London, etc. and Paris, 10: Paris Greets Us with Thunderbolts, Hail and a Bus Station from Hell

It costs about £30 (C$50) and takes approximately 8.5 hours to get from London to Paris on a bus. (This includes the cost of the ferry the bus drives onto in order to cross the English Channel). It costs about £125 (C$221.25) to travel from London to Paris through the “Chunnel” on a train. It costs about £80 (C$140) to fly from London to Paris.

Partly because of the cost, partly because we had no deadlines, and partly because I wanted to see the English Channel as we crossed it, we took the bus.

We had been warned that a rough crossing could be a nauseating experience or worse, but we were fortunate to make our trip to France on a wonderfully calm day. This was the second time we’d been to Dover, but we had much better views of its white cliffs this time, particularly after the ferry left the dock.

The actual crossing by ferry takes about 2.5 hours, and the trip was calm and picturesque. We arrived in Calais to find le temps there as pleasant as the weather had been in England. As we drove between Calais and Paris, I tried to get my brain around the fact that I was actually in France for the first time in my life. Since I was a young teenager, I’ve been studying French, reading books by French authors, watching French films, learning some French history, and envying absolutely everyone who got to be in France while I did not, so perhaps it is not difficult to understand why I found the experience almost unreal. As we travelled through the French countryside (where , by the way, I noticed happily – as I had in Germany a year or two before – that there are a lot of wind farms), I peered eagerly toward the horizon for my first sight of Paris.

But le temps had other ideas. The skies grew dark with clouds as the night fell, and as we reached Paris, a monstrous storm let loose. The torrent of hail and rain was intensified by near-constant flashes of lighting and crashing thunder. The bus, being largely a metal object, intensified the sound of the hailstones clattering down upon us, and I felt as though we were in a tin bucket – fortunately one with a lid on it, and windows.

I’m including a couple of the videos I took after the bus had pulled over to the side of the road, to wait for the worst to pass.

All hail breaks loose.

All of this meteorological excitement meant that we arrived at Paris’s Bercy Seine bus station a couple of hours later than scheduled, after ten at night. Delayed buses and storms be damned, all the service staff were heading home on time. Loiterers were being shooed out of the waiting room and asked to stand on the platforms until their connecting buses arrived. The lights in the office areas were extinguished, and doors and windows that might provide access to any useful information were securely locked.

At first sight, the streets of Paris were not how I’d imagined them

Not being entirely fluent in French (not bad, but not fluent), we had some serious difficulty trying to figure out where to leave the building in order to find a ride to our hotel. We asked other travellers on the platform where the exit was, but those who did understand our questions and gesticulations all seemed to be waiting for connecting buses and didn’t know any more than we did about the layout of the station.

Several days later, when I finally had some time to try to figure out where we had gone wrong with la Gare Bercy Seine, I discovered that our challenges were not entirely due to our inadequacies in French (although our fellow-sufferer was also from Toronto, so maybe it’s a Canadian thing to expect that there be signage). On Trip Advisor I came across a review by “Oyster Boys” entitled “Flixbus Station at Bercy Seine in Paris is the Bermuda Triangle!!!!” Turns out its authors had had the same experience as we did, only in reverse: they’d been trying to leave Paris to go to Brussels when they’d encountered the mysteries of the Gare from Hell. “Finding the Flixbus station is like looking for the North Korean nuclear missile site,” they wrote. “You can’t find it. It’s almost as if they don’t want you to find it. It’s hidden underground inside a park….yes a park full of trees and some kind of playground full of graffitis…. It’s like walking into the abyss of the underworld. There’s no sign that says it’s a bus station. You just have to walk to a park with no sign to lead you to the entrance. I could see people circling around the park looking for the station.”

The only exit we could find opened into the aforementioned park. As we peered through the ongoing downpour we noticed that past the park, a couple of city blocks away, there was a street with cars on it. Although the worst of the storm had passed, we knew we were about to get very wet, but we had little choice. So off we went toward the street where we could call an Uber, dragging our suitcases through the park’s puddles as we walked.

After being tricked once by a non-Uber driver who convinced us he was an Uber driver, and then shouting at him until he returned us to the original meeting spot and let us out of his vehicle, and after finally connecting with our actual Uber driver (yes. I know. Check the license plate. We won’t forget again), we were dropped off after midnight at our small hotel – on one of those wonderful Paris streets I’d come so far to see. It was no longer raining, and the reflections of the street lights glinted on the wet stones and pavement.

However, the day was not quite over. We had to wake someone up inside the hotel in order to be let in and register. Our third-floor room, it turned out, was only a few feet larger than the double bed, but we were exhausted: we’d figure out how to manage the unpacking of the suitcases in the morning. I plugged my power bar into the wall so I could recharge my phone and my watch, and promptly plunged the entire hotel into darkness.

After Arnie went down to confess my sin, and received a small lecture from the night manager, we heard a caretaker (or most likely the manager himself) open a door just outside our room, and fiddle around with things a bit. Suddenly the lights came on. We turned them out and went to sleep.

The next morning we got up and looked around, now even more fully aware of how much time we might need to spend just to figure out how to sort our stuff so that we could get at it when we needed it, and still have enough floor space to get from the bed to the bathroom and to the doorway to the hall. But after a superb petit déjeuner in the downstairs breakfast room (it included fruit, eggs, sausages, bacon, croissants, real coffee, pain chocolat and more, and was included in the price of our room), we went to the desk to ask about something else, and the person who was then on duty said, “Hey. You guys are here for an extended stay. Wouldn’t you like a larger room?”

The next thing we knew we were in a main-floor “suite,” at no additional cost (a very small suite, but it had a very large bathroom and a hallway and a window to the patio outside and lots of room for suitcases).

And so, as it turned out, May 1 was the only truly difficult day on our entire trip. We had other moments of frustration (getting lost in the subway system, for example, which happened several times in Paris, as it had in London), but despite their reputation, every Parisian we encountered was helpful and friendly (aside from one or two who worked in booths at the Métro, see above), and no day that followed was anything like the day we went from London, England to Paris, France.

And even that one day had caused us only a few hours of grief. After that, we were in Perfect Paris, which was all that I had ever dreamed it would be, and more.

Exploring Visions: Two Poets, Two Collections

I’m taking a little detour from my travelogue here to talk about two books of poetry that were written by two long-time friends who we met up with while we were in London, and with whom we enjoyed a fine lunch, a tour of Shakespeare’s Globe and an exhibition at the Tate Modern. I have been fortunate to acquire the most recent collection by each of them, and I thought I’d tell you a bit about their work. Poets never get the attention they deserve, and both of these poets deserve attention.

Nancy and Mike

Nancy Mattson’s fourth collection of poems, Vision on Platform 2, reflects the varied background of the poet: of Finnish heritage, she was born in Winnipeg and grew up in Alberta and Saskatchewan. She raised a family in Edmonton before moving to London in 1990.

Nancy writes insightfully from the places she knows so well, moving easily among them – introducing us to Finnish words, recalling the Edmonton house where she grew up, nudging memories to life in those of us who’ve also spent time on the prairies – ranging from picking (and eating) wild saskatoons and raspberries, to walking down streets of stuccoed houses, to attending shows by the touring hypnotist/illusionist Reveen.

Nancy’s keen eye and astute word magic also evoke the pleasures she finds in living in London, travelling around Great Britain, and visiting abroad. She finds the remarkable in the familiar (“Pared from a baby’s fingernail / the sickle moon begins the winter’s solstice”) while also reminding us of the joys of singular experiences, such as comparing notes on new motherhood with a much younger woman, met by happenstance, who was pushing her young baby in a carriage along the street. The lovely title poem describes the day the poet sat across the tracks from seven nuns who were waiting for a train under the sign at Seven Sisters Underground Station in Tottenham. (Online there is a photo another traveller took that day! Fun.)

Behind the sharp images and lovely stories at the forefront of her poems, Nancy maintains a soft focus on larger issues – on art, and myth, on the passage of time and the changes it brings to our lives and to the world around us. (“…I am thirsty for the dustbowl of my youth.”) Some of the poems are meditations and reflections (e.g., “Threads for a Woman Priest”) or describe unexpected and charming connections and experiences (“Shadows in Hadleigh”).

Nancy’s poems are engaging in a concrete sense even when they head off into the mystical. Above all there is the language and the insight — intelligent and lovely.

Michael Bartholomew-Biggs has taken an intriguing approach with his sixth collection of poems, Identified Flying Objects. With a few exceptions, each poem is followed by a quote from The Book of Ezekiel, and the relevant quote casts new light on the poem that has come before it. A poem about a possibly awkward moment the poet witnessed (“Family Occasion”) is followed by Ezekiel 18:2, “The fathers have eaten sour grapes, and the children’s teeth are set on edge.” Now the reader gains new insights and perspectives: not only from the Ezekiel quote, but also from the fact that the poet has chosen that particular verse to accompany this poem. (Wheels within wheels, as it were.)

Once I had recognized the pattern, I found myself holding part of my mind outside of the reading of each poem to wonder what intriguing comment from Ezekiel Michael was about to offer us. It often felt like a conversation had begun, or – as Michael himself suggests in the Foreword – even an argument: between Michael and Ezekiel, but now including us as well.

Identified Flying Objects is a highly engaging collection, one that offers us Michael’s delightful facility for finding the perfect word (“The whitewash would be bad enough – / smeared across that tumbled wall / of crumbling mortar, mildewed stones / and sliding down in clotting dribbles / varicose as old men’s veins” [“Whitewash”]) but also raises deeper questions that the reader finds herself mulling over later.

One poem that got me mulling – this one not because of a philosophical or social issue, but because it raised a conundrum that tied my brain in knots – is called “In the Fitting Room.” It begins “The mirror switches left and right without transposing / top and bottom – same as always but today / you note this perpendicular discrepancy….”. I have been gnawing over this “perpendicular discrepancy” since I read the poem: I understand perfectly well why it is true but I also cannot understand why it is true at all.

_____

I have no doubt that I’d have enjoyed both of these books of poetry even if I hadn’t known their authors. But there was an extra pleasure in coming across a poem from time to time in both collections when I was fairly sure the poets were writing about each other.

Thank you for your work, my friends. I am delighted to have read it.

_____

London, etc. and Paris, 9: The Globe Theatre and the Tate Modern. Our last day in London

I can’t think of a better way to have spent our last day in London than with two long-time friends.

We began our day by making the familiar trek from our hotel to Paddington Station, and I found I was feeling nostalgic in advance for the neighbourhood where we’d felt so at home (and eaten so well) for the past ten days. We emerged from the underground at Mansion House station, walked past St. Paul’s Cathedral and then across the Millennium Footbridge to the south side of the Thames. There, at the entrance to Shakespeare’s Globe Theatre, we met Nancy Mattson – whom I’ve known since both of us lived in Edmonton, many decades ago – and her British-born husband Michael Bartholemew-Biggs. We were amazed to learn that they had never done the Globe tour before, although they had seen many plays at the theatre. We were all in for a treat.

The original Globe Theatre was built in what is now the Borough of Southwark by Shakespeare’s theatre troupe in 1599, but the building was destroyed by fire in 1613. A second Globe opened a year later on the same site, but it closed along with all the other theatres in London in 1642 when, at the start of the first English Civil War, “lascivious Mirth and Levity” and other unhealthy states of mind that might be incurred if one attended a play were officially deemed incongruous with the spirit of the times.

Shakespeare’s Globe,” the newest incarnation of Shakespeare’s theatre, opened in 1997. It is located 500 feet away from the original, but the design is very much the same. Our well spoken young guide related intriguing structural details about the original theatre, how both players and patrons were accommodated there, and how the theatre’s attributes (and drawbacks, such as the lack of a roof over those standing in front of the stage) had been reproduced in the current building. We wore headsets and our guide spoke quietly into the microphone so we wouldn’t disturb a rehearsal for Much Ado about Nothing that was taking place on the colourfully decorated stage. It was an excellent and interesting tour.

After checking out some displays in the lobby, and giving the gift shop a quick look (Note the umbrella: so charming, but how would you manage it on the Tube, especially if it got wet?), we walked over to Tas Pide, a middle-eastern/Turkish restaurant that Nancy and Michael knew. The food was outstanding.

Our route from the Globe to Tas Pide and then back to the Tate Modern – our final destination for the day – took us past a number of interesting sights along the waterfront in Southwark, including: the original site of Globe playhouse; a museum in honour of The Clink; the remains of 12th-century era Winchester Palace, which includes the rose window from its Great Hall – one of the remaining pieces of the original structure that was mostly destroyed by fire in 1814 – and its lovely medieval-themed garden; a replica of the Golden Hynde; St. Mary’s Overie’s Dock; and Dirty Lane. The British have a definite talent for giving names to things.

We saw a fabulous exhibition at the Tate Modern: The Expressionists: Kandinsky, Münter and the Blue Rider. The Blue Rider [Der Blaue Reiter] was a group of avant-garde artists in Munich at the start of the 20th century. Gabriele Münter and Wassily Kandinsky were two of its founding members. The Expressionists intended through art to portray emotions and responses to real and spiritual experiences, as opposed to creating realistic depictions of objects and scenes. Their works often featured distorted forms and bold colours.

The show was huge. Before long, my feet were causing me serious grief so I wasn’t able to enjoy the pieces near the end as much as I had the ones at the beginning. (Nor, as you will note, was I too particular about how I was holding my phone as I snapped photos of the works of art.) If we’d been in London longer, I’d have gone back a second time so I could have absorbed more than I did. I’d had no idea how much I liked Expressionist art!

Most of the artworks in this show were created in the first decade of the 20th century.

Nancy Mattson and Michael Bartholomew-Biggs are both poets, and in my next post I’ll be taking a side trip from this travelogue to profile their most recent books. Each poet has a distinctive voice, but both works are accessible, intelligent and eloquent. Stay tuned.

London, etc. and Paris, 8: Leeds Castle, Canterbury Cathedral and the White Cliffs of Dover. Plus “The One and Only Dog Collar Museum.”

Our second bus tour took us southwest from London to the English Channel at Dover, via Leeds Castle and Canterbury. Leeds Castle is only the second “castle” (as opposed to palaces) I’ve ever visited, the first being Randolph Hearst’s estate at San Simeon, which I toured when I was about twenty. Hearst didn’t have a moat. Leeds has a moat.

[Click on a photo to view the gallery. If you’re reading this in an email, click the link at the top of the email to view it in a browser (or reader) for better views of the images.]

“Listed in the Domesday book of 1086, Leeds Castle has been a Norman stronghold, a royal residence for six of England’s medieval queens, a palace belonging to Henry VIII and a country retreat for influential 20th-century figures”(on-site signage).

Leeds is a comfortable size for a castle. With the support of a staff of dozens, I think I could quite happily live there. In fact, this castle was in use less than a hundred years ago, when its final owner, Lady Olive Baillie, entertained famous people from all over the world. “Alongside a close circle of friends, Lady Baillie [who purchased the castle in 1923] enjoyed Leeds Castle as her luxurious country house and a weekend retreat before setting up a trust to care for it after her death in 1974” (on-site signage). Thanks to the decor from Lady Baillie’s era (along with some piped in ragtime music), this medieval palace has a Roaring Twenties feel to it.

One of the appealing features of Leeds Castle is the decision by the curation team to embroider some of the historical information onto pillows and to stencil it onto walls.

After touring the castle, I wandered past contented waterbirds up to the stable-courtyard area (which now features accommodation (people can stay at the castle overnight), some shops, and food vendors), and checked out what is reportedly the world’s only Dog Collar Museum. (You’re welcome.)

Our next stop was Canterbury Cathedral, a UNESCO World Heritage Site, seat of the Archbishop of Canterbury, an important pilgrimage destination, the location of the tombs of many royals and saints, and the site of the murder of Thomas Becket in 1170.

Canterbury Cathedral features Gothic and Romanesque architecture that dates from CE 597, when it was founded by St. Augustine. It has been modified several times over the centuries.

Thomas Becket, who was Archbishop of Canterbury when he died and Lord Chancellor before that, had a falling out with King Henry II over their differing views on the the powers of the Church vs. the Crown, and was murdered in the Cathedral by supporters of the King in 1170. (It seemed appropriate to purchase a copy of Murder in the Cathedral, the play by T.S. Eliott [1935], in the gift shop. So I did). Becket was canonized by Pope Alexander III and is considered a saint by both Roman Catholics and Anglicans. But neither his death nor his sainthood spared him from ongoing conflict with British royalty. Henry VIII (who had his own ideas on the role of the Church in England and how much control over it the Pope should have, particularly when it came to annulments of the marriages of kings) destroyed Becket’s shrine in 1538. It was recently digitally reconstructed using computer generated imaging.

The Canterbury Tales by Geoffrey Chaucer (written between 1387 and 1400) imagines stories told as a way to pass the time by 24 pilgrims on their way from London to the Cathedral. “The Wife of Bath’s Tale,” mentioned in the post about our trip to Bath, is one of these.

The small glimpses of the City of Canterbury we caught en route to the Cathedral gave us the impression of a charming, friendly city. We particularly enjoyed the square outside the Cathedral, where we had a very satisfying meal of fish and chips.

Our bus tour finally took us to Dover for a look at the famous white cliffs. As it turned out we got a better view of them two days later when we took a bus and ferry to France, but we enjoyed the opportunity to wander along the (very stony) beach and to breathe the sea air before we returned to London.

London, etc. and Paris, 7: Sir John Soane’s Museum and a Musical Matinee

[Note to readers: If you receive these blog posts by email and some of the photos look stretched or squished, I apologize. I recommend you click the link in the upper right hand corner of the email, where it says “Read on Blog or Reader” to read the post online. I think the problem has to do with the aspect ratio of the photographs, but I can’t figure out how to fix it. Please drop me a note if this doesn’t work.]

After a week of industrious touristing, we took it a bit easier on April 28th. I wanted Arnie to see Sir John Soane’s Museum, to which my friend Rhona McAdam had introduced me on my previous trip to London 25 years ago. The museum is close to Covent Garden and Drury Lane, which are part of London’s “West End Theatreland” so we decided to take in a matinee as well as the museum, have dinner and call that a day. (Drury Lane was, of course, also the home address of the famed Muffin Man. Do you know him?)

Sir John Soane (1753-1837) was a highly respected architect whose neo-classical designs included a number of buildings for the Bank of England as well as private commissions. He ultimately taught architecture at the Royal Academy.

Despite the best efforts of two recalcitrant offspring, Soane had a fascinating and productive life (you can get an overview of it on Wikipedia), and he travelled widely. Although the buildings he designed are mostly gone now, he continues to be well known primarily because he turned his house and office in Lincoln’s Inn Fields (really two adjoining houses, to which a third was later added) into a museum, and filled it literally to the rafters with an intriguing and massively diverse collection of antiquities from all over the world, including bronzes, urns, sculptures, tiles, stained glass, busts and even the Sarcophagus of Seti. (Apparently Soane threw quite a party after the sarcophagus was safely delivered.) In addition to all that, he collected paintings – you can see Hogarths, J.M.W. Turners and Canalettos among others at the Soane – and over his life he also acquired nearly 8000 books including illuminated manuscripts, and architectural drawings from around the world.

Having purchased our matinee tickets in advance at the Gillian Lynne Theatre box office, we waited in the rain for half an hour to get into the Soane, then saw as many artifacts as we could before heading off to see the musical Standing at the Sky’s Edge.

Standing at the Sky’s Edge had rave reviews when it was at the National Theatre in London, before it moved to the West End. It also won several awards. It is deeply grounded in the experience of Great Britain in the past seventy years (including Thatcher’s devastations, Brexit, etc.). The profusion of English accents meant that we missed a bunch of lines because our ears didn’t tune into the vernacular/accents quickly enough. But we really enjoyed the production.

“Hailed as ‘the greatest new British musical’ (Daily Express), Standing at the Sky’s Edge is a kaleidoscopic portrait of life on an ever-changing estate, charting the highs and lows and loves and losses of three generations over six tumultuous decades.” – National Theatre

London, etc. and Paris, 6: Photography at the V&A, and Hundreds of Welsh Voices at Royal Albert Hall

Travel Date: Saturday, April 27, 2024

Prince Albert was the Prince Consort from 1857 until his death four years later. He had married his first cousin, Queen Victoria of England, in 1840, three years after her ascent to the throne. Born in Coborg, Germany, Albert died when he was only 42, but he made an impressive number and range of contributions to the arts and sciences in England during his tenure there. Following his death, his widow and her subjects continued to honour his memory by naming things after him, and since Victoria reigned for 63 years, seven months and two days (a record until Elizabeth II’s nearly 72 years), it is no surprise that everywhere you turn in London, you are running into a bridge or a building or a street or a hotel named after Victoria or Albert, or – as in the case of the Victoria and Albert Museum – both. In fact, the neighbourhood in which the V&A is located is known as “Albertopolis” because of the number of edifices and institutions in the area that are associated with him one way or another (including Royal Albert Hall, which we’d be visiting later this same day.)

We’d been intrigued by the signs promoting a photography exhibition when we’d visited the V&A’s South Kensington location earlier in the week, but the gallery had closed before we’d had a chance to explore it. So on Saturday, we decided to go back just to look at the Photography Centre, a series of seven galleries on the third level of the museum. The Centre includes about 800,000 photographs dating back as far as 1820. One of the large display rooms is sponsored by Sir Elton John and his husband David Furnish. (A show featuring photographs from their collection, Fragile Beauty , which opened after we had left, is on display until early 2025.)

An interesting multi-shelf display at the entrance to the Centre features hundreds of different kinds of cameras, and it is tempting to try to find a camera you once owned somewhere in that display. (My first was a Brownie box camera with a viewfinder on top. I found cameras like it in the display, but I didn’t find it.)

(Please click on an image to see them in gallery format)

The Photography Centre explores the whole field of photography from a range of viewpoints, from the technical (types of cameras, processes and techniques including black and white, printmaking, vintage 3D, etc.) through the historical, artistic, political, and beyond. Fascinating stuff.

I was particularly interested in the photos of the coal miners, as my father’s forebears also worked in the coal mines. The V&A photos were taken in Durham, England and my father’s family was from Abertillery in Wales, but I’m sure that they had lots in common when they emerged from below the ground at the end of a shift.

My father died when I was two, and one of the few physical connections I had with him as I grew up was a record from 1963 called Five Thousand Voices: A Nation Sings, recorded on May 3, 1963. That record is worn out now, although I still have it, but imagine my delight when I learned that a concert of “Massed Male Choirs” from Wales would take place at the Royal Albert Hall while we were there.

We walked through more of “Albertopolis” on our way to the concert, checking out the lovely neighbourhood where Royal Albert Hall is located and then the Albert Memorial, which stands a few hundred feet in front of the Hall in Hyde Park, not far from Buckingham Palace.

After an outstanding dinner at Verdi, which is located in Royal Albert Hall, we made our way to our (swivel) seats, and were properly overwhelmed. Almost like Stonehenge, I feel like I’ve been aware of Royal Albert Hall for my entire life, particularly because it is such a plum for artists to add the venue to their resumes. (In regard to The Beatles’ line, “Now they know how many holes it takes to fill the Albert Hall,” I just found this: “Papers newly discovered deep under the Royal Albert Hall have revealed that the iconic London venue wrote to the Beatles in 1967 to object ‘in the strongest conceivable terms’ to being named in the Fab Four’s song A Day in the Life.”)

The album of Welsh hymn singing that I own is called “Five Thousand Voices,” and the concert we attended on April 27, “A Festival of Male Welsh Voices” indicates that “more than 500 choristers” were on stage. However, several additional groups joined the event now and then, including a number of female voices, and since the entire audience (except for Arnie and me) seemed to be from Wales and to know the songs, I expect we heard 5000 voices that night too.

It was splendid.

After the concert, we took some time to enjoy the collage/mural by Sir Peter Blake entitled “Appearing at the Royal Albert Hall” which is in the lobby of the building. Unveiled in 2014, it features more than 400 of the singers, dancers and other performers (not to mention scientists, a prime minister, a sumo wrestler and Muhammed Ali) who have appeared at the Hall since it opened in 1871. You can see an interactive version here.

And here are three videos from the concert. Enjoy!

London, etc. and Paris, 5: Because until now the world did not have enough photos of Stonehenge (or of the Roman Baths)

On the first Friday of our trip, we made our way from Paddington to the Victoria Coach Station to join a day tour that would take us to Stonehenge and the City of Bath. The Victoria Coach Station is not, as one might have expected, attached to the Victoria Underground Station, or even to the Victoria Train Station (the latter two being adjacent and loosely connected) but is instead several blocks away. As it turned out, this was useful information for us to have as we would need to make two more trips to that same station before the conclusion of our time in England.

Boarding began at 8 a.m. for the 8:30 tour, and due to the unanticipated quarter-hour walk from the Victoria Underground to the correct gate at the Victoria Coach Station, we were hard pressed to get in a quick breakfast before we boarded. All of the departure-gate doors in the station are locked five minutes before departure in order to prevent people from being driven over by departing buses, which means that if you don’t board early, you are SOL. Also, you are not allowed to take hot food or drink on board with you. On our second tour from VCS the following week, the guide told us that the only downside of her job was the sad spectacle of late-arriving customers banging on the glass doors as they helplessly watched their tour buses driving away without them.

Soon after we pulled away from the station, I saw through the bus window an intriguing little building, decorated with shells, in a park. I learned through an online search that this is one of two huts built during a post-WWII redesign of Grosvenor Gardens (which is the name of the park) by architect Jean Moreux. The shells are from England and France, to symbolize English-French unity. The huts, which are still used to store equipment, are built in the French fabrique style.

Two hours later, after travelling a little south but mostly west, we arrived at Stonehenge. Believed to have been constructed and in use from about 3700 to 1600 BC., the prehistoric structure is so famous that it must be recognizable to just about everyone on the planet. I’m sure I first saw photos of it when I was still in elementary school. Indeed, I think that much of the dramatic impact of catching a first sight of it (which is dramatic and worth the visit even if you’ve seen too many images of it already) arises from the site’s familiarity.

(Please click on photos to see bigger versions of them in a gallery format.)

Our visit took place on a cool and windy day but the sun was out and we took our time strolling around the site, trying to imagine how people several thousand years ago could possibly have gathered these immense stones together in one place – some from as far away as southern Wales – standing most of them on their ends and then hoisting the lintel stones into their horizontal positions. The upright stones, most of them “sarcen,” or silicified sandstone blocks, are estimated to weigh about 25 tons each. That’s the other part of the impact of visiting this place: the entire project seems impossible, but there it is, right before your eyes.

“Stonehenge is one of the most impressive prehistoric megalithic monuments in the world on account of the sheer size of its megaliths, the sophistication of its concentric plan and architectural design, the shaping of the stones – uniquely using both Wiltshire Sarsen sandstone and Pembroke Bluestone – and the precision with which it was built.” (UNESCO)

On Facebook, a number of people expressed regret that I did not get to see the site when it was still accessible to visitors. (“Back in the 70s, we could sit on the rocks!” they told me.) But once I realized what I was looking at, I was kind of glad that direct access is restricted. This marvel needs to be left alone so that future generations can see it too. Humans are always tempted to take away a souvenir or leave a mark, and in fact some of the graffiti on the stones already is hundreds of years old.

We learned that until the early 1900s, stones were still being removed from the site to be used as building materials elsewhere – another great reason for uncontrolled public access to be discontinued. It is still possible to walk into the site twice a year – during the spring and fall equinoxes – but it is necessary to sign up for these carefully controlled visits well in advance. In the meantime, the masses of tourists do not diminish the experience: even when hundreds of us were walking around Stonehenge, the site felt vast and unoccupied. It was easy to imagine how overwhelming the place must be when the visitors have left and only the stones (and the birds) remain. (I know, I know. Who would it overwhelm if there was no one there? But you know what I mean.)

Our tour then moved on to the nearby city of Bath (33 miles from Stonehenge), whose buildings are almost all made from another local stone, this one with a lovely distinctive honey colour. (“Bath Stone is an oolitic limestone comprising granular fragments of calcium carbonate laid down during the Jurassic Period [195 to 135 million years ago] when the region that is now Bath was under a shallow sea”). Due to the hilly contours of the area and the proliferation of Georgian architecture, the town is picturesque from almost every vantage point.

The bus dropped us off in the main square of the city and a guide led us past Bath Abbey (1611; note the angels on the ladders at the front of the towers on each side of the entrance; oddly a couple of them are climbing down rather than up. I have found no explanation for the upside-down angels, nor for why angels might need ladders in the first place, but if you Google “Upside Down Angels Bath Abbey Ladders,” you’ll find some thoughts on the subject by other people) to the doors of the Roman Baths just down the street.

To be perfectly honest, I was mostly interested in seeing Bath because I had been so intrigued many decades ago when I read the “Prologue to The Wife of Bath’s Tale” in Geoffrey Chaucer’s Canterbury Tales in first-year English. The tale is distinctive not only because the narrator is a woman, but because her story speaks against “many centuries of an antifeminism that was particularly nurtured by the medieval church. In their eagerness to exalt the spiritual idea of chastity, certain theologians developed an idea of womankind that was nothing less than monstrous” (The Norton Anthology of English Literature, Vol. 1962). As a 16-year-old, this was one of my first brushes with feminist literature (even if it was written by a male who’d lived in the Middle Ages [1343-1400]).

Somehow I’d missed realizing that the city had been named after the Roman baths that were built around the area’s natural springs during the Roman occupation in approximately 60 to 70 AD, and used until the Romans left Britain in about 500 AD. I almost didn’t bother to purchase advance tickets to the site, but I’m very glad I did. It is quite spectacular, mostly reconstructed in the 1800s to attract the interest of tourists. The lower level does preserve some of the features of the original Roman baths and, of course, the spring that motivated the Romans to build around it in the first place continues to burble up from about 10,000 feet below the surface. (“The hot mineral springs bubble up from the ground at temperatures well above 104 °F [40 °C], and the main one produces more than 300,000 gallons [1.3 million liters] a day” Britannica.) There is a very interesting piece about the Roman baths on Wikipedia.

Bathing is not permitted at the Baths, but I took a sip of the water and was immediately cured of everything except for my sore feet and aching lower back. Afterwards, we had a decadent ice cream waffle for lunch, while watching a woman get her hair styled on the street outside in front of a hair salon with a rather disturbing name. As far as I know, she emerged with her tresses trimmed and her brain intact. (Poor Nick. There must be a lot of teasing.)

Here are three short videos I took on the lower level of the Roman baths:

A sign asks people not to put their hands (or other things) in the water, so don’t do what this guy did when you pop in there for a visit.
Overflow
Burbles from the deep

London, etc. and Paris, 4: Up the Thames to Greenwich, where We Step Across the Prime Meridian

Did you know that England’s Thames is a “tidal river”? I did not, until I noticed that the water levels along the banks were much lower when we set out on our “sightseeing cruise” of London on the morning of April 25 than they were when we returned several hours later. So I started asking questions.

In summary, I learned that “Twice a day the Thames undergoes an incredible transformation – from a slow-moving river to a brimming marine environment as the North Sea floods inland. This remarkable event – governed by the moon – changes river height by up to 7m in just six hours. This 95-mile stretch from Teddington to Southend influenced by the ocean tides is the tidal Thames. As the sea water recedes it reveals a vast and beautiful riverbed that makes up London’s largest natural space.” – Thames21

Once I knew about the tides, all those scenes in movies and books where people (mostly murderous hooligans or poor innocents who are being chased by murderous hooligans, along with an occasional Royal Personage) descend ladders and stairs into the water or boats onto the Thames took on a whole new aspect.

When a major city has a river running through it, we have found guided boat trips to be a great way to orient ourselves and to see notable sights we’d never have time to cover any other way. Our voyage through London from near Westminster Pier to the Borough of Greenwich, about seven or eight miles upstream, took just under an hour. It was a chilly morning, but at least it wasn’t raining so we were able to sit on the upper deck outside.

Along with dozens of other people (including at least one “Influencer” who stood up in front of us to pose every time we passed something interesting. More on Influencers in a later post), we took in the sights along with a dry commentary by a young fellow who seemed to be steering our boat as well as serving as our tour guide. (He kept telling those in the centre aisle on top to please sit down because he couldn’t see where he was going.) He groused about the proliferation of “Uber” river taxis that kept zooming by us, and seemed unimpressed with the more expensive tourist options in the vicinity. He told us, for example, that it was easy to get a ticket on the Millennium Wheel: “There are never any lineups because it’s so expensive.” Pointing out the Savoy Hotel, he advised us that “A room is £500 a night, but you do get coffee and a croissant.”

Our trip took us under the Charing Cross (Hungerford) Rail Bridge and past London’s Cleopatra’s Needle (a gift to the UK from Egypt in the early 1800s, the obelisk is 3500 years old! It’s one of a pair; my elder son and I once saw the other one, which is located near the Metropolitan Museum of Art in New York City). We saw the Waterloo Bridge, the rebuilding of which was allegedly completed in record time and within budget primarily by women during World War II, the Tower of London and the Tower Bridge, the National Theatre (“The ugliest building in London,” we were told), the Shard (“Where it’s £40 for a look outside”) and St. Paul’s Cathedral, to which architect Christopher Wren went to work by boat so often (almost daily for about 35 years) that one of the stairways up from the river is named after him.

Greenwich is a lovely spot. After disembarking, we had a very tasty lunch then wandered past the University of Greenwich, the Royal Military College and the National Maritime Museum to an enormous park area where – at the top of a very long hill – the Royal Observatory is located.

To get to the park where the observatory is located, we passed through the colonnaded walkway between the National Maritime Museum and the Queen’s House. The birdsong in the park on the way up was spectacular (according to my trusty Merlin app, among the birds we heard were a Eurasian Blue Tit, a Rose-Ringed Pheasant, and a Eurasian Wren), as was the flora. We even saw a fox.

The Royal Observatory was designed by architects Christopher Wren and Robert Hooke, and it opened in 1676. Most notably, it is the “home” of Greenwich Mean Time, about which there is much of interest to note (Thanks, as always, to Wikipedia, to which I donate regularly and hope you do as well):

Greenwich Mean Time (GMT) is the local mean time at the Royal Observatory in Greenwich, London, counted from midnight. At different times in the past, it has been calculated in different ways, including being calculated from noon;[1] as a consequence, it cannot be used to specify a particular time unless a context is given. The term GMT is also used as one of the names for the time zone UTC+00:00 and,[2] in UK law, is the basis for civil time in the United Kingdom.[3][a]

Because of Earth’s uneven angular velocity in its elliptical orbit and its axial tilt, noon (12:00:00) GMT is rarely the exact moment the Sun crosses the Greenwich Meridian[b] and reaches its highest point in the sky there. This event may occur up to 16 minutes before or after noon GMT, a discrepancy described by the equation of time. Noon GMT is the annual average (the arithmetic mean) moment of this event, which accounts for the word “mean” in “Greenwich Mean Time”.[c]

A prime meridian is an arbitrarily-chosen meridian in a geographic coordinate system at which longitude is defined to be 0°. Together, a prime meridian and its anti-meridian form a great circle. This great circle divides a spheroid, like Earth, into two hemispheres: the Eastern Hemisphere and the Western Hemisphere.  For Earth’s prime meridian, various conventions have been used or advocated in different regions throughout history. Earth’s current international standard prime meridian is the IERS Reference Meridian. It is derived, but differs slightly, from the Greenwich Meridian, the previous standard.[2]

(Note: The IERS Reference Meridian is so close to the Greenwich Meridian that even though I’m not sure which one we were standing on, it is a difference that makes much more difference to an astronomer than a fiction writer.)

On our way back down, we did a tour of the Queen’s House, a former royal residence that now contains an art collection. We strolled past the Cutty Sark, which was one of the last and fastest clippers to sail the seas before the advent of steamships, but decided not to tour that: by then, we were more than ready to catch our return “cruise” back to central London.

London, etc. and Paris, 3: A Changing of the Guard, the Victoria and Albert Museum, and a Play at The Old Vic

We decided to start this day with a stroll past Buckingham Palace. It seemed only proper to drop by the Royal Domicile since we were in London, whether or not the Monarch Himself was at home. (He wasn’t.) However, we did not realize until we got there that the Palace’s ceremonial Changing of the Guard takes place on Mondays, Wednesdays, Fridays and Sundays at 11 a.m. (I am not sure what happens to the guards on duty the other days of the week, but I presume they are changed in some other, quieter way.) Since we’d arrived at exactly 11 a.m. on a Wednesday, the entire area was jammed with people. We could get nowhere near the Royal Edifice until the event was over, which took about an hour. There were times when we common folk were packed together to an almost alarming degree, but I believe that all of us survived.

We’d have been more than happy to see the Palace without the Changing of the Guard, but it is quite a production and very colourful. And clearly, four times every week, people come from everywhere to see it. Once we’d managed to extricate ourselves, I decided I was glad that we had seen it too.

(Click on photos for bigger images.)

Our next stop was the Victoria and Albert Museum. I’d loved the V&A on my previous visit a couple of decades ago, and I’d seen a notice about a temporary ceramics exhibition that interested me. It was on the fourth level of the Museum, and on our way to and from it we had an opportunity to check out several other works that delighted and amazed us. Here are just a few of them.

The ceramics show I wanted to see was entitled “Henry Willett’s Collection of Popular Pottery.” (How could a person resist that appealing title?) I am including the explanatory sign about the exhibition, which was as charming as it sounded. It included dozens of intriguing pieces that Willett had collected from “cottage homes” around England in the late 1800s.

There are a whole lot of other interesting pieces in the Museum’s permanent ceramics collections. In fact, according to the V&A website, “The V&A’s Ceramics collections are unrivalled anywhere in the world. Encyclopaedic and global in scope, they encompass the history of fine ceramic production from about 2500 BC to the present day.” If only we’d had a week, just for this one museum… or even perhaps just for this one set of collections in this one museum.

The view from the top floor of the V&A was lovely, as was the architecture in the streets surrounding the museum.

We made our way from the Victoria and Albert just in time to have a delicious sourdough-crust pizza at one of outlets in the excellent Franco Manca pizzeria chain, before taking in a really impressive play entitled Machinal at The Old Vic Theatre. It was a thrill to be in a theatre that I have read about so often in books, articles and reviews over the years. The quality of the production was a (not-unexpected) bonus: how could it be anything but excellent if it was at The Old Vic? (No need to answer this question if you attend the place regularly.) Machinal has a lyrical, devastating script, and the cast was outstanding. I was also taken with the totally offbeat stage design. If the play ever comes to Toronto, or appears in a broadcast somewhere accessible to me, I’m definitely going to see it again.

The Times Literary Supplement said of Machinal, “The Old Vic’s production, transferred from the Ustinov Studio at the Theatre Royal Bath, is an almost perfect piece of total theatre: Richard Jones’s direction, Hyemi Shin’s set, Adam Silverman’s lighting and Benjamin Grant’s phenomenal sound design all work together with Sophie Treadwell’s words and a fully committed cast….”

So that was quite a day. While we were gadding about (or in my case, limping about), according to my watch we added 18,250 steps to our walking total, and 11 flights of stairs.

London, etc. and Paris, 2: Diagon Alley, Caravaggio, and Flying Beer Bottles

On our first full day in London, we headed down to the City (did you know that the area of the actual City of London is only one square mile? The rest of the megalopolis is made up of 32 boroughs). The Underground stop where we resurfaced (not coincidentally named “Monument”) was located right next to the memorial to the Great Fire of London. Between September 2 and September 5, 1666, this blaze destroyed “13,200 houses, 87 parish churches, The Royal Exchange, Guildhall and St. Paul’s Cathedral” (London Fire Brigade). The conflagration may also have brought an end to the Great Plague, but that is just a theory; many think the plague was already drawing to a close when the fire broke out. Whatever the case, it is clear that for most Londoners, 1666 was not a good year.

Our actual destination on that morning was the Leadenhall Market, which was used for the filming of the Diagon Alley scenes in the first Harry Potter movie. It is a fun market to walk around, and our visit was made even more interesting by the presence of two mounted police officers on beautiful horses, and a group of men in costume who were there to celebrate the Feast Day of St. George.

April 23, the presumed anniversary of St. George’s death, is celebrated not only in England but in several other countries and cities that have claimed St. George as their patron saint.

After a second short trip on the Underground, we reached Westminster where we stopped briefly at the Church of St. Martin in the Fields before heading in to The National Gallery. There, we were particularly interested in a special exhibition entitled The Last Caravaggio, which included just two paintings, rare related documents, and explanatory text. Caravaggio’s last painting is “The Martyrdom of St. Ursula” and another of his later works, “Salome receives the Head of John the Baptist” was also on display. (This was of additional interest to us as we were going to see the Strauss opera Salome when we got to Paris). A lot of North Americans have become a bit obsessed with the works of Michelangelo Merisi da Caravaggio (1571-1610) after watching the outstanding recent Netflix series Ripley, and it seemed that patrons of the National Gallery were similarly intrigued: the line to get into the small exhibition extended down a corridor and then a long stairway to the lower floor of the gallery, and then along another hallway for a considerable distance. Everyone was very patient, and the line moved relatively quickly.

We took in paintings by a few other artists while we were at the National Gallery, then walked through Trafalgar Square and out onto Whitehall.

There we ran into another, much larger group of St. George’s Day enthusiasts, already well into their cups at 4 p.m. or whatever it was and growing rowdier by the minute, surrounded by police officers on foot and horseback, and vans containing dozens more. We saw people being arrested and heard the whiz of beer bottles before they crashed into the pavement, so after taking a few photos we decided to move on. A woman I spoke to outside a restaurant confirmed my suspicion that the crowd of drinkers was mainly far-right protestors who are mad at the government, rather than average citizens celebrating the feast of England’s patron saint.

At the end of Whitehall we found Big Ben (aka “The Great Bell of the Great Clock of Westminster”), shiny and magnificent after its four years of being cleaned and repaired (2017 to 2021), and we caught our first sight of the famous “London Eye” or Millennium Wheel. If we’d felt the urge to go for a ride on it, which we didn’t, we’d have needed to invest at least £42 each, or about $70 Canadian. I’m sure it was worth that much if a person were so inclined, as the capsules look to be quite spacious, the wheel moves quite slowly, and the views at the top must be splendid.