Travelogue 1126 – 15 March
Napoleon in a Wig
Baby Jos is bringing home news from the world. She is old enough to be learning names and facts and ideas. She has told me about Keith Haring, of all people; she has told me about dresses during the Victorian era. She has told me about rain and condensation; she has told me about planets and stars. She is telling me about Napoleon.
“He was selfish,” she says. “He brought back slavery.” This is what her teacher has told her about Napoleon Bonaparte. It is an interesting pair of factoids about the Emperor of the French. Neither factoid can be discounted, but the historian in me is instantly irritated. “Tell me more.” There is one more: many people died in war.
Coincidentally, the Little Corporal has been on my mind. I had had a certain fascination for the man when I was a child. And the recent trip to Paris has brought him back to my thoughts. It is hard not to think of him at the Louvre (named the Musée Napoléon during the Empire) even if only in the salon with the huge canvases by Gros and David, depicting grand battles and the glorious coronation. (“That’s the Empress Joséphine!”)
“Napoleon was a selfish man,” she said. That is true enough, Baby Jos, but please just remember that history is more complicated.
Why does it bother me so much? I get protective. History is like the abandoned house where kids cannot help but play reckless pranks. People are children when it comes to history; they are seduced by their power over it. They emotionalize history; they sentimentalize it. They gather facts under umbrellas to make pretty terraces among the wild garden. They psychoanalyse historical figures. They twist history into morality tales.
This latter, the moralizing, is the trend of our day. It is an embarrassing and a frustrating practice; embarrassing because it is the most transparent and clumsy sort of editorializing the human mind employs. We are in a sad state if we think we have an edge on the people of eighteenth-century France, whether in wisdom or in experience. And it is frustrating because it occludes clear sight. Moralizing is the woman with the tall wig at the theatre, succeeding less in getting attention than in forcing everyone to crane their necks to see around her.
Friday, March 15, 2024
Sunday, March 03, 2024
Travelogue 1125 – 3 March
A Spring Cloud
Thermometer readings are slightly different than they have been. The clouds come and go. But it’s a Sunday, and there are a few hours in the early afternoon when the clouds retreat into a haze, and when the sun imparts a certain warmth on the back. The people of the city respond incommensurately, shucking jackets, appearing in shorts, sitting on terraces outside. They sense a change. Elianne’s papa informs us, before ballet class, that meteorological spring, unlike astronomical spring, begins on the first of March. It’s spring! That’s certainly the consensus of the people outside, to judge by their behaviour.
Change is like that, a judgement formed by impressions, impressions founded on vapours.
Yanis Varoufakis argues that capitalism is already dead, that we are living in a new age. He cites a historical example. The Greek writer offers the year 1776: all evidence surrounding the observer would suggest it was an age of feudalism. There were kings and queens, lords and ladies. Lords lived on great estates of land, worked by peasants born to peasant families who had worked the lands for hundreds of years. The nobility seemed to be in charge of politics and of all opinion and fashion. By outward signs, it was a feudal society, but in fact the capitalist age had dawned, and was already firmly in charge of humanity’s destiny.
Change is like that, the germ inside constancy. Every moment steals in under guide of sameness.
Varoufakis has a theory he’s promoting, and the narrative serves that purpose, but it does still make sense. His theory is that we have entered another feudal age, effectively falling back in evolution. But this forma of feudalism serves a different set of lords, this time the tech aristocracy. Effectively, according to Varoufakis, doomed capital opted to take its own life, funding the turnover itself. It’s a theory, and not a very romantic one. But it’s as good as any other. There’s obviously something in the air, meteorological, if not astronomical. Consider the dubious Lord Musk, nudging the Ukraine war this way and that with his satellite services, offering them to one combatant and then the other in a partisan bid to seem above the fray, far above, high as the spring cloud.
Monday, February 26, 2024
Travelogue 1124 – 26 February
Beweeglijkheid
It’s a still morning. It’s always a still morning after a holiday, isn’t it? At least if you get up as early as I do on a workday. The streets outside are quiet. Even with the equinox approaching, the mornings are dark. The windows are blank, suggesting either hope or depression, depending on the inclination of one’s mind. I sense the weight that depression has put on while I was away, chewing anxiously in anticipation of the return to the mundane, but I can balance her sway with a renewed will. I will turn resolutely toward hope. I don’t need the day to be a lark; what I need is to see that it unfolds with purpose. The week must be set on a steady course.
We arrived home on Saturday. Sunday morning, the girls had ballet. There was no rain, so I tossed Little Ren onto the back of my bicycle. By ten, we were rolling alongside the Westersingel in the centre. The Westersingel is a nineteenth-century canal that now features a small sculpture garden along its banks. The last sculpture we pass is my favourite, Rodin’s “L’homme qui marche”, an armless and headless body in bronze, a man stepping forward. We just saw another version of the same statue by the same artist last week in the Musèe d’Orsay.
It's a lovely piece. It's quiet, and it’s still, as most statues are, but it was created as a study of movement. The torso turns; missing its arms, the motion seems awkward. The torso was left unfinished. I quote from Dutch prose about the Rotterdam piece, because Dutch is the language for rough exteriors: “Door de afwisseling van lichte vlakken en donkere schaduwen zorgt de lichtval voor beweeglijkheid in het beeld.” Roughly, that means that the rough surface creates a feeling of motion with its alternating light and shadow.
Sunday, February 18, 2024
Travelogue 1123 – 18 February
Plus Ça Change
We’re off to Paris in a few days, so why not break out a few words in the beautiful language? Add a few more, and you have my entire French vocabulary. I’m not proud; the Parisians will be sure of that.
It’s spring break – though it’s still winter, - and the girls still have ballet classes in their calendars. We still dress in our layers and our jackets, and when we leave the flat, we bow our heads into the light rain and a chilly wind.
The ballet school is in the city centre, upstairs in a small brick building near Eendrachtsplein. It’s a small old building, with small, old rooms. We ride the cramped elevator, and, walking down the narrow yellow hallway, we pass a locker room, and we pass a few open studios with bars and mirrors. At the end of the hall, there are some steps leading up into a foyer serving a set of small studios for children’s lessons.
We enter and we are greeted by familiar faces. We’ve been attending weekly for more than five years. One of the new faces is an old face, a girl who attended school with Baby Jos but then transferred to another school. I sit with her father, and he shows me the spreadsheets he’s working on. His daughter takes two classes, so he spends a good part of his morning in that bleak room.
We work and we play. The two activities are colours succeeding each other on a pinwheel, accelerating, and finally blurring.
During breaks in my own workday, breaks between classes, I take walks. Nearby is the Erasmus University campus. Even among the brutalist architecture of the university, I find spots of charm. There’s a long reflecting pool in the centre, surrounded by lawns, and divided in the middle by a curving pedestrian bridge. I enjoy walking around the perimeter. Beyond, there’s a canal, and, beside the road along the campus’s verge, there is a gravel walking path among saplings and grass. That path is for long breaks. I don’t get many of those anymore.
Sometimes I stop to reflect during those walks. I say to myself, “I woke up this morning, and I am still here.” It’s a generic thought. It could be said with contentment or disappointment. It might refer to Planet Earth or might refer to Rotterdam. It might refer to the state of living. I say it with one meaning or the other; I say it with all meanings. I don’t know.
I think change is like that. It is the germ inside constancy. There is no stasis, in fact. Every same thing stands in a different moment; every moment steals in under guide of sameness.
Wednesday, February 14, 2024
Attentive
There’s been a change in the air, something subtle, something gentle: a slight access of light, a brighter shade among the clouds, a shot of colour, a shot of oxygen, maybe. One can breathe a little more easily. I have seen a few crocuses among the grass. I have noticed birdsong in the courtyard of my building. I look up for birds among the dark skeletal branches of our trees.
This is how things start. Small signs are stirring, and you notice. It helps if you are quiet and attentive. Voices change.
Baby Jos has brought home a variety of new tones this school year. Out of the blue, she will reason with me like a young adult. The tone catches me by surprise, and I smile. She frowns; she wants to be taken seriously. I adjust, and I listen. She’s got so many things to say. In other moments, she’s a girl again. She imagines things, and she tells stories. She observes things as we walk, and I have to be attentive. Her vocabulary shifts almost weekly. A great number of things are now “adorable”: small dogs and children and toys and cartoons and jewellery and styles. Then, “come on, girl!” she declares. And she can chatter all the way there, all on her own steam, pausing only to shush her little sister when Little Ren dares to contribute.
Wednesday, January 31, 2024
Travelogue 1121 – 31 January
This Is Europe
I’m shopping near the university, in a cosy little neighbourhood of Rotterdam known to be on the posh side. Posh or not there’s a man who is tottering and mumbling. He is dressed fine and groomed, but there’s something wrong with him. He confronts an elderly pair sitting on an outdoor bench. They are speaking in Italian. He interrupts them and starts in a reasonable tone, informing them that they are in the Netherlands, advising them they should speak Dutch. The couple are confused; they question; then they protest. He raises his voice. “Oh, Dio,” complains the woman. This is Europe now. It’s a tiny country on a continent that is a patchwork of languages, but, sure, Holland for the Dutch! To be sure, this man was unbalanced in some way, and he was put in his place by a few locals, in Dutch. “Sod off,” yelled one ordinary-looking bystander in Dutch. “They’re in the Netherlands,” the poor man replied, thinking we needed one more reminder.
In Italy, meanwhile, a museum director in Florence complains that tourism has turned the city into a ‘prostitute’, and this brings down upon her head a frightful torrent of outrage. Maybe that was to be expected; it was strong language. But the story becomes confusing when you look at who complained loudest: a lot of right-wing allies of Italian Prime Minister and Mussolini fan, Giorgia Meloni. It might have seemed at first blush like a sentiment they would applaud: damn those foreign interlopers. You wonder if it might have become economic. Tourists provide profit. But no, you only need look as far as the museum director’s surname: Hollberg. It turns out that Meloni’s government has been trying to push non-Italians out of top cultural jobs so they can be filled by sympathetic cultural warriors. Ms Hollberg chose a bad moment to voice her opinion, especially in such colourful terms.
Saturday, January 20, 2024
Twist and Shout
We will be tortured for ages by the image of Trump awkwardly dancing to “YMCA” on rally stages. We will be tortured for generations by the memory of Trump recommending bleach for COVID.
I’ve always wondered about the paradigm established among the shouting social media cliques for evaluating the COVID response. It was always a question of who was right. As a topic, that’s fair enough: in retrospect, both sides ought to be able to admit they were wrong on some points, medical and historical. But what an odd sum to take as the final measure! Right and wrong are material for discussions about lessons learned for the next time, not for moral judgement of humanity, or leadership, or the medical establishment struggling with crisis and fear.
The fact is, we succeeded. We succeeded in caring. The world mobilised to protect men, women, and children. The details of implementation pale in importance next to this singular achievement. The efforts made to save lives were authentically remarkable.
The social compact relies on the impulse of charity. And, yes, charity does exist. It’s not the time to hash over adolescent debate topics like “altruism is really ego in disguise”. There was never a need to make great efforts to dress up greed as charity, as the fleshy former president demonstrates for us every day.
Please, with one internal eye always on the horror of Trump’s herky jerky Twist, let’s give our academic cynicism a rest, when all that’s good is already under attack. Let’s forego the self-conscious poring over brain scans for the chemical signature of caring; let’s take a break from the tiresome campaigns to impugn everyone’s honour and intentions. Everyone’s doing the best they can. And the finest human systems are still flawed. Corruption and ignorance and waste find their way into any environment, and good people can do no more than minimize it. Baby might still rate more than the bathwater, say.
I’m not Christian, but I think of a Biblical author. Paul had his moments. He wrote, “And now there remain faith, hope, and charity, these three: but the greatest of these is charity.” He also wrote, “When I was a child, I spake as a child, I understood as a child, I thought as a child: but when I became a man, I put away childish things.” Children shout over each other; adults ask them to stop and listen.
Dancing Trump is a totem of bad times. Dancing Trump is the gargoyle. Cement him into the wall of the temple as a reminder. Look upon him and shudder.