Sound Repairs

If a restaurant doesn't post its prices on its menu, I probably can't afford it.  

I learned that lesson the hard way on my first trip to Europe.  On a wonderful day of riding through the Loire Valley, I was ready for a nice meal.  So I stopped at an utterly charming restaurant where the staff were oh-so-friendly and attractive and the food was even better than I dreamed they'd be.  I would have enjoyed the meal and the ambience, I think, even if I hadn't been hungry and spent the day pedaling.

I was in Nirvana or paradise or whatever you want to call it...until I got the check.  That meal didn't cost much less than my budget for a whole week!  At least I didn't have to worry about a tip:  In France, that's included (service compris). 

Now, I must say that the rule about menu prices doesn't necessarily apply to bicycle shops.  Some post "menus" of repair prices.  Of the shops in which I worked, none followed the practice.  The reason was that, very often, repairs turn out to be more complicated than they seemed at first glance:  The flat tire might have been caused by protruding spokes, which means re-truing or re-building a wheel (or even replacing it) rather than simply installing a new inner tube.  Or that creak or other noise might come from a crack in a frame tube caused by a fall that the rider might not have given a second thought because he or she rode home after it.

(I can honestly say that, in spite of the fact they didn't post "menus", none of those shops charged more than others in their area for repairs.  Two of them, however, advertised "tune up specials" where, for a fixed price, cables were replaced, bearings and chains lubed and adjustments were made.)

I got to thinking about "menu" pricing after I came across this:

Imagine if we could determine what needed to be done, and what it would cost, simply by listening!   For all I know, at least one mechanic with whom I worked may have been doing that:  He used to work with a stethoscope hanging from his neck!  Then again, he took substances that may or may not have been legal at the time, so he may have heard things I never would have.

En Danseuse: Le Mot Juste

Laura Lawless is a self-taught "maven of the French language."  I subscribe to her website, which is full of all sorts of interesting and useful items, from lessons on vocabulary and reflexive verbs to articles about various aspect of French culture and history.

She does not neglect "La Grand Boucle", a.k.a. the Tour de France.  The other day, her post included a list of French cycling-related terms.  You probably know some of them already.  One of my favorites is "en danseuse", for a rider who's standing up, i.e., doing a "track stand".  I have long argued that the best (or, at least, my favorite) sculptures are a still form of dance.  And it takes as much athleticism and coordination to do a stand as it does to ride well, in my opinion!

Un Coq Citroen Repair Station

When I was living in France, I did a few things--some of them entirely laughable, in retrospect--to make myself feel as if I had "gone native", if you will.

I didn't wear a beret: I soon discovered that, even then (more than three decades ago) only very old men and clochards wore them--or, at least, the kind they sell to tourists. Some farmers, particularly in the central and southwestern parts of the country, still wore the Basque-style beret, which has a larger diameter "crown" than the berets artists and wannabes perched on their crania when they smoked and sipped away their nights in cafes and bars.

Ironically, I wore berets after I returned to the US.  And I continued a few other habits as a way of asserting my Frenchness, or at least my French influences, in the face of the yahoo-ism of the Reagan and Bush I administrations.

While in France, I purchased and wore a few things that were all but unknown in the US at the time.  One was a wool French (Breton) fisherman's sweater.  It was the genuine article, knit from heavy dark navy wool with cream-colored horizontal stripes and buttons on the left shoulder.  Other Gallic accoutrements I acquired and wore included a sweatsuit, bike jersey and shoes from a company called Le Coq Sportif.

Now you can see the tricolore rooster everywhere.  But in those days, you pretty much had to be in France, or perhaps a neighboring country, (Remember:  There was no Amazon or eBay!)  in order to see, let alone wear, that quintessentially French emblem.

Another thing that could mark you as a French person was driving a Citroen.  Renault was still selling cars in the US; so was Peugeot, but their motorized vehicles weren't nearly as ubiquitous as their bicycles.  For a long time, I resolved that if I were to buy a car or van, it would be a Citroen because, well, you couldn't get anything more French than a vehicle with a chevron badge.

Well, Le Coq Sportif and Chevron have joined forces. The occasion is the 70th anniversary of the Type H van.  If you watch old French films, you've seen those boxy mini-trucks driven by farmers and urban delivery couriers.  You still see them in France.

Since both companies have long associations with bicycle racing in France and other countries, it makes sense that their collaboration would produce this:

It's something else I saw for the first time in France:  a mobile bicycle workshop.  

Vive la France!  I just hope they don't elect their own version of Trump.

Collecting 200 Years Of Bikes

There are all sorts of great reasons to visit the Bourgogne region of France.  There are the food and wine, of course.  If you're interested in art, history or architecture, the place is a treasure-trove.  And the cycling is great.  I know:  three of my bike tours included excursions to the area.

Speaking of which:  In 2010, la Musee du Velo opened in the town of Tournus, which is also home to l'Eglise de Saint Philbert, one of the oldest and best surviving examples of Romanesque architecture.  Earlier, the Musee had been in nearby Cormatin, where it closed due to financial reasons in 2007.  

I saw the museum in its earlier location.  France is known for such monumental museums as the Louvre and Orsay, but small, quirky places like the Musee du Velo are found all over the country.  (If you're in Saumur, you simply must check out the Musee du Champignon. Really!)  

One of the things that makes the Musee du Velo so interesting is its collection.  It includes a version of the hobby-horse Karl van Drais created 200 years ago and is considered, by some, to be the first bicycle.  

Another fascinating artifact is this brake on an 1869 bike:

I hear someone's still trying to break that saddle in!

There are also a number of penny-farthing (high-wheel) machines and one of the first Tour de France bikes to use a derailleur in 1937, when such mechanisms were first permitted in the Tour.

I got a kick out of this 1938 triplet

with its drop bars in front and two moustache bars (No, Grant Petersen didn't invent them!) for the "stokers".  If you want to turn your kids into tandem riders, there is this:

If their legs tire out, let one of them ride this 1950 machine

which can be propelled by pumping the handlebars from side to side!

In addition to these and other bikes, the museum has a fantastic collection of Tour de France memorabilia, items from chinaware to match boxes with images of bicycles and cyclists, and what might be the most beautiful collection of bicycle bells in the world.

The museum's collection might be said to have begun with this:

which was used by a fellow named Michel Grezaud.  He was a butcher in the area during the 1950s who used that trike to make deliveries.

He is also the one who amassed the museum's collection and, with his wife Josette, founded the original museum.  Sadly, he did not live to see it in its new location.

Riding On Paths Through History

During my first European bike tour, I pedaled along la Cote Opale:  the French shore of the English Channel.  It was difficult not to think about all of the wars that ravaged Calais, from Edward III's siege in 1347 to the Nazi invasion of 1940.   But even when I wended along the coast through more bucolic towns like Montreuil-sur-Mer and villages like Neufchatel-Hardelot, it was difficult not to remember that, as the sea lapped on their shores, blood once ran through their streets and mortar shells strafed the air where breezes flickered leaves and flowers.

I got to thinking about that today, on the 75th anniversary of the attack on Pearl Harbor.  I have never been to Hawaii, but I can only imagine what I might feel if I were to ride the Pearl Harbor Bike Path--especially if I were to see this:

Actually, there are sights other than those mothballed warships along the path.  From what I've read, though, it's far from the most scenic bike route on the islands, even if parts of it look pleasant:

Into The Fold On Being And Nothingness

Handing over a bank note is enough to make a bicycle belong to me, but my entire life is needed to realize this possession.

That insight came from none other than Jean-Paul Sartre.  Yesterday, I made a reference to him.  Well, wouldn't you know it?:  Today I came across the above quote, and this photo:


Here he is riding "Le Petit Bi":

This bike has been all but lost to the mists of time or, more precisely, the ashes of World War II.  Andre Jules Marcelin, a French Nobel Laureate (1926) physicist, invented it and received his first patent for it in Luxembourg in October 1939.  The following year, he received patents for it in France and Switzerland.

No one seems to know who manufactured the bike or how many were made.  All that is certain is that only a few exist.  Did the war severely curtail their production?  Or were many destroyed in bombing raids and such?

Professor Marcelin did his research at the Laboratoire de Chimie Physique (Chemical Physics Lab) of the Sorbonne-University of Paris.  He and other Sorbonne scientists held seminars on Monday nights where writers, poets, painters and other artists to speak.  It's possible that Marcelin met Sartre there, as well as Francois Picabia, seen here on a Bi:

Interestingly, that photo and the one of Sartre ended up in a Nazi propaganda magazine called Signal, which tried to show that life was normal for the French people under the German occupation.  

That Marcelin went to the trouble of filing for patents in multiple countries shows that he saw some sort of commercial potential in the Bi.  He even had plans for a foldable tandem and a motorized Bi:

Perhaps most intriguing of Marcelin's designs is the one he patented in 1935, four years before the Bi, for what looks like a foldable recumbent bicycle.

Whatever its history, the Bi did have something of a legacy.  One of the first lightweight folding bicycles, the Bickerton, came out during the 1970s.  The first prototype of it borrowed heavily from Le Petit Bi:

The Bickerton that finally came to market had a significantly different design, most likely because Harry Bickerton (who was an engineer) saw that he couldn't make the bike out of aluminum (as he did to achieve his bike's light weight) if he were to use the Petit Bi design.

So, although Andre Jules Marcelin patented Le Petit Bi, perhaps no one will realize its possession--or, more precisely, it.

What Do I Miss? Mes Chats et Mes Velos

In 1992, I did a bike tour from Paris to Chartres, and from there to the Loire Valley and Burgundy to Dijon, before heading back to Paris--and, from there, taking a train, boat and train to England to visit my aunt.  

As I was about to head to Blighty, I was away from home for nearly a month.  I spent time with one of my friends, who lived near Paris at that time.  She asked what I missed most about home.

"Ma chat":  my cat.

Charlie I:  The cat who brought me back home.

Now, it  wasn't as if I didn't have friends in New York or anywhere else in the US.  Ditto for family: An aunt, uncle and cousin were still in Brooklyn, and my parents and one of my brothers were still living on the (New) Jersey Shore.  But the previous year had been a very difficult--though, in many ways, fruitful--time for me.  I wrote a lot.  How could I not?:  I was in graduate school, studying poetry.  My marriage had officially ended that year (though, in reality, it was dead long before that), and from Memorial Day until Christmas of 1991, I lost five friends to AIDS-related illnesses and the brother of someone I dated was murdered in the hallway of the building in which I was living.

Max

I was tempted not to go back, even though I had only to take a couple more courses, complete my dissertation (a book of poems) and take my comprehensive exam (which wasn't as difficult as I expected) to complete my degree.  After experiencing the losses I've mentioned, I had a kind of crisis from that happened much earlier in my life.  In retrospect, I realize that dealing with it--in part, by taking the trip I've mentioned--led me, if as indirectly as the route that took me from and to Paris, to the transition I would start a decade later.  

Marlee

Anyway, aside from the pain of past experience, I wanted to leave the United States behind, or so I believed.  Oh--I should mention that an acquaintance of mine was killed during our first invasion of Iraq.  I really believed that the country in which I'd spent most of my life was not, and could not be, a force for good in this world (I still feel that way, often) and it looked like Daddy Bush would be re-elected.  Him!--after eight years of Reagan!  I simply did not want to be associated with such things.  

(Would that I could have seen the future!)

Anyway, it seemed as if the only answer to my friend's question was, indeed, "ma chat".  (I had one at the time.)  She was convinced there had to be something else waiting for me:  she pointed out the family, friends, studies and writing I've mentioned.  And, of course, there were my bikes, although the one I was riding during that trip was quite nice.

The funny thing is I felt almost exactly the same way a couple of days ago, as I was leaving Paris.  In so many ways, my home country, and even my home town, are less tenable than they were nearly a quarter-century ago.  We have had non-stop war for the past fifteen years, and Donald Trump makes Bush The Elder seem like Nelson Mandela.  The idea of leaving is even more tempting than it was then, though I know it will be more difficult than I realized it could be in those days.

Arielle

I am back, for now.  And what did I miss, aside from some people?  Well, Max and Marlee--yes, I have one more cat than I did in those days.  And, today, I realized, I missed my bikes.  After spending more than a week riding a rental--which, as rentals go, was actually pretty good--taking Arielle, my Mercian Audax, for a ride today, with its perfect weather, seemed heavenly.  

So I missed my cats, my bikes and....

The Good News, And More (I Hope)

In a literal way, this sign can tell you where I'm not right now:

Add caption

During one trip to California, I got about as close as one is allowed to the sign.  I'm not anywhere near it now.  However, this sign inspired a sign I saw where I am now:

In a way, I can understand why that "Bonne Nouvelle" sign is done in a similar style to the "Hollywood" sign.  The latter reflects, I think, the exuberant optimism in which the film industry was created. And the neighborhood in which the "Bonne Nouvelle" signs are posted also has a long association with the performing arts.

However, the area around the "Bonne Nouvelle" sign bore  its namesake centuries before the station bearing the sign was built.  

The Bonne Nouvelle district--and the station--are named for the Notre Dame de Bonne Nouvelle.  That good news is,  I am very sure, different from that for a Hollywood producer.

Of course, you surmised that I am in a French-speaking locale.  I am indeed in Paris, again, visiting a couple of friends.  The station is one at which I transferred--on my way to pick up a bike, though not either of the ones I mentioned in yesterday's post!

Why You Have To Ride A Bicycle To Truly Understand Picasso, Rodin Or Any Impressionist Painter

You all have seen this Picasso sculpture.

Question:  What kind of handlebars are they?  Velo Orange Belleville?  (OK, so VO didn't exist in Picasso's time.)  Whatever they were, they definitely weren't flat bars.  In fact, I can't think of any way even Picasso (or, for that matter, Rodin or Michelangelo) could have made an objet d'art from flat bars.  For that reason alone, they should be illegal. 

(Don't get me started on those mountain bike bar ends that were all the rage circa 1992-1996!  Yes, I had a pair of Onzas--in purple, no less!)

I posted that image because I figured that I should, since I visited the Picasso Museum--my favorite, after the Rodin--today.  However, I didn't actually see the "bull".  The part of the museum in which it is displayed was closed off because a special show is being organized.  Oh well.

At least there's all sorts of other interesting stuff to see there.

Now that's something to think about the next time you're kissing your beloved!

It goes without saying that Picasso, like many great male artists, had complicated relationships with women:

To be fair, he also had a strong social conscience.  You've probably seen Guernica.  A decade and a half later, he painted "Massacre in Korea":

And he understood, I think, how thin the line is between sensitivity and derangement can be.  At least I gather something like that from his painting Absinthe Drinker:

That one isn't in the Picasso Museum. I saw it yesterday in the Musee d'Orsay.  There's so much there and so much has already been said about many things that are there that I'll just choose a few vague (wave) paintings:



Paul Gaugin (another favorite of mine): Marine avec Vache

 

Georges Lacombe:  La Vague Violette


 

August Strindberg (You didn't know he was a painter, did you?) :  Marine avec recif

 

Alexander Harrison (Philadelphia 1853-Paris 1930):  Marine 

I find it very interesting that the Impressionists and Rodin came along around the time the bicycle was taking a form we recognize today, which vastly increased its popularity over that of "high-wheelers" and other predecessors.  For the first time, many people had access to a mode of travel that is faster than walking.  Because we pass by people, landmarks and other parts of the landscape more quickly on a bicycle than on foot, we see them clearly but momentarily, so they form impressions in our consciousness.  That, I believe, is why we can so readily call upon sense memories of what we saw, heard, felt, smelled or tasted during a bike ride.

On the other hand, when Picasso was helping to invent Cubism, the automobile was in its juvescence.  So was cinema.  When we see things from the window of a fast-moving car or other motorized vehicle, we see "cuts" in much the same way we see a series of images on a strip of motion picture film.  Each image in the series differs slightly from the one before it, but the cumulative effect is that what's at the end of the strip is very different from what we saw at the beginning.


I'm sorry if this all sounds like half-baked cognitive psychology mixed with even-less-baked art and film theory.  I'm just doing the best I can to describe what occurred to me as I was riding between museums, and after visits to museums.  If nothing else, it made clearer--to me, anyway--why the trip to the museum, especially if it's on a bicycle, can be just as important and even interesting as the museum itself.

Just for fun, I'll end this post with something from that great interpreter of fin-de-siècle Paris nightlife, Henri Toulouse-Lautrec:

 

Although I Couldn't See All Of The Statues, The Ride Wasn't A Bust

Today I cycled to a place where I shed tears whenever I visit.  Yes, on purpose.





 

 

For those of you who have never met me in person, I'm going to share a little secret:  I cry, sometimes in embarrassing, if not inappropriate, situations.  More than once, tears have rolled down my cheeks when I've shared a particularly beautiful piece of writing--like Caliban's "The Isle Is Full of Noises" soliloquy in The Tempest--or when some sense-memory overtakes me.  I can also cry with and for another person, as well as for myself. 

 

So where, you may ask, is this place in Paris that opens up my lacrimal duct?





 

He's at the "gate", so to speak.



That bust, and the statue before it, are studies that became part of Porte d'Enfer by Auguste Rodin.  I went to the museum that houses most of his work.

 The only problem was, the main collection was closed.  So was most  of the rest of the museum.  To be fair, the Hotel Biron, at 77 rue Varenne, has been in need of repairs.  And, as with any museum, ventilation systems and other infrastructure need to be repaired and replaced in order to keep the artist's works from deterioration and other damage.

 

 C'est une injustice! I exclaimed to the guide when she explained the situation.  "J'ai venue d'amerique", I told her, to see Le Baiser, Le Penseur and--my favorite objet d' art--Je suis belle. 

 

 

Thinking about....?

From the day I first encountered photos of those works in an art history class I took as an undergraduate, Rodin has spoken to me, moved me, in ways that only three or four other artists, in any medium, ever have.  For me, seeing the ways he could draw out despair, courage, empathy, isolation, inspiration and so much more--sometimes all in the same work--in such static materials as stone and metal has been a sort of guidebook to the soul.  He doesn't merely  render, express or depict emotions; he makes his materials a conduit for la force vitale.  To me, the only other Western sculptor who did anything like that is Michelangelo.

Sometimes, in museums, I see.  Or I might think, or feel, or simply enjoy.  When I am in the presence of Rodin's works, in his milieu, I live.  You might say it's like  at least for me.

Anyway, the museum is apparently building a new wing as they renovate the old space, and are going to exhibit the works in new ways.  I hope that the newly-restored museum doesn't sacrifice too much of the intimacy of the old one and become another big building full of glass boxes that hermetically seal the artist's works away from the people, from the world, as too many other museums do.

 As the renovations proceed, there is an exhibit of some of the castings Rodin made as studies for his masterworks as photographs taken of them, and him as he made them.  Most of the figures you see in his completed works are clothed, but he made nude studies for all of them to get, not only the proportions, but the ways in which they moved and interacted with their environments, before he created the "final product", so to speak.

 And the gardens are still open.  Even if you aren't a fan of his work, or art generally, it's a great place to unwind--after or before a bike ride in Paris.

 After I left the Rodin and had a picnic lunch by the Seine, I rode some more, spent some time in the Musee d'Orsay and rode some more.  I'll talk about those later.

Another Long Lunch And Late Ride--And A Confession

Today I enjoyed another long lunch with another French friend I hadn't seen in a long time.  And I took another late bike ride.

I had seen Michele more recently than I'd seen Jay, but we agreed that it had been trope longue. Interestingly, my conversation with her--like my conversation with Jay--was not a sentimental repetition of temps perdus.  Rather, we picked up where we'd left off eight years ago, when she came to New York.

That is probably a good thing because, since we last met, the friend who brought us together--Janine--died.  Michele is nine years older than I am, as Janine was, so it's hard not to think of aging and mortality and other related topics.  That may be the reason why we didn't dwell on the past. 

She asked me the question she didn't ask when I told her, via e-mail, that I was coming to Paris.  I said, only half-jokingly, "Donald Trump sera le president."  She chuckled in the way one does when one could just as well sigh:  She knows that neither his election nor the prospect that it would drive someone like me out of my own country is out of the question.

Perhaps I shouldn't worry so much about The Donald going to Washington.  After all, he might make the White House look something like this:

I took that photo of the Versailles palace from about a kilometer up the road.  You can see all of that gold glitter from that far away. 

 

 

Yes, I rode there after Michele and I parted.  In this part of France, there's about half an hour more of light at the end of a summer day than there is In New York or other places at or near the 40th parallel.  All Paris museums are closed on Monday, as is the inside of the home of Le Roi Soleil. But the gardens around the palace were not and, having ridden there during two of my bike tours, I knew the trip would be pleasant.

 

 

 

I also had another motivation for taking the ride.  To tell you about it, I have to make a confession:  I am really a big magpie in a human body.  Why else am I drawn to glittery, shiny things and looking at my reflection in them?

 

 

 

Anyway, the gardens are interesting.  They're so formal that even this bird is all  dressed up. 

 

 

 

Maybe he's going to a party in Paris.

 

 

 

 

Can you beat that for a navigational aid?