A year had passed since my last trip the Canary Islands. Now it was time to go back—for this trip, to the island of Lanzarote. This time, however, I was traveling on someone else’s dime. Rebe had bought me this weekend trip as my birthday present. Relationships sometimes do pay off. 

The view of the Madrid mountains from the plane window

Lanzarote is the fourth largest Canary Island by area, and the third largest by population. It sits at the northeast extreme of the archipelago, its form like a squiggly oval in the sea. The main thing that I had been told about the island is that it is Martian: bone dry, bereft of vegetation, and covered in red volcanic soil.

As with last time, we would have to rent a car to traverse the island. I was only slightly less nervous about driving than I had been last year. The added time had not added to my experience. I had been behind the wheel remarkably little in the intervening months. At least the car was cheap, and came with insurance. Once again, we rented with PlusCar, and got a Honda Prius with automatic transition (I can’t drive a stick) for about sixty euros, with everything included.

Soon we were on the road. My informants had been right: the island looked like another planet. Misshapen mountains swelled out of the flat red desert, where scarlet soil alternated with fields of black igneous rocks. As in Andalusia, nearly all of the buildings were whitewashed—a recourse against the sun and the total lack of shade. These low-lying dwellings nestled within the wide space, connected by roads that cut through the land at arbitrary angles, there being almost no obstacles in the topography. Though the landscape gave every impression of being inhospitable, the weather was almost perfect: warm but not hot, with a gentle cooling breeze.

Why is Lanzarote’s bone-dry climate so different from the verdant Tenerife’s, which is only a few hundred kilometers away? I suppose the answer must be elevation. The high peak of Teide, Tenerife’s central volcano, captures the mist rolling in from the clouds and channels it downwards to the valleys below; while Lanzarote is quite flat by comparison.

Human habitation on these islands goes back a surprising way. As I mentioned in my previous post, the islands were inhabited by an ethnic group known as the Guanches before the Spanish arrived. But before the Guanches established themselves, the islands were visited by several ancient peoples, most notably the Romans, who left archaeological remains near the pueblo of Teguise. The great geographer Ptolemy even gave the islands’ exact locations. It is a wonder that it did not become a popular vacation spot sooner.

Our plane landed in the afternoon, so our first order of business was, naturally, to have some lunch. We stopped in a place called El Moreno, which specializes in grilled meat (though, again, one wonders where the animals are living). Both of our dishes were delicious. Canarian food has so far never disappointed me in its richness and its simplicity.

From there it was a very short drive to our first stop: the Fundación César Manrique.

Few architects are as emblematic of a place as César Manrique is of Lanzarote. The only comparison I can think of is Gaudí’s relationship with Barcelona. Manrique was a prolific Spanish architect who spent much of his career in New York. Indeed, Nelson Rockefeller—a lover and patron of modern art—paid for Manrique’s apartment. Upon his return, Manrique set about transforming the landscape of his native island. It is largely thanks to him that there are no high-rise buildings or ugly billboards obstructing the natural beauty. He also helped to implement building codes that insured that all buildings have a traditional look. That the island is so well-composed is largely thanks to him.

But Manrique also built his own works of art, scattering them on every corner of the island. The building which serves as the headquarters of his foundation, called the “Volcano House,” was his own home for twenty years.

Anyone expecting the architectural exuberance of a Gaudí will be disappointed. Rather, Manrique’s style is made to highlight and complement the island’s natural beauty. Thus, upon entrance the visitor finds herself in a courtyard filled with exotic plants and little ponds. The only explicitly artistic touch is the mural running across the back wall—which, to my eye, bears the obviously traces of Miró’s style. The low walls also afford a glimpse at the landscape beyond, which rises up into red hill in the distance. It is a charming and comfortable space; yet I found myself slightly disappointed at the simplicity. 

But this feeling disappeared when I descended to the lower level. Manrique put his house on land still scarred by volcanic eruptions. Several craters pockmarked the terrain, which Manrique turned into subterranean rooms—a posh living room, a dance floor, a lounge, a spot for grilling, and a small swimming pool: all decorated with sleek furniture. Manrique carved out tunnels to connect these five spaces, and the feeling is that of being in a high-class nature resort. In the main building some of Manrique’s drawings, paintings, and ceramic work were on display.

Even after this performance, however, I admit to being somewhat less than awed by Manrique’s work. It is admirably simple, and it complements the landscape remarkably well. However, I thought that it lacked a forceful personality behind it, and that it well beholden to a vision of tropical paradise which I did not share. But this was only the beginning of my acquaintance with Manrique’s architecture. For, as I soon learned, there is not a single corner of the island that does not bear his fingerprints.

I should also mention that we met one of Rebe’s friends at the Fundación. He’s from another Canary Island, and had met Rebe during a camping trip. Unfortunately for me, I found his Canary accent to be so thick that I could hardly understand a word he said. It is a very different sort of Spanish.

Now it was finally time to check into our Airbnb. Our bags had been sitting in the car the whole time. Rebe had rented a room in a house a little bit outside the town of San Bartolomé. Like so many places on the island, the neighborhood seemed to be in the middle of nowhere. We parked the car and went inside. Already I marvelled at the total lack of parking regulations. “We don’t care about that kind of stuff here,” our host explained. The house was entirely typical: whitewashed, with a tile roof, and surrounded by a fence enclosing a small garden. The interior was of a piece with the outside: mostly empty, with white ceilings, white walls, and full of viny plants.

The beauty of Lanzarote was already beginning to get under my skin. It is the beauty of barrenness, of emptiness, of the desert. It is the beauty of wide open nothingness. What few structures there are—trees, houses, hills—stand out amid the cloudless sky and even terrain, presented as in a minimalist work of art. It is a place that I could get used to.

Since we arrived relatively late, it was already evening when we had settled into our Airbnb and were ready to leave again. Inevitably, we decided to visit another work of Manrique, the Jameos del Agua.

The road there took us across the entire length of the island. When we got into the car the sun was already setting; in half an hour it was quite dark. So far I had been doing decently well in my driving. But piloting in the dark unnerved me. I had hardly any experience with it. On the highways it wasn’t bad, since there were many other cars illuminating the roads, as well as some street lights. And many of the main roads off the highway were lined with reflective plastic.

But our route took us through local roads with no luminescent resources whatsoever. I was driving blind, only able to see the next twenty feet of road in front of me. There were not even any natural contours to the landscape to help orient me; the road was a flat surface surrounded by a flat plain—a line of black asphalt imposed over black volcanic rock. Needless to say I did not find it especially relaxing, and I slowed down to a crawl.

Eventually we reached our destination. It was around eight in the evening and the large parking lot was mostly empty. From the outside the place didn’t look like much—a few nondescript buildings in the middle of nowhere. We paid the entrance fee and went inside, and a winding staircase led us down into a large crater. There we found a restaurant: elegant tables, chatting guests, and a well-stocked bar.

A kind of manufactured “cool” music was pumping through the sound system—a mixture of wavy atmospheric synth and insistent drums, with a woman’s ethereal voice intermittently crying over the ruckus. Such music immediately set the tone of the place: loudly expensive. I did not like it. Though we had not eaten, we did not even consider ordering something from the restaurant, since even a beer was sure to be twice its usual price. Instead, we moved towards the central tunnel.

This is easily the highlight of the Jameos del Agua: a volcanic tube connecting a crater on either end. In the tunnel is a salt-water pond, where a strange species of indigenous lobster lives: the Munidopsis polymorpha. In size it is closer to a shrimp than a lobster, indeed even smaller; and its color is albino white. This diminutive create is blind, and is only found in Lanzarote, for which reason it has become the island’s symbol.

Nearby signs advised us not to throw any coins into the water, since this pale lobster depends on a fragile environment. Meanwhile, shifting lights on the ceiling and bottom of the tunnel silhouetted the jagged rocks. I tried to photograph it but the effect proved too delicate for my camera’s light settings. After admiring the cave for a good while—trying to ignore the irritating music—we moved through the tunnel to the other side. Here we climbed a staircase to another crater.

This space resembled a resort: with lawn chairs, a bar, umbrellas, and a pool in the center. The water glowed neon blue in the darkness. Further on I discovered a concert hall. This was by far my favorite part of the Jameos. The hall was beautiful—built into the cliff side, with rows of seats underneath the amorphous igneous rock. Here the bad mood-music could be heard no more; the space was sonically isolated. It must have had motion sensors, too, for when I entered the lights turned on and music began to play on the hall’s speaker system. It was a medieval motet. Ghostly voices reverberated throughout the hall, slowly ascending and descending in Latin syllables. It was gorgeous. And I was there, alone, to appreciate it: the sounds of heaven under the earth.

Despite the place’s commercial and even tacky aspect, I enjoyed the Jameos del Agua. In the stillness and blackness of the night, with very few people around, it had the mystery of an abandoned place.

With another ride through the night, and a quick dinner at a pizza place, we were already finished with our first day at Lanzarote. The next day was our last.


Our first stop the next day was the island’s national park: Timanfaya.

The drive there took us into a landscape that was even more barren than usual. The soil glowed red in the morning sun as the car passed miles of flat terrain. It was hard to believe that we were going anywhere, as the terrain was so rhythmically monotonous. But the voice of the GPS directed us forward, until we were instructed to turn off the road, towards a statue of a little devil that said “Timanfaya.” (This demon, the symbol of the park, was designed by—you guessed it—César Manrique.)

There, a man in a little shack took our money—it was cash only—gave us tickets, and allowed us to go on. The ground here was no longer red and sandy, but dark brown, rough, and arranged in messy piles. The road took us up a slight hill and towards the visitor’s center, where we were waved into a parking spot. Timanfaya has no trails, only roads; and you are not permitted to drive around it yourself, but must take one of the park’s bus tours.

We boarded the bus, along with about twenty other visitors, and set off to see the UNESCO biosphere reserve. I had little idea what to expect as the bus lurched into motion. A recording began to play on the bus’s sound system, giving us information about the park in three languages: English, Spanish, and German (more languages are available on the park’s app). The bus crawled into the volcanic landscape; and I was repeatedly amazed at the driver’s skill, for it must not be easy to maneuver a large tour bus on the narrow, twisting, uneven road.

The devil statue is an appropriate symbol for Timanfaya, for it is a hellish landscape. The audio guide informed us that it was formed during the island’s most recent volcanic eruptions, in the 1700s. Indeed, the guide even included readings of some eyewitness testimony of the cataclysm. (I believe there were no human casualties.) The ground writhed and churned like a storm-tossed sea. The rock itself had grains, like the wood of a tree that had grown around some impediment. Hardly a speck of vegetation was in sight. I found it impossible to capture the impression by taking photographs through the bus’s windows. The tortured mounds of black and red rock created the nearly nauseating sensation that the ground was alive. 

This is the closest that I have ever been to a volcanic eruption, and it was a powerful experience. Since I have lived in seismically inactive areas all my life, the idea of the earth moving—or, more radically, of the earth spitting up more earth—is difficult for me to even imagine. But in Timanfaya, the evidence of volcanism is so perfectly visible that it is impossible to forget the perpetual burning which boils beneath our feet. 

The visit was, however, surprisingly short. In about forty minutes we were back in the parking lot. Near the visitor there are some pits and holes in the ground. There, a park worker was demonstrating the still-active volcanism of the area. He did this by pouring water down one of the holes, only to have it shoot up in a geyser of steam moments later. I almost had a heart attack the first time. He also stuffed some straw into one of the pits, which promptly caught fire due to the escaping heat.

After witnessing these marvels of nature, Rebe bought some knicknacks at the visitor’s center, and we were on our way again. We next wanted to see Lanzarote’s capital: Arrecife.

The city first presented itself as rather ordinary and unremarkable—a collection of whitewashed buildings and crowded streets. But the prospect considerably improved once we walked to the shore. Arrecife is Spanish for “reef,” and it takes its name from the rock reef that lines the coast. The water was blue and shimmering; and even though we were at the port, it was full of swimmers. Further down we saw Arrecife’s beach, the Playa del Reducto—a typically idyllic combination of sand, sunbathers, palm trees, and resorts.

Soon we came upon the city’s most historic landmark: the Castillo de San José, a small fortress built in the 1700s. It is on an island attached to the mainland by a stone walkway, much like the Castillo de San Sebastián in Cádiz, only more diminutive. Crystal water lapped both sides of the walkway, and the wind whipped up once we reached the halfway point. Two old canons stand guard before the weatherbeaten castle, two hollow tubes before a now obsolete edifice. The fortress now houses a small art museum, but I did not know this at the time, so I did not pay the entry fee to go inside. 

Looking back towards the shore, we could see the Church of San Ginés, perhaps the most notable house of worship on the island. The current structure owes its form to the 17th and 18th centuries; but it was built over the first hermitage on the island, which was established in 1574 to house an image of the island’s patron saint. A flood swept away this original building in the 1600s. Nearby is the Charco de San Ginés. Charco is Spanish for “puddle,” but this is a man-made bay where fishermen moor their colorful skiffs. Needless to say that it was designed by César Manrique.

Our next stop was, of course, yet another of that indefatigable artist’s work: the Mirador del Río. This is on the north-eastern side of the island, somewhat close to the Jameos del Agua, so it took a little time to get there. Thankfully we weren’t driving at night. The road took us up above the sea, passing little villages and some scattered wineries. From the outside the Mirador doesn’t look like much. The parking lot is adorned with one of Manrique’s mischievous statues, but the building itself has been disguised by being built into the cliffside.

We walked in and prepared to pay the entrance fee.

“You don’t want to go in,” the ticket man said. “There’s lots of fog. You can’t see anything.”

“Really? Uh… thanks,” I said, and we began to walk back to the car. 

“Now what?” Rebe said to me, rather disappointed that we had come all this way for nothing.

“Don’t listen,” we heard a voice say. It was a Spanish woman walking out of the Mirador. “Even with the fog, it’s nice.”

“Oh… thanks!” we said, and went back inside.

“You sure?” the ticket man said, seeing us again.

Only in Spain does the man selling tickets try to dissuade you from paying.

Like nearly everything Manrique built, the Mirador del Río has a parking lot, a gift shop, and a café. The man may not have been a groundbreaking architect, but he understood tourism. As usual, the interior is sleek and chic, with curving walls and hand-made metal chandeliers. The space opens up through two enormous windows, revealing the famous view.

Unfortunately, the ticket vendor was right: it was a foggy day. Normally one should be able to see the neighboring island, La Graciosa, and the narrow channel of water between them (called el río, or “the river”). But this sight could only be snatched at intermittently, when gusts of wind blew the insistent fog away. It was impressive nonetheless. The overlaying mist, which smelt of moisture and ocean, lent a mysterious grandeur to the distant island, only visible in stolen moments. And, true to form, Manrique did a wonderful job in integrating the structure into its surroundings; even the gift shop did not seem out of place.

A glimpse of the famous view

Daylight was waning; our time in Lanzarote was coming to an end. For a last stop we went to the nearby Famara Beach, one of the island’s best-known beaches. The sand stretches for miles, and the cliffs of Famara make a picturesque backdrop to the coastline. However, the current was strong and the wind was cold, so there was not a soul in the water. Volcanic rocks were scattered amidst the sand, trapping pools of water here and there. Very carefully, I placed my camera on one of these rocks and set the timer. We had to have at least one photo together on the trip. 

After our fill of salt and sand, we got back into the car to go home. But we decided to make a quick stop to the nearby pueblo of Teguise on the way back. It is certainly one of the more charming villages on the island, with several historic church buildings, old cobblestone streets, and a view of the beach below. In the pale blue light of the dusk, the white buildings had an almost ghostly glow. Here, again, was that spare beauty of the desert, which I had quickly come to cherish. 

The next morning we dropped off the car, boarded the plane, and returned to Madrid. (I should mention that we used PlusCar once again and it was just as cheap and convenient as before.) Just as in Tenerife, I wished that I could have spent more time on the island—far more. Both of the islands were pleasant in the extreme: friendly people, fresh food, temperate weather, and intoxicating natural beauty. I envy the people who live there.

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