Dresden: Out of the Flames

After Spain, the country that I got to know best during my time in Europe was Germany. This was, in part, because I was studying the language. But I also came to love Germany because, in some ways, it reminded me of home. Perhaps it was the climate (very similar to New York), or perhaps it was the modern style of architecture, or perhaps it was certain aspects of the culture—more reserved and pragmatic than Spaniards. For whatever reason, I felt very much at home whenever I was in the country, which is why I visited at least once a year.

Yet I was not feeling particularly good on a bright May morning in 2024, as I set foot in Dresden. After enduring a very early flight, a layover in Munich, and then another cramped airplane seat, I felt sleep-deprived and dehydrated. More than that, I realized—with horror—that I was getting sick. But I was not going to let any physical ailment impede my vacation. Resolutely, I dropped off my bags and marched off to the center of Dresden.

Dresden presents itself to the visitor as a landscape of royalty, where stately buildings tower over cobblestone streets. In many ways, it reminded me of Vienna—a place where “high” culture (opera, theater, ballet, the fine arts, and so on) went hand in glove with the ruling class. And the architecture of the old town—refined, ornate, stately—makes this exceptionally clear. Of course, what the modern viewer sees today is a kind of illusion. Virtually every building has been rebuilt since the Second World War. But it is a very convincing illusion.

Though Dresden has not been an important center of power in modern times, historically it has served as the seat of the Saxon kings, who ruled over this part of Germany (as well as Poland, for a time). To get an idea of this long and distinguished history, the visitor can do no better than to visit the Fürstenzug (or the Procession of Princes). This is a massive porcelain mural—the largest in the world—that depicts all of the heads of the ruling house of Wettin for nearly one thousand years. Stretching over 100 meters (or over 330 feet) on the Augustusstraße, the mural depicts 35 rulers chronologically from left to right—and gives the viewer a visual representation of Saxony’s long and rich history.

As a mark of royal power, Dresden has historically been a center of the fine arts. This was illustrated by my first visit, to the Gemäldegalerie Alte Meister (The Old Master’s Picture Gallery). This is exactly what it sounds like. And it is housed in an appropriately ornate edifice—indeed, a literal palace. This is the Zwinger, one of the most important baroque buildings in Germany. Admittedly, what stands today is a reconstruction of what was destroyed during the Allied bombing; and when I was visiting, some of the inner courtyards were undergoing heavy restoration. Still, from the exterior the building maintains an impressive grandiosity, especially seen from the other side of its watery moat.

After climbing up the monumental stairway, I found myself surrounded by room after room of masterful paintings. It never ceased to amaze me how even lesser-known cities (nobody I know has been to Dresden, for example) can have first-rate museums. As a case in point, here you can find works by Rembrandt, Titian, and Vermeer.

I was particularly interested in the monumental paintings of Bernardo Bellotto. This Italian artist was the nephew of the famous Canaletto—who made such iconic images of Venice—and followed in his uncle’s footsteps with his own careful renderings of cityscapes. Indeed, Bellotto’s paintings of Dresden have an added historical importance, as (notoriously) the old city was almost entirely destroyed by Allied firebombing in the Second World War. But more on that later.

*A view of Dresden and the Elbe. Notice the Frauenkirche on the left.*

The most famous piece in the museum’s collection is, without a doubt, Raphael’s Sistine Madonna. It is classic Raphael—perfectly graceful, harmonious, and beautiful. But like many viewers, I find the “putti” (the little angels) at the bottom to be the most charming part of the composition. They are so very human—with expressions mixed with curiosity and boredom, so discordant in the triumphant heavenly scene above. One wonders what Raphael, a pious man, was thinking when he painted them.

My ticket to the Gemäldegalerie Alte Meister also included an entrance to the Mathematisch-Physikalischer Salon (yes, the Germans are snappy with names). This is in another wing of the Zwinger palace, and it is a museum devoted, not to art, but to science. I do tend to think that the history of science is unduly neglected in wider culture. We tend to encounter science as a finished product, with all the trappings of modern technology. But in the days before science was so strictly divided from the humanities, it was more approachable and, arguably, a more aesthetically sensitive venture.

This scientific salon goes back to the early 18th century, and has been housed in this palace since 1728. The collection consists of historical—and quite beautiful—scientific instruments, divided into four categories: mathematical devices, clocks & automatons, telescopes, and globes. Every section is full of wonders. The calculating devices (which use mechanical means to do complex operations) are the forerunners of computers, while the automatons—such as a bear that plays the drums—are the first attempts at robots. Both the globes (made before much of the earth was mapped) and the telescopes are evidence of what may be our species’s finest quality: curiosity.

I did my best to feel wonder and awe as I gazed at these artifacts of human genius. But I was really feeling sick by now, and it is hard to be moved in such a state. So I walked back to the Airbnb, ate an early dinner of Vietnamese pho—absolutely the right choice—and went right to bed. Nothing, not even a microbe, was going to ruin this vacation.

The next morning, after over 10 hours of sleep, I woke up feeling fit as a fiddle. To celebrate, I decided to see a little nature. After a trip on the S-Bahn line one, I got off in a little town called Kurort Rathen. From there, I caught the ferry that crosses the Elbe River. There, it was a short distance to the Sächsische-Schweiz national park.

The name translates to Saxon Switzerland, as the Germans—whose country is quite flat in the north—have a tendency to call any hilly area “Switzerland.” In truth, the rocky mounds that I encountered here had little resemblance to the snow-covered alps. Still, it was a beautiful May day and the forest was green and inviting.

I climbed up a path, navigating hordes of picnicking Germans and busloads of all sorts of tourists—Chinese, American, French—to eventually get to the main attraction: the Basteibrücke. This is a monumental sandstone bridge that connects the several peaks of the Bastei, which is an otherworldly assortment of stone spindles, formed over millennia of erosion. Even amid the crowd, the strangeness of these rock formations was absorbing.

Further on, I reached a rest area with a food stand and a viewpoint, where I could eat a sausage while I contemplated the Elbe valley. The countryside was almost pastoral, and reminded me very much of the Rhine Valley in the far corner of the country. “Is this just what Germany is like?” I wondered. A tall German beer aided my ruminations; and that, after some mulling about, I was barreling down the hill back towards the ferry.

However brief, this dip into the forest was refreshing. Madrid, though beautiful in so many ways, is never lush or woodsy in the way that I crave. Once again, Germany managed to remind me very strongly of the landscapes of the Hudson Valley, where I grew up. In other words, once more I felt strangely at home in this country.

After a return trip on the ferry, I got back on the S-Bahn. But I did not take it all the way back to the center of Dresden. Rather, I got out early to visit another attraction along the Elbe: the Blaues Wunder. This is the pet name for the Loschwitz Bridge, a cantilever bridge connecting both sides of the river. Constructed in 1893, it was considered something of a technological marvel at the time (thus its name).

Nowadays, it is beloved more for being one of the few things that survived the destruction of the Second World War. Set to be blown up by the retreating SS, two ordinary citizens reportedly took it upon themselves to cut the detonation wires. I did not know that historical infrastructure could be so inspirational. In any case, as I stood on the bridge contemplating the river, I cannot say that I found it especially blue nor especially wondrous.

I was more taken with the SchillerGarten. This is a nearby Bier Garten, one of the best in the city. And this was the setting for my next beer/sausage combination—which I enjoyed as I idly watched the river flow by. As a side note, while it is not fine dining by any means, I have to admit that I always enjoy the fare at German restaurants. Simple and hearty, it pairs admirably with their beer—which is, of course, world-class. Indeed, in subsequent days I would spend quite a bit of time at other beer gardens overlooking the river, most notably the Augustgarten closer to the center. Nothing is more pleasant on a sunny day.

Needing to work off this meal, I decided to walk the rest of the way into the center of the city. This took me along a region of the Elbe Valley that was once considered a UNESCO World Heritage site. This designation—granted for its mixture of natural meadows and the many historical buildings alongside the river—was sadly revoked in 2009, as a result of the construction of the Waldschlösschen Bridge. Ironically, this bridge had to be built to relieve traffic on the aging and (by modern standards) narrow Blaues Wunder. History is rich in ironies.

As I walked along the meadow, I hardly felt that I was going anywhere at all—so flat and green was the landscape around me. But I did not follow the course of the river until the familiar profile of the historic city center came into view. Instead, I turned north, walking through the newer part of the city, until I reached a strange building that looked like it had been pierced with a sharp object. This was the Bundeswehr Military History Museum.

The building has a telling history. Beginning its life as an armory in 1876, it has since served as a museum for the Nazis, the Soviets, as well as East Germany. Closed during reunification, it was eventually decided to re-open the museum, but with an important redesign. This is the aforementioned sharp object—a transparent arrowhead, designed by Daniel Libeskind, a Jewish architect—is meant to symbolize the museum’s new role in a democratic society.

Even so, the idea of visiting a military history museum in Germany of all places may not seem especially appealing. But this one has taken pains to distance itself from traditional military museums, which are often a celebration of the machines of war. Rather, here the visitor can walk through exhibits that explore war from a variety of angles—not just technological or strategic, but also political, social, and historical. There is even an exhibit on the use of animals in war.

Indeed, the museum is gigantic, filling up the entire historical armory—and even stretching outside, where the visitor can see several military vehicles parked on the lawn. I should admit that, after the long walk along the river, I probably did not see all there was to see. And I must also admit that I have a limited ability to engage with military insignia, medallions, and uniforms (especially when there are thousands of them). But I was impressed at the massive and earnest attempt to see warfare in such a holistic way, as something humans have done for all of recorded history, without attempting to celebrate, condemn, or reduce it.

As a case in point, my visit culminated in the large transparent arrowhead that sticks out of the front of the building. This was designed to point to the area of Dresden where the firebombing began. Inside, apart from a commanding view of the surrounding neighborhood, you can see relics and ruins of the burnt-out city.

The 1945 fire-bombing of Dresden has become notorious in popular culture, in part thanks to Kurt Vonnegut’s classic novel Slaughterhouse-Five. (Vonnegut himself was a witness to the destruction, having been a prisoner of war in the city.) After Hiroshima and Nagasaki, Dresden is arguably the best-known example of Allied atrocity. In short, heavy bombing by British and American forces killed thousands of civilians and obliterated the city’s historical core—one of the finest in Europe.

This blog post is certainly no place to re-litigate this event—condemned, justified, polemicized, used in Nazi and Soviet propaganda, among much else. The museum itself presents the bare facts of the event, with little editorializing. I will only point out that, during the so-called “Good War,” which most people nowadays would say was justified—the Allied war against fascist world-domination—there were still actions that caused the leaders and believers in that fight to pause and recoil. But what makes a war justifiable? And can a justifiable war be won with unjustifiable means? These are not easy questions to answer, but they are worth pondering.

This was heavy stuff. And by now, I was both mentally and physically exhausted. So I decided that it was time for a kebab. The humble Turkish kebab has become a kind of pan-European fast food, available from Portugal to Poland. But the best ones, in my experience, are to be found in Germany—largely thanks to the sizable population of Turkish immigrants. And while the one that I had that day in Dresden (at the nearest shop I could find) wasn’t the best, it did revive my flagging spirits. And with a couple German beers, this capped off my second day in Dresden.

One of the best parts of my stay in Dresden was the neighborhood of the hotel: the so-called Neustadt. While this translates to “New City,” this is ironically the most authentically historical part of Dresden, as it largely escaped the Allied bombing.

New, of course, is a relative term; and what is new in Europe may be quite old. This neighborhood is called “new” because it was rebuilt after a 1732 fire. The neighborhood was rebuilt on a regular plan, giving it a more tidy and uniform appearance than many old European cities. Yet it retains an important collection of Baroque architecture.

But for locals, the Neustadt is more important for being a center of nightlife and counterculture. This is important in a city like Dresden, which in modern times is known as a conservative bastion (in part a reaction against the communist years of the DDR). The Neustadt has a punkish vibe, full of graffiti and dive bars. Each night, the streets were full of people—young and old—exercising their legal right to drink in public. A little metal shed for street urination is a nod to decency.

One of the most characteristic attractions in this part of town is the Kunsthof-Passage. This is a kind of inner courtyard, surrounded by whimsically-decorated apartment buildings. This is, in a way, the Neustadt counterpart to the historic city’s Fürstenzug—not a celebration of royal power, but of local artists. Dresden would be a dull city without this dichotomy.

You can see a further illustration of this by visiting the Albertinum. This is the other major art gallery of Dresden, picking up where the Old Masters Gallery leaves off. Its collection of paintings is equally impressive, including works by Monet, Munch, and Van Gogh. However, I was more excited to see work by the German artist, Caspar David Friedrich. The quintessential romantic painter, he was unparalleled when it came to depicting the smallness of humanity when faced with the bleak power of nature.

Nothing illustrates this better than the Tetschen Altar. Painted in 1808, early in the painter’s career, the altar depicts the crucifixion from a far distance, as a silhouette at the top of a mountain. Rather than centering Christ’s suffering, therefore, the altar emphasizes its smallness amid the surrounding landscape. Needless to say, this proved to be a controversial choice.

Another standout work is the Dresden Triptych, by Otto Dix. Himself a veteran of World War I, fighting for the German Army, he later became a prolific anti-war artist (which led his art to be condemned as “degenerate” by Hitler). This work, titled The War, is a prime example of his grim vision. Like Caspar David Friedrich, Dix here uses a religious format, but he does so ironically. War is here nothing but carnage and chaos—the furthest thing from the glorious struggle that leaders have so often claimed it to be.

Indeed, the collection of this museum is marked by war in several respects, as 196 paintings were destroyed during the firebombing. War and art are, so often, opposing poles in human history.

The Albertinum is also the home of the city’s excellent collection of sculptures. This is immediately apparent when you walk into the museum, as there is a room jam-packed with plaster casts of famous statues, including a full-sized replica of Michelangelo’s David (which, when I visited, was holding a Ukrainian flag). The museum’s collection ranges from antique Greco-Roman sculptures—some of them quite excellent—to modern works, by Degas or Rodin.

Yet for me, the highlight of this collection was the contemporary gallery. Housed in an expansive room on the lower level, these statues ranged from hyperrealistic portrayals of the human body to geometrically arranged heaps of junk. Indeed, although I cannot say I am normally a huge fan of the avant-garde, I found these works to be more exciting than still another white marble statue. My personal favorite was a work by Tony Cragg—a huge piece of wood that has been carved into an amorphous, otherworldly undulation.

Indeed, as I sat in the enormous atrium, sipping on a coffee from the museum cafe, I decided that I liked this museum even more than the exceptional Old Master’s Gallery. Far from being an interesting secondary city, I had found that Dresden is, in fact, one of the great cultural centers of the country—and, perhaps, of Europe.

*The atrium has an appealing Backrooms aesthetic.*

When I exited the museum, however, I felt that I’d had my fill of the fine arts for the day. So I opened Google Maps and searched for something different. Soon, I’d found it: the Transparent Factory. This is a working Volkswagen manufacturing plant, designed to be “transparent” in several respects—literally, because the walls are made of glass, but figuratively, because the factory can be visited, and their entire process is on display. In other words, it is kind of a marketing stunt, but still an interesting opportunity to visit a working factory.

I walked in and asked (in German) to be put on the next tour. The clerk, hearing my accent, informed me that the tours were only available in German. Bravely, I said alles gut. Soon I found myself being whisked around the assembly line, listening intently to an explanation that I found almost entirely unintelligible. Still, I had never been in a factory like that before, so it was interesting simply to watch.

Sadly, the factory ceased operations in 2025, the year after my visit. But it is still owned by Volkswagen, and can still be visited.

*A poster for the fundraising campaign.*

My last stop for the day was, perhaps, the most ironic building in the city: the Frauenkirche. This is the towering Protestant church at the heart of the city. Architecturally, it is interesting—eschewing the usual construction of three naves that culminate in an altar. Instead, it is more of an amphitheater, with the seating surrounding the pulpit—all of this underneath the resplendent dome above (one of the largest in the world).

Like so much of the city, however, this iconic structure was reduced to rubble in 1945. As Dresden was incorporated into the communist (and officially atheist) DDR after the war, there was little political will to invest in the reconstruction of the church; and the pile of rubble was eventually cordoned off and declared a “memorial against war” (rather a lazy choice, if you ask me).

After the reunification of Germany, however, it was finally decided to revive the church and reincorporate it into the newly reconstructed city. The old materials were sorted and cataloged, and a massive funding campaign—with many individual donors—raised the necessary euros. Finally, in 2005, the new church was completed—in time for the 800-year anniversary of the city’s founding. Nowadays, the Frauenkirche, rather than a memorial of war, is a symbol of the city’s phoenix-like rebirth from the flames.

Now, I must skip ahead to my last day. My flight back to Madrid was leaving late in the day, giving me the morning for a last bit of sightseeing. Thankfully, I had saved one of the highlights of Dresden for this: the Dresden Castle.

This is more of a palace than a castle, serving as the seat of power for over four centuries. Of course, like most of the historic city, this too is a reconstruction of what used to be.

Nowadays no royals live here. Instead, the great structure serves as a museum complex, with five separate sections to visit. There is a wing devoted to prints and photographs, and another one to historic coins (numismatics). More memorable was the Armoury, full of historic weapons and armor. This includes the so-called Turkish Chamber, which displays objects from the Ottoman Empire—notably, a huge and resplendent three-mast tent.

But the highlight of the visit is, without a doubt, the Green Vault. Space is limited; so when you buy your ticket, it comes with an entrance time. It also comes with extra security, as the Green Vault is the home of Europe’s largest collection of precious objects.

The Vault is divided into two spaces, New and Historic. In the New Green Vault, the focus is on the objects themselves. And they are exquisite.

Now, I am normally not such a big fan of jewels and finery. While the craftsmanship is impressive, such objects usually exhibit the wealth of their owners rather than the artistry of their makers. However, the objects in this space were so wildly ornate, and made of such outlandish and rare materials, that I could not help but be impressed. Gold, silver, emeralds, sapphires, rubies, ivory, enamel, amber, marble, pearl, tortoiseshell, coconuts… The amazing attention to detail, the sheer ingenuity of the designs, could captivate even my most cynical mind.

The Historic Green Vault is also full of such delightful treasures, though here the focus is on the total decoration of the rooms. Here you can see the maximalist impulses of the High Baroque in their fullest splendor, as each room bursts with finery. These rooms were put together in the early 1700s under Augustus the Strong, as physical manifestations of his power. But they have been through a lot. Like so much of the city, the rooms were severely damaged—and, in some cases, completely destroyed—in the 1945 bombing. They were also the scene of a famous heist.

In November of 2019, in the wee hours of the morning, a small fire on the nearby Augustus Bridge caused a power outage in the museum, deactivating the security system. While it was down, thieves cut a hole in the window bars and climbed inside the vault—smashing the protective glass and stealing hundreds of jewels.

Amazingly, despite the power outage, the CCTV kept working—which eventually allowed the German authorities to identify and apprehend the thieves (who were all members of the same family). Even better, most of the jewels were eventually recovered, and were returned to the display in August of 2024 (a few months after my visit).

This dazzling display of wealth and power was my final impression of the city. Afterwards, I had time for one last meal (and beer) and the Augustgarten across the river. It was sad to go.

My return flight to Madrid had a connection in Frankfurt (there were no direct flights). Now, layovers tend to produce a certain amount of anxiety in me, since any delay in the first flight can cause you to miss the second. This has happened to me before, and I was afraid it was about to happen again, since my flight was delayed by an hour.

Indeed, by the time I arrived, I had resigned myself to spending an uncomfortable night in Frankfurt. But I was astounded to find that my second flight was also operating with a delay—giving me a 15-minute window to catch it. “You can make it,” the flight attendant told me as I was leaving the plane. “But you’ve got to run. The airport is big!” It was. With my big orange hiking backpack on my back, dressed in jeans and a hoodie, I found myself sprinting down a seemingly endless hallway until, miraculously, I arrived at my gate and, at the last moment, caught the flight to Madrid.

It was an exciting end to what had been a thoroughly enjoyable vacation. And now, unlike everyone else I knew, I could say that I had been to Dresden. And it is a city well worth visiting.

Review: My Brilliant Friend

My Brilliant Friend by Elena Ferrante

My rating: 5 of 5 stars

I admit that this book was not even on my radar before it was deemed the best book of the 21st century (so far) by the New York Times. And while it is probably a character flaw, I have a weak spot for such lists. Soon enough My Brilliant Friend (as well as its sequels) was purchased, and just had to wait for the right moment.

The moment has come, and I can see what the distinguished newspaper saw in this novel. To start with, it is an extremely competent piece of writing—the pseudonymous author, whoever she (or he?) is, clearly a professional. Every element of the book is expertly done. The characters are individualized, the dialogue flows naturally, the novel maintains its momentum. The setting—the poorer neighborhoods of Naples—is fully evoked, despite never being the main focus. In sum, the book is put together with the consummate skill of a fine film, as if a whole team of experts had worked on it.

And yet, despite this, the book has a distinctive personality. It took me some time to put my finger on what that was. Partly, it is due to the book having such a strong first-person voice, so deeply introspective, while telling a story focused on another character: Lila. This gives the book two strong gravitational centers, which constantly pull the reader in separate directions. We are never allowed to see Lila as others may see her; while Lenu, our narrator, is incapable of seeing herself except through comparison to her brilliant friend.

In this way—yet through very different means—the author achieves something similar to what Cervantes did, in which the two principal characters are only fully alive, only fully themselves, in each other’s presence. But while Don Quixote and Sancho Panza draw one another out through conversation, Lila and Lenu’s relationship is far more inward—as if each one can only define herself in relationship with the other. This isn’t as fanciful as it sounds. Just as two siblings may divide up tastes between themselves—one who likes chocolate, the other vanilla—the two girls, though more profoundly, contest and dispute aspects of their own personalities.

Another striking quality of this book is the motivation of its characters. In one way or another, the vast majority of novels concern love. But while the sublime and sultry aspects of love are always present in My Brilliant Friend, the strongest motivation we see (in the narrator at least) is intellectual envy. So much of the book consists in her attempt to achieve what she sees as the effortless brilliance of Lila—whether in math, languages, or writing. And as someone who has experienced his fair share of intellectual envy, I thought the author’s exploration of this nefarious emotion (never satisfied, never secure) was quite penetrating.

In short, while remaining very accessible, the book is written from a place of striking intellectual ambition. Indeed, in many ways I was reminded very strongly of the first volume of Simone de Beauvoir’s memoirs, especially her descriptions of her intense childhood friendship with “Zaza” (Elisabeth Lacoin). I would not be surprised to find out that this famous friendship was, in part, an inspiration for this novel.

As I put down the book, I find myself reflecting on the curious way that some relationships, formed so early in life, can be felt so intensely—a mixture of admiration, jealousy, repugnance, and love—and can resonate throughout the rest of our lives, and indeed profoundly alter their courses. If this book has a message, then, it is that our identities, even in their most intimate manifestations, are formed in conjunction and opposition with other people—that becoming oneself is not simply a matter of looking inward, but of negotiating between your innermost parts and the world around you.

View all my reviews

Pondless and the Gospel of Urban Planning

In this technological age, plagued by phone addiction, it is easy to forget that sometimes the algorithm shows us delightful things. As a case in point, some months ago, while wasting time on Instagram, I found a funny video about urban planning by an account called Pondless.

This wasn’t wholly unexpected. You see, since reading The Power Broker nearly a decade ago, urban planning has been at least peripherally among my interests. And it so happened that, upon moving back to my native land, I found myself in a relationship with an aspiring urban planner. Whether I liked it or not, urban planning was thus becoming a big part of my new American life.

At the end of the video, the long-haired, deadpan protagonist hinted at the fact that he made urban-planning related music. This was intriguing. The idea of music about this arcane subject struck me as full of ironic potential. And he had a concert coming up.

So it was that, a month ago, I found myself in Wonderville, a bar in Bushwick. After ingesting an artisanal hot dog and amusing myself with the arcade games, I waited for the main event. To be honest, I was expecting a novelty act—a strange comedic niche that could only be found in deep Brooklyn.

But from the moment that our long-haired protagonist walked on stage—limping, dragging a heavy cape, while his bassist introduced him as the “marvelous magnate of metropolitan matters”—I was electrified. It was clear that I was in the presence of a natural performer.

Better yet, from the first notes struck by the band, I could also tell that this was a group of first-rate musicians. James Paul Nadien, on drums, could play more intricately with one hand than most drummers can with two, while Connor Shann slapped his bass with the vigor of a young Larry Graham. Guitarist Shai Rodriguez, meanwhile, alternated between jazzy noodling, bluesy twang, and distorted rock freakouts. Rounding out the sound was the shimmering tone of the lead singer’s keytar.

What followed was one of the most enjoyable live performances that I have attended in years. Indeed, I was so inspired that I decided to contact Pondless for an interview, to find out more about this odd artistic project. Here is what I found out.

Pondless is the brainchild of Aaron Oliver, our long-haired protagonist. And the path that led him to this point was, in some respects, surprisingly straightforward. Music has been a part of his life from the beginning. Some of his earliest memories are of singing in church; and he started taking piano lessons in grade school. This ultimately led him to study performance at Berklee College of Music.

Meanwhile, he also had a background in urban planning. His father is an urban planner by profession, though Oliver—typical of sons—didn’t become interested until he moved away to Boston for college. A child of Los Angeles, Oliver was struck by the compactness of the New England city. “I’d always loved LA and didn’t see anything wrong with it,” he told me. “It was only when I visited home with my girlfriend, during college, that I saw why it might have problems.”

This led him to pick up Jane Jacobs’s classic, The Death and Life of Great American Cities, and to start following some of the many excellent urban planning channels on YouTube, such as CityNerd. “But what gave you the idea of writing songs about this?” I asked him. “Well, it just kinda happened,” he replied. “I was writing songs, and urban planning was all I was thinking about.”

His musical influences are eclectic. His musical chops clearly show him to be a serious student of jazz. But his tastes reach back to Earth, Wind, and Fire and Talking Heads. He also has a love for electronic music, which is why the Pondless recordings sound so different from the bluesy, rocky live aesthetic.

But is it a novelty act? Oliver has a robust sense of humor, a willingness to be ridiculous, and a healthy appreciation for irony. But the music is not a joke—or at least, not exclusively. “It is both totally silly and deadly serious,” he explained. And, indeed, during his performance, the humor of the lyrics was eventually swallowed up by what was, for me, genuine emotion. It helped me to realize that, for all of its boring bureaucratic detail, urban planning is a vital art.

Perhaps it is Oliver’s background attending religious schools, or perhaps it is his love of Bill Withers and other gospel-influenced singers, but there is a sense of being taken to church at a Pondless concert. The pseudo-organ sound of his keytar, the way that he swaggers and gesticulates, his penchant for bending his voice slowly into a note—all this gives his performances the energy of a televangelist, simultaneously corny and full of fire and brimstone.

And the ideas behind his songs are worthy of this fervor. For it is quite true that so many of our problems stem from the structure of our cities. Air pollution, lack of housing, social isolation, even political polarization—these problems are either caused or aggravated by the way we live, sequestered away in suburbs, constrained by our cars, with few spaces to meet and mix.

But Oliver is not pessimistic. “One thing I love about LA is its willingness to reinvent itself. For example, did you know that the city used to have the biggest trolley network in the world?” I did not—but it’s true. “They tore it all down after World War II, which is why the city is the way it is.” But he pointed out that the LACMTA (also the name of one of his best songs) is expanding, and that the upcoming mayoral race has the potential to put progressive Nithya Raman in power. The city might be on the verge of reinventing itself again.

More generally, Oliver hopes that his music spreads awareness of this often overlooked subject. “Science has lots of popularizers, but urban planning is just as important, and it’s so often ignored.” As he points out in one of his videos, the structure of our towns and cities is like water to a fish, omnipresent but invisible. And yet, we built it, and we have the power to improve it. Perhaps that sounds overly optimistic. But it is easy to indulge in optimism when listening to a truly awesome band.

Cobh & Kells Priory

This is a series on my trip to Ireland. The other entries are:

It is a rite of passage for every Irish American to return to the motherland and to visit their ancestral village. Sure, it is ridiculous, and deservedly makes us the butt of jokes. (There is a great SNL skit about this.) After all, it is the most tenuous of connections, a coincidence of genealogy rather than anything genuine. DNA does not remember where it’s from.

But in a country where nearly everyone is descended from immigrants, where identity is constructed out of bits and pieces, and where ancestry can feel bizarrely abstract, there is something therapeutic about going to a physical spot and connecting our genes with soil. At the very least, it gives us a story to tell when we get back.

So it was that, during our drive to Galway from Dublin, we stopped at the town of Longford, where the Farrells supposedly hail from. There were signs of our family name everywhere—literally lining the roads in the surrounding area, as property for sale signs had a Farrell’s name for the realtor. In town, there was a Farrell stationery store. And next to the main road, there was a monument to one James Farrell.

This seemed especially significant, since this is also the name of my late grandfather. But the monument is to someone who passed away before my grandfather was even born—on April 15th, 1912. You may recognize this date: the day the Titanic sank.

James Farrell was, like many of the Irish on board, travelling third class. Just 26 years old, he was bound for New York, in search of better opportunities. He is remembered today for aiding several women escape to the life boats. While the wealthier passengers were being evacuated, those in steerage were kept below deck. James reportedly said to one of the crew members: “For God’s sake man, let the girls past to the boats, at least!” He was obeyed, and several of the women were allowed up and ultimately survived.

This history was hard to fathom while the three of us—my mom, my brother, and myself—looked at the modest monument. “I bet we’re the only people to come here in years,” my brother said. As if on cue, another car pulled up, and out walked—more American tourists. Our search for roots may lead us to see more of Ireland than the Irish themselves.

Fast forward to nearly the end of our trip. Coincidentally, it was my brother’s birthday. To celebrate (perhaps morbidly) we decided to visit Cobh, the last place the Titanic docked before embarking on its fatal voyage.

Cobh is a small town—its population only slightly bigger than my native Tarrytown—located on the southern coast of Ireland. During the days of English colonial rule, it was called Queenstown. After gaining their independence, however, that name obviously would not do; and so the Irish searched for something better. They decided on “Cobh,” the Irish spelling of the English word “cove,” pronounced exactly the same. (The word has no meaning in Gaelic.)

We arrived on a beautiful day, a few fat clouds hanging in the sky like overfed sheep, the water glistening in the bay. After parking the car, we were greeted by the sound of church bells. Cobh, you see, has a strangely magnificent cathedral for such a small town. Built in a neo-gothic style, its single spire soars into the air, dwarfing every other structure in the vicinity.

As we approached, we noticed a crowd was gathered around the church, listening to the bells. Strangely, every one of these people was wearing an identical red fez cap. To add to the confusion, there were also two fellows with Hitler mustaches who were dressed in old-fashioned suits and top hats. We listened, and soon realized that this wasn’t merely the tolling of bells, but a concert. Inside, we could see a video feed of a man playing on a keyboard. The church itself was acting as a kind of enormous instrument.

By asking around, we found out that this was all part of a conference of the Sons of the Desert. This is the official fan club of Laurel and Hardy, the legendary comedy duo. The two men with mustaches were impersonators (and quite convincing ones), while the red caps are a reference to a 1933 film, which shares a name with the organization. Even the concert was part of it: the music being played on the church bells were themes from the movies. The whole spectacle was oddly delightful. Although none of us knew anything about Laurel and Hardy, the overwhelming enthusiasm devoted to this niche bit of cinematic history was thoroughly charming.

The main thing to do in Cobh is to visit the Titanic Museum—or, as they call it, “Experience.” This is located in the old White Star Line building, where the passengers bought their tickets and boarded the doomed vessel. Each ticket features a profile of one of the 123 passengers who embarked from Cobh (fewer than half survived). The visit itself is a kind of guided tour, which takes you through models of different cabins, tells stories of some individual passengers, and includes a remarkably bad CGI portrayal of the sinking. It is a bit corny and rather touristy, but still a fun way to pass an hour.

The town of Cobh itself is a lovely place—picturesque, cozy, atmospheric. A row of Victorian houses running down a hillside, all of them painted a different color, creates an image reproduced in countless post cards and screen savers. Next to the water, you can see a statue of Annie More, the first Irish immigrant to be admitted through Ellis Island. And though my own ancestors entered the United States years before Ellis Island opened its doors, they must have taken a very similar journey across the stormy, gray Atlantic—the same trip, indeed, that James Farrell was on when his vessel crashed into the ice.

On our drive back to the Airbnb to cook my brother his birthday meal, we stopped at a place we found in our trusty Rick Steves guidebook: Kells Priory.

Kells Priory is not the monastery that gave its name to the famed Book of Kells, which is located much farther north. This monastery was founded later, at the end of the 12th century; and it has a storied past. Attacked and burned on three separate occasions—notably by Edward Bruce, who tried to make himself king of Ireland in the 14th century—the monastery also has an odd connection with witchcraft.

In 1324, a wealthy and powerful woman in County Kilkenny, Alice Kyteler, was accused of heresy by her stepson. A bishop came to investigate the accusation (which unsurprisingly was based on personal resentment) and was imprisoned by the local lord, in this very monastery. Eventually, the bishop was released, but Kyteler had time to flee the country. She was never heard from again. But a poor maidservant, Petronilla de Midia, was accused of being her follower, tortured, and burned at the stake—the first known such case in Ireland.

Like so many other monasteries, Kells Priory was dissolved in 1540, under the orders of Henry VIII, who wanted to remove his kingdom from Catholic power (so as to have more leeway to decapitate his wives). Since this, it has lapsed into one of the many ruins which dot the Irish landscape.

But it is an arresting ruin. Situated in an open green field, the monastery presents itself to the viewer as a collection of towers, connected by a wall. In other words, it looks more like an abandoned castle or fortress than a religious institution—perhaps unsurprising, given its conflicted past.

When we visited, we were the only people there. It felt like stumbling upon a secret. With the sun low in the sky, we wandered among the ruins—walking up staircases that led nowhere, balancing on demolished foundations, and passing through empty doorways. The ruins were vast, covering the whole hillside, and yet there was little if any signage. When we got to the other side, we found a river flowing quietly alongside the stony pile, where a few locals were strolling, inured by overexposure to the majesty of the ruins.

This was not to be our last glance of Irish ruins—that would be Glendalough—but it was the most evocative. To American eyes, such a place deserves to be world-famous. But in Ireland, and in Europe generally, it is a historic footnote—just one monastery among hundreds. In such a small country with such a deep past, the years seem literally piled up beneath your feet, constantly reminding you of the lives which have come and gone. Having grown up in such a place, it must have felt like a tremendous rupture for those like my ancestors to leave this land behind and step foot on a new continent.

The rest of our night was delightful. We went back to the Airbnb—a cottage in the countryside—and cooked birthday pasta for my brother. Then, we watched Irish public television. As soon as we turned it on, we were amazed to be watching Stan & Ollie, the Laurel and Hardy biopic, which features a scene in Cobh. Surely, that cannot have been a coincidence. That movie (surprisingly good) was followed by The Patriot, one of the most anti-British films of recent history. It seemed appropriate for the Republic of Ireland.

It had been a strange day, and yet oddly appropriate for the end of our trip. We had come to Ireland, in part, in order to wring a little bit of meaning out of our past. And in different ways, this is also what we did by celebrating my brother’s birthday, or what the Sons of the Desert did by visiting Cobh, or what the public television did by playing The Patriot. Ireland is, of course, far more than a landscape of ruins, or a playground for Americans to find their roots. It is, as we discovered, a thoroughly charming country—whose people, places, and past all promise a great future. And I look forward to seeing it.

Review: Florentine Codex, Book 12

Florentine Codex: Book 12: Book 12: The Conquest of Mexico (Volume 12) by Bernardino de Sahagún

My rating: 4 of 5 stars

The more I read about the Pre-Colombian cultures of Mexico, the more I am confronted with the basic questions of historiography. Though there are many excellent sources of information—ruins, artwork, living ancestors, Spanish eyewitness accounts, pre-contact documents, indigenous stories, and later historical accounts—all of these carry with them strong limitations and biases, giving our knowledge a kind of multicolored, mosaic quality.

This book is an excellent example of this. Written by a Spanish friar using native informants, this is a kind of hybrid insider/outsider document. The knowledge collected by Sahagún was authentic and valuable, and yet it was collected as a part of a missionary effort—not just to conserve, but also to convert. Further, Sahagún wrote his enormous treatise on Aztec culture many decades after initial contact, at a time when the Mexica empire was shattered, its people subjugated, and its culture already heavily influenced by the Spaniards. While enormously valuable, then, this document cannot be read as a clear window into the past.

The strongest example of this is the beginning of the document. Here, it mentions the several ominous omens—a flame in the sky, a boiling lake—that supposedly appeared before the arrival of the Spanish, giving the conquest an almost Biblical aspect. The codex also claims that the Aztec emperor initially mistook the Spaniards for gods, thus leading to several strategic errors.

But this information is dubious for several reasons. For one, anything so highly flattering to the Christian missionaries (as if God is intervening on their behalf) should be suspect in itself. What’s more, these stories were collected from people living a generation or more after the conquest, not direct witnesses; and one can see how these stories serve a kind of defensive purpose. After all, if the heavens intervened to topple their culture, it somewhat absolves the fallible humans who were defeated. It is no wonder that modern historians have largely discarded these stories as myths.

Does that make this document valueless? Absolutely not. Apart from the specific information contained therein—much of it indeed reliable—it also preserves a sense of huge cultural disruption that the Spanish caused when they arrived. So much of the book consists of confused and desperate battles, which escalate in scope and intensity until the book has a nearly apocalyptic tone. Even now, one can feel the sense of cultural dislocation and loss in these pages. Particularly evocative, I found, was the section on the introduction of smallpox:

But before the Spaniards had risen against us, first there came to be prevalent a great sickness, a plague. It was in Tepeilhuitl that it originated, that there spread over the people a great destruction of men. Some it indeed covered [with pustles]; they were spread everywhere, on one’s face, on one’s head, on one’s breast, etc. There was indeed perishing; many died of it.

This book is also worth reading precisely because of the issue that I highlighted above. As lay readers, we are rarely confronted with the realities of actually doing history—the difficult work of piecing together coherent narratives from a variety of fragmentary and sometimes contradictory sources. Yet when a historian does this work in the background, and presents us with a neat story, we are given a false perception of how easy it is to draw conclusions about the past. In the case of the Spanish conquest of Mexico, it just so happens that our sources are particularly fraught. This period in time, then, shows in exaggerated form the problems that exist in any historical work, and is thus an education in itself.

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Review: History of the Conquest of Mexico

History of the Conquest of Mexico by William Hickling Prescott

My rating: 3 of 5 stars

I began this book with great expectations—cracking open its pages in the airport, on my way to Mexico City for my first ever trip to Latin America. The book seemed extremely promising: the classic work on a subject that fascinates me, written by a man who is considered to be both an excellent prose stylist and one of the founders of scientific history. Rarely does a book seem more perfectly suited to my tastes.

By the end, however, I found myself drained and unmotivated—dragging myself through the final pages. And now, I am in the strange situation of being unable to recommend this book to nearly anyone, despite seeing why it was considered a classic for so long.

I should begin by giving Prescott his due. Severely visually impaired, he could not travel to any of the places he was famous for writing about—never once stepping foot in Mexico, Peru, or Spain. Instead, he had to rely on secretaries, on copies of manuscripts sent to him, and most of all on his prodigious memory, which allowed him to gain fuller access to the primary sources than any scholar before him. And judged by the academic standards of his time, he was an extremely thorough and careful researcher. This book is extensively footnoted, and includes bibliographic essays at the end of many chapters. He did his homework.

He was also an accomplished writer. Believing that history was a genre of literature as much as a record of facts, he labored to make his narrative colorful and attractive. True, his style can seem overly verbose for modern tastes. But the book is still very readable. Indeed, the experience is often more comparable to reading a good swashbuckling novel than a serious work of history. More impressive still—considering his trouble seeing and his never having traveled there—his descriptions of the landscapes are quite lovely examples of nature writing. As both a historian and a writer, then, there is much to commend.

As James Lockhart points out in the introduction, however, there is a tension between these two sides of Prescott. While he is meticulous and skeptical in his footnotes, he is willing to take poetic license with his narrative. Facts, after all, are not always conducive to drama; and the records of history often leave unsatisfying lacunae. But Prescott was intent on writing a story that would stand on its own merits, and shows a willingness to fill in gaps or twist facts to suit his purposes. His urge to tell a good story, in other words, often overpowered his judgement.

Yet for the modern reader, this is not the most serious issue with this book. The glaring and obvious problem is Prescott’s candid sympathy for the conquering Spaniards, combined with his open disdain for those they conquered. Referring to the Aztecs as “barbarians” and “savages,” he dismisses their entire civilization as “half-civilized,” comparing their culture to “Asiatic despotism.” Now, to be fair to Prescott, these sorts of prejudices were nearly universal in his cultural milieu. But I have been alarmed to see other users on Goodreads swallow these prejudices uncritically—which I think requires some correction.

In Prescott’s hands, you see, the conquering Spaniards are romanticized to the point of unrecognizability—becoming an intrepid band of knights errant, motivated by genuine religious conviction, on a civilizing mission to free the oppressed and ignorant denizens of the New World from their tyrannical oppressors. The Aztecs are reduced to bloodthirsty savages, superstitious to the point of insanity, whose barbaric religion must be eradicated for the good of the world. This is no exaggeration. I am using his language and his phraseology here.

Now, I am certainly not going to sit here and write a defense of human sacrifice. But it is worth noting that the Spanish conquest led to a calamitous demographic collapse—one of the great mortality events of recorded history. So any notion that they somehow saved lives is absurd. It is also worth pointing out that the Spanish subjugated everyone they could, peaceful or otherwise. Further, any historian of the period will tell you that the Spanish conquistadores were motivated by one thing above all else: riches. This was obvious and openly admitted. Indeed, their actions don’t make sense in any other light.

If this book is worth reading, then, it is because it is itself a piece of history—a stirring work of literature, a contribution to the academic discipline of history, and an example of the dominant prejudices of the time. But in both its understanding of the period, and in the attitudes it reflects, this book is more than dated. It is obsolete.

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Review: Backrooms (Web Series)

The train left Grand Central past midnight. The car was full of the normal, usually ignored sounds of train travel—clattering tracks, a mechanical hum, muffled conversation—and the city was both dark and luminescent, a dull texture of blue lights outside the window. This was just an ordinary night in the modern world.

I arrived home around two in the morning, exhausted. All I wanted to do was to watch a silly YouTube video and go to sleep. But the omniscient algorithm suggested something quite outside my usual tastes: a grainy video entitled: “The Backrooms (Found Footage).” I watched it, and was immediately hooked. I wouldn’t get to sleep until well past five.

If you don’t already know, Backrooms is a species of analog horror, a subgenre that uses grainy footage which emulates old recording equipment. It is horror based on the uncanny, on the unsettling, far more than gore or traditional jumpscares (though there is some of that, too).

The premise of the videos is rather simple: a character suddenly finds himself mysteriously transported to another space, which doesn’t seem to be used for anything, or lead anywhere. The quest to explore it, or escape from it, is the story of Backrooms.

At first, I was taken up with the question of how the film-maker had found or created such an elaborate set. But then it dawned on me: none of it was real. All of it had been painstakingly cooked up on a computer. It would have been impressive from a studio. Yet Backrooms was not the product of a professional team, or even of a single seasoned expert. It was put together by a teenager, Kane Parsons, whose prodigious ability and artistic talent from a young age has given him a nearly Mozartian reputation.

Parsons wasn’t the originator of the idea, however. He took his inspiration from a pre-existing internet fandom, a series of stories and videos that originated in a 4chan creepypasta post from 2019. It started with a rather ugly photo of a bare yellow room with an ominous caption, and bloomed into a full community.

Yet Parsons took this into quite a different direction. His version is a series of videos that create a fragmented narrative. They mainly center on the fictional company ASYNC, which opened a portal to the Backrooms and is studying it for commercial ends. His story is thus a kind of science-fiction, told through a series of internal memos, security tapes, experimental reports, as well as the found footage of the first video.

While fans of the original Backrooms idea initially rebelled at Parsons’s version, his take on the concept has since become the dominant representation. Indeed, Parsons’s Backrooms has itself spawned a whole community around it—of fan theories, parodies, and some very good imitations. Even though it is now mostly known through the work of one artist, Backrooms is still, in short, a very online phenomenon. And Parsons encourages that—reading the comments on his videos, responding to fan theories, and enjoying the parodies.

If you want a sample of the fanaticism that fans bring to the series, you can check out the many videos on the Film Theory channel, which combine obsessive attention to detail with fervent speculation. For my part, however, the appeal of the series is almost wholly disconnected from these sorts of questions (what are the monsters? what is creating the Backrooms? how can you survive in them?).

The series is more profitably viewed, in my opinion, as a kind of extended commentary on the kinds of spaces that we humans build for ourselves. Parsons is brilliant at creating rooms, hallways, and furniture that look extremely real and yet not quite right. Indeed, every new space of the Backrooms we see—apartment blocks, suburban neighborhoods, forests and cityscapes—is a kind of parody of something intimately familiar. What Parsons does is to strip these places of their familiarity; and he does that by changing subtle details, rendering them wholly dysfunctional: doors that lead nowhere, chairs too big to sit on, signs flipped backwards.

In another context, this could be funny, as many of the parody videos are. But in Parsons’s hands, it becomes extremely unsettling. These spaces are so flagrantly hostile, so completely inhospitable, that it is a challenge even to survive in them. And if this is the case, why do we keep designing our real world to look so similar? It would be risible if it weren’t tragic. The line between comedy and horror, after all, can be disturbingly thin, and depend on as little as the background music.

Speaking of music, Parsons also deserves credit for the soundscapes he creates. His videos are not only visually stunning, but sonically rich. Clearly multi-talented, he writes and performs all of the music for the series, as well as the Foley (the footsteps, the rattle of the camera, and every other incidental noise). Yet the sounds that most stick with me are the ugly modern ones: the crackle of a radio, the hissing of static, the buzzing of machinery—and, most of all, the ominous angry hum of the electric lights.

The final effect is a horror version of the experience that I had on the train in the opening paragraph—a menacing world of artificial spaces and sounds. And the effect of viewing Parsons work, for me, has been a heightened awareness of the unnaturalness of daily life—how the sonic and visual and even tactile textures that surround us can so often be cold and repellent.

Oddly, however, Backrooms can sometimes have the exact reverse effect. Seeing all of this stripped of its human context—in the endless hallways devoid of life—we are free to notice that, if bleak and uninviting, these spaces also have a strange, almost abstract beauty to them. If it fails as a dwelling place, our modern world succeeds in creating its own aesthetic.

Theories about the nature of the Backrooms vary from it being the leftover parts of a computer simulation (implying that we live inside a giant computer), or some kind of living entity that is misremembering the real world (which doesn’t seem to clear anything up).

For my part, however, the best way to understand the Backrooms is a kind of extended metaphor for the internet: a mirror version of our reality, extending infinitely and everywhere, into which some people fall and never return. (It seems possible that Parsons is aware of this parallel, as his timeline of ASYNC’s exploration of the Backrooms roughly coincides with the development of the World Wide Web.)

All of this, from a 4chan post! Indeed, Backrooms not only symbolizes the internet, but exemplifies how it works—how it connects people, amplifies voices, and forms communities around ideas. Beginning with a single image on a forum, all of this blossomed into a whole series and (now) a major motion picture. Parsons does fit the stereotype of the solitary genius, but he is also very much at the helm of a vast, widely-dispersed community—one which he interacts with, and even collaborates with.

But the internet, like the Backrooms, is also full of monsters. For example, another internet phenomenon—a man almost exactly Parsons’s age—comes to mind, the “looksmaxxing” influencer, Braden Eric Peters, otherwise known by “Clavicular.” While spewing a version of toxic masculinity that seems to be a parody of itself, Clavicular has become immensely famous. It is an interesting case of parallel lives: two kids who, in a previous age, might have been simple misfits, finding fame and fortune by connecting with widespread communities online.

Indeed, what both figures exemplify, though in very different ways, is the central aesthetic experience of both the Backrooms and the internet: alienation. There is an obvious irony here. While more connected than ever before, the world we live in often makes us feel isolated. The internet does provide a sense of community, but it is so often just a simulacrum, ultimately unsatisfying and unhealthy—a kind of parody version of the real thing. Clavicular and the young men he represents have responded to this alienation by turning to a toxic culture of misogyny. Parsons, instead, has turned it into art.

For better or for worse, then, the internet is also a misshapen copy of the world we live in. And through its dark corridors, it connects people who otherwise might feel isolated and alone. In the case of Clavicular, as in so many other examples, this has only magnified voices which should have been left on the social margins. But in Kane Parsons, we see the original promise of the internet fulfilled—the emergence of a brilliant and distinctive voice from a community of creators. Like the Backrooms, the internet is both extremely dangerous and strangely beautiful.

The Rock of Cashel & Kilkenny

One thing that an American visitor quickly learns on a trip around Europe is that there are simply some parts of the landscape that cry out to be the site of a castle. At a time when every town was its own kingdom, a time before police forces or standing armies, a time of great scarcity and instability, it was only the presence of a castle that could guarantee the safety of the local ruling family. And the safest place for a castle is usually on the highest available ground—where enemies can be spotted from afar, and where attackers must struggle uphill. The outcropping of limestone that rises dramatically over the fertile, level land known as the “Golden Vale” is just such a place—a natural pedestal. You might even say that it was destined to be the site of a great edifice.

The Rock of Cashel has been important in Irish history for a very long time. Indeed, it is difficult to say precisely how long. There are legends about its formation—about St. Patrick confronting Satan, who then hurled this great rock from a nearby mountain—and there are stories about the early Christian leaders, Patrick and Declán, meeting here all the way back in the 5th century. What we can say with more certainty is that this was the seat of the kings of Munster, who ruled this corner of Ireland from the Iron Age all the way to the Middle Ages. For this rocky outcropping, in other words, geology became history.

By the time we drove up and parked in the shadow of this old pile of rock, it was the middle of a hot, sunny day. We walked up the hill to the entrance and signed up for the next available tour, which luckily was about to start. Our guide was—like so many Irish—eloquent, witty, and engaging, leavening her historic spiel with the right amount of humor. Still, during my visit, I found it difficult to pay attention. The ruins were so vast and so evocative that I felt swallowed up, overwhelmed by their scale and splendor.

But time alone is not solely responsible for the building’s ruined state. Although the Rock of Cashel was a fortified castle for centuries, religion eventually overtook politics as the dominant local force, and a large Catholic cathedral was instead built in its place. Yet such a prominent symbol of Catholic power was an obvious point of resistance during the Irish Rebellion of 1641; and it was an obvious site of English reprisals in the following Irish defeat.

The invading troops massacred the Catholic clergy and looted the church. Among the dead was Theobald Stapleton, one of the fathers of Irish orthography. Henceforth, the cathedral came to be used by the Anglicans. The English clergy were, however, little disposed to invest in the upkeep of the cathedral, which fell into disrepair. Finally, Arthur Price, the local archbishop, overruled plans to repair the roof—considered a jewel of Irish architecture—and had it dismantled, thus leaving the ruin we see today.

But some parts of the original structure remain standing—most notably, Cormac’s Chapel. Completed in 1134, this is a Romanesque chapel, one of the finest in Europe. Unlike the flashy Gothic architecture of the high Middle Ages, this chapel strikes the modern viewer as elegant, meditative, and soulful. Unfortunately, the builders of this chapel used sandstone—which has an attractive hue, but which soaks up water over time. This severely damaged the wonderful ceiling frescoes, as well as weakened the structure. Nowadays, the interior is climate-controlled, and visitors can only enter in small groups, for a limited amount of time.

The other notable structure on the site is the round tower. This is a distinctly Irish design, consisting of a free-standing stone tower with a pointed roof. The one here is nearly 30 meters (100 feet) tall, and was built before the cathedral was even started. The purpose of these towers is somewhat mysterious: they would not make good bell towers (there isn’t room or a sizable window), and they were not used for storing grain. Because they had such a small foundation, it was structurally necessary to put the entry door well over the ground, accessible only by a ladder. Our guide explained that this made the towers ideal places for the monks to hide during attacks, as the ladder could be withdrawn into the tower and the door tightly shut.

Our tour ended on the northern side of the site. In the far distance, the low, lush fields of the Golden Vale spread endlessly outwards. After the cathedral’s destruction, the hill was still used as a cemetery for many years. Many graves thus adorn this side of the hill, giving a somber mood to an already haunting place. As usual in Ireland, many centuries seemed to be compressed beneath our feet.

Learning history is tiring work, so we next headed to a nearby restaurant for some hearty Irish fare. And this gives me an opportunity to talk about Irish cuisine in general. Most people, I would reckon, do not visit Ireland for the food, and it is not especially well-known outside the country. Nevertheless, I found it to be consistently comforting and enjoyable. Both literal and figurative meat and potatoes, it is honest, hardworking food that will keep you fit and fed all day. Yes, it is somewhat bland; and yes, it sits a bit heavy in the stomach. But it does exactly what it promises to do. Besides, if you get tired of it, Ireland is well-supplied with cuisines of other varieties. During our time there, we had good Italian, Indian, and Mexican food.

Our next stop was the nearby town of Kilkenny, just an hour’s drive away. We were behind schedule. It was already afternoon, and we had only allowed for a single day to see the city. After finding a place to park, we rushed to the town’s main attraction, Kilkenny Castle—only to be informed that it would close in an hour. Our visit was thus abbreviated.

If some castles seem to emerge from the landscape, others are imposed on them in order to exert control. This is precisely the origin of this fortification, which was built along the River Nore—a natural choke point for commerce and travel. Kilkenny Castle does not have the same antiquity as the Rock of Cashel. Instead, this building came about during the Norman invasion of the 12th century. The Normans came bearing a new language (French) and continental ideas of architecture. If the Rock of Cashel is a symbol of Irish identity, then, Kilkenny Castle is a symbol of foreign occupation.

Ironically, however, this castle was also used as a headquarters of the aforementioned Irish Rebellion of 1641. Indeed, it was even used by the provisional Irish parliament. But Oliver Cromwell put an end to that. His troops besieged the town and, in the process, damaged the castle—brutally suppressing the rebellion and instituting laws that would severely reduce the rights of Catholics.

The castle is now a museum, thanks to the 6th Marquess and 24th Earl of Ormonde, who donated it to the Irish government in 1967 for the symbolic sum of 50 pounds—long after his ancient family had run out of the necessary funds for its upkeep. In his words: “We determined that it should not be allowed to fall into ruins. There are already too many ruins in Ireland.” Of course, after decades of neglect, the castle was already quite dilapidated. It took many more years to restore it to its present glory.

What the visitor encounters now is not so much a fortification as an aristocratic home. There is elegant furniture, richly woven tapestries, and lovely floral wallpaper. The showstopper is the picture gallery—an enormous room with wooden vaulted ceilings, every inch elaborately decorated. Even the fireplace is intricately carved. Yet despite the many attractive paintings adorning the walls, I found the ceiling to be the most impressive. Every single board was shaped and painted.

Soon our tour was over, and we were deposited in the sweeping lawn of the castle grounds. It was a delicious evening—warm, cloudless, and still quite bright—and this great lawn, which now serves as a city park, was full of people. We sat on a bench and took it in. A group of high school boys caught my attention. Their backpacks on the ground (it was a school day), they were tossing a ball back and forth with wooden sticks. This is hurling—the quintessential Irish sport, which requires great dexterity to manipulate a small ball with a kind flat wooden club. There, in the shadow of a fortress built by invaders, the Irish culture blithely soldiered on.

It was our misfortune not to have had more time for Kilkenny. One of the most charming and best-preserved cities in Ireland, it is worth a longer visit than we allotted. Still, we enjoyed strolling the streets and walking alongside the placid waters of the River Nore. Indeed, as we searched for a restaurant, we observed a group of school-age girls taking turns jumping into the river. With nobody else around, it felt like a strangely intimate moment in a small town, rather than something I expected to see in a center of medieval Norman power.

As the 6th Marquess and 24th Earl of Ormonde observed, Ireland is indeed quite full of ruins. And yet among them, above them, and between them, it is also a living place.

The Cliffs of Moher & the Burren

“Make sure to apply plenty of sun cream,” the radio advised, “and take it easy on the beer. One or two is fine, but any more and you might get dehydrated.”

This was the voice of an expert on public health, speaking on Ireland’s national radio station, RTE. Ireland, you see, was experiencing a heat wave. The skies were clear and sunny, and the temperature was reaching highs of… around 25°C (75°F). In other words, the weather was absolutely perfect. But on this rainy island, such scorching temperatures were worthy of serious news coverage.

Meanwhile, we rode down country roads, windows down, soaking in the effervescent green of the Irish countryside. We were on our way to one of Ireland’s most famous natural wonders: the Cliffs of Moher.

Now, here I want to add a note about RTE. Despite the official name being in the Irish language (Raidió Teilifís Éireann), RTE primarily broadcasts in English. This makes it an absolutely delightful resource for any American travelers to the Emerald Isle. Just by turning on any car radio, you are given an immersive window into the realities of Irish culture. During our trip, we listened every time we were in the car, hearing programs about budget negotiations, interviews with cookbook authors, and discussions of rising energy prices. This may not sound especially engrossing, but it made our visit feel that much more intimate.

The health expert elaborated on the dangers of sunburn and dehydration as our destination came into view: the visitor centre. You know you have arrived when you see the huge parking lot across the road, which on any given day will be full of tour buses and private cars. The cliffs are free, but the parking is not.

The visitor centre is worth stepping into before you see the cliffs. Opened in 2007, it was built into a hillside to better preserve the natural environment. Aside from serving snacks and having public toilets, the centre also has small exhibits on the geology, history, and wildlife to be found on the cliffs. But the detail that most sticks out in my memory are the women working at the gift shop, who were visibly red and covered with sweat due to the heat wave—despite my feeling entirely comfortable. I suppose it matters what you’re used to.

It is a short walk from the visitor centre to the edge of the cliffs. The first view is breathtaking—as is every view after that. Though it is cliche to say it, the photos simply do not do justice to the cliffs. Their scale is unlike anything I have ever seen. Standing at over 100 meters (or around 330 feet) above the sea, and stretching for miles in both directions, the cliffs are an overwhelming spectacle—one of the few tourist attractions that stand up both to the hype and to the inevitable hordes of tourists.

We like to say that Rome was not built in a day, but geological time operates on a scale that dwarfs even our longest empires. These cliffs are a case in point. What we see today is the process of hundreds of thousands of years of water erosion. The process is simple: the waves crashing into the rock eventually cause a notch in the area touching the sea. As this gets deeper, it cannot support the weight of the rock above it, and the whole side of the shore comes crashing down. This is how we get these sheer rock faces.

Due to this erosion, a huge layer of rock is exposed to the eye. This is what geologists dream of. It is the history of the earth, exposed to public view. The rock here is sedimentary, meaning that it was deposited by ancient rivers, and compacted into layers of hard shale and sandstone over time. As you might expect, the oldest rocks are at the bottom; these date back over 300 million years, before the time of the dinosaurs. The fossils preserved in the rock are the traces left by tiny burrowing creatures who lived in the ancient riverbed.

Yet viewing the cliffs does not put most visitors in the mood for scientific inquiry. Instead, they invite a sense of gaping wonder at the scale and majesty of nature, even amid the famously docile landscape of Ireland. My brother and I wandered up and down the path, taking photos of the cliffs from different angles, none of which was wholly satisfactory. Seabirds glided in the strong currents of air that formed from the ocean wind hitting the rock face—and which sent the sharp scent of salt water up to the viewing platforms.

But enjoying a spectacle is hard work; so, feeling hungry, we wandered off to find a vegetarian hamburger truck that we had heard about (it was very good). Our mom, who wasn’t very hungry, stayed behind at the visitor center. By the time we got back, she was enjoying a performance of a marching band that had set up in the large seating area outside. It was an odd contrast—this austere icon of Ireland, and music that would not have been out of place at an American football game. But, strangely, it only added to the pleasant atmosphere of the unseasonably warm day.

The rest of our day was yet unplanned. We figured that we would be able to find something interesting in the vicinity of the Cliffs of Moher, and we were right. With our trusted Rick Steves guidebook in hand, we opened to one of the many maps, and found that we were near an area called “the Burren.” The name alone sounded strangely promising.

As we drove into the area, the landscape began to change. The hills of grass that characterize the country become relatively flat, and covered in rock. Indeed, from a distance you could see how the landscape abruptly shifts, the trees and greenery giving way to swirls of gray stone. Getting closer, we could see that the ground was blanketed with a natural pavement—a series of flat stones forming a solid surface, between which grass and flowers grew. It produced an immediate impression—a landscape of stark and ancient beauty.

This impression was magnified at our first stop: the Poulnabrone Dolmen. This is an ancient megalith, well over 5,000 years old. As it stands now, the structure consists of three upright stones supporting a slab roof. But this is only the “skeleton” of the original construction. In its time, it would have been covered in soil and topped with a “cairn,” or a tower of rocks. Even so, it is an impressive sight. The arrangement of stones looks fragile, as if it can topple over at any moment. The visitor cannot help but wonder how it survived for so long. It is also impossible not to wonder how the stones were moved into this arrangement without the help of modern technology. The roof stone is so large that I don’t think even several dozen people could safely lift it.

The short walk from the parking lot to the dolmen was unusually difficult, owing to the curious topography of the Burren. You have to be aware of where you are putting your foot, or you may step from the high platform of rocks into one of the crevices between them—thus risking a twisted ankle. Yet this extra awareness gives the Poulnabrone Dolmen an added spiritual element, as the visitor is forced to focus on their surroundings. This, added to the peculiar beauty of the landscape—quiet, empty of birdsong, isolated and exposed, as if you were on the top of a high mountain—lends this lonely monument a mystical atmosphere, as if it really were the portal to another world.

Our next stop in the Burren was the eponymous visitor centre. Located in the exceedingly small village of Kilfenora, this institution does not look like much from the outside. But it is well worth a visit. A small fee will get you into the museum, which has all the information you could want to learn about the Burren—flora and fauna, geology, history, and even music. I found the information about the flora to be especially interesting. Puzzlingly, this rocky and barren landscape is home to over 70% of the country’s native plant species, many of them wildflowers. Even more puzzlingly, alpine and mediterranean flowers bloom together here. The deep groves in the limestone apparently provide an ideal micro-environment.

Another highlight of the visitor centre is the Kilfenora Cathedral, which today lies mostly in ruins. This attractive church building is now used to exhibit a collection of High Crosses, which are large stone crucifixes. These monuments, dating mostly from the early middle ages, are often decorated with elaborate images—illustrating Biblical stories at a time when most people were illiterate. The finest of these can rival the great gothic tympanums (the area over a doorway).

*My mom and brother, admiring the ruined church*

Yet during my visit, another parallel came to mind. In Galicia, the northwest of Spain, the landscape is also dotted with tall stone crucifixes, called cruceiros. This parallel struck me as odd, as Galicia is also home to many prehistoric dolmens—some that are remarkably similar to the one I had just seen here. Perhaps this should not be too surprising, however: both Galicia and Ireland were once populated by Celtic peoples. Indeed, there was once a time in human history—over 10,000 years ago, during the last great Ice Age—when it was possible to walk from Spain all the way to Ireland. This may seem like a very long time, but it is just a moment in the history of the earth.

Perhaps I am thinking in these terms because the Cliffs of Moher and the Burren both evoke the deep, geological past of Ireland, and remind us that the land beneath our feet is far more than just a country.

Galway & Inishmore

“Dublin is fine, I guess. But you gotta see Galway. It’s incredible.”

My friend Durso had told me this on my first trip to Ireland, launching into a long glowing description of the coastal city. Now, six years later, it was my chance to finally see this mythical place. How would it measure up?

By the time we arrived—after a long day of driving—it was already evening. We headed into the center of town without a plan or even knowing what to expect. All I knew was that Galway was supposed to be nice.

Galway, a medium-sized city, is situated on the western coast, almost directly across from Dublin. The city was once an important port for commerce and fishing. Nowadays, its economy has two new pillars: tourism and education. The latter is especially important. Of the roughly 85,000 residents of the city, nearly a quarter are students at the University of Galway. For a place with so much history, it has a very young population.

This was immediately apparent to us. As it happened, the day we arrived was Freshers’ Day, when all of the first-year students are welcomed to campus. A parade of young people marched down High Street, all of them looking lost and amazed—overwhelmed by their new-found independence. And, crucially, unlike in my own country, freshmen in Ireland are of drinking age. It was bound to be a wild few nights.

This youthful presence—combined with the plentiful tourists—gave the center of Galway a raucous energy. Every bar was packed, every restaurant was full, and we had to dodge between crowds and street performers. I had imagined a picturesque old fishing village, and this was a nightlife district.

But the city is well-adapted to hungry and thirsty crowds, and we soon managed to satisfy our bodily desires. After dinner, we searched for a bar that wasn’t overwhelmed by students. Eventually, we decided on Tig Cóilí, a tranquil place with classy wooden furnishings. This is one of the many whiskey bars in the city. After asking the barman for some advice, I had a glass of Micil Invernin, a single-malt whiskey with a pronounced smokey and peaty flavor—reminding me very much of Laphroaig Scotch. This was followed by a delicious Irish coffee, whose mixture of alcohol and caffeine produced a strange wakeful drowsiness.

The rest of our stay in Galway consisted mainly of mornings and evenings, as we had several day trips planned. This meant that our impression of the city was inevitably skewed. Nevertheless, it is fair to say that Galway is not a city of many attractions. Though historic, only fragments of the city’s medieval past remain.

Notable among these is the so-called Spanish arch, an extension of the city walls (now mostly gone) down to the docks. There is nothing particularly Spanish about this arch. It got its name because of the many Spaniards, usually merchants, who used to visit Galway, mooring their ships near this arch.

*It is hard to get very excited about the Spanish arches.*

Indeed, Christopher Columbus himself (who DNA studies reveal to have had a Spanish origin) visited Galway as a young man, and spoke of seeing “Cathays” (the antique word for Chinese people) who had arrived on logs. These people were almost certainly not Chinese, but may have been Inuits who were blown across the Atlantic in a canoe. Nevertheless, it reinforced his belief that a voyage to Asia was possible by sailing west.

All of this history was unfathomable, however, as we wove our way through the young crowds. Galway is certainly not a city oriented towards the past. Indeed, for a place with such a romantic setting—the stormy Atlantic brooding in the gray distance—and with the soothing sound of water continuously nearby, Galway is a surprisingly energetic place. Perhaps it is no wonder that my friend, who visited during his drinking years, loved it so much.

I do want to single out Il Vicolo, an Italian restaurant we visited. Now, I am normally opposed to eating Italian food out unless I am traveling in Italy. It seems like a wasted opportunity to eat something available everywhere, rather than trying the local food. But in this case, the decision turned out to be a good one. The restaurant—in a historic building overlooking the river—was attractive, and the food a welcome relief from the heavy Irish fare.

Lost amid the crowds and the nightlife, I did not appreciate the impressiveness of Galway’s natural setting until it was time to leave it. On our first morning there, we boarded a bus that took us from Galway to Rossaveel. We soon left the city and were being swept along a fairly suburban area overlooking Galway Bay. The morning was gray and overcast, and the landscape had none of the usual sweetness that one associates with Ireland. Instead, it was rocky and desolate, almost reminding me of Iceland. The North Atlantic is a harsh and dramatic environment.

We were there to catch a ferry to the Aran Islands. These are a group of three islands that lie at the westernmost point of Ireland. Inishmore is the largest and most popular of these, and this was our destination. The trip lasted about an hour and deposited us in Kilronan, or Cill Rónáin (in the official Irish spelling), the only place on the island approaching a proper village. With a population of less than 300, it is home to over a third of the island’s inhabitants—which gives you some idea of its remoteness.

If Galway struck me as a place with too many people and not enough history, Inishmore was exactly the opposite. Despite the boat loads of tourists (we among them), and despite the island’s relatively small size (about half as big as Manhattan), the island creates a powerful sense of isolation in time and space. The landscape is windswept and bleak—deforested after centuries of human habitation, and littered with ruins, both old and new.

We immediately set about procuring ourselves a tour. Now, there are many options for visitors to the island. You can rent bikes and explore on your own, or even just take off walking. The most popular option, however, is to sign up for a minibus tour. There is no need to book in advance. As soon as you leave the ferry, a host of tour operators confront you, all of them offering pretty much the same tour at the same price. We signed up for one without any research or planning, and it ended up being fantastic.

Our guide soon whisked us into the rocky center of this island. Speaking rapid-fire into a microphone, he gave us a running commentary on everything we were driving past. And he had a lot to say. Aside from being a tour guide with ample experience, he was also a native of the island, and could frequently add a personal touch to his narrative. Now, I admit that I have forgotten the vast majority of what he said—he spoke fast, and in a thick accent—but I do remember the sense of wonder I had, as he effectively pulled us into what it was like to grow up in such a place.

I can attempt to write a description of the island here—its rugged hills of pale green, ringed by rocky shores and covered in gray ruins—but I think it would be better just to instruct any curious readers to watch the film The Banshees of Inisherin. This film—properly tragic-comic, as are so many Irish stories—was filmed here, and does a wonderful job in capturing the combination of desolate beauty and provincial isolation.

One valuable part of the experience was simply overhearing the guides speak Irish. You see, Inishmore is a Gaeltacht, which is a section officially designated as having Irish as the first language. Language has a political element here, as it does in so many other parts of the world; and adoption of Irish (also called Gaelic) as a co-official language with English was seen as an important step in the assertion of Irish identity. Nevertheless, the overwhelming majority of the population still speak English, and learn only minimal Irish in school. Inishmore is one of the few exceptions to this rule.

The high-point of the visit, literally and metaphorically, was Dún Aonghasa. This is an ancient fortress, situated high on a cliff overlooking the Atlantic. Even the approach is dramatic. Stumbling over a rough cobblestone walkway, ringed by stone fences, the visitor gets a small taste of how secure this place must have been in its time. The surrounding fields are strewn with spiky stones that would have disrupted any approaching army.

Nearer, the visitor passes through a series of four concentric walls. Even today, after years of neglect and decay, they stand far taller than a person, and are thick enough to withstand serious force. (Admittedly, major sections of the walls have been restored.) Clearly, the people who built this fortress did not want to take any chances. But who were they? Archaeologists are not entirely sure. The fortress seems to have been built sometime around 500 BCE by the Celtic inhabitants. Its name may refer to a god from Irish mythology. That is about as much as we know.

Today, it is impressive more for its setting than for anything it can tell us about prehistoric Ireland. Hanging precipitously from a cliffside, the fortress suggests a people who were surrounded by enemies, who lived with their backs to the wall. The day we visited was fairly mild. Even so, the Atlantic looked brooding and dangerous in the distance, an angry infinity waiting to swallow up this floating bit of rock. It must have been an exceptionally hard life.

The other major historical site on the island are the Seven Churches. This is a somewhat misleading name, as there are only two churches at the site, and they are both in ruins. Our guide told us that they were “early Christian” structures, though he couldn’t offer much in the way of specifics, aside from mentioning that they used to be important destinations for pilgrims. The dilapidated and unused churches are surrounded by a still-active graveyard, which gives the place a rather spooky air.

The last attraction on our tour was a small group of seals. Wildlife abounds in West Ireland—its waters home to whales and dolphins, its skies full of sea birds, and its land covered with red deer—and Inishmore is no exception to this rule. A small seal colony shares the island with its human inhabitants, and provides a whimsical sight for the tourists.

After around three hours, our guide deposited us back at Cill Rónáin, where we had some good Irish food and a few cold beers. Then, it was time for the ferry ride back to the mainland. That night in Galway, surrounded once again by the hordes of freshers, the island of Inishmore had a sort of dreamlike quality to it—a place trapped in time, preserving a piece of old Ireland so that these young people could one day, too, come to enjoy it. Now that my friend Durso is somewhat older, I’m sure that he would love it even more than he loved Galway.

Lotz in Translation

Saving the world—one long, pretentious blog post at a time.

Author: Roy Lotz