Wednesday, April 6, 2011

Barcelona


People and things clutter the long crowded expanse of La Rambla. Indian men hock noise makers and other useless plastic novelties, while street performers pose to take photos with paying tourists and do back flips in the middle of a demilune crowd. Restaurants line the sides of the street, selling overpriced too-sweet sangria and flavorless paella. My guide book highlights the top ten sights: Gaudi and Goya, Picasso and Miro, tapas restaurants with the best Basque wine and underground bars where serious women sweat under lights, stamping their feet to the syncopated beat of a Flamenco guitar player.  My book has subways maps and hotel recommendations, and a small section in the back listing gay-friendly clubs and currency exchange rates. I trust the information in the book, making sure to visit the must-dos and deferring to the Lonely Planet expertise on where to eat the best Jamon Iberico de Bellota, but being my fifth visit to this magnificent city, I have my own favorites as well. I try to impress my travel companion (a first time visitor) with my limited Spanish and knowledge of local customs. I mention the stern warning in my book to look out for pick pockets, feeling overly immune to the threat, having left my tell-tale fanny pack, bright white sneakers, and matching windbreaker at home. 


I don’t look like a tourist. My Spanish is passable, my over-the-knee flat black leather boots on-trend and chic. I wear a cross body bag, like all the locals. It has a zipper that I keep my hand over at all times, knowing better than to be distracted by all the tall buildings, staring up with a gaping mouth like the hoards of school tours here on their spring vacation with matching backpacks and loud American voices. I’m not afraid to use the metro, but I refuse to ask for directions unless absolutely necessary. I make sure to fold my map in such a way that it is small and manageable, not drawing attention to my foreign status. 


We go everywhere. We visit Park Guell, a child’s dream playground with its mosaic tile and signature Gaudi gingerbread house style. We sit on the serpentine bench that overlooks the city, the view stretches over the Olympic Stadium, all the way to the beach in Barceloneta where in a few months time topless women and men in Speedos will line the sand.  We eat in El Born, on Calle Agentine where the waiters speak Italian amongst themselves but the menus read in Catalan. We sit down to dinner at 11pm, finishing plate after plate of shiny cured ham and Manchego cheese, olives and Cava straight from a communal, passed around spout.  We see museums, architecture, the fanciest well-dressed women with the best smelling perfume that only comes from Paris. We finish the night in dark smoky bars, drinking tiny cups of vermouth feeling like an early 20th century bohemian. I imagine Toulouse-Latrec or  some other visiting artist sitting down at the tiny wrought iron table next to us, asking for a cigarette and then launching into a rant about love and loss and everything that is tragic in this world. 


It is impossible not to get swept away in the beauty of this place. The combination of old and new that sets the best European cities apart from those here in the States is exciting and romantic. The medieval palaces and cobblestone streets date back centuries, to a time when blood was spilt during wars, and empires were built on the backs of peasants.  The same settings that inspired Picasso and Dali to re-envision reality and a subconscious aesthetic that challenged the Academy and the existing status quo. Despite my best efforts to blend in and hide my alien status, I cannot help but be impressed by my surroundings. I easily understand the motivation of ex-patriots to abandon American life and take refuge in the culture of Europe, learning new languages and leaving behind Yankee ideals.   

In the midst of my awe, I am robbed. I am pick pocketed by a girl my own age, on an escalator on the way to the airport. She sees me struggling with my luggage, all the tell-tale signs of a tourist present like my “Iberia” luggage tag and carefree attitude. Underground in the subway, she is able to unzip my bag and take out my wallet. I notice moments later, my travel companion running after her, confronting her, and successfully recovering my vital belongings with more cajones than I could ever muster myself.  I feel angry and embarrassed, violated and scared. How did I let myself become a target? Why did I let my guard down? To think that more than once I actually moved my suitcase to the side and said “Perdón” when I thought she was accidentally bumping into me.  


Despite my idealized impression of this romantic city, I was confronted with the sad reality that culture and history do not cancel out poverty and greed. I am grateful that I had a loud-mouthed American with me, with no reservations about causing a scene or demanding a confrontation to get my stuff back. My vision of sophisticated European culture conveniently glossed over the realities of urban living, which in America, Europe, or any other continent still include crime. Countless writers, poets, artists and musicians have been inspired by the tragic juxtaposition of beauty and ugliness, of love and violence.  As much as I fell in love with that city, in the end it hurt me and scared me. Next time, I will know better than to take the metro to the airport. Instead I’ll do what the locals do and just take a cab.

3 comments:

  1. Did you do both of these after our email flurry this morning? They're impressive in any case, but if you did them in that short a time and under pressure, even more so.

    It's humbling reading these: I could certainly not have done either of them when I was--what?--24. Whether I could do as well today is a contest I'm glad I don't have to enter.

    My overall reaction is similar to the one I had on your Mar 9 piece: "I feel silly commenting on this. If you can write it, you can figure out as well as I can what you've done...."

    This Barcelona piece also wowed my wife who started talking about Henry James and his lifelong taste for plunging his innocent American heroines into the heart of old-world cosmopolitan decadence and deceit. They were lucky if they escaped with nothing worse than a picked pocket. And you got her to laugh at the last sentence of graf 1.

    It's discouraging to me professionally to find myself obliged to leave a comment on a piece like this. All I can do is what I did on Mar9 which was pretty much summarize for you what it was I saw as I read.

    You open with the guide book view, filtered through your own sensibility and made even cheaper and sillier than it would otherwise be.

    Then you put yourself forthrightly into the guidebook world and explain how very different you are than the fanny-packers.

    Then you give us two grafs of your Barcelona, one concentrating on what you did and saw, the other on what it might mean and signify to be there and with your sensiblity.

    Then the action graf, the kicker to grafs 1 & 2, the author'sd nose suddenly rubbed in her own vulnerability, helplessness, and pride.

    And a fine pulling back in the last graf, offering thoughts both general and personal, done with grace and sureness.

    Here's what I said about the ending of the Mar9 piece: "For my money, the last two grafs--whose motive I appreciate is to widen the focus in a very classic way--are, though very competent, perhaps a bit dutfiful or predictable."

    The last graf in 'Barcelona' is not in the least dutiful or predictable--it's necessary and it's demanding, just as it should be.

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  2. yes, did these both after I got the kick-in-the pants from you about staying on top of my assignments. Just the kind of deadline pressure I need to produce. As a writing teacher you'll be horrified to know that I never edit. I never start writing and then go back to the piece later, because every time I do that, I end up with a completely, wildly different piece.

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  3. I'm not much of an editor of myself myself. Some writers are obsessive about it, others are pretty good right out of the starting gate. A lot of the classroom pressure for editing is simply teacher laziness: the teacher holds up an ideal of perfection, forces the student to work towards it, and after much work, maybe the piece is a little better--but the teacher is saved the trouble of assigning a lot of work because he has high standards.

    I believe close enough is good enough usually and that the perfect is the enemy of the good. I believe you have more chance to find a good piece in a big pile of writing than in a small pile, however carefully reworked.

    Anyway, don't get too cocky because what do I know, but if these are quick, unedited efforts, that isn't too shabby at all.

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