Ritratti italiani, Tre

La Spezia from the Portovenere Bus

In the morning, I only have a little time for the train to Florence leaves, so I take the local bus to a place called Portovenere in La Spezia. This was suggested to me by the kind hostess at the Grand Manin Hostel which is where I stayed at in La Spezia. I have to say. I had severely underestimated La Spezia after being wowed by Cinque Terre. I did not think that so soon after  such an experience like the sun setting in Manarola would I be so inspired again, but I am quickly discovering that Italy has a way of doing just that time and again.

The Portovenere Bus leaves from about a block from the hostel on Via Domenico Chiodo. It takes about half an hour to get to Portovenere. Since it’s just a bus ride, I am not expecting much. Taking a moment to look away from my phone, I look out of the window as we are driving down the coastal road. By Fezzano, I can see from the bus a wider, grander view of La Spezia. La Spezia itself is a beautiful town that is reminiscent of both Rome and Cinque Terre. There are tall buildings and pastel colors. But what hits me the hardest is seeing La Spezia cradled in the Apennine Mountains. If I could paint a portrait of any one place, any one sight, it would be La Spezia from the Portovenere Bus.

The land surrounding the bay appears as two arms open, hugging the Mediterranean waters. The military port houses warships with guns and tall yellow cranes. The fishing port houses sailboats with their many masts stabbing at the sky like so many lances ready for battle. The trees of Giardini Pubblici separate the concrete and pastel buildings from the water’s edge in the center. From here, the building and landscape steadily increases in height the further my sight moves inland, forming a sort of bowl of homes and shops. The outlying Appennines stand guard over this town. I can see clouds, likes waves, crashing into the snow-capped peaks.

I do not stay long in Portovenere for want of riding the bus again back to La Spezia just to see this vision again.

Ritratti italiani, Due

Sunset in Manarola

This, right now, is one of those moments I think all dreamers have dreamt of. I know I certainly have. To my right, I can see grassy fields, and further on, mountains. To my left, I can see the Mediterranean. I am at my seat, laptop open, typing away. I get chills every time I pause to look out the window. Is this real? Am I truly here? I am on a train in Italy, surrounded by coastal landscapes, heading toward Cinque Terre. The only thing I can want in this moment is a more exact pen (figurative, of course, as I am typing), so that I can share my experience.

In the fields, there are small houses every so often. One has walls of pastel beige and pale orange terracotta tiles for a roof. Some are more faded than others. The door is red and the window just next to it is small. An unpainted wood picket fence surrounds a nearby vegetable garden. A few trees dot the surrounding scene. These trees stand tall on skinny trunks. They are each bare for about twenty-to-thirty feet or so before the branches of vibrant leaves reach out in a ten-foot crown. Miles beyond this little house and its similar neighbors lie the Apennine Mountains.

The Mediterranean is just outside to the left of the train now. We must be riding right on the coast. I cannot reasonably explain how much the sea means to me or why. All I know is that I am drawn to the coast. Whether it be the Mediterranean, the Gulf of Mexico, or the Atlantic Ocean along Georgia’s southeastern border, I am drawn to the sand and the sea. The blue sky extends into the horizon, meshing with the water’s far edge. The line that separates the two bodies seems almost invisible. Leading to, “Where does the world end?” … “Where does it begin?”

The train begins to steer inland, away from the coast. I feel like a part of me is pulling away. But soon I am in La Spezia for the night. Next, morning comes and I am on the train to Monterosso al Mare. Here it is, the sea. This is the northernmost town of the five known as Cinque Terre. And this one has a beach. The wind is blowing, the water is freezing, and I can see a storm brewing in the distance, but I cannot help myself. I take off my shoes and socks, roll up my pants legs and let the tide waters meet me at the shore. I stand for as long as I can bear the cold, but this is such a joyful moment I am barely bothered by it.

Here, there are some pastel shops and other buildings. I think Monterosso al Mare is known for its beach. The other towns do not have beaches of their own as they are built into the cliffside. Vernazza is like this but close by the water. Here, small fishing boats line the street, covered, waiting for a calm morning before they set out with their fishermen aboard. The waves crash around the rocks and dock splashing the tourists too near the edge.

Corniglia is the middle town, and the highest in altitude. This village was built into a high cliffside. Again with the steps I go. And again, I am not disappointed. Here, the sea seems far off , but the waves are still heard. Sunlights streams down the slim alleyways and brightens the soft blues, pinks, oranges, and beiges of the houses. Here, the sun begins its descent.

Turquoise. Pure, gemstone-esque turquoise waves dip and crest under a pink setting sun. The colors seem unreal, impossible, but here they are. The sound is sombering from my perch in Manarola, the crash of Mediterranean Sea against rocks. I think I have found a place called Heaven, and it is here. Pastel houses are built into the cliffside, one house on top of another, making room for others all around so that they can share this evening scene. The hypnosis of the turquoise waves, rhythmically greeting the rocks below, reflecting the pink sun’s light, is entrancing, captivating. Eternal and too short.

The dark night sky lays to rest the sun too quickly in my opinion. I am released from the spell and make my way to Riomaggiore for dinner.

I will not soon forget the magic of those five places. Indeed, I hope to return very soon. The setting sun of Cinque Terre over and into the Mediterranean is a high I cannot soon let go.

Ritratti italiani, Uno

The Walk

Gold veins etch into the dark earth below. The sprawl of city lights and street lamps glimmer and glow in yellow. Straight, curved, and jagged lines spider out from and into clusters of neighboring cities. I try to guess which ones I am flying over all the way from Brussels to Rome. I am going to Rome. I am going to Rome!

Our Ryan Air flight, the one I only paid 17€ for to fly from Brussels to Rome, lands at Ciampino Airport. The evening air is cool, but still warmer than anywhere else I have been so far on this excursion. It smells faintly of campfire, which is one of the best smells there is in my opinion. From the airport, we catch a bus to Stazione Termini, then it is a short walk to the Yellow Hostel. From the window of the bus, I catch glimpses of monuments here and there, but it is dark and I do not see anything I yet recognize. It will have to wait until the morning.

Morning has arrived, and the sun shines bright on Via Palestro. Our group of seven starts out from the Yellow Hostel excited for the day ahead. I had prepared a sort of walking route to see some of the big Roman sights and some of the not-so-famous places.

St. Paul’s Within the Walls Episcopal Church, or the American Church in Rome, was the first Protestant church built in Rome (1880), and it is easily recognized by its large, horizontal stripes. The Basilica Papale di Santa Maria Maggiore follows shortly thereafter. This is a big and beautiful church, but, unfortunately, is has been fenced off for some reason. This did dampen our moods a little, but not too much, we knew there were many more opportunities to see incredible things. About two hours into our walk we stumble on this open park with the remains of a mammoth, ancient bathhouse. This is the Parco del Colle Oppio.

Strolling through the park, wondering at the sheer size of such a structure that must have once existed in this place, we are caught off guard by the other looming structure nearby, just down the hill a bit and across the street. There it stands, after all these years, the Roman Colosseum. It actually looks a bit smaller than we had anticipated all the way up on the hill as we are, but as soon as we managed to make our way right up to the sides of this towering arena, we realize it is truly an architectural testament to the ingenuity of the ancient Romans.

Here our group splits off and I leave to wander the park of antiquity on my own. I find a side entrance into Palatine Hill, pay my way in and begin to walk the path of the ancients. I am surrounded by other tourists, all of us with our smartphones and cameras taking photos, listening to recorded tours, tour guides, pointing, smiling, oohing and aahing. I remember the stories of Augustus Caesar and the Roman Empire at the Roman Forum, as it lies in rubble. I imagine the culture and stories of the men and women wandering the palace grounds on Palatine Hill in their togas. I see the cells of the enslaved beneath the destroyed floor of the Colosseum. There is the Triumphal Arch of Constantine, the Arch of Titus, the House of the Vestals, the Temple of Venus, and so much more. I think I may have spent at least two hours here in the park alone. From the exit of Palatine Hill, I make my way around the exterior of the park to the Circus Maximus. This is the ancient chariot racing arena. I am walking where once these races actually happened.

Leaving the Circus Maximus, I make my way to the Tiber River. Like in Strasbourg, the street is a good bit above the river, but, again like in Strasbourg, there are steps down to the water’s edge. No one else is down here, and I feel like I have the place all to myself. The River Tiber and Isola Tiberina. I wish I could have stayed in this one place all day and watched the river water flow, but there was still so many places to go.

Teatro Marcello in next on the list. What is most fascinating about this ancient place is that is has been both preserved and built upon. The arched arcade structure of the performance area is intact and maintained, but just above it, brick and mortar home or shops are kept. As much as I love theatre, this place was especially important for me to see despite it not being one of the more popular sights in Rome.

It is nearly two in the afternoon. I find a small cafe and eat lunch. From here, I can still see the theatre. I imagine what it must have been like more than a thousand years ago to see the theatre, and indeed all of Rome, in all its glory.

Next on the list is a visit to the Altar of the Fatherland. This behemoth of a monument is easily seen from all over Rome. It is easily the largest monument of its sort that I have ever seen. Naturally, I am in awe. I make my way from the cafe to the steps leading up to the altar. But of course, as is natural when one wanders without specific knowledge of a place, i managed to walk up the wrong steps. But how lucky was I to end up in a place like the Basilica di Santa Maria in Aracoeli on accident. It is difficult to describe such a golden place as this in any words that might do it justice. Perhaps I can leave this one place a mystery for others to discover for themselves.

Back down the steps I go, so find the proper steps to ascend for the Altar of the Fatherland. I find them, and ascend. I must admit, I do not do well with heights most of the time, however, I could not pass up the spectacular view that was the Altar itself and the view that can be seen from the top of the altar. I stand here, so high up in the Roman sky, flanked by massive, winged charioteers each commanding two horses. The view of Rome before me is enough for me to momentarily forget how high up I am. I can see the Vatican, the Colosseum, and other sites of antiquity. I can see so much history is one place.

I spend more time than I had anticipated atop the Altar, and the sun begins to set. I wish I could have stayed to see it set completely, but I had a mission to complete. On from the Altar I go. I stroll through the Piazza di Sant’Ignazio, I sit for a while in the Roman Pantheon, have gelato from Venchi, Rome, and make a wish at the Trevi Fountain. The night has come and I end my journey of the day by regrouping with the others on the Spanish Steps.

I wish I could go into more detail about each of these awe-inspiring places, but, honestly, Rome is one of those places that needs to be experienced. I, myself, wish I had more time here, but such is life, no? Rome in a day can be such a shame, but it is Rome all the same.

Where the moss grows

19 FEB 2017

So many lives lost… one million at the Battle of Verdun. I stand in the dark tunnel where German soldiers had infiltrated Fort Vaux. The French managed to hold them off for two weeks. Two weeks they spent killing each other in this tunnel, until finally Major Raynal surrendered the fort so that the survivors could have some water. What dignity or heroism can be had in this cold, damp, dark place, hungry and thirsty, among fallen comrades and excrement.

The long hall of the underground fortress splits off into barracks, escape tunnels, and the communications room. Small windows for cannons and machine guns let the sunlight peek in. The walls, two meters of concrete, protect the soldiers from German shells, and later French shells after the fort is taken. They explode and shake the earth. The flat fields and smooth hills are pockmarked from the fury of war. So much destruction, everywhere.

Looking out from the top of Fort Vaux where the French flag flies, Verdun is not far off. The countryside is beautiful, the sun is bright, and trees now blanket once barren fields. A mossy ground cover manages to make the shell blasts look peaceful. One hundred years ago, an explosion tore through the thick metal of a turret dome. A remnant of the concave casing now lies prostrate, home to a bird bath and new moss growth. Nature nurtures the artifacts of this war.

The French and German unidentified dead of the Battle of Verdun rest as bones in the Douaumont Ossuary to the west of Fort Vaux. This white sword hilt of a building appears to have its massive blade buried into the earth, signifying the end of fighting. One hundred thirty thousand soldiers’ bones can be seen through small windows. I think they had hoped this monument to the fallen, who now share a final resting place, would be enough to remind the two nations of the horror that was World War I and keep them from committing to the same mistake again. It was only twenty-one years later, from 1918 to 1939, that WWII broke out.

A little south of the ossuary lies the town of Fleury-avant-Douaumont. Our guide recounts the tale of how the residents were told to flee their homes because fighting in the area was imminent. The townspeople left behind the homes of their parents and theirs before them. They left behind their farmlands and their shops. When the fighting was finally over, the townspeople were led back to Fleury, but when they were told this was their home, they could not believe it. The houses, the shops, the flat farmland was no more. It had all been shelled and destroyed. The landscape had become infested with the miniature hills of shell-blasts. Stones and blocks of their homes littered the walkways. The wood had burned. The terrain was unrecognizable. The earth was contaminated by poison gas, explosives, and the bodies of soldiers.

I stand where once there was a house. I am surrounded by blast holes and concrete blocks. The poison gas has dissipated, the explosives discovered and disarmed, the bodies removed and reburied with proper rights. Now, the moss ground cover lives here, too. A forest has taken root. A memorial chapel was constructed to commemorate the collective loss.

So many memorials. So many graves. And not so very long ago.


Rohan, the first visit

13 FEB 2017

Exiting the tram at Place Broglie at quarter to ten, I can see the morning sun’s rays spill over the rooftops of Rue du Dôme. Its abundance is present in the wave of yellow that forces the shadows and the cold to retreat into the small corners of the street. The cathédrale just beyond the light appears as in an overexposed photograph, brightly faded. Everything here in the morning seems surreal. The passerby walking with purpose, heading to work or the bakery for their morning baguette, the bicyclists speeding and weaving through the few pedestrians here, the pigeons trailing and expecting bread, and here I am making my way to Rohan Palace.

The passage from the tram stop to Notre-Dame de Strasbourg is mostly shops. Turn the corner at the church, and there are a couple cafes and more shops. Wrap around to the front side where the rose window watches over all, and there are more shops and restaurants. One more turn, and I am at the southeast side of the church facing Rohan Palace. The square here is open and wide. There are places to sit and rest, there are places to lock up one’s bike, and plenty of room for the large markets that sometimes visit this place. This morning, though, there are few people present.

The sun rises just above the palace from my perspective. It gives the whole square that overexposed photograph appearance, making it all seem surreal. One of the fifteen-foot-tall doors is open. There is a sign advertising the three museums housed within. Passing over the threshold of the courtyard entrance transports me to another time altogether. This (relatively) small palace was once home to the prince-bishops and cardinals of the House of Rohan, King Louis XV and Marie Antoinette, and Emperor Napoleon himself.

I have been to Fontainebleau and Versailles, and I must say the Palais Rohan does not disappoint. Granted, Fontainebleau and Versailles are much, much larger, I have to say that Rohan is just as grand, extravagant, opulent. After getting my ticket to see all three museums (the Museum of Decorative Arts, the Museum of Fine Arts, and the Archeology Museum) for free thanks to my Carte Culture, I head toward the Musée des Arts Décoratifs on the ground floor. I turn the small handle, walk through, and shut the door behind me. I was not prepared for how seemingly so quickly I could be yet again transported to another world altogether. The very first room is a flood of white: white marble floor, white ceiling, and the walls are the same pale-blue-gray-ivory white like in the Grand Salon at Château de Pourtalès. But the gold! The gold filigree trimming was everywhere. Around paintings, sculptures, busts, windows, and doorways. It traveled all the way from the flooring to the ceiling twenty feet up.

The largeness of it all makes me feel small. The history of it all makes me feel distant. But it is all so close and present at the same time. I am here and yet it does not quite feel real. I touch a cold marble column to make sure it is real. The sunlight spilling through the curtains feels warm. I must be somewhere, and yet I am unsure, displaced. There are hardly any words to label my dilemma, but “ungrounded” might be a close fit. I leave the marble room and begin my tour of the smaller rooms. Here, the floors are interlaced wood tiles, again like back at the château. At the end of the hall I find the library.

All of the walls are lined with shelves and old leather bound books shielded from visitors’ prying hands by what appears to be some sort of chicken wire. Sunlight exposes the dust floating in the air, moving so slowly it seems to be still in my vision. Busts of men from history line a long shelf. A rectangular table, surrounded by mahogany, red-cushioned chairs, anchors the center of the space. No detail is left unaccounted for, down to the chair cushions which are stitched with vines and leaves and a large bloom on the seat back. This was a magic place. The weight of what has transpired here, and by what was destroyed in the war, weighs heavy on the creaky wooden floors. Its near-perfection of fantastical, historical setting is made real by the cracks in the walls and ceiling here and there. Even in so grand a place, time is quick to follow.

I explore the other rooms in a half-daze. Each new space leads to me continually ask, “there’s more?” rhetorically. I am stunned by the abundance of opulence. The furnished rooms, the china porcelain plates, the clocks, the statues and figurines, the marble busts, paintings, tapestries of mythological wars all make up the Museum of Decorative Arts. And this is all just the ground floor. Back out of the same small door through which I first entered, I ascend the stone staircase to the first floor. Here resides the Museum of Fine Arts. Paintings, mostly of a religious nature, line the walls and date from the early 1600s to the mid-1850s. I may be mistaken there, and the dates reach further forward and back in time. I think what will always surprise me is how vibrant these centuries-old colors are still. From portraits to landscapes, the paint feels fresh, as if done just yesterday.

The Archeology Museum is in the basement. That seems appropriate in a way since most of what is stored in the museum are all things that have had to be excavated from underground. It is a veritable treasure trove, indeed, of history’s unwritten stories. Literally digging through the past to discover our ancestors, archaeologists share with us what they find and learn. I believe archeology may be humankind’s most tedious and rewarding puzzle. I see bones and tools. There are weapons and carts. Dig sites are mapped out and thoroughly, carefully, inspected.

Passing back over the courtyard threshold, I am leaving Rohan Palace and the three museums. There are more people in the square now. The sun is past noon in the sky and now the light is pierced by the cathédrale spire. I am trying to soak it all in, all I had just seen. I am trying to solidify it in my mind and memory. One of the benches nearby offers a warm seat in the sun. I sit there and pass the time, letting the memories settle.

I will return, soon.

Schweitzer soirée

5 FEB 2017

The three performers enter into the Grand Salon where our audience of about sixty people sits. I am one among those applauding. The two actors, a lady and an older man, and a cellist are dressed all in black. The type of chic black reserved for those of the theatre if one can imagine such a thing. Tonight is a special night for the château. Tonight, Albert Schweitzer’s love letters to who would become his wife are read, performed. We finish our introductory applause and let the performers take their seats.

The cellist makes a final adjustment to her strings, and then begins to play. She plays a short tune and then stops. Right away the man stands and begins to read the lines of the first letter. Albert Schweitzer and his love were both near or from Alsace, so the letters are written and read in a mix of German and French. Which is great for the audience which presumably speaks both languages. I am one of the only ones here who has come simply to enjoy a performance even though, once again, I have no idea what they’re actually saying.

I take this opportunity to really get a good look at the Grand Salon. The large room is lit by five chandeliers and two candelabras on the hearth. The floor is made up of interlacing wooden tiles. During the day, sunlight gives the walls a pastel blue-gray appearance, but at night, as it is now, the walls are a soft white. All along the walls are swirls of golden leaves and gold trim. The candles make the golden accents glow. The wooden panels and mirrors are outlined in gold, the footing and the ceiling trim are as well lined in these spirals of golden laurels. At the north end of the room there is a half-cupola-domed bay window, under which resides a black concert piano. In the half-dome are carved flowers, like daisies, larger toward the outside and they get smaller toward the center, painted in the same pastel blue-gray-soft-white with a bit of gold for the central florets.

This room seems plucked from Fontainebleau or even Versailles. Six paintings call this place home. There are two on the west wall. One seems quite old, the other was painted in 2008. The old one is a landscape, a bay with mountains and cliffs, trees and partly cloudy blue sky. The newer one is a painting of an art museum hall. If I had to guess, I would say the Louvre. On the east wall, the other four paintings reside. These are a single collection, each about three feet wide and six feet tall. Each one bears a woman standing on a cloud against a vibrantly blue sky. Each woman represents a season. From left to right, I would venture winter, autumn, summer, and spring. While I cannot find a date, they seem new like the museum painting.

The women of the seasons set the backdrop for the performers’ stage (not really a stage, but all the same, “stage” is a better word than “area”). Between autumn and summer is the gray marble fireplace, carved with leaves and flower buds its own. In it, a grate holds a cast iron pot. On the face of the hearth is carved a bearded man in profile wearing a laurel wreath. It reminds me of an ancient philosopher. On the hearth sits a glass enshrined golden clock. “Ornate” is not sufficient, I think, for how to describe the detail of this particular piece of craftsmanship. Four legs support the main platform which itself is draped in leaves and berries. A smaller platform rest just above the first. On it, to the left, appears to be a set of bagpipes covered in a variety of cut flowers and a tambourine. On the right, there is a large tankard. In the center, there is a large wooden cask set on its side, its top houses the clock face, and on top sit a merry man playing the viola. His fashion seems 1700s splendor. All, all of it in bright, crisp, shiny yellow gold. At the top of the hour, it strikes its tiny bell.

The performance takes a turn from the usual routine when both letter readers put down their letter portfolios, stand, come together, and dance a simple waltz. I imagine this is not very different to how lords and ladies or old were entertained: in grand rooms with committed artists, surrounded by friends and strangers, expectant of the wine sure to follow. After about thirty more minutes of a well-done performance, we clapped, and the performers took their bows and left out into the entry hall. The Leibrechts thanked the audience and told us about the wine, which was sure to follow.

We flow like a steady stream through the entry hall into Salon Rouge to meet again with the artists, this time in a less formal setting. A long table with white table cloth with set against the west wall bearing empty glasses meant for guests. I had agreed earlier to help with this evening’s festivities in exchange for a free ticket to the performance, so now my task is at hand. Alongside a few of the students from Humber College, who are also staying that the château, and the wine producer, I help serve glasses of crémant, gewurztraminer, riesling, and pinot gris. The wines and the crémant all come from a local Alsatian winery. The crémant, I am told, is an exceptionally good one, perhaps the very best of the Alsace region. For the wines, the gewurztraminer is the night’s biggest hit. Guests stay until nearly all of the wine and all of the pretzels are gone.

After about another hour and a half, the guests are all leaving. The performers are some of the last to depart. I wish I could have spoken more with them and some of the other guests, but alas, I am not yet proficient in French. My loss indeed, but I am still happy for having been a part of it all. We put away the chairs, sweep the floors, wipe the tables, and throw away the trash. Our little crew is awarded a delivery pizza dinner. It may not sound like much, but let me say here and now, that was some of the best pizza I have ever had. It is the little things after all that make these kinds of nights all the more memorable.

Misadventure from morning to midnight

4 FEB 2017

The deep, velvet-silk green of Norway spruce, Scots pine, and Douglas fir trees blend and blur as the train car speeds past them. Paired with snow-covered ground and overcast sky, I can see why this place might be called the Black Forest; the density and darkness of the trees and brush appear black against the white of winter. It is nearly hypnotic, this mix of textured green, snow white, and train ride. When I am not surrounded by the woods, I can spy the hills and mountains that I am traveling through on my way to Lake Titisee from Freiburg im Breisgau.

It only just occurs to me, though, that with it snowing so strongly and being so cold, that the lake may not be the best place to go. Of course, I had Googled images of Lake Titisee, and all of the photos looked great, nice, no-snow green and blue. Of course, those were probably not taken in winter. Oh well, I am enjoying the train ride all the same. After a quick search on Google Maps, it appears as if the train will continue on past the lake and then turn north. When the train turns south and passes around the lake, I look out over a snow-covered field to try to see the lake… only to determine/discover that the “snow-covered field” is indeed the lake, frozen.

Back to Google Maps I go to figure out where this train is heading. I realize I have no idea, and I decide to get off at the next stop, Feldberg-Bärental. It is right next to the Rotmeer Nature Preserve, but that, too, is snow-covered. The next train back to Freiburg arrives in an hour. Standing at the outdoor train station is not an option. It is snowing, freezing. I cannot help but laugh out loud a little at my misjudgement of the weather and at the unexpectedness of it all. There are a lot of other people there, much better prepared for the snow and cold as they seem to be here for skiing.

A short walk up a little hill in the mountains, and I arrive at Café Erich Bizenberger. The cafe is warm and bright. Table tops look like freshly cut wood, treated with some sort of clear overcoat to make them shiny. I can see rings of trees’ age in imperfect circles. The interior of the cafe gives the appearance of a log cabin, though it looked nothing of the sort outside. On shelves, there is a variety of tea pots with matching tea cups and saucers. On the wall, there are a few of the famed Black Forest cuckoo clocks. Behind the glass counter, there are sweets and pastries. I do not understand how everyone out here is not terribly overweight. Perhaps it is all the walking. I order a cappuccino and beignet. The coffee is nice and hot, and just the thing I needed.

An hour passes. The return train arrives. I board. Back toward Freiburg, it begins to get dark. The twilight here seems short. It feels as if I went into a short mountain tunnel during the daylight and emerged into the night. At Freiburg’s Hauptbahnhof, dinner is needed. Walking down cobblestone streets, past centuries old buildings, much like those in Strasbourg, I make my way toward the city center. Though I am looking for somewhere to eat, I cannot help be steer toward the tower I see peeking over the other buildings’ roofs. There is a skinny alleyway, about, I would say, only four or five feet wide. I go down it, and when I exit out the other side, there looms large the Freiburger Münster.

This behemoth gothic cathedral built and finished in the Middle Ages, and which survives the bombing raids of 1944, is not lit at night as Notre-Dame de Strasbourg. So here it is. In the night’s dark, the bulking forward tower reaches toward the moon and stars. The tower looks more like it should be attached to some massive castle, defending the surrounding town. The bells begin to ring, and these sound as if they both beckon and warn. They have beckoned and warned for the past 687 years. The cold from the stormfront seems to be sweeping in, snatching me back from history.

Rounding a corner, then another, I see a busy restaurant, Schlappen. Inside, it is warm and smoky. Smoking cigarettes is permitted, so the smell of good food is polluted by the reek of burning tobacco. But it isn’t so bad that I want to leave. No, I am more hungry than displeased with the stuffy atmosphere. At a table in the back, I manage to order sausage and bread. The sausage is served with a knife and fork, but for what reason, I do not know, because the sausage is impossible to cut. Turns out, it is a type of dried jerky and not what I had expected. It is easier to break apart than to cut. However it is, it is good all the same. It is quite possibly the best jerky I have ever had.

What started out as a late day, and a fun train ride through the Black Forest seems to end fittingly at a bar in Freiburg. Now all that is left is to make my way back to the château in Strasbourg. A simple, regional train ride to Offenburg, then a quick transfer to Strasbourg’s Gare Centrale should do it. When I get to Freiburg’s hauptbahnhof, I look at the train schedule. There is a train coming in just a few minutes that will take me to Offenburg. Great.

Except when this train, that I have now boarded, decides to quit running. The small, rural station at which Clarissia, Rebecca, and I are dropped off (it feels more like we were dumped here rather than “dropped off”) at is in Emmendingen. This is the type of small town that sleeps at night. So naturally, the station is not open, the lights are all off, there are hardly any streetlamps, and us three, in the late evening, standing on the platform, not able to speak any German, cold, and confused. Thankfully, Rebecca does know some German, and she is able to communicate with who seems to be the only other soul on the platform. He tells us about the bus.

We find the bus, we board, and we ride for about fifteen to twenty minutes to the next station. We exit the bus, walk up to the platform, and wait for the train. Conferring with the posted schedule again, the train should arrive in about ten minutes. When it does not come, we are once more, anxious and confused. And again, Rebecca is able to find out from the only other person there that the regional train has stopped running completely all the way to Lahr, Germany.

The bus only comes once every hour, so for nearly an hour we wait. This bus ride to Lahr, thank goodness it actually goes all the way there, lasts for about an hour on its own. It is almost 10 P.M. by the time we get to Lahr. Here, there are a few more people than just us, so, good sign… right? Turns out, none of them really knew what was going on either. Anxiety setting in, twenty more minutes passing, and finally, finally, the lights of a train come into view. This must be it. The train gets closer. It seems to be going pretty fast. I can hear it. I can feel it.

Standing at the near-edge of a platform when a bullet train barrels past me at about 160 mph is a sensation I do not wish to repeat. The air the train was pushing to the sides out of its way becomes a wind that forces me to step back a bit. Indeed, this train was never going to stop. It had no intention of stopping. This is a regional stop and the ICE bullet trains are not regional trains. Could this night go on any longer. Apparently, so. About five minutes after the ICE train, we see more train lights. Like some saving grace, we all stare right at these, almost willing the train to stop. It does, because it, finally, is a regional train.

The train from Lahr to Offenburg is only about a thirty-minute ride, but we are beginning to cut it close with what time these trains stop running for the night altogether. At Offenburg around 11 P.M., I see there is another train to Strasbourg. It comes in forty minutes. Forty minutes in the cold of a large train station is not so bad with the company I had. Thanks, Clarissia and Rebecca. We all talked like kids in the night on the tail end of a grand misadventure, hanging out in the hauptbahnhof.

“[German, German, more German, and some more German] Strasbourg hauptbahnhof [more German]” came on over the loudspeakers. Music to my ears even though I did not understand a word. This train looks less like a typical train and more like a bulky tram. Whatever it looks like, it is our ride home and we get on board. Twenty minutes later, and at midnight, the three of us are back in Strasbourg. We manage to catch the second-to-last C tram to the second-to-last E tram which takes us to the Robertsau stop.

Forty more minutes, and we are walking up the château driveway. The walkway lanterns herald our approach by brightening (the streetlamps are motion-detecting dim lights that actually get brighter as something/someone moves into their immediate area). Door-code entered, entryway cleared, stairs ascended, hallways traversed, and I am at last, after a very long, but exciting day, sitting at the table in the student kitchen, drinking my hibiscus tea. Not long after, and I will be in bed, passed out.