Artist’s Blog

On Christmas Day I Went For A Walk.

 

On Christmas Day I went for a walk. I got to the entrance of the Parque Municipal das Macaqueiras but it was closed. A dozen or so locals stood about chatting to each other, frustrated at not being able to get into the park too. They looked at me curiously. Suppressing a smile, one of them stepped forward and asked me whether I had the key to the gate. ‘No,’ I said, patting my pockets as if to make sure. Everyone laughed, that I understood the joke, that I might have come a long way, from another country, just to open the gate!

The gate itself didn’t seem to be much of an obstacle to anyone’s progress, however. It was low and metal and painted white and stood next to a booth where two police officers usually sat, checking people in and out in a desultory sort of way, making sure everyone had left by five. They were not present, neither could I see any notice about the park being closed. I wondered why we didn’t all just jump the gate. An inviting path wound itself up the valley into the tropical forest beyond, a wide stream of clear water ran down on the left and the steep, valley sides stood rocky and tall. Jump the gate now and you could be lost in a few minutes. No one would find you.

As if in answer to my thoughts, a police car pulled up and two uniformed officers got out, one male, one female. The male officer started a conversation, patient and apologetic with the other park-goers. I looked at the pistol in his holster, firmly attached to a black belt at his hip, and at the pistol of his colleague, firmly attached at hers. I decided not to do any gate jumping just for now. I asked the female officer why the park was closed. She leaned back against the door of her car and smiled. ‘Manutenção,’ she said. ‘Oh,’ I said, and smiled too.

I stood and wondered what ‘manutenção’ might be going on in the park at that moment. Maybe some of the dead leaves that carpeted the forest floor were being cleaned and polished and put carefully back into place, a few of the boulders in the stream moved an inch or two for better aesthetic effect? On a previous visit I was pleasantly struck by the lack of litter, the locals gently enjoying a place to which their ancestors had probably come for many centuries. Perhaps the old Tegu lizard, one and a half metres long, that I had spied, and had spied me, shuffling off into the trees once he saw me, was wondering where the ‘manutenção’ had gone? Perhaps he was wondering where everyone had gone? They are supposed to get more sociable as they get older, apparently, some are even kept as pets.

By way of consolation the police officer suggested that I might like to visit some of the other beauty spots in the area. I thanked her, but I had another idea. I walked back down the road, leaving the others to jump the gate, once the police officers had gone off to have their Christmas lunches, whenever that might be.

 

20250424 113112    The entrance to the park on a usual weekday. The little white gate open in the middle.

 

On a previous occasion I thought I had spotted another route that ran the other side of the hill, that might eventually allow me another entrance to the park, unnoticed by others. It was a hike though, but I had nothing better to do, so I set off, water and lunch in my backpack, sun-cream applied, a hat on my head. It was hot, 31°, that sticky heat that makes you sweat at the slightest effort, and the path I had chosen, up hill and down again, and then through some off beat streets at the edge of town, brought my temperature up to a point where I had to stop and cool down again, take a mouthful of water.

 

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My temperature is always higher when I am walking if I don’t know exactly where I’m going, navigating by dead reckoning, instinct, experience, no map. I am eager to know what is round the next corner or over the next rise, impatient to get there, hoping that it will not be a dead end, or worse, and I will have to go back. Such navigation is best done by following the sensible routes of others, but sometimes it is difficult to know the sensible routes of others, especially if you are a foreigner. And then there is the time when you need to strike out on your own, following the paths less travelled, or sometimes, not travelled at all.

Up to this point I had passed quite a few humans, surprising considering the day, and a few shops open too, needs must I suppose. People walked their dogs, worked on their cars, someone spot-welding in a garage, some others standing with plans for a new house, half built. One large area was fenced off from the rest, an exclusive patch of land it seemed, with new houses on it, some finished, some not. The fence, like the gate back at the park, was not substantial enough to keep the determined out, it seemed to stand only as a marker of social distinction, at least in the minds of the lands’ developers I suppose. I decided to go round. I passed a family, sitting at their doorstep trying to catch the breeze, and a few yards further on a young man, reclining in a hammock on a bright white balcony, the former outside, the latter inside the fence. Their houses were not that much different, built to a similar design, with the same materials, the one inside finished, bigger, painted white, the one outside still in need of a bit of work, not painted at all. Their respective occupants could see each other, talk to each other through the fence, but neither appeared to be in a sociable mood today.

 

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At the top of the road I turned right, out of intuition really, onto to an unpromising, dusty track, and was immediately answered by a hand-painted advertising sign on the side of a wall. ‘Uma boa ideia’ the slogan read, as if in answer to my decision. A car passed me coming the other way, the front seat occupants peering out through their muddy window, intrigued to know who I was. They waved an amused hello, unused to foreigners in these parts. The track past the top of the exclusive development and veered left, disappearing into the side of the hill, covered in forest, the birds and the insects clicking and chirping and chattering to each other in the heat.

 

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As I walked along, I had the curious sensation of stepping back into an older landscape and time. The road cut into the hill in places leaving a precipitous turn or two, then suddenly took a dive for a hundred yards before climbing back up again. It was a dusty, rusty track rather than a road, carved out perhaps from an older narrower one and a footpath perhaps a long time before that. Occasionally a hand built wooden fence appeared to left or right denoting somebody’s land, back up into the forest, but otherwise the trees overhung the road, manga, jaca, marmalado, mangabeira, macaqueira, babacu, their leaves shiny, green and grey on top to reflect the heat, cool, brown shadow beneath.

 

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A power line ran along the side of the track, taking electricity to somewhere, though it was not clear where. Half way along the road a small one room house clung to the side of the road, made of mud bricks, and a few tiles for the roof. There was a small window at the side and an unpainted wooden door with a cross fixed to it. Surely no one is living there I thought, but as I passed, the small garden had just been dug over at the back, some peppers were ready to be picked, a hoe left on the side. ‘Deus é fiel,’ one of the most popular phrases in these parts came to mind, here a living embodiment of such belief. Further on I past two or three similar houses set back a little, embraced by the trees, none connected to the power line, or to the mains water. How long all had been here was anyone’s guess, each generation searching for it’s own Eden, and abandoning it over time for others to follow, or the forest to grow back.

 

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On along some more and some cows blocked my path, forest cows you could call them, spilled out onto the road through an old fence. They stood in a sullen sort of way and refused to move, out of indifference as much as anything, or perhaps a need for human contact too, no sign of their owner or farm nearby. A sudden lurch forward by me produced their cautious retreat to the fence and I passed by.

 

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A bit further on and I turned to see a small clearing and a huge jackfruit tree commanding the space. Dull, yellow fruits hung down in profusion, their skin hard and scaly, big as footballs, impossibly suspended. Beneath them two, white calfs appeared, by a kind of magic, they stood, as if in their own Eden, while I photographed them and then they skitted off, rustling the leaves as they went, so I could still hear them some time after I had lost sight of them.

 

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After a while I begun to wonder exactly where I was, and if I was anywhere near the other entrance to the park I was trying to get to. Maybe I had gone back in time so much I couldn’t return? The hill to my right appeared steeper, more rocky. How was I to get to the other side? A path appeared ascending the hill, and hope said this might be the place. My instinct wasn’t so sure. Twenty minutes of scrambling up some hard quartz gravel, produced an interesting view, and more overheating, but no way past the overhanging escarpment. A look back down at the road saw it snaking along, away from the hill, now revealed, now hidden in the trees. A few more houses could be seen into the distance, tentatively connected to the power line whose poles stood at precarious angles, but nowhere I wanted to go. I was becoming tired, that kind of tired that comes from not finding what you are seeking. I decided to go just a bit further and if no path, then I would go back, the end of my quest. I scrambled back down the gravel onto the road.

 

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The track took an unexpected turn to the right and down into a small sub-valley, a valley within a valley, hidden from view. The road was suddenly blocked by a green metal gate that looked like it had been there for several decades. An old car was parked in a little parking space to the side. A sign on the gate said ‘Private Property, No Hunting or Fishing.’ I stopped and considered. The sign confused me. I was hoping this would be the other entrance to the Municipal Park, but clearly it was not, though it was in the direction I wanted to go. The sign declared that the land was owned by someone but seemed to suggest that entrance was tolerated as long as you didn’t hunt or fish. There was only one way to find out. I looked. The pedestrian gate to the side had no lock. I tried it and it opened. I stepped inside closing the gate behind me.

 

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On the other side of the gate the track continued. A small stream ran down a deep gully on one side and a sheer rock face sprang up on the other, dripping with water, ferns growing on its face. The path went down and wound itself around the side of the sub-valley, narrower now, and eventually redder, a change of earth with more iron in it, a characteristic of many parts of Brazil. A green verge and a small opening appeared in the trees. I stopped and thought. Here might be the path up the hill, to the peaks beyond. I reckoned so.

 

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The path down the sub-valley, looking back the way I had just come.

 

Before that though I continued along my original path, intent on knowing where it ended before I gave it up. It wound it’s way gently upwards towards a smaller peak, a sugar loaf size hill on its side, with a track reaching up beyond the treeline to the top. I stopped. I could hear voices. Noises of cutting and hammering floated down to me, and I could see two or three self-build houses up ahead on both sides of the track. I listened. The respective tenants of these houses were talking to each other while working on their plots. I decided not to go any further. I was on private land after all. The sugar loaf hill would have to wait for another day.

Stepping through the gate had led me into a world that I wasn’t quite sure of. Coming from a country where land has for many centuries become property of one sort and another, firmly demarcated by explicit boundaries and a plethora of laws to enforce them, it was strange and interesting to to encounter a country where things were not so clear. Here, the park was not as large as I had imagined it, yet the landscape was. Apart from the gate on the road the boundaries were unclear. There were no fences. The forest paid no attention to these boundaries anyway, and as yet the animals too. The people busily building their own Eden above had no mains electricity or water supply as far as I could tell. They had a clear running stream and the light of the stars instead. Which was better? How long would it be before others followed these pioneers, the road paved and named, a water supply and a postal address allocated by the powers that be?

 

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The path further on, redder, with more iron in it.

 

I retreated and walked back to the other path up the hill, to the summit I was originally seeking, the one I would have been on by now, if only I had remembered to bring with me the key to the little white gate that the locals had asked me for!

Off the main track and under some trees a narrow path sprang up the hill at a steep angle. The earth was brown under my feet peppered with the entrances to the world of the ants, the busybodies of the forest. I prepared myself for a hard climb, more sweat and lots of stops for water. The path twisted upwards, dark brown butterflies with orange wingtips flying in and out of my vision, grasshoppers and birds chirping incessantly in the background. To my surprise the path didn’t take too long. I soon realised I had done most of the hard work on the long way round I had taken. I stopped on some level ground recognising the junction I had arrived at on a previous occasion, meeting the path up from the police guarded entrance I had taken before. Pleased at my navigation skills I stopped for water and listened to the forest around me.

 

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Some birds, curious at my presence, sat in a tree above me, chatting to each other and the forest beyond. The sound of crickets and cicadas rose and fell in various crescendos, the barrage of noise followed by sudden unpredictable silences. The sunlight flickered off the waxy leaves. I looked for snakes, spiders or anything larger, but nothing except the eyes of the forest itself, unspoken, in the dark, green shadows.

 

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When I turned round however, I saw another sign of human presence planted in the forest. At this junction of paths someone called Valmir had planted his sign, and his phone number conveniently below it. So this, it seemed, was Valmir’s land. I stood and wondered. Had he bought the land or was he just the first to be here? Did he own all the forest beyond, where the new build houses were? The forest stretched up to the mountains. Did he own them too? And what was his phone number for? For information pertaining to the plants and animals that lived herein? Or in case of a lost walker, foreign or otherwise, phone Valmir for help. Or was it to enquire about obtaining a slice of this semi-wilderness, a plot in the forest, a dream that seemed already to have been taken up, by some?

 

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I moved on and started to climb again and the path wove back and forth and got stonier, the trees began to get thinner, gaps and short glimpses of views appeared out over the surrounding chapada. The brown earth disappeared and was replaced by quartz rock and boulders covered in grey lichen, with ground hugging bromeliads and smaller hardy bushes, breaking out between them. Welcome breezes drifted through these openings. Flowers appeared between the rocks and many more butterflies, about six or seven different species, and the first of the little grey rock lizards, scampering in and out of my steps. The lizards paused when I paused and looked at me sideways, nodding their heads as if in agreement with something, my progress, the weather, who knows? Each had a fluorescent green line from the top of its head to the tip of its tail, their grey camouflaging them against the rocks, the green line zig zagging as they moved, the only part of them focusable until they stopped still, suddenly, to look at me sideways again.

 

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This was the path to the top, though where the top was I wasn’t quite sure. On my previous adventure here I hadn’t got to the final assent, as I had not had enough water with me. A sprightly, older, northern european must be aware of his limitations in these parts, in my case an excuse to stop and admire the many views that were beginning to appear around me.

At the top of the rise however, before I could get out onto the mountain proper, a small wooded area appeared. The path flattened out again, turning a dusty grey and weaving gently from side to side. No sign marks the spot, and at first I went past it. The ground suddenly fell away to my right into a deep sunken area, half hidden by the trees. Intrigued I went back and retraced my steps and found a small sandy path down, some thin trees to hold onto each side for balance. A bird high above me called out as I descended, and at the bottom it widened out into a large open area. The floor was covered with a layer of deep sand, quartz sand, and larger, older trees to the side. I found myself staring at a vertical rock face in front of me, arching and curving upwards like a huge curling wave, and coming down again fifty metres on the other side of the clearing. Underneath the wave, not of water, but of stone, was a cave, a very large, empty cave.

I walked over and stood on the sand as if it were a beach, at the cave’s entrance, and tried to look in. My eyes could not penetrate the deep shadow. As I stepped forward my eyes gradually adjusted and I could see up to the ceiling thirty feet above me and to the back of the cave some twenty or thirty metres away. The rock strata arched above my head, plunging into the sand at the back of the cave as if on it’s way to the centre of the earth.

The air here inside was tepid, stale, the light dimmed, the temperature only slightly cooler than the outside. I turned and faced the way out again and stood in the great arched entrance. There was no wind, no place to sit, but on the floor. A small continuous drip of water came from the rock at the side, but not enough for anyone to live on.They say that once many of us lived in caves. I tried to imagine it here, but could not. There were numerous names etched and scratched on the walls. Someone had left a large piece of chalk on the side for those who wanted to follow. I left my name and the year with the others and climbed back out of the hollow ground. The bird in the tree called out again as I left.

Some weeks after my walk I mentioned my experience of the cave to a local acquaintance. He told me that local history has it that it was once a place of execution, and that some of the original indigenous inhabitants of the area were murdered there. He said that many people visiting the cave have some of the same feelings as I had, and do not like to linger. While I was there, I had the feeling that the names on the wall were bearing witness to something though I was not sure what, and that the oldest of them probably went back a considerable time. The rocks too seemed to be saying something, and the bird calling out. Places have a way of communicating the past to the present, in a way that doesn’t seem rational, older than science, speaking to the majority of the time we have been on this planet.

 

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Up above the cave again I continued along the path until it divided. Which way? One way seemed to lead flat, straight ahead into denser trees and a gap in the hill down into the next valley, and so I took the other path to the left which began to climb again. First some steep, rocky steps and then out of the trees and into the open again, the promise of a breeze brushing my face, the sky blue, then bluer, wispy white clouds and the light you only get at the top of a hill, no shade, just plain, clear light. I climbed again, now between stones and boulders, then rocky outcrops, solid stone pavement beneath my feet or quartz sand, boulders cracked and split into impossible shapes as if two giants had, had some argument long ago and had thrown them haphazardly about, crashed and splintered.

 

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Every few yards a new, grey, green lizard accompanied me, replacing the one before, as if relay, in reality probably just making sure I didn’t stop in his or her territory.  Small birds flew between the few low trees and bushes and the odd butterfly fought against the breeze. As I got higher the breeze turned to a steady wind, refreshing, cooling, blowing in my face, the quartz pavement etched with the deep parallel scars of sun and wind, and rain. Between the rocks cacti grew, a mass of thorns, half a metre high, and thick clumps of spiny, leathery grass and various other flowers and plants, documented and undocumented in the northern hemisphere, here, in the hot quartz hills of the Chapada Diamantina, 3000ft up and climbing, in their natural habitat.

 

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In this tangled landscape there was no natural path, no large animals seemed to be living here to leave their mark, except humans. Several times my dead reckoning had me scrambling over the stones and off into a rocky dead end. Though I saw no one on this and the other ocassion I was here, the human urge to go where no one else had been before had in fact preceeded me. At regular intervals, ribbon like pieces of blue plastic appeared, tied to small trees and bushes, marking a way between the rocks. I am not usually grateful for a display of plastic, and I, at first, fought the urge to take them down, but then realised I would have difficulty finding my way back if I did. It soon became a game, to find the next blue marker to ease my navigation, prevent a twisted ankle, or worse, to stop me careering over the rocks.

 

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And on a bit, a small sign appeared, tied at a jaunty angle to a bush amongst the rocks. Waiting for me patiently, the summit of the hill could be seen beyond for the first time, yet to be reached. On the sign was a depiction of two peaks with someone on a mountain bike ascending one of them. The words ‘Hard Enduro Rota Do Ouro,” were written in a circle around the drawing. At first, on seeing the sign, I wanted to take it down too, like the ribbons. Then I felt a little flattered. Had I joined an exclusive club, at my age? Then I felt a bit silly, there seemed to be no need for exclusive clubs up here, ‘Hard Enduro’ or not. There were no signs of any mountain bikers having been up here either, the terrain pretty impossible, even for them. The black vultures that circled high above my head, swooped and glided lower over the valley below, in line with my altitude, a reminder that this is still a semi wild place. Stop still for a while and they circle above you, move an arm or a leg and they glide off again, just checking!

 

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The other words on the sign, ‘Rota do Ouro,’ spoke of another story however. These hills, as their quartz strata suggests, contain many metals and minerals. This route may be of gold, spiritually, but the prospect of gold metal is what attracted the first European migrants to this area. Five miles to the south is a gold mine, one of the biggest in Brazil, owned by the pension companies of the cold, far north of this continent. It provides steady employment to many of the local inhabitants at reasonable wages with good benefits. The mine shafts run right under these hills further south, and the company has exploration rights for the hills here too, underneath my feet. A local friend of mine told me a story of when he used to work at the mine. He was present at a visit of the international directors and owners. A very expensive lunch was flown in for them. He met the general manager of the mine, who had a gold pen with a gold nugget attached to its top, displayed on his desk. A very expensive pen, my friend decided. Standing up here, it was difficult to fathom the sum of monetary value lying under my feet, let alone the human history that had led to its being invested so. I moved on, trying to tread as lightly as I could between the plants and animals that lived and grew on top of it.

 

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The ‘cordilheira’ looking south with the town of Jacobina, top right and the mine above that.

 

The higher I climbed, the more spectacular became the views. Now winding my way up another few hundred feet to the top, the hills around me stretched out, a huge ‘cordilheira’ of mountains some 60 miles to the north and another twenty to the south, itself part of a bigger chain of highlands or ‘chapada’. The chain here is composed of three or four parallel ranges each about one mile wide with a smaller width of valley in between each, the whole five to ten miles wide depending on the location. The peaks go above 3000 ft in places, and each valley is forested with deep tropical vegetation. Springs, waterfalls and mountain streams run through each, sometimes with spectacular gorges. Some are remote, others not so much, each valley a little less or a little more inhabited by those who have chosen this lifestyle, whether poor or more middle class, off grid or on, depending how near they are to the little villages and towns either side of the chapada, themselves pretty remote in the scale of things, here in Bahia.

It is impossible to see from one end of the cordilheira to the other, in this spot maybe five to ten miles north and south. To the east the landscape stretches back toward the coast, some two hundred miles away, beyond sight, the flatlands of the arid sertão appearing vague and blue and misty, strange lumps sticking up on the horizon where large hills suddenly arise in the middle of the backlands, like huge termite nests built by the termite nest god. To the west more sertão, but more hilly, stretching some ten miles to the escarpment of the Serra de Tombador, itself 50 miles long running parallel to this set of hills, and beyond that another 100 miles of the same dry country to the banks of the Sao Francisco river, the second longest in Brazil. In all of it, remoteness, odd farms and villages, dusty un-tarmacked roads, marks in the hills in light green and grey of tentative fields cleared in the caatinga, the odd spiral of smoke drifting up in places where more brush was being cleared.

 

 

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The wind blew in my face, cooling me, the clouds above a procession of white sheets on a washing line, marching across the sky. I climbed on past some more rugged outcrops and came to a large level ground which seemed to be on top of the world, with scattered rocks and clumps of coarse grass, cacti and orange amaryllis. Here was my peak, as high as I was going to get today. I found a suitably comfortable outcrop of rock and sand and sat down for a well earned rest. I drank some water, juice and ate my sandwiches, biscuits and fruit. It was 2.30pm and somewhere far away were villages and towns and cities, and rivers and coasts and seas and other countries and time zones, and people enjoying Christmas dinner or sleeping it off, or thinking they had better go out for a walk to get some air. Somewhere in the Pacific Ocean it wasn’t even Christmas anymore, whilst somewhere else it had only just begun and in many places it had never been Christmas at all and never would be. The faraway horizon stretched 360° around me. Somewhere along that line I thought I could see the curvature of the planet we live on, though it may have been the lenses of my glasses, the astigmatism I have in one of my eyes. I sat there for a while and thought I could see the earth slowly turning, but maybe it was just the clouds passing above me, the sound of the wind.

 

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On top of this part of the world. Orange amaryllis and cactus at a jaunty angle.

 

Sines.

these days
the old men still stand beneath the castle
watching the ships go in and out
as their grandfathers did
and their grandfathers before that
the ships are bigger now
oil tankers and containers
filled with the things we did not know we wanted
filed and noted
by style and time of day
the sea when calm a mild estuary
or otherwise a temptestuous lover
and around the corner old vasco stands
in his iron stockings
his feet set wide
and his stare so far
so far away
each afternoon
his shadow moves slowly behind him
and the sea grows dark
and the sun sets orange on the water
the lights come on
twinkling on the boats waiting at anchor
twinkling in the old men’s eyes
who say boa noite to each other
and drift home
to bachalao à brás
rissoix de camarão
or peixe espada

 

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A Village Somewhere in the Alentejo.

 

   Here, there is no story. In this place of one thousand faces and a few more, each heart is singing it’s own song. The cocks crow, the dogs bark, the bulls moan deeply and the sheep go baa..ah, and in between the gentle music of the chocalhos, the cowbells, which the locals make as if to create an orchestra in the fields, as well as to know where Canela and Alfazema and Torro have disappeared to at the back of the cork oak wood. Here there is no story except a thousand years of this, where the church clock strikes at the top of the village, out across the fields and the woods and the rivers, to the blue/green hills, where no one can hear them anyway. Time sits down and has a rest, governed more by sunrise and sunset, by ‘now we ought to go and feed the horses before it gets too dark,’ than by anything else, the horses that amble and stumble in their green winter pastures, nip each other on the neck and stand talking to each other in the cool sunlit haze, where the storks come down from their telegraph nests and pinch the odd frog who wasn’t looking, or walk like old bishops though the aisles of yellow clover.
      Here there is no story, unless you whisper, go from house to house, keeping everything so quiet. It’s quiet here, deserted are the streets apart from the old men in the square who seem to have lost each other today, given each other the slip, or later sit outside a cafe or two on the main road watching the cars go by. There’s a VW Beetle, a mellow shade of orange, driven three miles everyday since way back when, and a Renault Four with a seventy four number plate, I kid you not. This place had the good sense to build itself away from the main road, up the hill a bit, so everyone passing, passes to one side, leaves under the impression that there is nothing there, ‘…We missed it. Did we? No I think that was it. Shall we go back? No I think that was it. Shall we go back? No, there’s probably nothing there…’
     Sssh, there is no story, you won’t find one here. No statues to the navigators or the explorers, to the generals or even an local artist. There’s one statue. Who’s it to? A happy local chap who was just a happy local chap, and that’s that. You see, no need to make fuss, the streets go quiet, there’s young Fonseca stepping outside the bar and finding no one there has gone back in. A voice calls him back from inside, the barman, that’s all, it’ll be the same till the fields are dark, or Saturday or Sunday.
   On Saturday night some gather at the football club, the young side lost today or drew, or scraped a win, anyway, the tv’s on, the petiscos are out, and here are the horses, let’s go and talk to them. A pair of elegant and upright mares stand outside and toss their heads up and down when complimented or patted on the nose. Is that the horses or the mares? I do not know. The riders are Joe and Joane from the stables by the lake. Oh I see. Altogether now, we’ll all drink and chat here in the shadows as the sun goes down and the lights come on, horses and humans, an ancient combination, so close we can even have a laugh together on a Saturday night!
   There is no story here, the library had one customer today and it was me. There is no story here, the man and his daughter who run the stationers have been there since last month and last month was twenty years ago, and you’ll have to go to Évora if you want a battery charger, a carregador. The shelves are full of bottles of pop and magazines from last year, and a book or two, and on the bottom shelf down there, twenty cabbages, I don’t know what they’re doing there. Here on the top shelf are some books like this one I’m writing in, all beautiful and clean, white, pages, all ready for me to write a story in, if I had one. They’re only, what’s that say, ‘quanto é?’ The stationers daughter runs round from behind the counter and squints up through her misty glasses and I squint back through mine and she calls out, ‘Pai?’, ‘Dad?’, and he interrupts his conversation with a man buying a lottery ticket and squints down at us through his misty lenses. Two euros eighteen cents, he says and writes it in an exercise book and his daughter runs behind the counter and finds the change from an old wooden drawer and comes back round and presses it into my hand. It’s still warm now if I feel it.
   There is no story here, well, no, why should there be, you’re all wanting stories like something’s got to happen. The waves come crashing over the deck and Maria Constança, Maria Conceição and Maria João have got to be lost at sea and a big whale comes up from the deep and rescues them, or eats them, or they rescue each other. There are no whales here, except those in the clouds that go floating by, high over the rolling hills and the big blue sky, hot in the summer, baked dry, I don’t know why, flowers in the spring too many to pick, that’s the reason they don’t pick them, it’d be a shame to watch them die. There is no story here except there is no story, the shops open at nine and close at twelve thirty. After lunch they’ll be open again from three til’ five, though some don’t open at all, the antiques shop I’ve been waiting a month, or the clothes shop, last Tuesday, Saturday afternoon sometimes. Still, the man in the supermarket makes good sausages, is that a story? The man in the other one makes lovely little quiches and pies that melt in your mouth, two mouthfuls. The fruit and veg are the best. The lady on the till answers me ever so loudly, thirty seconds after I come in and say good morning or good afternoon. Sometimes she dozes, sometimes she’s on her phone. Later her young son comes in and says he’s having trouble with his homework, she says she’ll be back soon and not to worry, menino, not to worry.
     There’s a wall on the main street that takes all the traffic, the through traffic, the around traffic. It’s full of posters for bullfighting, Évora, Beja, Coruche, Aljustrel, José Palha, Augusto Brito, João Paes, espectáculo, incrível, and a picture of a bull unnamed. They’re torn at the edges and blow in the wind and last week someone, (were they angry or drunk?), tore them down. Gradually, new ones are filling up the space. Is that a story?
      The gypsy kids play up and down, the teenage girls ask me for money if I smile. The younger ones laugh, so I smile some more, and I don’t give them any money, and our smiling eyes meet and we all laugh. And that’s better than any money. Is that a story?
     Here there is no story, except the church clock chimes but no one goes to church. No one goes because they’ve been before and the priest knows what time they’ll come, for weddings and matinées and funerals and prayers. The priest knows the streets have their own sunlight and shadows, the hush and the peace is as close to god as anywhere. There are many other shepperds here too, but out in the fields and the keepers of horses and bulls and bees and olive trees and cork oak trees and hills and clouds and the sun. The church clock doesn’t need to tell anyone the time except a gentle reminder now and then. I heard it in the background last Tuesday. It was some way off, maybe it came from Évora?
     Last Tuesday I was walking along the road, by the cemetery, a group of young men came cycling past, in their lycra, all black and yellow and white and helmets and cycling gloves. They went past in a flash, banking the corner and disappeared by the wall. They came back round again ten minutes later, and one of them shouted in a broad Yorkshire accent, ‘…I told you….. should’ve taken the left fork!’, and they all banked round again and went twenty metres on and came to a halt and collapsed in the middle of the road and then started arguing, and some took their helmets off and left their bikes lying about and so on and so forth, and then got up, all of them, and left. I didn’t see them again, maybe they came from Évora, maybe they got back? I hope so. There is no story here.
     There is no story here because there is no story, that’s the way I want it to be. That’s the way they want it to be, so don’t go there or you’ll spoil it, just stay where you are and then there’ll be no story. Write your own story anyway.
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*

Melides

 

If you go south from Lisbon, before you get to the Algarve, you go through the Alentejo, an area as wide as Wales, of undulating hills that roll on and on, gentle, vast, agricultural. It is cold in winter, full of flowers in spring, baked dry in summer, with a hint of sadness in autumn, like all autumns I suppose. A town called Melides lies in the south of the Alentejo near the coast. Alentejo by the sea.

The people of this area go back and back. In each town or village a little museum proclaims their past, neolithic, celtic, roman, gothic, moorish, medieval and the time of the dictatorship before the revolution of 1974.

The Alentejo was central to the revolution of 1974. Conservative with a small ‘c’, traditional to the point of pride, nonetheless the overthrow of the Salazarist regime brewed here. The theme tune, the signature call to the one thousand captains of the army who overthrew the dictatorship played out on national radio on the morning of the 25th of April 1974, the song, ‘Grândola!’, a hymn to that town, sung by an Alentejano male voice choir with deep pride, in a style rather like their Welsh male voice countreparts. Grândola is ten miles from Melides.

In Melides men still wear flat caps and shirts unbuttoned two down if rakish or hot. Women of a certain age wear black skirts or dresses and cover their hair. Faces are brown from the sun, from outdoors work, and eyes smoulder, deep as dark honey in a jar. Rice is grown in nearby fields that hide between the beach and the land, and beef cattle, wheat, plums and pears, oranges and lemons, grapes, olives and cork from cork oak are harvested. The sea too provides a living for some. In Melides sea bass caught at night from long lines off the beach are good to eat and fetch a price at local restaurants.

The revolution was a long time in coming for the people of the Alentejo. Maybe from the days of the Romans. Maybe before that. The Romans had seized the land, enclosed it into big estates, the ‘latifúndios’, reorganised the language, turned the locals into slaves, a practise that continued more or less after the Romans left. The people worked hard, but were poor, the riches of the land were taken from them, taken away to Lisbon or exported abroad, the profits used to keep the big houses and estates, the rich in power.

After 1974, two thousand years of history witnessed a sea change. At first dreams forged from collective struggle brought the people’s occupation of the land. The state enforced some redistribution, agricultural collectives sprang up, old power vacuums imploded. New practises and new balance. Portugal found it’s feet, and after adopting a democratic constitution and joining the EU, new investment, new jobs and careers began to sit side by side with the old. But the prices for agricultural products remained stagnant, the minimum wage was set, but low, both dependent on world markets still not for equality. And still the migration, the moving away from places like Melides, to Lisbon or Porto, to France and Germany, the US and Brazil. What price a traditional farming life in the Alentejo, cooperatives and all? What price the new mechanisation and technology? Many of the young, in past centuries resigned to the land, now priced out, or disinterested, have left it.

The bell in the old church tower chimes twelve. It is too loud. The hammer needs adjusting but for some reason hasn’t been, an oversight, a local political dispute, a rivalry between church and state? You can hear the crack of the hammer on the bell at each chime. Everybody nearby goes inside. A dog barks discontentedly from behind a closed door, a gruff disapproval, once after each chime. After twelve strikes the dog stops, the people come out and continue as if nothing has happened.

Next door to the Pharmacy someone has delivered a pallet on top of which is balanced a set of shelves containing seed trays with tiny cabbage, lettuce, onion and cress. The pallet stands on the side of the road waiting for customers, the forklift used to deliver it parked next to it, the keys left in the ignition. People come and go, bartenders wait for customers, the older men sit together on a wall behind which is spelt out in large plastic letters, ‘MELIDES’, a sign to beat all signs, they have them in all Portuguese towns now, everywhere it seems. Just in case.

The roles between men and women shift back and forth. What passes as tradition is sometimes more complicated than one would think. The women work in shops, run shops, serve in restaurants, cook in restaurants, own restaurants, clean, run guest houses, do social work, teach, yet some of these are all quite modern occupations in the long history of the Alentejo. The men build houses, drive tractors, the local buses, cut cork, work in the many labours of the countryside, but this was not always their exclusive role either. There is a photograph, blown up large on the wall of the local museum, the photo circa 1960, a group of men and women out in the fields, together, posing, women in long dark skirts and bright white blouses embroidered with flowers and filigree, black hats, stiff and round like small fedoras tilted at a jaunty angle. These are their work clothes, so many to wear in such weather, though in winter perhaps better. The men wear shirts and trousers, more prosaic, but both are ‘camaradas dos campos’, comrades of the fields, in those times, before mechanisation, their labours shared, though whether paid equally is another story.

In the photograph one woman has a large earthenware jug balanced on her head and a big smile. They are all smiling. One man stands in a pullover with holes in the sleeves and at the shoulders. Another man, tall, earthy, has his hand at the crotch of the woman next to him, teasing, mocking the posing of everyone, uneasy perhaps at being photographed himself, the woman has her hand on his, laughs. A gesture wanted, unwanted, or just how it is, a world apart, a time before this one, caught at that moment, those times, are they gone, are they still here? Their children have gone, well some of them anyway, to Lisbon, to Porto, and Los Angeles and São Paulo. Sometimes they come back, to visit, to stay, to retire.

Who has come in their place? Fifty years ago a German man came. On his holidays or just travelling. Was he the first? Who knows? Maybe in time the historians will tell us? He had been in Latin America, Columbia, Venezuela, Bolivia, Peru, Argentina, Brazil. In the 1970’s that was a time of dictatorship in those countries. In Argentina the military chucked him out. Why? Because his hair was too long, or something else, it doesn’t matter. He came to Portugal, found Melides, and stayed, and Melides found him. He speaks a mixture of Portuguese, German, Spanish, English and French in every sentence. His hair is thick and white, slicked down at the back, a memory of flowing youth. Today he runs a guest house with his wife. She goes off to Germany every month or so and comes back. He rents rooms, all idiosyncratic in style and perfectly formed. The garden is full of nooks and crannies, paths lead to different spaces, made of recycled tiles and stone, pebbles from the beach, and trees and flowers, and little huts and chairs and benches and tables to sit at and talk, and meet. At the back is a yoga stage, a stage for yoga. His website invites you to take part if you want.

The trip to the beach is ten minutes by foot, the road gets sandier as you get nearer, past a modern restaurant, some other guest houses, Portuguese, French, German, no English, they haven’t discovered it yet. The road becomes a boardwalk and then past another restaurant and some public conveniences and showers, ‘A Praia de Melides’, Melides Beach, opens up. A wide expance of fine, light, sandy, sand, sloping gently down to a big, blue, sparkling sea. The sun shines 250 days a year. Temperatures can reach 400 in the summer. To the north the beach runs uninterrupted for thirty miles to Tróia and Setúbal . To the south it runs another fifteen to Sines, forty five miles of uninterrupted beach, in many places, with not a soul on it, except sometimes a lonely beachcomber of his or her own thoughts and an audience of seagulls and dunlin standing together, silently watching the waves.

Amongst the other newer inhabitants is a local artist, British even, a YBA of thirty years ago, famous, he has a house and a studio here and in London, sells his work for €70,000 a time. That building there is a new hotel, and here is another, and another going up, though it looks like it’ll take some time. Prices start from €300 a night, and go up above €2000. The rich have come, the rich Portuguese of today, from the city, with their international jobs and portfolios, and the French and the Germans to follow. There are superstars and popstars, czars and their cars. All shabby chic or pretending to be so. In town a tractor is parked next to a shiney Range Rover, a farmers van next to a new Mercedes. Others park in beaten up Volkswagens and Citroëns just to blend in, the odd surfboard atop the roof of a few.

If you look on the Internet, on the sites selling property for the area of Melides, you will not find a house for sale for less than €300,000. A quick search reveals 64 ‘moradias isoladas’, detached houses for sale, of which forty are above €1,000,000 and twenty €2,000,000 and above. Each has land, five, ten, twenty hectares, the houses stand large and proud in this timeless landscape. What price a house for those younger, of the older families, who would not move away? There are many properties that are kept out of the reach of strangers by those families, it is true. But of the rich newcomers? Are they the new ‘latifundiários’?

In the local museum there is an exhibition of the local tradition of earthenware ceramics. In reality the tradition just hangs on, the local masters of the craft all older or passed on, each has a plaque to his name on the wall. The museum manager passes me a tablet, (digital), which when I point it at the QR code on display shows an animation of past techniques. Two older residents sit together watching a film. talking fondly of a man working at a wheel whom they know, now in retirement. The large group photo with intimate gesture is here also. What price a connection to your past?

In an adjoining street, there is an art gallery, the ‘Art Gallery of Melides’, a commercial concern in which are displayed paintings and sculptures about that same connection. The artist has travelled and had exhibitions in different parts of the world. The gallery owner with expectant smile hands me a brochure. It reads … ‘This exhibition weaves a narrative about an unexplored island and its first inhabitants, proposing a return to the natural state of humanity through an ancestral and intuitive aesthetic, akin to the purity of children’s creations…the artist revisits history to recreate ceramic pieces that once served important rituals and ceremonies. Far from being an exercise in excessive nostalgia, this exhibition is a living record of our history and a reminder of the intrinsic beauty of nature in it’s most rudimentary form…’

Interestingly, the ceramics and paintings in the gallery are in the same earthenware colours as the ceramics in the museum. The words from the gallery speak of the past as something ancient, that cannot quite be remembered, a tradition interrupted, the connection to it lost. The words contain a hope that we can reclaim that connection  through the work of the artist and a return to our childhood creativity. The exhibition in the museum speaks of the past as a tradition remembered by those still living, of families who retain those memories and skills too, if push came to shove. Their ceramics were made for daily life, the stuff of cooking, pouring, and storage. They sold and still sell in ordinary shops, for ordinary prices. The paintings and ceramics in the gallery go for €1600 each, for walls, for decoration, for inspiration, for reassurance.

The older indigenous population of Melides eye their newer incoming neighbours with a wary eye, but not an unkind one. When neighbours become neighbours there is always a getting to know you, a transitional time of discovery, of negotiation, of edging around. A tourist sits on the wall below the ‘MELIDES’ sign for a few minutes. An old timer, his spot taken, stands a few yards away not knowing what to do. Another joins him. They look on, incredulous. The tourist moves on unaware of his indiscretion and disappears into the art gallery. The old timers reclaim their spot.

What price a connection to your past? What price a connection to your ancestors? Each ancestor moves in your memory, in your tradition, in your dreams at night, in your knowing. It seems that those who have gone away have come back, but in a different form. They bring new cars and new wives and husbands. They bring new art and stories of travels from far away. Modern paintings and pop songs sit next to the stirring themes of ‘Grândola’. Incongruous? Perhaps. Why did they come back? Was it the sun, the sea, the surf, to bask in the relative glories of their fortunes? Maybe it was their parents or grandparents they came back for, but in a different form. Perhaps it was that bridge to that generation, to those times, to those faces brown from a lifetime of outside work, those with a direct connection to the land, to the landscape, that made them return? Maybe they came back to find that connection that was lost in their wanderings? Reassurance sought from intimate gestures. Ask the German man who runs a guest house in Melides, who speaks words from five different languages in the same sentence. He moved away and wandered, and came here, fifty years ago. He has stayed in all these years of transition.

 

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Las Meninas

 

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Diego (2)

 

an unusual painting this

a crowd approaches from far away in a grand space and assembles before it looking at the figures in the painting assembled looking back each group gazes at the other down the centuries reaching back to sixteen fifty six reaching forward to now the clothes and customs have changed but not too much as to preclude recognition perhaps each group might smile if they met what fashion is this out of place out of time a curious conversation might ensue a conversation of curiosity in spanish of course

an unusual painting this

was velasquez thinking about this when he painted it

 

1871px diego velázquez las meninas die hoffräulein

 

the painting is about time a moment in time the infanta has come to see the king and queen being painted and there she is herself turned into a painting it is intimate a moment in royal domesticity this is what we do we royals this is what they do the patient dog is kicked playfully from behind the infanta is offered some chocolate the officials look on and discuss the rival painter stands framed on the stair the painter himself stands back and considers

the infanta looks intently at us at her parents at the painter painting her or at something else

one figure is placed in front of the other and reaching back again to the door to the reflection in the mirror on the wall a sense of depth of space that old trick the painters trick depth equals space equals time the time it takes to walk to the doorway in the background to travel there by eye

there is a line on the wall at the back just above velasquez’s head running horizontally to the right below the two large pictures above and the one below and the top of the mirror and the doorway it marks exactly half way on the picture plane an unusual picture this half the painting is full of people and the other half filled with nothing wall and ceiling space vague shadowy undefined again a sense of depth one minute you’re here the next minute you’re gone the painter seems to say you may be royal the centre of attention but soon you will be shadows in a painting at the back of another painting at best or just ghosts drifting up to the ceiling into thin air

a crowd approaches from far away in a grand sala in a grand museum exited a little forbidden from taking pictures of this picture I myself was told off for taking these a little exited to be meeting the ancestors who come every day in their best dresses and stockings to meet us

the crowd approaches and we say hello

the infanta and others look out intently do we look as intently back the infanta seems to be the centre of attention will she survive and prosper this heir to the royal dynasties of europe so young so fair is this what velazquez was thinking when one day she came to see her parents being painted and he caught the light on the top of her head out of the corner of his eye in the moment of that painting we do not know but now centuries later we do she did more of less nothing spectacular she survived and now as a few of those dynasties still linger we can say we are all her heirs standing here in front of her in front of us in our own democracy more or less

is this what velasquez was thinking

they say that velasquez used a mirror to paint this painting he certainly must have done to paint himself but the rest of it perhaps perhaps not the figures stare out so intently they might be considered to be looking at themselves in a mirror that gaze that meeting of our eyes with our eyes that is like no other is this what velasquez was thinking the mirror on the wall in the background the mirror into which the infanta gazes at herself the painting as a mirror up to nature of us looking a them looking at us we laugh or we admire their sense of dress their sense of style but we recognise the relationship between ceremony and banality between theatre and time

an unusual picture this

was velasquez thinking of all of this when he painted it

perhaps

perhaps not

maybe one day when the king and queen were being painted in that grand musty sala feeling bored and summoning their daughter to come and cheer them up one of them noticed the novelty of the scene and said to velasquez hey diego that would make a good painting what we can see from here the infanta and las meninas and you painting us and us reflected in that mirror on the wall at the back

and diego went about working out how it could be done

 

 

Las Meninas by Diego Velasquez can be seen in the Prado Museum, Madrid. A fuller discussion can be read by pressing the link here. Source of image of painting: wikipedia.commons