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.

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.

Travelogue 1122 – 14 February
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.