overrun with Dutch, Belgian, and German tourists. I can believe it. But in these early days after Ash Wednesday most of the hotels are closed and the town is given back to its 3,000 or so residents. Curiously, many of these seem to be Portuguese. Our hotelkeep is, for example; my other blog will soon report on a bacalhau.
Four men were roofing one last part of the Château when we were up there, in beautifully fish-scaled overlapping curves, cutting each rectangular tile with a mason's hammer against an anvil spiked anew into the wood substrate as each course advanced. I thought the material must surely be synthetic ti be so even, but when I asked the crew flunky what it was, C'est ardoise, monsieur. I knew that was slate, but then asked sythethique? Ah non, monsieur, c'est naturelle.
Is it from here, then, I pressed. Ah non, monsieur, il vient d'espagne. I looked at him a little more closely: Como Usted, creo. Ah si, Señor, he responded, smiling.  Spanish slate, Spanish skill. Portuguese inn (Auber would be pleased). European community at work. Not so different, I'm sure, from what obtained during Roman times. We had walked up to the château following an itinerary outside the town walls, laid up four feet thick and quite high of local flags of shale, I think — I'm no geologist. Towers are placed every thirty feet or so, an easy arrow-shot apart, close enough that no sentry-walk was needed for further protection. The towers are curious: often four or five stories high, they're open toward the town side: no infiltrators would have hidden in them! It's a shame the main gates were pulled down a century and more ago, but a greater wonder the walls themselves are nearly intact. They anchor the medieval taste the entire town seems to maintain, with its lack of permanent signage, sidewalks, asphalt, visible wires… And yet I write this in a café-bar-club devoted to cinema; Sinatra and Billie Holiday and Jo Stafford provide the background music; my Martini is to my specifications, and very good…  Photos from today at http://benelux2012.shutterfly.com/pictures#n_5 

Localinguists

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Hotel Bristol, Luxembourg, March 11, 2012—


Historical Luxembourg. Red: present-day Luxembourg; two blue areas at bottom: lost to France; blue upper right: lost to Germany (and now in German-speaking Belgium); mauve: lost to French-speaking Belgium.

Walking through rural Belgium and Luxembourg I've been thinking about Small Local in the context of International Community, as evidenced by language, gesture, adaptation to terrain, and such things. And I've been thinking about these things in the context of History, because it is so present here; and in the context of some provocative comments made by a funds manager to a journalist writing about global economy:

Daniel Arbess, quoted in "Magic Mountain," a fascinating article describing the scene at the Davos gathering of the World Economic Forum, written by Nick Paumgarten and published in the March 5, 2012 of The New Yorker:
"Kids who are twenty or thirty years younger than we are have a totally different experience in and manner of absorbing and processing information," he said. "How will this generation make decisions? How will they understand the big, looming debate about the legacy of entitlements and debt left by their elders? How do they understand the economy?" It was his suspicion, from his conversations here and elsewhere, that they may not understand it very well, or at least that polarizing rhetoric fostered by social media, amplified by a cynical political class may be corrupting their ability to discuss it in terms their elders can understand or abide.

"There's a lot of intellectual confusion about the causes and culprits institutionally of the mess that we are in," he said. "The language and the thinking that have evolved after the financial crisis have had an impact on the way young people think. All this talk that companies need to change, and so on — it's a misconception of the role that companies play. Shareholders risk capital. Banks intermediate capital. This is what keeps an economy going." He went on, "The root cause of everything we're experiencing is a failure of holistic thinking in a world of increasingly complex, fragmented, and ubiquitous information."
Then today I was told that one of the fundamental assumptions about the Luxembourg state, as it was determined by William II, was that it would be officially bilingual, in French and German. And yet the country people spoke Luxembourgish among themselves, as they still do. Luxembourgish was not recognized until the 1980s, as I understand it, when suddenly linguist took an interest in it, declared it endangered, and began promoting its retention and even expansion.

It was declared a third official language, and began finally to be taught in the schools, which had until then not only not taught it but had actively discouraged it. A problem immediately arose: it had never been a written language, and orthographical rules had to be invented for it.

As I've mentioned, we've run into people in both Luxembourg and Belgium who spoke only the local language, Belgian German or Luxembourgish. They've been older people and country people, for the most part, who perhaps never did learn French or German as well as they might have, and who have lost it through years of neglect. They seem to me to be speaking Luxembourgish.

I've always thought of language-speaking as a fairly simple affair: one's monolingual, like me and most other Americans, or one's functionally bi- or multilingual, like most of the Dutch. I see now it's not that simple. Languages are intrinsically complex mediations of divergent individual and social urges and demands, always in flux, always compromising between intent and the possible. How often I've wound up saying not what I wanted to say but what I could (or thought I could).

There are monolinguists, and polylinguists, and localinguists, those who speak only a small local language, enough to converse with the neighbors about matters of local import, but at considerable disadvantage when it comes to communicating with other nations, or cultures, or times.

Charting the use of language in three dimensions, the X and Y coordinates are simple enough; language follows human social geography. In this land between Meuse and Rhine, Germanic (and Gothic) sounds prevail in the east, French (and Romance) in the west. As we've traveled south from Zuid-Limbourg, the Dutch corner east of Maastricht, our lips and tongues have moved from Dutch to French and back more than once, though, because of the third dimension of time, as many of these territories have been moved politically from one sovereignty to another. (For a long time, in fact, Luxembourg was ruled by Spain.)

And as lands move back and forth politically and, more reluctantly, linguistically, so does each of us. I once asked my father-in-law, who was born in a small mountain town in northwest Italy, near Torino, whether his parents, who settled in the United States in 1914 or so, spoke English or Italian at home when he was a child, and he seemed surprised: Italian! Why, I didn't learn Italian until I went to school! We spoke what we spoke. (Most speakers of this particular form of Italian Piemontese think of it as a dialect; I've recently come to realize that in fact it is a language, Langedocian, fairly widely spoken across southern France from the Pyrenees east to his valley in Piemonte.)

Speaking and thinking seem so closely connected that argument continues whether they are mutually necessary. (I think not, but then I think instrumental music is a form of speech, recording nonverbal thoughts of its composers.) The deliberate national decision to recognize and encourage the teaching of Luxembourgish is the recognition — belatedly! — that the Luxembourgish desire, stated in the nation's motto, "We wish to remain as we are," is a national social value worth respect.

Until a generation ago Luxembourg was one of the poorest nations in Europe; now it is one of the richest in the world, its per capita income surpassing that of the United States, surpassed only by a few oil-rich emirates on the Persian Gulf. To remain as one was, in the face of so sudden a change, seems impossible and misguided, if perhaps understandable: but then one remembers the Council of Vienna, and the Treaty of Versailles, and that of Maastricht, and one realizes these cataclysmic nation-changing events are in fact fairly regular, hardly a normal human lifetime doesn't see two of them.

And in fact as Daniel Arbess points out the fact that we see iPhones in use everywhere we go is the sure indication of another social (therefor linguistic and economic) cataclysm, in which the three dimensions of social interaction house what seems a complete jumbling of local and national, class- and subcultural-based strands, often thought fairly separate and identifiable — erroneously, it's evident.

Even in the age of archery such moments have made changes faster than their natures could have become evident: how much more urgent is such comprehension now. Lacking such comprehension one can only shake one's head, as the old lady I was "conversing with" in Rodeshausen the other day, and agree de welt ist kaput. I can't help thinking that she lacks the language to investigate and consider that world; it has largely eroded away. On the other hand, she seemed cheerful, happy with her lot, content to remain as she is.


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Where we've slept recently

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Hôtel Du Puy d'Alon, Souillac, March 14, 2012— IT OCCURS TO ME I've written nothing about the hotels. We've stayed in a lot of them, these last three weeks, and there wasn't a one I wouldn't go back to, though one or two would have to adjust its price first. Nearly all of them offer wi-fi, though not always dependably in the room; nearly all have websites. Except for the first, which was chosen for us — and splendidly!— I booked most of them through bookings.com, which has a good iPhone app but also works well online. For information on the nearby restaurants we chose, see Eating Every Day (http://eatingday.blogspot.com). If you don't mind, I'll just mention them in the order we found them:
•Hotel Herberg & Appartementen De Smidse, Molenweg 9, 6285NJ Epen, Netherlands; +31(0)43-4551253. A fine old-fashioned place, two storeys, no elevator, on the outskirts of a village across the road from open fields; good rambling all around; decent simple food in a pleasant dining room, efficient, pleasant staff. Great for a three-day stay with friends.
•Hotel-Restaurant Le Relais, Place du Monument 22, 4900 Spa, Belgium; +32 087 77 11 08. Very pretty spacious room up a flight or two, old-fashioned, okay breakfast, well situated, cheap.
•Hotel Val de la Cascade, Petit-Coo, 1 - 4970 Stavelot, Belgium; +32(0)80/68.40.78. Well off the beaten track and at an amusement park-like development set next to a cascade, I can't imagine staying here except in the depth of off-season, unless you have kids to entertain. Still, the room was big and comfortable, the dining room almost snug and romantic.
•Hotel Ardenne Les Myrtilles, Rue du Vieux Marché 1, Vielsalm, 6690 Belgium; +32 (0) 80 67 22 85. Recently affiliated with the Best Western chain, right in the middle of town, surprisingly good restaurant, comfortable room.
•Hotel Burg Hof, Burg Reuland 43, Burg-Reuland, 4790 Belgium; +32 80 32 98 01. We stayed in a clean comfortable bare-bones room in a new building across the road from the big old hotel-restaurant on the edge of the village, goats and chickens in the yard just outside our window. Nice bar, decent restaurant.
•Hotel Oberhausen, Oberhausen 8, Oberhausen (Burg-Reuland), 4790 Belgium; +32 80 32 94 97. One of our favorite places, partly for the delicious pannekoek, partly for the sweet, airy, comfortable room, greatly for the lusty, good-humored, helpful mevrouw running the place. In a country setting in a tiny border village, another great post for rambles.
•Hotel Daytona, Hauptstrasse 3, 54689 Dasburg, Germany; +49 65501530. The only place for a number of kilometers, this was basically a make-it-work choice. Run by a Dutch couple, it's oriented to motorcycle tourists, and the town itself doesn't have much to offer. Still, the staff were very helpful and pleasant, the room clean and comfortable, and a bus runs right past, two or three times a day, most days anyway.
•Café Hotel de Ville de Bruxelles, 15 Grand-Rue Vianden, L-9410 Luxembourg; +35 2621186547. Don't ask me why a small old-fashioned hotel owned and operated by a couple immigrated from Portugal has a name like this; its not important anyway; what counts is the ingratiating warmth of the people, the pure heart of their work, and the truly excellent bacalhau they gave us. Quiet, comfortable, on the main street of a very picturesque town.
•Hotel Bristol, 11, rue de Strasbourg, Luxembourg-Ville, L-2561 Luxembourg; +352 48 58 29. Small quiet clean room, elevator, decent breakfast, nice (but smoky) bar, easy one-block walk from the train station, cheap. Oh: and friendly.
•Hotel Central, 2, rue Victor Millot, Beaune, 21200 France; +33 0380247724. Another very old-fashioned hotel with a pretty, quiet room overlooking a quiet street just off the central place and close to good cafés and a quite good restaurant (Ma Cuisine), with a nice bar and a friendly staff.
•Hotel Restaurant Le P'tit Monde, 54 Rue Du 4 Septembre, 24290 Montignac, France; +33 0553513276. Perhaps the grimmest of the hotels we've slept in lately, but clean enough. The price seemed unnecessarily high and the staff a little cool, but there's a fine restaurant (La Chaumière) right down the street.
•Hôtel Du Puy d'Alon, 1 Rue De Pressignac, Souillac, 46200 France; +33 0565378979. A kilometer from the center of town, thus the nearest café, bar, or restaurant; a pleasant room with stenciled wallpaper; quiet; comfortable. 

Einstein at the Berlioz

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Montpellier, March 17, 2012—

My old friend John Rockwell said it well, years ago:

“Einstein was like nothing I had ever encountered. For me, its very elusiveness radiated richly, like some dark star whose effects we can only feel. The synergy of words and music seemed ideal. … Einstein on the Beach, perhaps, like Einstein himself, transcended time. It's not (just) an artifact of its era, it's timeless ... Einstein must be seen and re-seen, encountered and savored ... an experience to cherish for a lifetime."

I quote that from the Nonesuch Records website (Google nonesuch einstein montpellier, I can't readily embed links with Blogger on iPhone).

To John's remarks I merely add: the opera is as mesmerizing and transporting now. We saw it last nearly thirty years ago, at BAM; we saw it last night from similarly placed seats — center, nearly as high as possible.

Montpellier's Berlioz Theater is incredibly high, a postmodern version of a traditional European jewel-box theater. Perhaps our seats underscored this opera's unique effect: it was as if we were witnessing the coherent but often enigmatic proceedings of a distant and foreign society, at the same time re-acquainting ourselves with knowledge we'd somehow internalized, perhaps years ago, of the inexplicable yet reassuring meaning of it all.

There were little technical glitches along the way — opening curtain was delayed an hour. But the performances were superb: singing, instrumental, dance, acting, lighting, stagework.

The audience mostly remained seated the entire nonstop four and a half hours, though they were encouraged to come and go at will. They gave the piece a fine ovation, and they were right to do so. I think even Berlioz would have been struck with the beauty, the artistic truth, and the significance of the event.

Hotel blues

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Park & Suites Ëlegance la Ciotat, La Ciotat, France, March 18, 2012—
WE HAVE DRIVEN, in the last week or so, about 1500 kilometers, crossing France from northeast to southeast, back up a little toward Lyons, then back down to the Mediterranean. There was a time when I was astonished to hear from a friend, stated almost as a fault of mine, that I was a francophile. I don't think I am. I love Italy and Netherlands first, I think, and my own dear California, I think. My fondness for la douce France is more intellectual than corporeal. When I looked into the bookstore on the Place de Comédie in Montpellier, for example, I was reminded of the considerable intellectual life, at least the vie intellectuale potentielle, of the French, and I was of course envious; I even bought a book. But I am truly not a francophile, to the extent that I would be a citizen of France if I had to change my citizenship tonight.
As I may. We are currently (five p.m.) without a place to sleep tonight. I booked a room, using bookings.com, at an inexpensive hotel in La Ciotat, choosing the town because we've never stayed there, and I recalled the name from the history of Picasso; and the hotel because it was recommended by previous users of bookings.com, and was inexpensive. But when we arrived, about four o'clock, delayed by street closings due to a Sunday market — unknown to Our Lady of the Dashboard, about whom another blog, another day — there was no one at the reception.
We weren't the only ones flummoxed. There were two Italian businessmen there, looking all around for some way to get into their room. We all looked around, walked up the street, back down the street. Finally I noticed a, well, notice, posted at the door, with two or three phone numbers. The first didn't answer. The second did, at length, but the woman spoke only French. She asked my name and how and when I'd booked, and then whether I noticed a coffret anywhere nearby. At length I found it, and she gave me its code.
Inside there were a great many envelopes, each with a key inside and a person's name on the cover. One belonged to the Italians, who were pleased with me for having let them into their room. None belonged to us. I mentioned this to the lady on the phone, who said she had taken note of my telephone number, and would look into all this, and would then call me back with further instructions.
Oh well. We walked the few yards down the street to the Quai Mitterand and the Best Western Hotel, verified there was a room there if we needed it (double the cost of the one we'd booked), and gave its bar a try. Three parts gin, I told the boy who seemed the only staff in the huge empty café, one part Lillet, shaken with lots of ice. Oui mussieu, he said with what seemed to me a little hesitation. In a little while we heard frantic cocktail-shaking and soon he was back with Lindsey's glass of white wine and a huge shaker glass full of what turned out to be quite an acceptable Martini, garnished with lemon peel.
Finally I called the lady who spoke only French back. Ah I tried to reach you, she said unpersuasively, look again in the coffret. Wait, I said, I'm in a bar, waiting for you to phone me. Trudged back to the hotel, imploring her not to hang up, looked around, found the coffret, opened it with the numbercode she again provided, no envelope with my name.
Not important, she said (c'est pas grave sounds so much, well, graver), do you see one envelope on the top shelf. Yes, but the name is Carpet, my name is not Carpet. I started to add, Though I've often been called on the carpet, but realized in time this would only complicate matters.
Pas grave, she said, use that envelope. So we did, and finally got into the room, very nice, hot water, bathtub, no wi-fi — that would have to wait for the morning. There were other adventures, of course, involving bewildered machinists from Detroit, two vivacious young maids who spoke no English but were very helpful in French (ou Arabe, mussieu?), and the gouvernante who clarified a few things — again, French only. Well, after all, we're in France. Other adventures, but they'll have to wait.

Only a Messenger

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Eastside Road, March 30, 2012—BACK FROM A TRIP to find in the mail a new novel by an old friend whom we see too rarely, Sumner Carnahan. I have always liked her writing, but am surprised by her novel: in it she sets aside her post-Burroughs deconstructed style for a fascinating and subtle alteration of a more conventionally narrative approach, weaving together two dissimilar but fluid points of view, touching on the conflict of two quite different cultural mentalities, to deal with matters of environmental and economic urgency, while in fact toying imaginatively with the genre of detective fiction.

Reading it, all kinds of things come to mind while I'm simultaneously caught by the effortless onward flow of the narratives. An intelligent, diffident young American man, David Ambrose Gentry, maintains notebooks in which he records meditations on the names of things, on nature and procreation, and on relationships — particularly one that develops in the course of the novel with an observant, spiritual, utterly believable young Mexican woman, of strong Mayan heritage, whose own diaries are intercut to form the structure of the novel.

An example:
We discuss mining. C. doesn’t believe in removing things from inside the earth. Says that metals and chemicals can be retrieved gently off the surface using simpler techniques.

I explain that civilization would not exist without mining. We wouldn’t be riding in this fine green four-speed half-ton truck just now without the mining of metals and petroleum. And the airplane we will board for San Diego:

"You want it to be made of cardboard and tree sap?"
That made her laugh. She laughed and laughed, almost hysterically, her thick dark hair falling in waves across her face. Then, abruptly, knotting her hair over one shoulder, she stared straight ahead in that way she has of keeping still..

…I see the indigena in her… Mixtec, Mayan? Her heritage is confused. (Whose isn't?)…

op. cit., p. 44-5
I still think of William Burroughs from time to time: also E.T.A. Hoffmann, Carlos Castaneda, Gertrude Stein, Sebald— perhaps because I've already associated some of them with Carnahan's earlier work. She has been an attentive reader as well as an inventive and methodical writer, and if these are influences they seem fully internalized.

Her more avant-garde style frequently used vernacular and commercial styles ironically; here I think she has found a perfect balance between stylistic, even linguistic (taken in a broad sense) universes, producing an apparently artless straight ahead whodunit, with satisfyingly surprising twists, giving the reader subtle esthetic pleasures on top of the entertainment of the plot and the substance of the social and political issues it involves. I like this book; I like it a lot, and I'm glad to say so. I hope she writes more novels: I think she makes an important contribution to the form.

• Sumner Carnahan: Only a Messenger, Burning Books (The Quadrant Series), 2011; ISBN 978-0-936050-34-8

Snake and Seagull

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The two short-season plays at the Oregon Shakespeare Festival this spring are Chekhov's Seagull and Mary Zimmerman's The White Snake, both of which we saw last Saturday. (We return to Ashland in late July to see the rest of the eleven-play cycle.)
Not that much need be said here about Seagull, adapted and directed by Libby Appel in a production designed minimally but effectively by Christopher Acebo in the New Theater. We saw this "adaptation" a little over a year ago, when it ran in Mill Valley at Marin Theater in a different production. I set the word in quotes: at the time Appel's new version, based on Allison Horsley's literal translation of Chekhov's text, seemed to me more a restoration than an adaptation, redirecting the audience's response from the picturesqueness of an exotic, long-ago society to the social and philosophical questions at the heart of Chekhov's play, always relevant, now perhaps more than fifty years ago.

I wrote about that production here.The current production is less physically detailed than Marin's, narrowing the focus onto the text, the dialogue. Since so much of Chekhov's dialogue is always interior and unspoken, revealed by inference through the otherwise apparently irrelevant comments of characters who don't really attend to one another, this can be hard on the audience.  It has its value, though, rightly extending the effectiveness of the play beyond the evening of its performance. It's as if Kostya's avant-garde play, quickly shut down by its anguished young author at the beginning of Chekhov's play, begins to continue in one's mind after the abrupt yet laconic conclusion of Seagull. " Conclusion": what an inconclusive ending this is, for all but poor Kostya himself: the contemplation remains, will remain among Chekhov's characters, remains for those of us fortunate to have seen this fine production.
The White Snake is also an "adaptation", this time of an ancient Chinese story, and also a restoration os sorts, in that it returns its audience to the blend of entertainment and instruction, goofy comedy and poetic contemplation — there's that word again — that propels Chinese opera. (And commedia dell'arte, and Mozart-da Ponte, and…)

Story: Snake studies philosophy, yearns to learn human experience, disguises self as beautiful woman, seduces innocent tradesman, is exposed by Buddhist monk, returns to her mountain.

Zimmerman's script, developed from the plot sketch during the course of rehearsals, contains the vivacity of commedia improvisation within the voice of a thoughtful and studious playwright. There is one element I found jarring: the ensemble in the pit — flute, cello, and percussion — relied heavily on foursquare structures and conventional Western tonal harmony for the collectively generated musical chinoiserie that helps articulate the entertainment's progress. Where Zimmerman's direction and script adapt Chinese opera to the American stage, the musicians, I thought, seek to imitate it, constantly distracting my attention.

Still, there's a lot to like here. There is real poetry, pathos, and philosophy in Snake's predicament, ably and beautifully projected by Amy Kim Waschke (new to OSF), and poignancy in the role of Xu Xian, nicely taken by Christopher Livingston; and Tanya McBride and Jack Willis find just the right amount of brashness in the comic-relief roles of Green Snake and Fa Hai, the villainous monk.

Zimmerman's White Snake often made me think of Michael McClure's wonderful Gargoyle Cartoons of forty and fifty years ago. It's sad that neglect of the breakthroughs of that period has occasioned so much ignorance and the occasional re-invention, but it's reassuring, I suppose, that artistic truth will now and then, as here, bring a historically imperative notion back to contemporary life and relevance. Something else for that superbly enlightened serpent to contemplate, back on the eternal mountain she shares, I'm sure, with Konstantin Gavrilovich Treplyov.