Dear readers,
I ask your indulgence as I put the travel narrative on hold until Saturday.
Thank you for reading.
Lindsey
Thursday, October 23, 2008
Wednesday, October 22, 2008
17 September: London.
It is impossible to close the door to the hostel room quietly; it's got one of those misbegotten spring-loaded things that prevents you from manually pushing it shut, but grabs it out of your hand at the last minute: CLANGK. The reading woman (the same one we tried so hard not to bother the day before) leaves her extremely bright reading light on most of the night. The girl sleeping in the bunk below me comes in late, tosses and turns and mumbles in her sleep, and packs up noisily to leave in the early a.m. She also has such strong body odor that, even three feet above her, I keep wondering if it's me.
Given all that, I sleep surprisingly well. We leave the hostel late in the morning and swing by a pastry shop for breakfast. I sample a hot cross bun, which is not at all hot but fairly tasty.
We wander around Notting Hill and the Portobello Market. It's pretty, and mostly pretty expensive. My favorite "shop" is an old man with a table full of antique clutter: old glass transparencies, miscellaneous keys. We don't buy much; the knowledge that we have to carry whatever we buy for the next ten days has blunted our acquisitive instincts.
The next step is to get back to the Underground. We've walked quite a distance already, so rather than backtrack, we get directions from the map posted at a nearby bus stop. After a while we check another bus stop map. Later we start asking people for directions. This is not immediately helpful. I privately wonder if we are close to the world record for longest series of navigational errors.
Our next destination, which we reach approximately two hundred years later, is the Tate Britain (the national museum of British art). Mitchey's friend JT works there, and he is delighted to see us. I'm puzzled; in my current state of surly fatigue, I certainly wouldn't be delighted to see me. JT treats us to lunch at the museum cafe and answers all our questions about his life since we last saw him in Iowa City. "I've traveled around the world and lived in half a dozen countries," he says, "but London is the most foreign place I've ever lived." Communication here involves subtleties and nuances and secret codes that he is only just beginning to glimpse, let alone comprehend. We nod sympathetically.
When we have eaten at leisure and talked at length, he asks, "What would you like to see?" I want to see stuff by the Pre-Raphaelite brotherhood; he leads the way. The Pre-Raphs are colorful and dreamy, for the most part. I like them because they are art that tells stories, which is about half a step away from illustration, which is really my favorite kind of art. Mitchey's favorite of the Pre-Raphs is The Fairy Feller's Master-Stroke, which exhibits a level of detail suggestive of utter barking madness. I have a soft spot for Burne-Jones, and am fascinated by the story JT tells about the giant, melodramatic "Death of Arthur" that occupies one wall. Apparently this sort of thing was looked on as quite gauche for some time; no British museum would take it. "And now it is considered to be representative of British culture," JT says, grinning.
Would we like to see one of JT's favorite exhibits? We would. JT is a fan of J.M.W. Turner, an extraordinarily prolific painter and printmaker whose work proves to be well worth our inspection. JT tells us about the process of making engravings from watercolors. There is an interactive area where you can try to copy one of his drawings by hand. I try the simplest one. It's a lot less simple than I thought it was when I started.
Meanwhile, JT is talking to Mitchey about the toxicity and decomposition rates of various pigments. JT is interning in the Department of Conservation Science, where he devises and tests ways to preserve great works of art. He is currently testing a sealed frame designed to protect art from further decay.
Now JT wants to take us to the Print Room. Oh, we say, to see thee prints? No, says JT, there are no prints in the Print Room. There are originals in the Print Room. You can hold them in your hands.
Really?
As we wash our hands, JT introduces us to Lucy, who works in the Print Room. Lucy is vivacious, quick-witted, and as eager to bestow large amounts of knowledge on us as JT. Lucy gets out a box of original Turner watercolors. We hold them by their protective mats and ooh and ahh over the richness of detail and color. After the Turners, JT recommends we look at something by William Blake. The Blakes are mostly illustrations for Dante's Inferno; they are dark and flaming and tortured, and they are right there on the table, the very same lines and colors laid down by Crazy Blake himself, with not even a pane of glass between us.
One more, says JT. How about Beatrix Potter? And this is better than the Pre-Raphs: Lucy brings us illustrations. She brings out a box of original art from The Tailor of Gloucester. The watercolors are barely bigger than the books we are used to seeing them in. Otherwise, they don't look all that similar. Oh, the teeny tiny brushstrokes on the mouse whiskers! Oh, the colors of the fine clothes! There are some pages from the book stored in the box with the watercolors, and they're appallingly dim and blurry next to the originals. Why hasn't anyone re-scanned and republished these books? Everyone would want to upgrade!
The part of this account I am not doing justice to is the sheer amount of time JT and Lucy spend just talking and talking. They are extremely entertaining, so Mitchey and I don't mind. We are learning about how great works of art are transported between museums, about book preservations and how most materials marketed as "archival" are a joke. By the time we finish admiring the Potters, they've agreed that the next thing they need to show us is the death mask of ol' Turner. It used to be on display, but some museum official was creeped out by it, so now it lives in storage.
We follow Lucy behind the Prints Desk into a back room. She pulls out a wooden box and removes from it a whole head in shiny white plaster, toothless, sunken-eyed. It is so incredibly morbid that we have to say irreverent things about it out of sheer discomfort. Still, we're thrilled: nobody else gets to see this.
JT and Lucy continue to talk and talk, revealing gaping holes in museum security, making dark allusions to museum politics, and I am seriously dying on my feet but I don't want to end this adventure. Finally JT tells Lucy, We'd better get going. To us he says, I'll have to show you out, because at this point you are locked into the Tate. And we say, Cooool.
JT has to go back to his lab to get his bicycle, so we get to see the oven and the freezer and a few of the trays of test tubes he uses for his research. He invites us to join his wife and him for dinner, but warns that it may be difficult to get back from his part of town after the Underground quits running. We decline, reluctantly; we're supposed to meet our host for dinner tonight.
Our host is delayed. There have been computer problems at work (he's a history professor at what we would call a high school), and tons of important data have been lost. He was supposed to get off work early today; instead, he spent hours and hours of his own time trying to reconstruct what was lost. We go back to Earl's Court, retrieve our stuff and a pub supper, and head for our host's place; by this time, he is finally home.
The Canuck is gone, so it's just the three of us here tonight. Our host apologizes for being unable to show us around. He seems eager to talk to us, and I start to feel like maybe that whole thing the other night wasn't personal after all. We ply him with questions about English culture and the things we saw today. As a history professor, he is well prepared for our interrogation. He tells us he is currently teaching a course on the American Civil Rights movement, about which he knows a heck of a lot more than we do. Apparently all the major players we learned about in school were just figureheads, while the real work went on in the background. Huh. I wonder if the same thing isn't true about pretty much all of American history.
Given all that, I sleep surprisingly well. We leave the hostel late in the morning and swing by a pastry shop for breakfast. I sample a hot cross bun, which is not at all hot but fairly tasty.
We wander around Notting Hill and the Portobello Market. It's pretty, and mostly pretty expensive. My favorite "shop" is an old man with a table full of antique clutter: old glass transparencies, miscellaneous keys. We don't buy much; the knowledge that we have to carry whatever we buy for the next ten days has blunted our acquisitive instincts.
The next step is to get back to the Underground. We've walked quite a distance already, so rather than backtrack, we get directions from the map posted at a nearby bus stop. After a while we check another bus stop map. Later we start asking people for directions. This is not immediately helpful. I privately wonder if we are close to the world record for longest series of navigational errors.
Our next destination, which we reach approximately two hundred years later, is the Tate Britain (the national museum of British art). Mitchey's friend JT works there, and he is delighted to see us. I'm puzzled; in my current state of surly fatigue, I certainly wouldn't be delighted to see me. JT treats us to lunch at the museum cafe and answers all our questions about his life since we last saw him in Iowa City. "I've traveled around the world and lived in half a dozen countries," he says, "but London is the most foreign place I've ever lived." Communication here involves subtleties and nuances and secret codes that he is only just beginning to glimpse, let alone comprehend. We nod sympathetically.
When we have eaten at leisure and talked at length, he asks, "What would you like to see?" I want to see stuff by the Pre-Raphaelite brotherhood; he leads the way. The Pre-Raphs are colorful and dreamy, for the most part. I like them because they are art that tells stories, which is about half a step away from illustration, which is really my favorite kind of art. Mitchey's favorite of the Pre-Raphs is The Fairy Feller's Master-Stroke, which exhibits a level of detail suggestive of utter barking madness. I have a soft spot for Burne-Jones, and am fascinated by the story JT tells about the giant, melodramatic "Death of Arthur" that occupies one wall. Apparently this sort of thing was looked on as quite gauche for some time; no British museum would take it. "And now it is considered to be representative of British culture," JT says, grinning.
Would we like to see one of JT's favorite exhibits? We would. JT is a fan of J.M.W. Turner, an extraordinarily prolific painter and printmaker whose work proves to be well worth our inspection. JT tells us about the process of making engravings from watercolors. There is an interactive area where you can try to copy one of his drawings by hand. I try the simplest one. It's a lot less simple than I thought it was when I started.
Meanwhile, JT is talking to Mitchey about the toxicity and decomposition rates of various pigments. JT is interning in the Department of Conservation Science, where he devises and tests ways to preserve great works of art. He is currently testing a sealed frame designed to protect art from further decay.
Now JT wants to take us to the Print Room. Oh, we say, to see thee prints? No, says JT, there are no prints in the Print Room. There are originals in the Print Room. You can hold them in your hands.
Really?
As we wash our hands, JT introduces us to Lucy, who works in the Print Room. Lucy is vivacious, quick-witted, and as eager to bestow large amounts of knowledge on us as JT. Lucy gets out a box of original Turner watercolors. We hold them by their protective mats and ooh and ahh over the richness of detail and color. After the Turners, JT recommends we look at something by William Blake. The Blakes are mostly illustrations for Dante's Inferno; they are dark and flaming and tortured, and they are right there on the table, the very same lines and colors laid down by Crazy Blake himself, with not even a pane of glass between us.
One more, says JT. How about Beatrix Potter? And this is better than the Pre-Raphs: Lucy brings us illustrations. She brings out a box of original art from The Tailor of Gloucester. The watercolors are barely bigger than the books we are used to seeing them in. Otherwise, they don't look all that similar. Oh, the teeny tiny brushstrokes on the mouse whiskers! Oh, the colors of the fine clothes! There are some pages from the book stored in the box with the watercolors, and they're appallingly dim and blurry next to the originals. Why hasn't anyone re-scanned and republished these books? Everyone would want to upgrade!
The part of this account I am not doing justice to is the sheer amount of time JT and Lucy spend just talking and talking. They are extremely entertaining, so Mitchey and I don't mind. We are learning about how great works of art are transported between museums, about book preservations and how most materials marketed as "archival" are a joke. By the time we finish admiring the Potters, they've agreed that the next thing they need to show us is the death mask of ol' Turner. It used to be on display, but some museum official was creeped out by it, so now it lives in storage.
We follow Lucy behind the Prints Desk into a back room. She pulls out a wooden box and removes from it a whole head in shiny white plaster, toothless, sunken-eyed. It is so incredibly morbid that we have to say irreverent things about it out of sheer discomfort. Still, we're thrilled: nobody else gets to see this.
JT and Lucy continue to talk and talk, revealing gaping holes in museum security, making dark allusions to museum politics, and I am seriously dying on my feet but I don't want to end this adventure. Finally JT tells Lucy, We'd better get going. To us he says, I'll have to show you out, because at this point you are locked into the Tate. And we say, Cooool.
JT has to go back to his lab to get his bicycle, so we get to see the oven and the freezer and a few of the trays of test tubes he uses for his research. He invites us to join his wife and him for dinner, but warns that it may be difficult to get back from his part of town after the Underground quits running. We decline, reluctantly; we're supposed to meet our host for dinner tonight.
Our host is delayed. There have been computer problems at work (he's a history professor at what we would call a high school), and tons of important data have been lost. He was supposed to get off work early today; instead, he spent hours and hours of his own time trying to reconstruct what was lost. We go back to Earl's Court, retrieve our stuff and a pub supper, and head for our host's place; by this time, he is finally home.
The Canuck is gone, so it's just the three of us here tonight. Our host apologizes for being unable to show us around. He seems eager to talk to us, and I start to feel like maybe that whole thing the other night wasn't personal after all. We ply him with questions about English culture and the things we saw today. As a history professor, he is well prepared for our interrogation. He tells us he is currently teaching a course on the American Civil Rights movement, about which he knows a heck of a lot more than we do. Apparently all the major players we learned about in school were just figureheads, while the real work went on in the background. Huh. I wonder if the same thing isn't true about pretty much all of American history.
Tuesday, October 21, 2008
16 September: London.
It's noon. I am lying on my back staring at my watch, trying to comprehend where and when I am, when the Canuck taps at the living room door (he slept on our host's bedroom floor last night). "Come in," I hiss, so as not to bother Mitchey, who is still inert. "I just woke up."
"Me too," he mouths.
"I'm awake," mumbles Mitchey. We are awake, it is noon, we are in England. We had plans to do a bit of sightseeing with the Canuck today, but he has some prep to do for his presentation tomorrow, and we have a hostel to locate. So, given the hour, we agree to part ways. Our host offered to let us leave some of our stuff at his place, so we cram overnight essentials into Mitchey's pack and head for the station.
Mitchey secures us two beds in a hostel via pay phone. Then we find a cafe which serves a decent Traditional English Breakfast. Have I mentioned what a brilliant meal this is? The other amazing thing is tea served English style. It is the nectar of the gods. What does America think it's doing, playing around with bags of Lipton in tepid water? Bah!
The hostel is in Earl's Court, a lot closer to London than where we've been staying. We check in and secure the pack in a locker. I like the hostel; it has a good vibe, looks clean, and the lady at the counter is patient with our one million questions. Our room has six beds; a woman is lying in one of them, reading. We whisper so as not to bother her.
Now it's time to See London, quickly, before we run out of daylight. We've been told that Bus #11 will take us past most of the major sights of downtown London. We take a bus to a very confusing bus depot, where the 11 is supposed to stop. There's a man in a kiosk who appears to be there for the purpose of assisting people. Mitchey approaches him and starts to ask a question, but before she can finish, another man pops up in the booth and says, "I'd like roast beef on rye. And a diet drink."
"Wha...?" says Mitchey.
The man points to her shirt. It's hot pink and has a dinosaur on it. The dinosaur is saying MAKE ME A SAND WICH. Ohhh, right. He and his co-worker proceed to dizzy us with hilarious banter for the next four minutes, while simultaneously answering all our directional questions. There is a lag between the moment they say something and the moment we comprehend their obscure, heavily accented wit, so we must come across as fairly dense. This only makes the whole thing more entertaining for everyone involved. We'd probably stand there being confused by them all day if it weren't for other people wandering up with questions of their own.
So we get on the 11, and we get off at Westminster, which has closed for the day. We take pictures. I take pictures of people taking pictures. It's late enough in the day that mine mostly come out dim and blurry. I want Mitchey to see the stuff she wants to see, but I'm pretty apathetic about The Sights, about photographing things that are photographed thousands of times a day. I follow her over a bridge, which is scenic and probably famous, and from which we have a nice view of the London Eye, Big Ben, and some really pretty stone lions. I realize I'm apathetic because I didn't research any of this beforehand, so I don't know what I'm looking at or why it's important. This is probably terrible, because I know that everything here is important and historic and laden with weighty meaning. But right now, I'm really just along for the ride. Been here, done this.
Mitchey wants to see Trafalgar Square. The first time she mentioned it, she called it Traffle-gar, and I thought it was so cute I almost didn't correct her. It's pretty dark by the time we get there, so we take underlit pictures of fountains and statuary. Mitchey's camera is better at this than mine, fortunately. Kids are climbing on the big lions at the base of the monument; we want to do this too, but we're daunted by their sleek shiny sides. It's just an awful long way to fall.
Neither of us really know what this whole Trafalgar thing is all about, to be honest. Having consulted her guidebook, Mitchey informs me that's Lord Nelson at the top of the giant column. Oh, I say, I've heard of him. What did he do? Mitchey asks. I wrack my brains. I guess he won the battle of Trafalgar, I finally reply. Mostly what I know is that Russell Crowe spoke of him reverently in "Master and Commander." Note to self: skim a few Wikipedia articles when I get home.
We go back to Earl's Court, get dinner at a little Indian place and drinks at a pub that closes just as we're emptying our glasses. I'm glad we're staying at Earl's Court; it has all the resources we need within a few blocks, and it feels good to be self-sufficient tonight.
"Me too," he mouths.
"I'm awake," mumbles Mitchey. We are awake, it is noon, we are in England. We had plans to do a bit of sightseeing with the Canuck today, but he has some prep to do for his presentation tomorrow, and we have a hostel to locate. So, given the hour, we agree to part ways. Our host offered to let us leave some of our stuff at his place, so we cram overnight essentials into Mitchey's pack and head for the station.
Mitchey secures us two beds in a hostel via pay phone. Then we find a cafe which serves a decent Traditional English Breakfast. Have I mentioned what a brilliant meal this is? The other amazing thing is tea served English style. It is the nectar of the gods. What does America think it's doing, playing around with bags of Lipton in tepid water? Bah!
The hostel is in Earl's Court, a lot closer to London than where we've been staying. We check in and secure the pack in a locker. I like the hostel; it has a good vibe, looks clean, and the lady at the counter is patient with our one million questions. Our room has six beds; a woman is lying in one of them, reading. We whisper so as not to bother her.
Now it's time to See London, quickly, before we run out of daylight. We've been told that Bus #11 will take us past most of the major sights of downtown London. We take a bus to a very confusing bus depot, where the 11 is supposed to stop. There's a man in a kiosk who appears to be there for the purpose of assisting people. Mitchey approaches him and starts to ask a question, but before she can finish, another man pops up in the booth and says, "I'd like roast beef on rye. And a diet drink."
"Wha...?" says Mitchey.
The man points to her shirt. It's hot pink and has a dinosaur on it. The dinosaur is saying MAKE ME A SAND WICH. Ohhh, right. He and his co-worker proceed to dizzy us with hilarious banter for the next four minutes, while simultaneously answering all our directional questions. There is a lag between the moment they say something and the moment we comprehend their obscure, heavily accented wit, so we must come across as fairly dense. This only makes the whole thing more entertaining for everyone involved. We'd probably stand there being confused by them all day if it weren't for other people wandering up with questions of their own.
So we get on the 11, and we get off at Westminster, which has closed for the day. We take pictures. I take pictures of people taking pictures. It's late enough in the day that mine mostly come out dim and blurry. I want Mitchey to see the stuff she wants to see, but I'm pretty apathetic about The Sights, about photographing things that are photographed thousands of times a day. I follow her over a bridge, which is scenic and probably famous, and from which we have a nice view of the London Eye, Big Ben, and some really pretty stone lions. I realize I'm apathetic because I didn't research any of this beforehand, so I don't know what I'm looking at or why it's important. This is probably terrible, because I know that everything here is important and historic and laden with weighty meaning. But right now, I'm really just along for the ride. Been here, done this.
Mitchey wants to see Trafalgar Square. The first time she mentioned it, she called it Traffle-gar, and I thought it was so cute I almost didn't correct her. It's pretty dark by the time we get there, so we take underlit pictures of fountains and statuary. Mitchey's camera is better at this than mine, fortunately. Kids are climbing on the big lions at the base of the monument; we want to do this too, but we're daunted by their sleek shiny sides. It's just an awful long way to fall.
Neither of us really know what this whole Trafalgar thing is all about, to be honest. Having consulted her guidebook, Mitchey informs me that's Lord Nelson at the top of the giant column. Oh, I say, I've heard of him. What did he do? Mitchey asks. I wrack my brains. I guess he won the battle of Trafalgar, I finally reply. Mostly what I know is that Russell Crowe spoke of him reverently in "Master and Commander." Note to self: skim a few Wikipedia articles when I get home.
We go back to Earl's Court, get dinner at a little Indian place and drinks at a pub that closes just as we're emptying our glasses. I'm glad we're staying at Earl's Court; it has all the resources we need within a few blocks, and it feels good to be self-sufficient tonight.
Monday, October 20, 2008
15 September: Manchester to London.
It' s my birthday. I'm really confused about when it started being my birthday, because I'm on an airplane. The airplane arrives in Manchester at 8am. Mitchey and I know we're in England because, first thing off the plane, we find ourselves in a queue.
It's only the queue where they check your passport and ask you questions about what you're doing there. You may argue that the same thing would happen if we were flying into the US. But no, if we were in the US, we'd be standing in a line.
I am always paranoid about this part, when they ask you point-blank why you're here and where you're going, but they don't lock us up for further interrogation, just say "Cheers" and wave us on. We get ourselves some pounds sterling and go looking for a way into town. There's an airport bus to the bus stop, and then it takes us a long time to figure out which bus to take, and how to get on it, to get to the town center where our third bus will be. Fortunately, we have planned our schedule to allow for this. We elicit help from a couple of police officers who are loitering around the bus terminal. One of them stares at the departures screen for a while, then grabs an employee who has walked past us several times, blind to our confused and helpless expressions. Information is exchanged, and we finally get on the bus to the town center.
The route winds through picturesque residential neighborhoods, tidy little streets and brick row houses and big old trees. I sort of thought Manchester would be grubbier, but I'm not sorry. The bus drops us in the general vicinity of our next connection, and we go in search of food.
The pub we settle on is shiny-new, spacious, and mostly empty. We're confused about how the ordering works here, and we sit in our window booth for quite a while before Mitchey goes up to the counter. That, it turns out, is how ordering works here: you go to the counter. At least we don't need to leave a tip when we order that way. We know this because we just looked it up in Mitchey's travel book.
I order a Traditional English Breakfast. I'd hate to eat it first thing on waking up, but it is pretty much the best lunch ever: fried egg, sausage, "bacon" (prepared like a slice of ham in the US), mushrooms, baked beans, toast, and a grilled or stewed toe-mah-toe. So basically what you have here is some protein with protein and a side of protein. And a couple of really happy Americans.
We kill the rest of the time waiting for the bus by people-watching. We observe that a neo-'80s look is the fashion here right now; that various kinds of dressy boots are the footwear of choice for women; that English people of African descent dress and behave nothing at all like African-Americans. Mitchey thinks we kind of blend in here because we're white (most of her overseas travel has been in Asia). I think we stand out because a) she's wearing a very colorful outfit, and people here all wear neutrals with maybe one color if they're feeling adventurous, and b) I'm wearing hiking boots, and no one else here is wearing any kind of outdoor adventure-type shoes. Also, we have bulky backpacks and fresh-off-the-plane expressions.
Our bus driver to London is in a foul mood. He storms out of the bus and opens the luggage compartments, yelling something we don't understand in an accent we don't recognize. People stand around looking confused. Some of them put their luggage into the compartments. He yells some more, takes them back out and shakes his head. One guy who sounds like he's from India mutters, "Well what the **** am I supposed to do then?" The driver overhears this and gets in a shouting match with the guy. Nobody is happy about it. Two guys behind me are muttering about racism.
Finally the driver gets over himself and lets us all board. The bus is full and quiet. I prop my head against my inflatable neck pillow and sleep most of the way to London. I know you're not supposed to do that, take naps while jetlagged, but I'm just too darn tired to care.
I'll never be a huge fan of London, but I find on this second visit that I don't hate it anymore. Perhaps that's because my luggage doesn't get rifled through, nor my camera stolen, nor am I locked out of a hotel room with no one to let me in. Perhaps it's because I'm not there with a group of college students from Oklahoma. Still, this city stresses me out. It's full of people who are in a hurry to get to someplace they don't look at all happy about reaching.
Mitch and I agree that our wisest course for this first day would be to just find our way to our host's neighborhood, so we can meet him there when he gets off work. He lives a good distance southwest of London. We take the underground and the train to his station, then call him, and after a little while he pops up smiling. He smiles a lot. At first we think he's really happy to see us. While that may well be the case, we realize later that it's his reflexive response to everything.
Our host's home is a tiny one-bedroom flat, which we will share with a fourth person that night, a Canuck who's in town for a conference in French Literature. He arrives shortly after we do. We three travelers are very hungry, but our host is recovering from a bout of food poisoning. He tells us where to find restaurants and we leave him in peace.
It's my birthday, so I get to pick. Unfortunately, the options we're aware of are all in a shopping center. We were hoping for a quaint little pub or something, but the closest analogue seems to be... Tony Roma's? Oh, no no no. I pick sushi.
The sushi wasn't bad, I insist as we leave the restaurant; bad sushi is sushi that leaves you spending quality time with a toilet. It just wasn't good sushi. Nor was it cheap sushi. But hey, it's okay. We're in London, and we have a place to stay and a couple of new friends, sort of, maybe.
The Canuck is a cutie; we're both a little crestfallen when he mentions his girlfriend. (Not like anything would happen; it just, you know, removes a variable from the equation, so that you can't pretend you don't know what the answer is anymore.) When pressed, he tells us about the presentation he is making for the conference, which I think has something to do with narrators who refuse to narrate, or who say things by not saying them. He is extremely polite and a little tense. We like him, but we don't really click with him. At the time I think it's culture clash (we're doing it all wrong, we're too American); looking back later, it seems to me it has more to do with travel fatigue than anything.
Our host is happy to sit and talk with us when we return. He has hosted over 200 people in the past three years. I press him for stories about terrible guests. His best one involves a huge Icelander who sat around watching TV all day, and was grumpy because the host didn't have time to show him around the city. The host loaned him keys to the house and flat, which the Icelander put in the wrong lock and broke off, so that the main entry door to the house couldn't be opened at all. Then he banged on the window of the neighboring flat (in the same house). The neighbor lady opened it, and he tried to climb through. He got stuck. The fire department was called to extricate him. In the UK, you pay out of pocket for a visit from the fire department, so after that and the locksmith, this guy was quite a costly guest.
Then he went home and wrote a bad review for his host on the Couchsurfing site.
Mitchey and I are trying really really hard to be good guests. We are in kind of a spot, though. We had planned to stay somewhere else tomorrow night, then come back and stay with this host again. But our in-between host got confused and gave our spot away to someone else. We ask our present host if we can stay the following night as well. He won't answer directly. This obviously means "no," even though he's smiling for all he's worth. Okay, we say, we'll find ourselves a hostel, no problem, don't worry about it.
Later, we overhear him invite the Canuck to stay tomorrow night. We spend the rest of the evening trying to convince ourselves not to take it personally, while wondering what we did wrong. To be fair: three guests are obviously more stressful than one, and we have no right to expect more than the original hosting arrangement. But. It's all just very weird and uncomfortable. Or is it we who are weird and uncomfortable? We're probably making too big a deal out of this. Or aren't we? Are we? Aren't we?
We can't get to sleep. We toss and turn on the sofa cushions laid out on the floor, and they slide out from under us. The night drags on and on, but at some point I find myself blinking at my watch in a sunlit room, and it's not my birthday anymore, not anywhere in the world.
It's only the queue where they check your passport and ask you questions about what you're doing there. You may argue that the same thing would happen if we were flying into the US. But no, if we were in the US, we'd be standing in a line.
I am always paranoid about this part, when they ask you point-blank why you're here and where you're going, but they don't lock us up for further interrogation, just say "Cheers" and wave us on. We get ourselves some pounds sterling and go looking for a way into town. There's an airport bus to the bus stop, and then it takes us a long time to figure out which bus to take, and how to get on it, to get to the town center where our third bus will be. Fortunately, we have planned our schedule to allow for this. We elicit help from a couple of police officers who are loitering around the bus terminal. One of them stares at the departures screen for a while, then grabs an employee who has walked past us several times, blind to our confused and helpless expressions. Information is exchanged, and we finally get on the bus to the town center.
The route winds through picturesque residential neighborhoods, tidy little streets and brick row houses and big old trees. I sort of thought Manchester would be grubbier, but I'm not sorry. The bus drops us in the general vicinity of our next connection, and we go in search of food.
The pub we settle on is shiny-new, spacious, and mostly empty. We're confused about how the ordering works here, and we sit in our window booth for quite a while before Mitchey goes up to the counter. That, it turns out, is how ordering works here: you go to the counter. At least we don't need to leave a tip when we order that way. We know this because we just looked it up in Mitchey's travel book.
I order a Traditional English Breakfast. I'd hate to eat it first thing on waking up, but it is pretty much the best lunch ever: fried egg, sausage, "bacon" (prepared like a slice of ham in the US), mushrooms, baked beans, toast, and a grilled or stewed toe-mah-toe. So basically what you have here is some protein with protein and a side of protein. And a couple of really happy Americans.
We kill the rest of the time waiting for the bus by people-watching. We observe that a neo-'80s look is the fashion here right now; that various kinds of dressy boots are the footwear of choice for women; that English people of African descent dress and behave nothing at all like African-Americans. Mitchey thinks we kind of blend in here because we're white (most of her overseas travel has been in Asia). I think we stand out because a) she's wearing a very colorful outfit, and people here all wear neutrals with maybe one color if they're feeling adventurous, and b) I'm wearing hiking boots, and no one else here is wearing any kind of outdoor adventure-type shoes. Also, we have bulky backpacks and fresh-off-the-plane expressions.
Our bus driver to London is in a foul mood. He storms out of the bus and opens the luggage compartments, yelling something we don't understand in an accent we don't recognize. People stand around looking confused. Some of them put their luggage into the compartments. He yells some more, takes them back out and shakes his head. One guy who sounds like he's from India mutters, "Well what the **** am I supposed to do then?" The driver overhears this and gets in a shouting match with the guy. Nobody is happy about it. Two guys behind me are muttering about racism.
Finally the driver gets over himself and lets us all board. The bus is full and quiet. I prop my head against my inflatable neck pillow and sleep most of the way to London. I know you're not supposed to do that, take naps while jetlagged, but I'm just too darn tired to care.
I'll never be a huge fan of London, but I find on this second visit that I don't hate it anymore. Perhaps that's because my luggage doesn't get rifled through, nor my camera stolen, nor am I locked out of a hotel room with no one to let me in. Perhaps it's because I'm not there with a group of college students from Oklahoma. Still, this city stresses me out. It's full of people who are in a hurry to get to someplace they don't look at all happy about reaching.
Mitch and I agree that our wisest course for this first day would be to just find our way to our host's neighborhood, so we can meet him there when he gets off work. He lives a good distance southwest of London. We take the underground and the train to his station, then call him, and after a little while he pops up smiling. He smiles a lot. At first we think he's really happy to see us. While that may well be the case, we realize later that it's his reflexive response to everything.
Our host's home is a tiny one-bedroom flat, which we will share with a fourth person that night, a Canuck who's in town for a conference in French Literature. He arrives shortly after we do. We three travelers are very hungry, but our host is recovering from a bout of food poisoning. He tells us where to find restaurants and we leave him in peace.
It's my birthday, so I get to pick. Unfortunately, the options we're aware of are all in a shopping center. We were hoping for a quaint little pub or something, but the closest analogue seems to be... Tony Roma's? Oh, no no no. I pick sushi.
The sushi wasn't bad, I insist as we leave the restaurant; bad sushi is sushi that leaves you spending quality time with a toilet. It just wasn't good sushi. Nor was it cheap sushi. But hey, it's okay. We're in London, and we have a place to stay and a couple of new friends, sort of, maybe.
The Canuck is a cutie; we're both a little crestfallen when he mentions his girlfriend. (Not like anything would happen; it just, you know, removes a variable from the equation, so that you can't pretend you don't know what the answer is anymore.) When pressed, he tells us about the presentation he is making for the conference, which I think has something to do with narrators who refuse to narrate, or who say things by not saying them. He is extremely polite and a little tense. We like him, but we don't really click with him. At the time I think it's culture clash (we're doing it all wrong, we're too American); looking back later, it seems to me it has more to do with travel fatigue than anything.
Our host is happy to sit and talk with us when we return. He has hosted over 200 people in the past three years. I press him for stories about terrible guests. His best one involves a huge Icelander who sat around watching TV all day, and was grumpy because the host didn't have time to show him around the city. The host loaned him keys to the house and flat, which the Icelander put in the wrong lock and broke off, so that the main entry door to the house couldn't be opened at all. Then he banged on the window of the neighboring flat (in the same house). The neighbor lady opened it, and he tried to climb through. He got stuck. The fire department was called to extricate him. In the UK, you pay out of pocket for a visit from the fire department, so after that and the locksmith, this guy was quite a costly guest.
Then he went home and wrote a bad review for his host on the Couchsurfing site.
Mitchey and I are trying really really hard to be good guests. We are in kind of a spot, though. We had planned to stay somewhere else tomorrow night, then come back and stay with this host again. But our in-between host got confused and gave our spot away to someone else. We ask our present host if we can stay the following night as well. He won't answer directly. This obviously means "no," even though he's smiling for all he's worth. Okay, we say, we'll find ourselves a hostel, no problem, don't worry about it.
Later, we overhear him invite the Canuck to stay tomorrow night. We spend the rest of the evening trying to convince ourselves not to take it personally, while wondering what we did wrong. To be fair: three guests are obviously more stressful than one, and we have no right to expect more than the original hosting arrangement. But. It's all just very weird and uncomfortable. Or is it we who are weird and uncomfortable? We're probably making too big a deal out of this. Or aren't we? Are we? Aren't we?
We can't get to sleep. We toss and turn on the sofa cushions laid out on the floor, and they slide out from under us. The night drags on and on, but at some point I find myself blinking at my watch in a sunlit room, and it's not my birthday anymore, not anywhere in the world.
Sunday, October 19, 2008
New Start in the Old Place.
I am back in Portland now, as of yesterday. It feels good. The amazingly gorgeous weather that has followed me all the way from Maui to Chicago to the UK to Nashville continues to dog my steps. (I'm bracing myself for the backlash.)
So I've decided not to write a novel this November. I have a lot of catching up to do in pretty much every area of my life, including unpacking half my possessions from cardboard boxes, including starting a new job, including hanging out with you, if you live in Portland. Including books I want to read, events I want to attend, local places I want to visit, projects I want to resume. NaNoWriMo requires you to put your normal life on hold for a month, and I've had mine on hold for the past four. Right now, I just want to work out what the new normal is.
Chris Baty sent me an e-mail letting me know I'm letting down the entire human race, especially him, by not participating. I hate to disappoint the guy... but since I have pretty much sat on the past three completed manuscripts, I suspect my non-participation will dismay no one else except those who are participating in NaNo. To you, my friends, I apologize, and salute you.
I am currently in the process of writing up a day-by-day account of my trip to the UK, which I will publish here, starting tomorrow. Fair warning: if you're reading my blog on LJ, these posts will clutter up your friends page with giant blocks of text.
This week I also plan to begin catching up on blink twice (I'm still taking photos every single day, just not posting them), and also my regular ol' photo collection which resides on a popular photo hosting site. (If you don't know about the latter, e-mail me for the link; I'm still leery of putting it here.) It's kind of a big project. Heh. I do not miss the old days of being stingy with film at all.
Oh yeah, and comics, of course!
So I've decided not to write a novel this November. I have a lot of catching up to do in pretty much every area of my life, including unpacking half my possessions from cardboard boxes, including starting a new job, including hanging out with you, if you live in Portland. Including books I want to read, events I want to attend, local places I want to visit, projects I want to resume. NaNoWriMo requires you to put your normal life on hold for a month, and I've had mine on hold for the past four. Right now, I just want to work out what the new normal is.
Chris Baty sent me an e-mail letting me know I'm letting down the entire human race, especially him, by not participating. I hate to disappoint the guy... but since I have pretty much sat on the past three completed manuscripts, I suspect my non-participation will dismay no one else except those who are participating in NaNo. To you, my friends, I apologize, and salute you.
I am currently in the process of writing up a day-by-day account of my trip to the UK, which I will publish here, starting tomorrow. Fair warning: if you're reading my blog on LJ, these posts will clutter up your friends page with giant blocks of text.
This week I also plan to begin catching up on blink twice (I'm still taking photos every single day, just not posting them), and also my regular ol' photo collection which resides on a popular photo hosting site. (If you don't know about the latter, e-mail me for the link; I'm still leery of putting it here.) It's kind of a big project. Heh. I do not miss the old days of being stingy with film at all.
Oh yeah, and comics, of course!
Thursday, October 02, 2008
Nudge, Nudge.
I hope you don't think that just because I'm away having adventures, I forgot what tomorrow is.
I hope you don't think that just because I missed a month, I'm out of the game.
I hope you don't think that I'm going to let you off the hook.
Tomorrow, some things will happen to you, or maybe you will make some things happen. You need to record those things in words and images. You really do.
At least three of them.
And I will, too.
I hope you don't think that just because I missed a month, I'm out of the game.
I hope you don't think that I'm going to let you off the hook.
Tomorrow, some things will happen to you, or maybe you will make some things happen. You need to record those things in words and images. You really do.
At least three of them.
And I will, too.
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