Do Places Change, Or Do Journeys Remain The Same?

I'm back in New York but still living on Paris time, at least for today.  That means I couldn't sleep when I got home, fell asleep after opening my suitcase (at least, that's what I think), feeling too tired to fall asleep (or not tired enough to stay awake?) , then falling asleep again by my kitchen table.

In between, I found myself thinking 

My fourth-favorite sculpture from my favorite sculptor.

about the trip, and other things.

Although some things in Paris change, if you go back to it, you'll find more similarities with the City of Light you remember from however-many-yearsh ago when you first visited, or lived or worked, there.  At least, that is how I felt last year--returning after being away for more than a decade--and this year, more than three decades after I first saw the French capital.

In contrast, New York--parts of it, anyway--can change more in a few years than Paris or other cities can change in decades, or even centuries.  I was reminded of that when the former neighbor I encountered in the Cluny recounted going back to our old block recently and noticing how it was "so different" from what we lived in.

In Paris, of course, there are buildings that stood for centuries before Europeans got lost on a trip to India and found themselves in the Americas.  (No, Columbus did not "discover" America!)  But there are also aspects of daily living that haven't changed much, if at all.  Although it's a major, fast-paced city, people still take time to enjoy meals and passing streams of humanity.  Those things happen to a greater degree in other parts of France (at least they did when I saw them about 15 years ago), but there are still lively street scenes that, I feel, are quickly disappearing in New York--and never existed in the first place in other parts of the United States.

And, let's face it, you are never going to see anything like this anywhere in the US:

New bikes might have technology.  But they--save for those made by custom and traditional builders like Mercian--or those, like Mariposa, who are inspired by them--don't have the heart and style of this:

Yes, it's a Peugeot, and many more like it were built.  But it has all sorts of details--which, like cornices on Victorian buildings or harmonies in Mozart sonatas--that are actually functional and not only aesthetic or merely stylistic. 

OK, so I wouldn't have seen a bike like that ridden to victory, or at all, down the Boulevard des Champs Elysees last Sunday.  And its rider wouldn't have dismounted under the Arc de Triomphe to ascend the winners' platform.  But its owner may well have ridden through this:

La Porte St. Denis is one of Paris's "other arcs" (the Porte St. Martin is the other)--and, in my opinion,  more interesting than that more famous one.   And a lot easier to ride.  I know:  I rode by and through la Porte St. Denis (in the above photo) the other day, and I've ridden round and round the other one!

And I went back, and came back.

How It Ends

When you've taken a trip, was there a sign that it was over--or about yto end?

For me, it came late yesterday, when I returned the bike I rented from Paris Bike Tour.  Stephen--who was so helpful when I rented from them last year--was there, and we talked for a while.  I was being selfish,really:  It was near closing time, and I'm sure he, and the other staff  members, wanted to eat, go home, or get some kind of relaxation.



Truth is, even though I enjoyed talking with him and the rest of the staff, I was prolonging my time with them as if I were in denial that my trip was about to end.  

Now Paris Bike Tours has the bike I rented.  I have memories, and soon I will be on my way to my own bikes--and Marley, Max and my other friends!

Anyway, I'll tell you more about this trip if you'd like.  I'd like that, a lot.

Backdrops

As much as I love Shakespeare, I have to tell you this:  The man never had an original idea in his life.  At least, not an original idea for a story.  Every one of The Bard's plays was written, in one version or another, by somebody else.  The reason we read, perform, watch and beat them to death today is that he imbued his characters with a depth never before seen in drama, at least in English:  Until his time, most dramas were "morality plays" or other kinds of vehicles to impart lessons or accepted wisdom.

Likewise, Alfred Hitchcock's most iconic scene is no more original than any murder story has been since Cain and Abel.  Even if you've never watched the whole movie, you know that scene:  Marion, played by Janet Leigh, is taking a shower when a female figure stabs her.


 


I am not saying the scene--or the film--does not deserve to be as famous as it is.  Rather, I am just pointing out that Hitchcock probably paid a visit to the Louvre, or at least looked at an art book or two, some time before he started making Psycho.

Please don't ask me how it took so long for me to come to such a realization.  But I might be the only visitor in the history of the world's most famous art museum to laugh while looking at Jacques Louis David's The Death of Marat.

Like Marion Bates, Marat was stabbed by a woman.  He met his fate in his bathtub, where he spent much of his time (and, in fact, did much of his writing) because of a skin condition.  It's extremely unlikely that Marat could have taken a shower, even if he had known they existed:  Even though the first indoor shower was invented two decades before he was murdered, it would be another six decades before modern indoor plumbing would make them workable. The originals were operated by hand pumps.

Anyway, for a time in my youth, Jacques Louis David was my favorite painter.  His combination of revolutionary fervor (He, as a deputy from the city of Paris, voted for the execution of the king.) and painting technique--dark backgrounds that made for vivid, dramatic colors and forms, a technique often called "chiaroscuro"--appealed to my sensibilities in those days, almost precisely because I could not see it as another side of the sentimentality I thought I was rejecting.

But one lesson I learned from Marat and David is that backgrounds or backdrops matter.  Why do you think I came to Paris again?  Why do you think my favorite muesums in Paris are the Rodin, Cognaq-Jay, Picasso and d'Orsay?  I mean, I love much of what Rodin, Picasso and the Impressionists did.  But there's nothing like going to the museums devoted to them (especially Rodin, in my opinion).  On the other hand, I can't say I was a fan of much of the work that's in the Cognaq-Jay.  But it's become a "new favorite" precisely because of the environment it creates and the way those works are presented.  Plus, it has some of the friendliest staff I've encountered in a museum.  (Oh, and it's free!)

Anyway...A great backdrop can make for a great ride.  That's why I can put up with the insanity of Paris traffic (Then again, I'm a New Yorker): What's not to like about riding among beautiful buildings and gardens?  

But cycling also transmutes, if not transforms, backgrounds.  A bleak, apocalyptic necropolis becomes bearable, and an interesting--and in its own way, even beautiful--image when it's the setting of a good bike ride, even if it is just from work to home, or vice versa. I used to pedal through such a setting every day when I was a student and worked in a factory; that ride might be what kept me (relatively) sane.

I have been able to ride through far more beautiful vistas.  Some were natural, whether in mountains or along seashores.   But for the past few days, I've rolled through some of the most beautiful urban scenes in the world.  It's made for some great riding--and a great trip!