Travelogue 1128 – 30 March
On the Water

It is Easter weekend, and the town is quiet. The early morning is particularly subdued because a drizzling rain is falling. I decide on a trip to the store before the girls wake. I throw on my running gear because it is easily available. I pull rain gear on over that, and I am ready for the bike.

I enjoy cycling in this weather, provided I don’t have far to go, provided I am not pedalling toward my work. A light, misty spring rain is refreshing. It dampens sound, and it slows time. It is contemplative. I slow as I cross the Beukelsbrug, taking a moment to catch my breath and look at the river. I see something there in the surface never still.

When I return, Little Ren is up and no one else. She is busy drawing. She has found a cartoon of a fairy that her big sister finished yesterday. In the quiet of the morning, she wants to replicate it. She asks my help. She stops me when I’ve done enough, and she carries on. She sings while she draws. She can’t sit still. She rolls back and forth on her knees. She tosses her head to the left and the right.

I feel obliged to record every stage of our girls’ growth. Things change so quickly. What I find to be the essence of this little girl now, aspects of her that I can’t imagine ever changing, her songs, her restless fidgeting, they will slip away. I’ll be reminded of them years from now, and I will be overcome with gratitude and sorrow, regret for things gone; we are allowed nothing in the transit of time.

When she has done something well, when she has played a song well for her piano teacher, when he praises her, Little Ren has a smile that is radiant and innocent. It is burned into my imagination. I think it is a part of everything I do. It’s an image floating on surface of the river in the morning.

Travelogue 1127 – 20 March
Lighting the Set

Napoleon never woke up with “Ziggy Played Guitar” looping in his mind. I’m comfortable saying that this experience separates me from the Emperor of the French. I don’t remember where or when I heard the song, but the central guitar riff has become lodged in my brain, and I cannot let it go. I sing the song to my girls in the mornings as we prepare them for school. I sing, “Oh yea-ah, Baby plays vio-o-ol.”

There are more substantial life circumstances, you may counter, that separate me from Napoleon Bonaparte. I have never led an army, it’s true. I’ve never been to Corsica. I have not yet been chased out of Russia. But then again, I could be. These are things I could do. Though the odds are so long that they approach infinity, the chance remains. And still there survives not one chance that Napoleon heard David Bowie sing. He never once heard an electric guitar. Through all the shouting and screaming in battle, he never heard an electronically amplified voice. He famously pleaded with Goethe to join him in Paris, but he never even once asked Bowie.

That guitar riff is my privilege, living two hundred years later than Napoleon.

I can think of another person who never heard of Ziggy Stardust. Old Scaliger pottering around his garden in Leiden in the early seventeenth century never heard of Ziggy Stardust. Maybe he whistled some old folk tune in the morning, a hymn, or a madrigal that haunted him when he woke. I like the image of the ageing professor alone in his garden, kneeling among the cabbage, poking at the dirt, pulling up weeds. In the garden, he might grumble about politics among the faculty. He might labour over some point of Latin grammar. Or he might just feel the dirt between his fingers, breaking apart the clods, looking for signs that Death had been creeping around his window again. He glances up at the misty sky, wondering how long he has.

I don’t know if anyone else has the impression that each century of the second millennium has a characteristic light. I have been to too many museums, I think. The seventeenth century is definitely darker than most. The light is Rembrandt’s and Caravaggio’s, full of shadow. The weather is Dutch, attenuated daylight under scudding clouds.

The nineteenth century is also dark. It’s Neo-Gothic and Heathcliff-on-the-moors dark. The exception would be Napoleon’s era, during which the atmosphere is early-spring-morning-before the-battle. It’s a holdover from the summer of the eighteenth century.

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.

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.