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Religion in Korea encompasses a number of different traditions. Traditional Buddhism, Mugyo with a background of Korean Confucianism and later Christianity all play a role in Korea's religious tradition. The modern separation of Korea into North and South Korea has also shaped religious practice, especially in the communist North.

 

Religion in South Korea

 

Just over 53 percent of South Koreans profess religious affiliation. That affiliation is spread primarily among three traditions - Buddhism (43 percent), Christianity (55 percent), and Mugyo (0.2 percent).[6] These numbers should be treated with some caution, however, as (with the exception of Christianity) there are few if any meaningful distinctions between believers and nonbelievers in Buddhism and Confucianism, which comprise more of a set of ethical values than a religion. The cultural impact of these movements is far more widespread than the number of formal adherents suggests. A variety of "new religions" have emerged since the mid-19th century, including Cheondogyo. Very small Muslim and Bahá'í minorities also exist due to the emigration of South Asians.

 

Religion in North Korea

 

Traditionally, Koreans have practiced Buddhism and observed the tenets of Korean Confucianism. Besides a number of practicing Buddhists (about 11.4 million, under the auspices of the official Korean Buddhist Federation), the population also includes some Christians (about 10,000 Protestants and 4,000 Roman Catholics, under the auspices of the Korean Christian Federation) and an indeterminate number of native Cheondogyo (Heavenly Way) adherents. However, religious activities in North Korea are almost nonexistent. North Korea has 300 Buddhist temples, but they are considered cultural relics rather than active places of worship. Several schools for religious education exist, including three-year religious colleges for training Protestant and Buddhist clergy. In 1989 Kim Il Sung University established a religious studies program, but its graduates usually go on to work in the foreign trade sector. Although the constitution provides for freedom of religious belief, in practice the government severely discourages organized religious activity except as supervised by the aforementioned officially recognized groups. Constitutional changes made in 1992 allow authorized religious gatherings and the construction of buildings for religious use and deleted a clause about freedom of anti-religious propaganda. The constitution also stipulates that religion "should not be used for purposes of dragging in foreign powers or endangering public security."

 

Mugyo

 

Koreans, like other East Asians, have traditionally been eclectic rather than exclusive in their religious commitments. Their religious outlook has not been conditioned by a single, exclusive faith but by a combination of indigenous beliefs and creeds imported into Korea. Belief in a world inhabited by spirits is probably the oldest form of Korean religious life, dating back to prehistoric times. There is a rather unorganized pantheon of literally millions of gods, spirits, and ghosts, ranging from the "god generals" who rule the different quarters of heaven to mountain spirits (sansin). This pantheon also includes gods who inhabit trees, sacred caves, and piles of stones, as well as earth spirits, the tutelary gods of households and villages, mischievous goblins, and the ghosts of persons who in many cases met violent or tragic ends. These spirits are said to have the power to influence or to change the fortunes of living men and women.

 

Shamans, most of whom are women, are enlisted by those who want the help of the spirit world. Female shamans (mudang) hold kut, or services, in order to gain good fortune for clients, cure illnesses by exorcising evil spirits, or propitiate local or village gods. Such services are also held to guide the spirit of a deceased person to heaven.

 

Often a woman will become a shaman very reluctantly—after experiencing a severe physical or mental illness that indicates "possession" by a spirit. Such possession can allegedly be cured only through performance of a kut. Once a shaman is established in her profession, she usually can make a good living.

 

Many scholars regard Korean shamanism as less a religion than a form of medicine in which the spirits are manipulated in order to achieve human ends. There is no notion of salvation or moral and spiritual perfection, at least for the ordinary believers in spirits. The shaman is a professional who is consulted by clients whenever the need is felt. Traditionally, shamans had low social status and were members of the ch'ommin class. This discrimination has continued into modern times.

 

Korean folk beliefs are strongly associated with the culture of fishing villages and are primarily a phenomenon found in rural communities. Shamans also treat the ills of city people, however, especially recent migrants from the countryside who find adjustment to an impersonal urban life stressful. The government has discouraged belief in shamanism as superstition and for many years minimized its persistence in Korean life. Yet in a climate of growing nationalism and cultural self-confidence, the dances, songs, and incantations that compose the kut have come to be recognized as an important aspect of Korean culture. Beginning in the 1970s, rituals that formerly had been kept out of foreign view began to resurface, and occasionally a Western hotel manager or other executive could even be seen attending a shamanistic exorcism ritual in the course of opening a new branch in Seoul. Some of these aspects of kut have been designated valuable cultural properties that should be preserved and passed on to future generations.

 

The future of shamanism itself was uncertain in the late 1980s. Observers believed that many of its functions in the future probably will be performed by the psychiatric profession as the government expands mental health treatment facilities. Given the uncertainty of social, economic, and political conditions, however, it appears certain that shamans will find large numbers of clients for some time to come.

 

Buddhism and Confucianism

 

Buddhism was the dominant religious and cultural influence during the Silla (668–935) and Koryo (918–1392) dynasties. Confucianism also was brought to Korea from China in early Three Kingdoms period, but it occupied a subordinate position until the establishment of the Choson Dynasty where it became the state ideology.

 

Christianity

 

Roman Catholic missionaries did not arrive in Korea until 1794, a decade after the return of the first baptized Korean from a visit to Beijing. However, the writings of the Jesuit missionary, Matteo Ricci, who was resident at the imperial court in Beijing, had been brought to Korea from China in the seventeenth century. It appears that scholars of the Sirhak, or practical learning, school were interested in these writings. Largely because converts refused to perform ancestor rites, the government prohibited the proselytization of Christianity. Some Catholics were executed during the early nineteenth century, but the anti-Christian law was not strictly enforced. By the 1860s, there were some 17,500 Roman Catholics in the country. There followed a more rigorous persecution, in which thousands of Christians died, that continued until 1884.

 

Protestant missionaries entered Korea during the 1880s and, along with Catholic priests, converted a remarkable number of Koreans. Methodist and Presbyterian missionaries were especially successful. They established schools, universities, hospitals, and orphanages and played a significant role in the modernization of the country. During the Japanese colonial occupation, Christians were in the front ranks of the struggle for independence. Factors contributing to the growth of Protestantism included the disorganized state of Korean Buddhism, the efforts made by educated Christians to reconcile Christian and Confucian values (the latter being viewed as purely a social ethic rather than a religion), the encouragement of self-support and selfgovernment among members of the Korean church, and the identification of Christianity with Korean nationalism.

 

A large number of Christians lived in the northern part of the peninsula where Confucian influence was not as strong as in the south. Before 1948 P'yongyang was an important Christian center: one-sixth of its population of about 300,000 people were converts. Following the establishment of a communist regime in the north, however, most Christians had to flee to South Korea or face persecution.

 

New religions

 

Ch'ondogyo, generally regarded as the first of Korea's "new religions," is another important religious tradition. It is a synthesis of Confucian, Buddhist, shamanistic, Daoist, and Catholic influences. Ch'ondogyo grew out of the Donghak Movement (also called Eastern Learning Movement) established by Choe Je-u, a man of yangban background who claimed to have experienced a mystic encounter with God, who told him to preach to all the world. Ch'oe was executed by the government as a heretic in 1863, but not before he had acquired a number of followers and had committed his ideas to writing. Tonghak spread among the poor people of Korea's villages, especially in the Cholla region, and was the cause of a revolt against the royal government in 1894. While some members of the Tonghak Movement-- renamed Ch'ondogyo (Teachings of the Heavenly Way)--supported the Japanese annexation in 1910, others opposed it. This group played a major role, along with Christians and some Confucians, in the Korean nationalist movement. In the 1920s, Ch'ondogyo sponsored Kaebyok (Creation), one of Korea's major intellectual journals during the colonial period.

 

Ch'ondogyo's basic beliefs include the essential equality of all human beings. Each person must be treated with respect because all persons "contain divinity;" there is "God in man." Moreover, men and women must sincerely cultivate themselves in order to bring forth and express this divinity in their lives. Self-perfection, not ritual and ceremony, is the way to salvation. Although Ch'oe and his followers did not attempt to overthrow the social order and establish a radical egalitarianism, the revolutionary potential of Ch'ondogyo is evident in these basic ideas, which appealed especially to poor people who were told that they, along with scholars and high officials, could achieve salvation through effort. There is reason to believe that Ch'ondogyo had an important role in the development of democratic and anti-authoritarian thought in Korea. In the 1970s and 1980s, Ch'ondogyo's antecedent, the Tonghak Movement, received renewed interest among many Korean intellectuals.

 

Apart from Ch'ondogyo, major new religions included Taejonggyo, which has as its central creed the worship of Tangun, legendary founder of the Korean nation. Chungsanggyo, founded in the early twentieth century by Chungsan Kang, emphasizes magical practices and the creation of a paradise on earth. It is divided into a great number of competing branches, the largest being Jeungsando and Daesun Jinrihoe.[7] Wonbulgyo, or Won Buddhism, attempts to combine traditional Buddhist doctrine with a modern concern for social reform and revitalization. There are also a number of small sects which have sprung up around Mount Kyeryong in South Ch'ungch'ong Province, the supposed future site of the founding of a new dynasty originally prophesied in the eighteenth century.

 

Several new religions derive their inspiration from Christianity. The Chondogwan, or Evangelical Church, was founded by Pak T'ae-son. Pak originally was a Presbyterian, but was expelled from the church for heresy in the 1950s after claiming for himself unique spiritual power. By 1972 his followers numbered as many as 700,000 people, and he built several "Christian towns," established a large church network, and managed several industrial enterprises.

 

Because of its overseas evangelism, the Hold Spirit Association for the Unification of the World Christianity, or Unification Church (T'ongilgyo), founded in 1954 by Reverend Sun Myong Moon (Mun Son-myong), also a former Christian, is the most famous Korean new religion. During its period of vigorous expansion during the 1970s, the Unification Church had several hundred thousand members in South Korea and Japan and a substantial (although generally overestimated) number of members in North America and Western Europe. Moon claimed that he was the "messiah" designated by God to unify all the peoples of the world into one "family," governed theocratically by himself. Like Pak's Evangelical Church, the Unification Church has been highly authoritarian, demanding absolute obedience from church members. Moon, for example, has arranged marriages for his younger followers; United States television audiences were treated some years ago to a mass ceremony at which several hundred young "Moonies" were married. Also like Pak, Moon has coupled the church's fortunes to economic expansion. Factories in South Korea and abroad manufacture arms and process ginseng and seafood, artistic bric-a-brac, and other items. Moon's labor force has worked long hours and been paid minimal wages in order to channel profits into church coffers. Virulently anticommunist, Moon has sought to influence public opinion at home and abroad by establishing generally unprofitable newspapers such as the Segye Ilbo in Seoul, the Sekai Nippo in Tokyo, and the Washington Times in the United States capital, and by inviting academics to lavish international conferences, often held in South Korea. At home, the Unification Church was viewed with suspicion by the authorities because of its scandals and Moon's evident desire to create a "state within a state." His influence, however, had declined by the late 1980s.

 

Islam

 

The number of Muslims in South Korea is estimated at about 35,000 mainly consisting of people who converted during the Korean War and their descendents and not including migrant workers from South and Southeast Asia. The largest mosque is the Seoul Central Mosque in the Itaewon district of Seoul; smaller mosques can be found in most of the country's major cities.[8]

 

In addition to native Korean Muslims, there are some 100,000 foreign workers from Muslim countries,[9] particularly Bangladesh and Pakistan.[

  

Judaism

 

The Jewish presence in South Korea effectively began with the outbreak of the Korean War in 1950. At this time a large number of Jewish soldiers, including the chaplain Chaim Potok, came to the Korean peninsula. Today the Jewish community is very small and limited to the Seoul metropolitan area. There have been very few Korean converts to Judaism.

 

NEDERLAND, NETHERLANDS, HOLLAND, PAYS-BAS, HOLANDA, PAISES BAJOS, Barendrecht, Un pueblo llamado Barendrecht, A town called Barendrecht, Une ville appelée Barendrecht, LAGARTIJAS, LEZARDS , LIZARDS, HAGEDISSEN, ECHSEN, LAGARTO,

  

AXOLOTIS.-

 

There was a time when I thought a great deal about the axolotls. I went to see them in the aquarium at the Jardin des Plantes and stayed for hours watching them, observing their immobility, their faint movements. Now I am an axolotl.

 

I got to them by chance one spring morning when Paris was spreading its peacock tail after a slow wintertime. I was heading down tbe boulevard Port-Royal, then I took Saint-Marcel and L'Hôpital and saw green among all that grey and remembered the lions. I was friend of the lions and panthers, but had never gone into the dark, humid building that was the aquarium. I left my bike against tbe gratings and went to look at the tulips. The lions were sad and ugly and my panther was asleep. I decided on the aquarium, looked obliquely at banal fish until, unexpectedly, I hit it off with the axolotls. I stayed watching them for an hour and left, unable to think of anything else.

 

In the library at Sainte-Geneviève, I consulted a dictionary and learned that axolotls are the larval stage (provided with gills) of a species of salamander of the genus Ambystoma. That they were Mexican I knew already by looking at them and their little pink Aztec faces and the placard at the top of the tank. I read that specimens of them had been found in Africa capable of living on dry land during the periods of drought, and continuing their life under water when the rainy season came. I found their Spanish name, ajolote, and the mention that they were edible, and that their oil was used (no longer used, it said ) like cod-liver oil.

 

I didn't care to look up any of the specialized works, but the next day I went back to the Jardin des Plantes. I began to go every morning, morning and aftemoon some days. The aquarium guard smiled perplexedly taking my ticket. I would lean up against the iron bar in front of the tanks and set to watching them. There's nothing strange in this, because after the first minute I knew that we were linked, that something infinitely lost and distant kept pulling us together. It had been enough to detain me that first morning in front of the sheet of glass where some bubbles rose through the water. The axolotls huddled on the wretched narrow (only I can know how narrow and wretched) floor of moss and stone in the tank. There were nine specimens, and the majority pressed their heads against the glass, looking with their eyes of gold at whoever came near them. Disconcerted, almost ashamed, I felt it a lewdness to be peering at these silent and immobile figures heaped at the bottom of the tank. Mentally I isolated one, situated on the right and somewhat apart from the others, to study it better. I saw a rosy little body, translucent (I thought of those Chinese figurines of milky glass), looking like a small lizard about six inches long, ending in a fish's tail of extraordinary delicacy, the most sensitive part of our body. Along the back ran a transparent fin which joined with the tail, but what obsessed me was the feet, of the slenderest nicety, ending in tiny fingers with minutely human nails. And then I discovered its eyes, its face. Inexpressive features, with no other trait save the eyes, two orifices, like brooches, wholly of transparent gold, lacking any life but looking, letting themselves be penetrated by my look, which seemed to travel past the golden level and lose itself in a diaphanous interior mystery. A very slender black halo ringed the eye and etched it onto the pink flesh, onto the rosy stone of the head, vaguely triangular, but with curved and triangular sides which gave it a total likeness to a statuette corroded by time. The mouth was masked by the triangular plane of the face, its considerable size would be guessed only in profile; in front a delicate crevice barely slit the lifeless stone. On both sides of the head where the ears should have been, there grew three tiny sprigs, red as coral, a vegetal outgrowth, the gills, I suppose. And they were the only thing quick about it; every ten or fifteen seconds the sprigs pricked up stiffly and again subsided. Once in a while a foot would barely move, I saw the diminutive toes poise mildly on the moss. It's that we don't enjoy moving a lot, and the tank is so cramped—we barely move in any direction and we're hitting one of the others with our tail or our head—difficulties arise, fights, tiredness. The time feels like it's less if we stay quietly.

 

It was their quietness that made me lean toward them fascinated the first time I saw the axolotls. Obscurely I seemed to understand their secret will, to abolish space and time with an indifferent immobility. I knew better later; the gill contraction, the tentative reckoning of the delicate feet on the stones, the abrupt swimming (some of them swim with a simple undulation of the body) proved to me that they were capable of escaping that mineral lethargy in which they spent whole hours. Above all else, their eyes obsessed me. In the standing tanks on either side of them, different fishes showed me the simple stupidity of their handsome eyes so similar to our own. The eyes of the axolotls spoke to me of the presence of a different life, of another way of seeing. Glueing my face to the glass (the guard would cough fussily once in a while), I tried to see better those diminutive golden points, that entrance to the infinitely slow and remote world of these rosy creatures. It was useless to tap with one finger on the glass directly in front of their faces; they never gave the least reaction. The golden eyes continued burning with their soft, terrible light; they continued looking at me from an unfathomable depth which made me dizzy.

 

And nevertheless they were close. I knew it before this, before being an axolotl. I learned it the day I came near them for the first time. The anthropomorphic features of a monkey reveal the reverse of what most people believe, the distance that is traveled from them to us. The absolute lack of similarity between axolotls and human beings proved to me that my recognition was valid, that I was not propping myself up with easy analogies. Only the little hands . . . But an eft, the common newt, has such hands also, and we are not at all alike. I think it was the axolotls' heads, that triangular pink shape with the tiny eyes of gold. That looked and knew. That laid the claim. They were not animals.

 

It would seem easy, almost obvious, to fall into mythology. I began seeing in the axolotls a metamorphosis which did not succeed in revoking a mysterious humanity. I imagined them aware, slaves of their bodies, condemned infinitely to the silence of the abyss, to a hopeless meditation. Their blind gaze, the diminutive gold disc without expression and nonetheless terribly shining, went through me like a message: "Save us, save us." I caught myself mumbling words of advice, conveying childish hopes. They continued to look at me, immobile; from time to time the rosy branches of the gills stiffened. In that instant I felt a muted pain; perhaps they were seeing me, attracting my strength to penetrate into the impenetrable thing of their lives. They were not human beings, but I had found in no animal such a profound relation with myself. The axolotls were like witnesses of something, and at times like horrible judges. I felt ignoble in front of them; there was such a terrifying purity in those transparent eyes. They were larvas, but larva means disguise and also phantom. Behind those Aztec faces, without expression but of an implacable cruelty, what semblance was awaiting its hour?

 

I was afraid of them. I think that had it not been for feeling the proximity of other visitors and the guard, I would not have been bold enough to remain alone with them. "You eat them alive with your eyes, hey," the guard said, laughing; he likely thought I was a little cracked. What he didn't notice was that it was they devouring me slowly with their eyes, in a cannibalism of gold. At any distance from the aquarium, I had only to think of them, it was as though I were being affected from a distance. It got to the point that I was going every day, and at night I thought of them immobile in the darkness, slowly putting a hand out which immediately encountered another. Perhaps their eyes could see in the dead of night, and for them the day continued indefinitely. The eyes of axolotls have no lids.

 

I know now that there was nothing strange, that that had to occur. Leaning over in front of the tank each morning, the recognition was greater. They were suffering, every fiber of my body reached toward that stifled pain, that stiff torment at the bottom of the tank. They were lying in wait for something, a remote dominion destroyed, an age of liberty when the world had been that of the axolotls. Not possible that such a terrible expression which was attaining the overthrow of that forced blankness on their stone faces should carry any message other than one of pain, proof of that eternal sentence, of that liquid hell they were undergoing. Hopelessly, I wanted to prove to myself that my own sensibility was projecting a nonexistent consciousness upon the axolotls. They and I knew. So there was nothing strange in what happened. My face was pressed against the glass of the aquarium, my eyes were attempting once more to penetrate the mystery of those eyes of gold without iris, without pupil. I saw from very close up the face of an axolotl immobile next to the glass. No transition and no surprise, I saw my face against the glass, I saw it on the outside of the tank, I saw it on the other side of the glass. Then my face drew back and I understood.

 

Only one thing was strange: to go on thinking as usual, to know. To realize that was, for the first moment, like the horror of a man buried alive awaking to his fate. Outside, my face came close to the glass again, I saw my mouth, the lips compressed with the effort of understanding the axolotls. I was an axolotl and now I knew instantly that no understanding was possible. He was outside the aquarium, his thinking was a thinking outside the tank. Recognizlng him, being him himself, I was an axolotl and in my world. The horror began—I learned in the same moment —of believing myself prisoner in the body of an axolotl, metamorphosed into him with my human mind intact, buried alive in an axolotl, condemned to move lucidly among unconscious creatures. But that stopped when a foot just grazed my face, when I moved just a little to one side and saw an axolotl next to me who was looking at me, and understood that he knew also, no communication possible, but very clearly. Or I was also in him, or all of us were thinking humanlike, incapable of expression, limited to the golden splendor of our eyes looking at the face of the man pressed against the aquarium.

 

He returned many times, but he comes less often now. Weeks pass without his showing up. I saw him yesterday, he looked at me for a long time and left briskly. It seemed to me that he was not so much interested in us any more, that he was coming out of habit. Since the only thing I do is think, I could think about him a lot. It occurs to me that at the beginning we continued to communicate, that he felt more than ever one with the mystery which was claiming him. But the bridges were broken between him and me, because what was his obsession is now an axolotl, alien to his human life. I think that at the beginning I was capable of returning to him in a certain way—ah, only in a certain way—and of keeping awake his desire to know us better. I am an axolotl for good now, and if I think like a man it's only because every axolotl thinks like a man inside his rosy stone semblance. I believe that all this succeeded in communicating something to him in those first days, when I was still he. And in this final solitude to which he no longer comes, I console myself by thinking that perhaps he is going to write a story about us, that, believing he's making up a story, he's going to write all this about axolotls.

  

Il fut une époque où je pensais beaucoup aux axolotls. J’allais les voir à l’aquarium du Jardin des Plantes et je passais des heures à les regarder, à observer leur immobilité, leurs mouvements obscurs. Et maintenant je suis un axolotl. Le hasard me conduisit vers eux un matin de printemps où Paris déployait sa queue de paon après le lent hiver. Je descendis le boulevard Saint-Marcel, celui de l’hôpital, je vis les premiers verts parmi tout le gris et je me souvins des lions. J’étais très amis des lions et des panthères, mais je n’étais jamais entré dans l’enceinte humide et sombre des aquariums. Je laissai ma bicyclette contre les grilles et j’allais voir les tulipes. Les lions étaient laids et tristes et ma panthère dormait. Je me décidai pour les aquariums et, après avoir regardé avec indifférence des poissons ordinaires, je tombai par hasard sur les axolotls. Je passai une heure à les regarder, puis je partis, incapable de penser à autre chose.

 

À la bibliothèque Sainte-Geneviève je consultai un dictionnaire et j’appris que les axolotls étaient les formes larvaires, pourvues de branchies, de batraciens du genre amblystone. Qu’ils étaient originaires du Mexique, je le savais déjà, rien qu’à voir leur petit visage aztèque. Je lus qu’on en avait trouvé des spécimens en Afrique capables de vivre hors de l’eau pendant les périodes de sécheresse et qui reprenaient leur vie normale à la saison des pluies. On donnait leur nom espagnol, ajolote, on signalait qu’ils étaient comestibles et qu’on utilisait leur huile (on ne l’utilise plus) comme l’huile de foie de morue.

 

Je ne voulus pas consulter d’ouvrages spécialisés mais je revins le jour suivant au jardin des Plantes. Je pris l’habitude d’y aller tous les matins, et parfois même matin et soir. Le gardien des aquariums souriait d’un air perplexe en prenant mon ticket. Je m’appuyais contre la barre de fer qui borde les aquariums et je regardais les axolotls. Il n’y avait rien d’étrange à cela ; dès le premier instant j’avais senti que quelque chose me liait à eux, quelque chose d’infiniment lointain et oublié qui cependant nous unissait encore. Il m’avait suffit de m’arrêter un matin devant cet aquarium où des bulles couraient dans l’eau. Les axolotls s’entassaient sur l’étroit et misérable (personne mieux que moi ne sait à quel point il est étroit et misérable) fond de pierre et de mousse. Il y en avait neuf, la plupart d’entre eux appuyaient leur tête contre la vitre et regardaient de leurs yeux d’or ceux qui s’approchaient. Troublé, presque honteux, je trouvais qu’il y avait de l’impudeur à se pencher sur ces formes silencieuses et immobiles entassées au fond de l’aquarium. Mentalement, j’en isolai un, un peu à l’écart sur la droite, pour mieux l’étudier. Je vis un petit corps rose, translucide (je pensai aux statuettes chinoises en verre laiteux), semblable à un petit lézard de quinze centimètres, terminé par une queue de poisson d’une extraordinaire délicatesse - c’est la partie la plus sensible de notre corps. Sur son dos, une nageoire transparente se rattachait à la queue ; mais ce furent les pattes qui me fascinèrent, des pattes d’une incroyable finesse, terminés par de tout petits doigts avec des ongles - absolument humains, sans pourtant avoir la forme de la main humaine - mais comment aurais-je pu ignorer qu’ils étaient humains ? c’est alors que je découvris leurs yeux, leur visage. Un visage inexpressif sans autre trait que les yeux, deux orifices comme des têtes d’épingles entièrement d’or transparent, sans aucune vie, mais qui regardaient et qui se laissaient pénétrer par mon regard qui passait à travers le point doré et se perdait dans un mystère diaphane. Un très mince halo noir entourait l’oeil et l’inscrivait dans la chair rose, dans la pierre rose de la tête vaguement triangulaire, au contours courbes et irréguliers, qui la faisaient ressembler à une statue rongée par le temps. La bouche était dissimulée par le plan triangulaire de la tête et ce n’est que de profil que l’on s’apercevait qu’elle était très grande. Vue de face, c’était une fine rainure, comme une fissure dans de l’albâtre. De chaque côté de la tête, à la place des oreilles, se dressaient de très petites branches rouges comme du corail, une excroissance végétale, les branchies, je suppose. C’était la seule chose qui eût l’air vivante dans ce corps. Chaque vingt secondes elles se dressaient, toutes raides, puis s’abaissaient de nouveau. Parfois une patte bougeait, à peine, et je voyais les doigts minuscules se poser doucement sur la mousse. C’est que nous n’aimons pas beaucoup bouger, l’aquarium est si étroit ; si peu que nous remuions nous heurtons la tête ou la queue d’un autre ; il s’ensuit des difficultés, des disputes, de la fatigue. Le temps se sent moins si l’on reste immobile.

 

Ce fut leur immobilité qui me fit me pencher vers eux, fasciné, la première fois que je les vis. Il me sembla comprendre obscurément leur volonté secrète : abolir l’espace et le temps par une immobilité pleine d’indifférence. Par la suite, j’appris à mieux les comprendre, les branchies qui se contractent, les petites pattes fines qui tâtonnent sur les pierres, leurs fuites brusques (ils nagent par une simple ondulation du corps) me prouvèrent qu’ils étaient capables de s’évader de cette torpeur minérale où ils passaient des heures entières. Leurs yeux surtout m’obsédaient. A côté d’eux, dans les autres aquariums, des poissons me montraient la stupide simplicité de leurs beaux yeux semblables aux nôtres. Les yeux des axolotls me parlaient de la présence d’une vie différente, d’une autre façon de regarder. Je collais mon visage à la vitre (le gardien, inquiet, toussait de temps en temps) pour mieux voir les tout petits points dorés, cette ouverture sur le monde infiniment lent et éloigné des bêtes roses. Inutile de frapper du doigt contre la vitre, sous leur nez, jamais la moindre réaction. Les yeux d’or continuaient à brûler de leur douce et terrible lumière, continuaient à me regarder du fond d’un abîme insondable qui me donnait le vertige.

 

Et cependant les axolotls étaient proches de nous. Je le savais avant même de devenir un axolotl. Je le sus dès le jour où je m’approchai d’eux pour la première fois. Les traits anthropomorphiques d’un singe accusent la différence qu’il y a entre lui et nous, contrairement à ce que pensent la plupart des gens. L’absence totale de ressemblance entre un axolotl et un être humain me prouva que ma reconnaissance

était valable, que je ne m’appuyais pas sur des analogies faciles. Il y avait bien les petites mains. Mais un lézard a les mêmes mains et ne ressemble en rien à l’homme. Je crois que tout venait de la tête des axolotls, de sa forme triangulaire rose et de ses petits yeux d’or. Cela regardait et savait. Cela réclamait. Les axolotls n’étaient pas des animaux.

 

De là à tomber dans la mythologie, il n’y avait qu’un pas, facile à franchir, presque inévitable. Je finis par voir dans les axolotls une métamorphose qui n’arrivait pas à renoncer tout à fait à une mystérieuse humanité. Je les imaginais conscients, esclaves de leur corps, condamnés indéfiniment à un silence abyssal, à une méditation désespérée. Leur regard aveugle, le petit disque d’or inexpressif - et cependant terriblement lucide - me pénétrait comme un message : "Sauve-nous, sauve-nous." Je me surprenais en train de murmurer des paroles de consolation, de transmettre des espoirs puérils. Ils continuaient à me regarder, immobiles. Soudain les petites branches roses se dressaient sur leur tête, et je sentais à ce moment-là comme une douleur sourde. Ils me voyaient peut-être, ils captaient mes efforts pour pénétrer dans l’impénétrable de leur vie. Ce n’étaient pas des êtres humains mais jamais je ne m’étais senti un rapport aussi étroit entre des animaux et moi. Les axolotls étaient comme témoins de quelque chose et parfois ils devenaient de terribles juges. Je me trouvais ignoble devant eux, il y avait dans ces yeux transparents une si effrayante pureté. C’était des larves, mais larve veut dire masque et aussi fantôme. Derrière ces visages aztèques, inexpressifs, et cependant d’une cruauté implacable, quelle image attendait

son heure ?

 

Ils me faisaient peur. Je crois que sans la présence du gardien et des autres visiteurs je n’aurais jamais osé rester devant eux. " Vous les mangez des yeux ", me disait le gardien en riant, et il devait penser que je n’étais pas tout à fait normal. Il ne se rendait pas compte que c’était eux qui me dévoraient lentement des yeux, en un cannibalisme d’or. Loin d’eux je ne pouvais penser à autre chose, comme s’ils m’influençaient à distance. Je finis par y aller tous les jours et la nuit je les imaginais immobiles dans l’obscurité, avançant lentement une petite patte qui rencontrait soudain celle d’un autre. Leurs yeux voyaient peut-être la nuit et le jour pour eux n’avait pas de fin. Les yeux des axolotls n’ont pas de paupières.

 

Maintenant je sais qu’il n’y a rien eu d’étrange dans tout cela, que cela devait arriver. Ils me reconnaissaient un peu plus chaque matin quand je me penchais vers l’aquarium. Ils souffraient. Chaque fibre de mon corps enregistrait cette souffrance bâillonnée, cette torture rigide au fond de l’eau. Ils épiaient quelque chose, un lointain royaume aboli, un temps de liberté où le monde avait appartenu aux axolotls. Une expression aussi terrible qui arrivait à vaincre l’impassibilité forcée de ces visages de pierre contenait sûrement un message de douleur, la preuve de cette condamnation éternelle, de cet enfer liquide qu’ils enduraient. En vain essayai-je de me persuader que c’était ma propre sensibilité qui projetait sur les axolotls une conscience qu’ils n’avaient pas. Eux et moi nous savions. C’est pour cela que ce qui arriva n’est pas étrange. Je collais mon visage à la vitre de l’aquarium, mes yeux essayèrent une fois de plus de percer le mystère de ces yeux d’or sans iris et sans pupille. Je voyais de très près la tête d’un axolotl immobile contre la vitre. Puis mon visage s’éloigna et je compris. Une seule chose était étrange : continuer à penser comme avant, savoir. Quand j’en pris conscience, je ressentis l’horreur de celui qui s’éveille enterré vivant. Au-dehors, mon visage s’approchait à nouveau de la vitre, je voyais ma bouche aux lèvres serrées par l’effort que je faisais pour comprendre les axolotls. J’étais un axolotl et je venais de savoir en un éclair qu’aucune communication n’était possible. Il était hors de l’aquarium, sa pensée était une pensée hors de l’aquarium. Tout en le connaissant, tout en étant lui-même, j’étais un axolotl et j’étais dans mon monde. L’horreur venait de ce que - je le sus instantanément - je me croyais prisonnier dans le corps d’un axolotl, transféré en lui avec ma pensée d’homme, enterré vivant dans un axolotl, condamné à me mouvoir en toute lucidité parmi des créatures insensibles. Mais cette impression ne dura pas, une patte vint effleurer mon visage et en me tournant un peu je vis un axolotl à côté de moi qui me regardait et je compris que lui aussi savait, sans communication possible mais si clairement. Ou bien j’étais encore en l’homme, ou bien nous pensions comme des êtres humains, incapables de nous exprimer, limités à l’éclat doré de nos yeux qui regardaient ce visage d’homme collé à la vitre.

 

Il revint encore plusieurs fois mais il vient moins souvent à présent. Des semaines se passent sans qu’on le voie. Il est venu hier, il m’a regardé longuement et puis il est parti brusquement. Il me semble que ce n’est plus à nous qu’il s’intéresse, qu’il obéit plutôt à une habitude. Comme penser est la seule chose que je puisse faire, je pense beaucoup à lui. Pendant un certain temps nous avons continué d’être en communication lui et moi, et il se sentait plus que jamais lié au mystère qui l’obsédait. Mais les ponts sont coupés à présent, car ce qui était son obsession est devenu un axolotl, étranger à sa vie d’homme. Je crois qu’au début je pouvais encore revenir en lui, dans une certaine mesure - ah ! seulement dans une certaine

mesure - et maintenir éveillé son désir de mieux nous connaître. Maintenant je suis définitivement un axolotl et si je pense comme un être humain c’est tout simplement parce que les axolotls pensent comme les humains sous leur masque de pierre rose. Il me semble que j’étais arrivé à lui communiquer cette vérité, les premiers jours, lorsque j’étais encore en lui. Et dans cette solitude finale vers laquelle il ne revient déjà plus, cela me console de penser qu’il va peut-être écrire quelque chose sur nous ; il croira qu’il invente un conte et il écrira tout cela sur les axolotls.

 

Julio Cortázar (1914-1984)

NEDERLAND, NETHERLANDS, HOLLAND, PAYS-BAS, HOLANDA, PAISES BAJOS, Barendrecht, Un pueblo llamado Barendrecht, A town called Barendrecht, Une ville appelée Barendrecht, LAGARTIJAS, LEZARDS , LIZARDS, HAGEDISSEN, ECHSEN, LAGARTO,

  

AXOLOTIS.-

 

There was a time when I thought a great deal about the axolotls. I went to see them in the aquarium at the Jardin des Plantes and stayed for hours watching them, observing their immobility, their faint movements. Now I am an axolotl.

 

I got to them by chance one spring morning when Paris was spreading its peacock tail after a slow wintertime. I was heading down tbe boulevard Port-Royal, then I took Saint-Marcel and L'Hôpital and saw green among all that grey and remembered the lions. I was friend of the lions and panthers, but had never gone into the dark, humid building that was the aquarium. I left my bike against tbe gratings and went to look at the tulips. The lions were sad and ugly and my panther was asleep. I decided on the aquarium, looked obliquely at banal fish until, unexpectedly, I hit it off with the axolotls. I stayed watching them for an hour and left, unable to think of anything else.

 

In the library at Sainte-Geneviève, I consulted a dictionary and learned that axolotls are the larval stage (provided with gills) of a species of salamander of the genus Ambystoma. That they were Mexican I knew already by looking at them and their little pink Aztec faces and the placard at the top of the tank. I read that specimens of them had been found in Africa capable of living on dry land during the periods of drought, and continuing their life under water when the rainy season came. I found their Spanish name, ajolote, and the mention that they were edible, and that their oil was used (no longer used, it said ) like cod-liver oil.

 

I didn't care to look up any of the specialized works, but the next day I went back to the Jardin des Plantes. I began to go every morning, morning and aftemoon some days. The aquarium guard smiled perplexedly taking my ticket. I would lean up against the iron bar in front of the tanks and set to watching them. There's nothing strange in this, because after the first minute I knew that we were linked, that something infinitely lost and distant kept pulling us together. It had been enough to detain me that first morning in front of the sheet of glass where some bubbles rose through the water. The axolotls huddled on the wretched narrow (only I can know how narrow and wretched) floor of moss and stone in the tank. There were nine specimens, and the majority pressed their heads against the glass, looking with their eyes of gold at whoever came near them. Disconcerted, almost ashamed, I felt it a lewdness to be peering at these silent and immobile figures heaped at the bottom of the tank. Mentally I isolated one, situated on the right and somewhat apart from the others, to study it better. I saw a rosy little body, translucent (I thought of those Chinese figurines of milky glass), looking like a small lizard about six inches long, ending in a fish's tail of extraordinary delicacy, the most sensitive part of our body. Along the back ran a transparent fin which joined with the tail, but what obsessed me was the feet, of the slenderest nicety, ending in tiny fingers with minutely human nails. And then I discovered its eyes, its face. Inexpressive features, with no other trait save the eyes, two orifices, like brooches, wholly of transparent gold, lacking any life but looking, letting themselves be penetrated by my look, which seemed to travel past the golden level and lose itself in a diaphanous interior mystery. A very slender black halo ringed the eye and etched it onto the pink flesh, onto the rosy stone of the head, vaguely triangular, but with curved and triangular sides which gave it a total likeness to a statuette corroded by time. The mouth was masked by the triangular plane of the face, its considerable size would be guessed only in profile; in front a delicate crevice barely slit the lifeless stone. On both sides of the head where the ears should have been, there grew three tiny sprigs, red as coral, a vegetal outgrowth, the gills, I suppose. And they were the only thing quick about it; every ten or fifteen seconds the sprigs pricked up stiffly and again subsided. Once in a while a foot would barely move, I saw the diminutive toes poise mildly on the moss. It's that we don't enjoy moving a lot, and the tank is so cramped—we barely move in any direction and we're hitting one of the others with our tail or our head—difficulties arise, fights, tiredness. The time feels like it's less if we stay quietly.

 

It was their quietness that made me lean toward them fascinated the first time I saw the axolotls. Obscurely I seemed to understand their secret will, to abolish space and time with an indifferent immobility. I knew better later; the gill contraction, the tentative reckoning of the delicate feet on the stones, the abrupt swimming (some of them swim with a simple undulation of the body) proved to me that they were capable of escaping that mineral lethargy in which they spent whole hours. Above all else, their eyes obsessed me. In the standing tanks on either side of them, different fishes showed me the simple stupidity of their handsome eyes so similar to our own. The eyes of the axolotls spoke to me of the presence of a different life, of another way of seeing. Glueing my face to the glass (the guard would cough fussily once in a while), I tried to see better those diminutive golden points, that entrance to the infinitely slow and remote world of these rosy creatures. It was useless to tap with one finger on the glass directly in front of their faces; they never gave the least reaction. The golden eyes continued burning with their soft, terrible light; they continued looking at me from an unfathomable depth which made me dizzy.

 

And nevertheless they were close. I knew it before this, before being an axolotl. I learned it the day I came near them for the first time. The anthropomorphic features of a monkey reveal the reverse of what most people believe, the distance that is traveled from them to us. The absolute lack of similarity between axolotls and human beings proved to me that my recognition was valid, that I was not propping myself up with easy analogies. Only the little hands . . . But an eft, the common newt, has such hands also, and we are not at all alike. I think it was the axolotls' heads, that triangular pink shape with the tiny eyes of gold. That looked and knew. That laid the claim. They were not animals.

 

It would seem easy, almost obvious, to fall into mythology. I began seeing in the axolotls a metamorphosis which did not succeed in revoking a mysterious humanity. I imagined them aware, slaves of their bodies, condemned infinitely to the silence of the abyss, to a hopeless meditation. Their blind gaze, the diminutive gold disc without expression and nonetheless terribly shining, went through me like a message: "Save us, save us." I caught myself mumbling words of advice, conveying childish hopes. They continued to look at me, immobile; from time to time the rosy branches of the gills stiffened. In that instant I felt a muted pain; perhaps they were seeing me, attracting my strength to penetrate into the impenetrable thing of their lives. They were not human beings, but I had found in no animal such a profound relation with myself. The axolotls were like witnesses of something, and at times like horrible judges. I felt ignoble in front of them; there was such a terrifying purity in those transparent eyes. They were larvas, but larva means disguise and also phantom. Behind those Aztec faces, without expression but of an implacable cruelty, what semblance was awaiting its hour?

 

I was afraid of them. I think that had it not been for feeling the proximity of other visitors and the guard, I would not have been bold enough to remain alone with them. "You eat them alive with your eyes, hey," the guard said, laughing; he likely thought I was a little cracked. What he didn't notice was that it was they devouring me slowly with their eyes, in a cannibalism of gold. At any distance from the aquarium, I had only to think of them, it was as though I were being affected from a distance. It got to the point that I was going every day, and at night I thought of them immobile in the darkness, slowly putting a hand out which immediately encountered another. Perhaps their eyes could see in the dead of night, and for them the day continued indefinitely. The eyes of axolotls have no lids.

 

I know now that there was nothing strange, that that had to occur. Leaning over in front of the tank each morning, the recognition was greater. They were suffering, every fiber of my body reached toward that stifled pain, that stiff torment at the bottom of the tank. They were lying in wait for something, a remote dominion destroyed, an age of liberty when the world had been that of the axolotls. Not possible that such a terrible expression which was attaining the overthrow of that forced blankness on their stone faces should carry any message other than one of pain, proof of that eternal sentence, of that liquid hell they were undergoing. Hopelessly, I wanted to prove to myself that my own sensibility was projecting a nonexistent consciousness upon the axolotls. They and I knew. So there was nothing strange in what happened. My face was pressed against the glass of the aquarium, my eyes were attempting once more to penetrate the mystery of those eyes of gold without iris, without pupil. I saw from very close up the face of an axolotl immobile next to the glass. No transition and no surprise, I saw my face against the glass, I saw it on the outside of the tank, I saw it on the other side of the glass. Then my face drew back and I understood.

 

Only one thing was strange: to go on thinking as usual, to know. To realize that was, for the first moment, like the horror of a man buried alive awaking to his fate. Outside, my face came close to the glass again, I saw my mouth, the lips compressed with the effort of understanding the axolotls. I was an axolotl and now I knew instantly that no understanding was possible. He was outside the aquarium, his thinking was a thinking outside the tank. Recognizlng him, being him himself, I was an axolotl and in my world. The horror began—I learned in the same moment —of believing myself prisoner in the body of an axolotl, metamorphosed into him with my human mind intact, buried alive in an axolotl, condemned to move lucidly among unconscious creatures. But that stopped when a foot just grazed my face, when I moved just a little to one side and saw an axolotl next to me who was looking at me, and understood that he knew also, no communication possible, but very clearly. Or I was also in him, or all of us were thinking humanlike, incapable of expression, limited to the golden splendor of our eyes looking at the face of the man pressed against the aquarium.

 

He returned many times, but he comes less often now. Weeks pass without his showing up. I saw him yesterday, he looked at me for a long time and left briskly. It seemed to me that he was not so much interested in us any more, that he was coming out of habit. Since the only thing I do is think, I could think about him a lot. It occurs to me that at the beginning we continued to communicate, that he felt more than ever one with the mystery which was claiming him. But the bridges were broken between him and me, because what was his obsession is now an axolotl, alien to his human life. I think that at the beginning I was capable of returning to him in a certain way—ah, only in a certain way—and of keeping awake his desire to know us better. I am an axolotl for good now, and if I think like a man it's only because every axolotl thinks like a man inside his rosy stone semblance. I believe that all this succeeded in communicating something to him in those first days, when I was still he. And in this final solitude to which he no longer comes, I console myself by thinking that perhaps he is going to write a story about us, that, believing he's making up a story, he's going to write all this about axolotls.

  

Il fut une époque où je pensais beaucoup aux axolotls. J’allais les voir à l’aquarium du Jardin des Plantes et je passais des heures à les regarder, à observer leur immobilité, leurs mouvements obscurs. Et maintenant je suis un axolotl. Le hasard me conduisit vers eux un matin de printemps où Paris déployait sa queue de paon après le lent hiver. Je descendis le boulevard Saint-Marcel, celui de l’hôpital, je vis les premiers verts parmi tout le gris et je me souvins des lions. J’étais très amis des lions et des panthères, mais je n’étais jamais entré dans l’enceinte humide et sombre des aquariums. Je laissai ma bicyclette contre les grilles et j’allais voir les tulipes. Les lions étaient laids et tristes et ma panthère dormait. Je me décidai pour les aquariums et, après avoir regardé avec indifférence des poissons ordinaires, je tombai par hasard sur les axolotls. Je passai une heure à les regarder, puis je partis, incapable de penser à autre chose.

 

À la bibliothèque Sainte-Geneviève je consultai un dictionnaire et j’appris que les axolotls étaient les formes larvaires, pourvues de branchies, de batraciens du genre amblystone. Qu’ils étaient originaires du Mexique, je le savais déjà, rien qu’à voir leur petit visage aztèque. Je lus qu’on en avait trouvé des spécimens en Afrique capables de vivre hors de l’eau pendant les périodes de sécheresse et qui reprenaient leur vie normale à la saison des pluies. On donnait leur nom espagnol, ajolote, on signalait qu’ils étaient comestibles et qu’on utilisait leur huile (on ne l’utilise plus) comme l’huile de foie de morue.

 

Je ne voulus pas consulter d’ouvrages spécialisés mais je revins le jour suivant au jardin des Plantes. Je pris l’habitude d’y aller tous les matins, et parfois même matin et soir. Le gardien des aquariums souriait d’un air perplexe en prenant mon ticket. Je m’appuyais contre la barre de fer qui borde les aquariums et je regardais les axolotls. Il n’y avait rien d’étrange à cela ; dès le premier instant j’avais senti que quelque chose me liait à eux, quelque chose d’infiniment lointain et oublié qui cependant nous unissait encore. Il m’avait suffit de m’arrêter un matin devant cet aquarium où des bulles couraient dans l’eau. Les axolotls s’entassaient sur l’étroit et misérable (personne mieux que moi ne sait à quel point il est étroit et misérable) fond de pierre et de mousse. Il y en avait neuf, la plupart d’entre eux appuyaient leur tête contre la vitre et regardaient de leurs yeux d’or ceux qui s’approchaient. Troublé, presque honteux, je trouvais qu’il y avait de l’impudeur à se pencher sur ces formes silencieuses et immobiles entassées au fond de l’aquarium. Mentalement, j’en isolai un, un peu à l’écart sur la droite, pour mieux l’étudier. Je vis un petit corps rose, translucide (je pensai aux statuettes chinoises en verre laiteux), semblable à un petit lézard de quinze centimètres, terminé par une queue de poisson d’une extraordinaire délicatesse - c’est la partie la plus sensible de notre corps. Sur son dos, une nageoire transparente se rattachait à la queue ; mais ce furent les pattes qui me fascinèrent, des pattes d’une incroyable finesse, terminés par de tout petits doigts avec des ongles - absolument humains, sans pourtant avoir la forme de la main humaine - mais comment aurais-je pu ignorer qu’ils étaient humains ? c’est alors que je découvris leurs yeux, leur visage. Un visage inexpressif sans autre trait que les yeux, deux orifices comme des têtes d’épingles entièrement d’or transparent, sans aucune vie, mais qui regardaient et qui se laissaient pénétrer par mon regard qui passait à travers le point doré et se perdait dans un mystère diaphane. Un très mince halo noir entourait l’oeil et l’inscrivait dans la chair rose, dans la pierre rose de la tête vaguement triangulaire, au contours courbes et irréguliers, qui la faisaient ressembler à une statue rongée par le temps. La bouche était dissimulée par le plan triangulaire de la tête et ce n’est que de profil que l’on s’apercevait qu’elle était très grande. Vue de face, c’était une fine rainure, comme une fissure dans de l’albâtre. De chaque côté de la tête, à la place des oreilles, se dressaient de très petites branches rouges comme du corail, une excroissance végétale, les branchies, je suppose. C’était la seule chose qui eût l’air vivante dans ce corps. Chaque vingt secondes elles se dressaient, toutes raides, puis s’abaissaient de nouveau. Parfois une patte bougeait, à peine, et je voyais les doigts minuscules se poser doucement sur la mousse. C’est que nous n’aimons pas beaucoup bouger, l’aquarium est si étroit ; si peu que nous remuions nous heurtons la tête ou la queue d’un autre ; il s’ensuit des difficultés, des disputes, de la fatigue. Le temps se sent moins si l’on reste immobile.

 

Ce fut leur immobilité qui me fit me pencher vers eux, fasciné, la première fois que je les vis. Il me sembla comprendre obscurément leur volonté secrète : abolir l’espace et le temps par une immobilité pleine d’indifférence. Par la suite, j’appris à mieux les comprendre, les branchies qui se contractent, les petites pattes fines qui tâtonnent sur les pierres, leurs fuites brusques (ils nagent par une simple ondulation du corps) me prouvèrent qu’ils étaient capables de s’évader de cette torpeur minérale où ils passaient des heures entières. Leurs yeux surtout m’obsédaient. A côté d’eux, dans les autres aquariums, des poissons me montraient la stupide simplicité de leurs beaux yeux semblables aux nôtres. Les yeux des axolotls me parlaient de la présence d’une vie différente, d’une autre façon de regarder. Je collais mon visage à la vitre (le gardien, inquiet, toussait de temps en temps) pour mieux voir les tout petits points dorés, cette ouverture sur le monde infiniment lent et éloigné des bêtes roses. Inutile de frapper du doigt contre la vitre, sous leur nez, jamais la moindre réaction. Les yeux d’or continuaient à brûler de leur douce et terrible lumière, continuaient à me regarder du fond d’un abîme insondable qui me donnait le vertige.

 

Et cependant les axolotls étaient proches de nous. Je le savais avant même de devenir un axolotl. Je le sus dès le jour où je m’approchai d’eux pour la première fois. Les traits anthropomorphiques d’un singe accusent la différence qu’il y a entre lui et nous, contrairement à ce que pensent la plupart des gens. L’absence totale de ressemblance entre un axolotl et un être humain me prouva que ma reconnaissance

était valable, que je ne m’appuyais pas sur des analogies faciles. Il y avait bien les petites mains. Mais un lézard a les mêmes mains et ne ressemble en rien à l’homme. Je crois que tout venait de la tête des axolotls, de sa forme triangulaire rose et de ses petits yeux d’or. Cela regardait et savait. Cela réclamait. Les axolotls n’étaient pas des animaux.

 

De là à tomber dans la mythologie, il n’y avait qu’un pas, facile à franchir, presque inévitable. Je finis par voir dans les axolotls une métamorphose qui n’arrivait pas à renoncer tout à fait à une mystérieuse humanité. Je les imaginais conscients, esclaves de leur corps, condamnés indéfiniment à un silence abyssal, à une méditation désespérée. Leur regard aveugle, le petit disque d’or inexpressif - et cependant terriblement lucide - me pénétrait comme un message : "Sauve-nous, sauve-nous." Je me surprenais en train de murmurer des paroles de consolation, de transmettre des espoirs puérils. Ils continuaient à me regarder, immobiles. Soudain les petites branches roses se dressaient sur leur tête, et je sentais à ce moment-là comme une douleur sourde. Ils me voyaient peut-être, ils captaient mes efforts pour pénétrer dans l’impénétrable de leur vie. Ce n’étaient pas des êtres humains mais jamais je ne m’étais senti un rapport aussi étroit entre des animaux et moi. Les axolotls étaient comme témoins de quelque chose et parfois ils devenaient de terribles juges. Je me trouvais ignoble devant eux, il y avait dans ces yeux transparents une si effrayante pureté. C’était des larves, mais larve veut dire masque et aussi fantôme. Derrière ces visages aztèques, inexpressifs, et cependant d’une cruauté implacable, quelle image attendait

son heure ?

 

Ils me faisaient peur. Je crois que sans la présence du gardien et des autres visiteurs je n’aurais jamais osé rester devant eux. " Vous les mangez des yeux ", me disait le gardien en riant, et il devait penser que je n’étais pas tout à fait normal. Il ne se rendait pas compte que c’était eux qui me dévoraient lentement des yeux, en un cannibalisme d’or. Loin d’eux je ne pouvais penser à autre chose, comme s’ils m’influençaient à distance. Je finis par y aller tous les jours et la nuit je les imaginais immobiles dans l’obscurité, avançant lentement une petite patte qui rencontrait soudain celle d’un autre. Leurs yeux voyaient peut-être la nuit et le jour pour eux n’avait pas de fin. Les yeux des axolotls n’ont pas de paupières.

 

Maintenant je sais qu’il n’y a rien eu d’étrange dans tout cela, que cela devait arriver. Ils me reconnaissaient un peu plus chaque matin quand je me penchais vers l’aquarium. Ils souffraient. Chaque fibre de mon corps enregistrait cette souffrance bâillonnée, cette torture rigide au fond de l’eau. Ils épiaient quelque chose, un lointain royaume aboli, un temps de liberté où le monde avait appartenu aux axolotls. Une expression aussi terrible qui arrivait à vaincre l’impassibilité forcée de ces visages de pierre contenait sûrement un message de douleur, la preuve de cette condamnation éternelle, de cet enfer liquide qu’ils enduraient. En vain essayai-je de me persuader que c’était ma propre sensibilité qui projetait sur les axolotls une conscience qu’ils n’avaient pas. Eux et moi nous savions. C’est pour cela que ce qui arriva n’est pas étrange. Je collais mon visage à la vitre de l’aquarium, mes yeux essayèrent une fois de plus de percer le mystère de ces yeux d’or sans iris et sans pupille. Je voyais de très près la tête d’un axolotl immobile contre la vitre. Puis mon visage s’éloigna et je compris. Une seule chose était étrange : continuer à penser comme avant, savoir. Quand j’en pris conscience, je ressentis l’horreur de celui qui s’éveille enterré vivant. Au-dehors, mon visage s’approchait à nouveau de la vitre, je voyais ma bouche aux lèvres serrées par l’effort que je faisais pour comprendre les axolotls. J’étais un axolotl et je venais de savoir en un éclair qu’aucune communication n’était possible. Il était hors de l’aquarium, sa pensée était une pensée hors de l’aquarium. Tout en le connaissant, tout en étant lui-même, j’étais un axolotl et j’étais dans mon monde. L’horreur venait de ce que - je le sus instantanément - je me croyais prisonnier dans le corps d’un axolotl, transféré en lui avec ma pensée d’homme, enterré vivant dans un axolotl, condamné à me mouvoir en toute lucidité parmi des créatures insensibles. Mais cette impression ne dura pas, une patte vint effleurer mon visage et en me tournant un peu je vis un axolotl à côté de moi qui me regardait et je compris que lui aussi savait, sans communication possible mais si clairement. Ou bien j’étais encore en l’homme, ou bien nous pensions comme des êtres humains, incapables de nous exprimer, limités à l’éclat doré de nos yeux qui regardaient ce visage d’homme collé à la vitre.

 

Il revint encore plusieurs fois mais il vient moins souvent à présent. Des semaines se passent sans qu’on le voie. Il est venu hier, il m’a regardé longuement et puis il est parti brusquement. Il me semble que ce n’est plus à nous qu’il s’intéresse, qu’il obéit plutôt à une habitude. Comme penser est la seule chose que je puisse faire, je pense beaucoup à lui. Pendant un certain temps nous avons continué d’être en communication lui et moi, et il se sentait plus que jamais lié au mystère qui l’obsédait. Mais les ponts sont coupés à présent, car ce qui était son obsession est devenu un axolotl, étranger à sa vie d’homme. Je crois qu’au début je pouvais encore revenir en lui, dans une certaine mesure - ah ! seulement dans une certaine

mesure - et maintenir éveillé son désir de mieux nous connaître. Maintenant je suis définitivement un axolotl et si je pense comme un être humain c’est tout simplement parce que les axolotls pensent comme les humains sous leur masque de pierre rose. Il me semble que j’étais arrivé à lui communiquer cette vérité, les premiers jours, lorsque j’étais encore en lui. Et dans cette solitude finale vers laquelle il ne revient déjà plus, cela me console de penser qu’il va peut-être écrire quelque chose sur nous ; il croira qu’il invente un conte et il écrira tout cela sur les axolotls.

 

Julio Cortázar (1914-1984)

Stivan, a small settlement on Adriatic Sea island Cres in Kvarner bay, is an almost abandoned place. Incredibly stony ground, almost nonexistent arable soil, not close enough to the sea shore to be of interest for tourists, offers little to survive. Some old fig trees and olive trees and sheep, this is all one can rely on. But it is situated in a great landscape, in an open, rather flat (as the whole south part of the island) Mediterranean landscape, harsh, wind-swept and sunny, with mild spring and autumn climate and hot summers. Yet, 200 years ago men was capable not only to survive here but also to live full lives and to build large stony farmhouses like this one on my pictures. Now it is a ruin worth nothing, defeated by time and overtaken by Wulfen's Spurge (Euphorbia wulfeni).

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!

  

Some background:

The outbreak of the war in Europe in September 1939 did not immediately affect the status of the Armée de l'Air in French Indochina because it had the task of defending a wide area of Southeast Asia, including the future Laos, Cambodia and Vietnam. And yet its array of airplanes seemed inadequate to perform any kind of real defense against any incursion by an enemy, because there were less than 100 airplanes available to it, all obsolescent or obsolete. In September 1931, Japan invaded and occupied Manchuria. This was an area of northeast China, which encompassed the provinces of Jilin, Liaoning and Heilongjiang. Nearly six whole years later, in July 1937, the Second Sino-Japanese War had begun. As yet, the French colonial authorities were hoping that the Japanese would not be brazen enough to take on the might of a European power. However, it became increasingly likely after the German invasion of Poland in September 1939, since Japan was part of the Axis alliance and thus Germany's ally.

 

On September 26, 1940, Japanese troops landed in Haiphong, violating a cease-fire which had been signed only the previous day. From the middle of the following month, the French became heavily involved in repelling Japanese army assaults. Following the Fall of France in 1940, Thais perceived a chance to regain the territories they had lost years earlier. The collapse of Metropolitan France made the French hold on Indochina tenuous. After the Japanese invasion of French Indochina in September 1940, the French were forced to allow the Japanese to set up military bases. This seemingly subservient behavior convinced the Thai regime that Vichy France would not seriously resist a confrontation with Thailand.

 

During the French-Thai War, the Thai Air Force achieved several air-to-air-victories in dogfights against the Vichy Armée de l'Air. During World War II, the Thai Air Force supported the Royal Thai Army in its occupation of the Shan States of Burma as somewhat reluctant allies of the Japanese and took part in the defense of Bangkok against allied air raids in the latter part of the war, achieving some successes against state-of-the-art aircraft like the P-51 Mustang and the B-29 Superfortress. During these times, the RTAF was actively supplied by the Japanese with Imperial Japanese Army Air Force aircraft such as the Ki-43 "Oscar," and the Ki-27 "Nate." Other RTAF personnel took an active part the anti-Japanese resistance movement.

 

French forces in Indochina consisted of an army of approximately fifty thousand men, The most obvious deficiency of the French army lay in its shortage of armor; however, the Armée de l'Air had in its inventory approximately a hundred aircraft, of which around sixty could be considered first line. These consisted of thirty Potez 25 TOEs, four Farman 221s, eight Loire 130 flying boats, six Potez 542s, nine Morane M.S.406s.

 

The M.S.406 was a French fighter aircraft developed and manufactured by Morane-Saulnier starting in 1938. In response to a requirement for a fighter issued by the French Air Force in 1934, Morane-Saulnier built a prototype, designated MS.405, of mixed materials. This had the distinction of being the company's first low-wing monoplane, as well as the first to feature an enclosed cockpit, and the first design with a retracting undercarriage. The entry to service of the M.S.406 to the French Air Force in early 1939 represented the first modern fighter aircraft to be adopted by the service, and the type was also used in the French overseas colonies. The M.S.406 was France's most numerous fighter during the Second World War and one of only two French designs to exceed 1,000 in number. At the beginning of the war, it was one of only two French-built aircraft capable of 400 km/h (250 mph) – the other being the Potez 630.

 

Although a sturdy and highly manoeuvrable fighter aircraft, the M.S.406 was considered underpowered and weakly armed when compared to its contemporaries, esp. over continental Europe. Most critically, the M.S.406 was outperformed by the Messerschmitt Bf 109E during the Battle of France and no serious threat to the German fighter. In less advanced theatres like Indochina, though, the M.S. 406 was a respectable contender, but its numbers were low.

 

When the French-Thai War broke out in Indochina, the Thai Army was a relatively well-equipped force, consisting of some sixty thousand men, with artillery and tanks. The Royal Thai Navy — consisting of several vessels, including two coastal defence ships, twelve torpedo boats and four submarines — was inferior to the French naval forces, though, but the Royal Thai Air Force held both a quantitative and qualitative edge over l'Armee de l'Air. Among the 140 aircraft that composed the air force's initial first-line strength were twenty-four Mitsubishi Ki-30 light bombers, nine Mitsubishi Ki-21 and six Martin B-10 twin-engine bombers, seventy Vought Corsair dive bombers, and twenty-five Curtiss Hawk 75 fighters.

 

While nationalistic demonstrations and anti-French rallies were held in Bangkok, border skirmishes erupted along the Mekong frontier. The superior Royal Thai Air Force conducted daytime bombing runs over Vientiane, Sisophon, and Battambang with impunity. The French retaliated with their own planes, but the damage caused was less than equal. The activities of the Thai air force, particularly in the field of dive-bombing, was such that Admiral Jean Decoux, the governor of French Indochina, grudgingly remarked that the Thai planes seemed to have been flown by men with plenty of war experience.

 

In early January 1941, the Thai Burapha and Isan Armies launched their offensive on Laos and Cambodia. French resistance was instantaneous, but many units were simply swept along by the better-equipped Thai forces, with some French equipment – including some aircraft – being captured and immediately pressed into Thai army service. The Thais swiftly took Laos, but Cambodia proved a much harder nut to crack.

 

On January 16, 1941 the French launched a large counterattack on the Thai-held villages of Yang Dang Khum and Phum Preav, initiating the fiercest battle of the war. Because of over-complicated orders and nonexistent intelligence, the French counterattacks were cut to pieces and fighting ended with a French withdrawal from the area. The Thais were unable to pursue the retreating French, as their forward tanks were kept in check by the gunnery of French Foreign Legion artillerists.

 

On January 24, the final air battle took place when Thai bombers raided the French airfield at Angkor near Siem Reap, which quickly fell. The last Thai mission commenced at 0710 hours on January 28, when the Martins of the 50th Bomber Squadron set out on a raid on Sisophon, escorted by three Hawk 75Ns of the 60th Fighter Squadron.

 

Although the French won an important naval victory over the Thais, Japan forced the French to accept Japanese mediation of a peace treaty that returned the disputed territory to Thai control. A general armistice was arranged by Japan to go into effect on January 28. On May 9 a peace treaty was signed in Tokyo, with the French being coerced by the Japanese into relinquishing their hold on the disputed territories. However, the French (now part of the Axis Forces’ Vichy regime) were left in place to administer the rump colony of Indochina until 9 March 1945, when the Japanese staged a coup d'état in French Indochina and took control, establishing their own colony, the Empire of Vietnam, as a puppet state controlled by Tokyo.

 

Until then, Japanese authorities heavily influenced the diminishing Vichy French presence in the region and handed over a lot of leftover military hardware to its own allies, primarily the Thai forces. However, there was not much left to be distributed: about 30% of the French aircraft were rendered unserviceable by the end of the French-Thai War in early 1941, some as a result of minor damage sustained in air raids that remained unrepaired. The Armée de l'Air admitted the loss of only one Farman F221 and two Morane M.S.406s destroyed on the ground, but, in reality, its losses were greater and the influence of Japan on the leftover stock was fogged in order to save face. However, even in 1944, single former Vichy French aircraft and tanks were still active in the region, primarily under Thai flag.

  

General characteristics:

Crew: 1

Length: 8.17 m (26 ft 10 in)

Wingspan: 10.61 m (34 ft 10 in)

Height: 3.25 m (10 ft 8 in)

Wing area: 16 m2 (170 sq ft)

Empty weight: 1,895 kg (4,178 lb)

Gross weight: 2,540 kg (5,600 lb)

 

Powerplant:

1 × Hispano-Suiza 12Y-31 V-12 liquid-cooled piston engine with

619 kW (830 hp) for take-off at 2,520 rpm at sea level,

driving a 3-bladed variable-pitch propeller, 3 m (9 ft 10 in) diameter

 

Performance:

Maximum speed: 490 km/h (304 mph; 265 kn) at 4,500 m (14,764 ft)

Stall speed: 160 km/h (99 mph, 86 kn) without flaps

135 km/h (84 mph; 73 kn) with flaps

Range: 1,100 km (680 mi, 590 nmi) at 66% power

Combat range: 720 km (450 mi, 390 nmi)

Endurance: 2 hours 20 minutes 30 seconds (average combat mission)

Service ceiling: 9,400 m (30,800 ft)

Time to altitude: 2,000 m (6,562 ft) in 2 minutes 32 seconds

9,000 m (29,528 ft) in 21 minutes 37 seconds

Wing loading: 154 kg/m2 (32 lb/sq ft)

Power/mass: 2.95 kg/kW (4.85 lb/hp)

Take-off run to 8 m (26 ft): 270 m (886 ft)

Landing run from 8 m (26 ft): 340 m (1,115 ft)

 

Armament:

1× 20 mm (0.787 in) Hispano-Suiza HS.404 cannon, firing through the propeller hub

2× 7.5 mm (0.295 in) MAC 1934 machine guns in the outer wings

  

The kit and its assembly:

This quick build was created in the wake of the “Captured” group build at whatifmodellers.com and actually is a personal interpretation of someone else’s idea, namely of fellow modeler NARSES who came up with the idea of a captured French M.S. 406 in Indochina under a new Thai flag. I found the idea so weird, yet realistic, that I decided to build one, too.

 

The model is the very simple but quite acceptable M.S. 406 from Hobby Boss. Externally the model is nice, with recessed panel lines and a basic landing gear. Internally, it is rather bleak, even though it has a full cockpit with a floor, integrally molded seat and even some details behind the pilot’s armor bulkhead. The canopy is a single piece and very clear, but it comes with massive locator bars, so that I decided to keep the canopy closed and added a pilot figure to cover the minimal interior. I was lucky to find a Japanese (though pretty “flat”) WWII pilot in the donor bank, left over from a Hasegawa model. I also gave the figure some seat belts (made from adhesive tape), but the rest remained unchanged – even the original metal axis for the propeller was used. I just replaced the machine gun barrels with hollow steel needles and added a pitot on the wing, which is probably part of the kit but not indicated in the instructions. The same is true for the foldable ventral antenna.

 

The build was finished quickly, in the course of just a single evening, including the pilot and some overall PSR.

  

Painting and markings:

My interpretation of a French aircraft in Thai service after the French-Thai War stuck closely to the real world Vichy livery, which was the standard French camouflage in grey/green/brown with light blue-grey undersides (all from ModelMaster’s Authentic Color range), together with a yellow-and-red-striped cowling (a base with Humbrol 69 and red decal stripes added later) and a white cheatline long the fuselage. The tail of French aircraft in Indochina was painted all-red from early 1941 onwards upon Japanese command, because of friendly fire incidents. This was adopted for the model (with a mix of Humbrol 19 and some 73), which is supposed to belong into the 1942 time frame.

 

As a captured aircraft, the original French roundels were replaced/overpainted with red disks/hinomaru, and then Thai elephant markings added on top. That’s a personal idea, ordnance directly supplied to the Thai forces from Japan had the simple, square “elephant flag” emblem directly applied to the wings and the fin (but no fuselage roundel). The all-red tail was taken over, but I painted the rudder in a dark IJA green, since it would formerly carry a French fin flash. The same green was used to overpaint a serial number on the fin and a former squadron emblem under the cockpit.

The hinomaru come from a PrintScale Ki-46 sheet, and these markings are intentionally a bit oversized, so that they cover well the former French markings and are highly visible. The elephant markings some from a PrintScale Ki-27 sheet, so that the red tone on both sources are very close to each other. The Ki-27 sheet also provided the Thai ciphers “3” and “4”, combined into a “34”.

 

The interior was painted in medium grey, and the model externally received some signs of wear and tear in the form of dry-brushed leading edges and around the cockpit as well as some soot stains behind the exhaust stubs and the machine guns. Finally, the model was sealed with a coat of matt acrylic varnish (Italeri).

  

A quick build, and the easy-build Hobby Boss M.S. 406 is certainly not as crisp as a “real” model, but in this case the story behind the weird livery was more in the focus than the canvas underneath. However, an interesting result, and the hybrid paint scheme with heritage from three different operators make the aircraft an unusual, if not exotic sight.

NEDERLAND, NETHERLANDS, HOLLAND, PAYS-BAS, HOLANDA, PAISES BAJOS, Barendrecht, Un pueblo llamado Barendrecht, A town called Barendrecht, Une ville appelée Barendrecht, LAGARTIJAS, LEZARDS , LIZARDS, HAGEDISSEN, ECHSEN, LAGARTO,

 

AXOLOTIS.-

 

There was a time when I thought a great deal about the axolotls. I went to see them in the aquarium at the Jardin des Plantes and stayed for hours watching them, observing their immobility, their faint movements. Now I am an axolotl.

 

I got to them by chance one spring morning when Paris was spreading its peacock tail after a slow wintertime. I was heading down tbe boulevard Port-Royal, then I took Saint-Marcel and L'Hôpital and saw green among all that grey and remembered the lions. I was friend of the lions and panthers, but had never gone into the dark, humid building that was the aquarium. I left my bike against tbe gratings and went to look at the tulips. The lions were sad and ugly and my panther was asleep. I decided on the aquarium, looked obliquely at banal fish until, unexpectedly, I hit it off with the axolotls. I stayed watching them for an hour and left, unable to think of anything else.

 

In the library at Sainte-Geneviève, I consulted a dictionary and learned that axolotls are the larval stage (provided with gills) of a species of salamander of the genus Ambystoma. That they were Mexican I knew already by looking at them and their little pink Aztec faces and the placard at the top of the tank. I read that specimens of them had been found in Africa capable of living on dry land during the periods of drought, and continuing their life under water when the rainy season came. I found their Spanish name, ajolote, and the mention that they were edible, and that their oil was used (no longer used, it said ) like cod-liver oil.

 

I didn't care to look up any of the specialized works, but the next day I went back to the Jardin des Plantes. I began to go every morning, morning and aftemoon some days. The aquarium guard smiled perplexedly taking my ticket. I would lean up against the iron bar in front of the tanks and set to watching them. There's nothing strange in this, because after the first minute I knew that we were linked, that something infinitely lost and distant kept pulling us together. It had been enough to detain me that first morning in front of the sheet of glass where some bubbles rose through the water. The axolotls huddled on the wretched narrow (only I can know how narrow and wretched) floor of moss and stone in the tank. There were nine specimens, and the majority pressed their heads against the glass, looking with their eyes of gold at whoever came near them. Disconcerted, almost ashamed, I felt it a lewdness to be peering at these silent and immobile figures heaped at the bottom of the tank. Mentally I isolated one, situated on the right and somewhat apart from the others, to study it better. I saw a rosy little body, translucent (I thought of those Chinese figurines of milky glass), looking like a small lizard about six inches long, ending in a fish's tail of extraordinary delicacy, the most sensitive part of our body. Along the back ran a transparent fin which joined with the tail, but what obsessed me was the feet, of the slenderest nicety, ending in tiny fingers with minutely human nails. And then I discovered its eyes, its face. Inexpressive features, with no other trait save the eyes, two orifices, like brooches, wholly of transparent gold, lacking any life but looking, letting themselves be penetrated by my look, which seemed to travel past the golden level and lose itself in a diaphanous interior mystery. A very slender black halo ringed the eye and etched it onto the pink flesh, onto the rosy stone of the head, vaguely triangular, but with curved and triangular sides which gave it a total likeness to a statuette corroded by time. The mouth was masked by the triangular plane of the face, its considerable size would be guessed only in profile; in front a delicate crevice barely slit the lifeless stone. On both sides of the head where the ears should have been, there grew three tiny sprigs, red as coral, a vegetal outgrowth, the gills, I suppose. And they were the only thing quick about it; every ten or fifteen seconds the sprigs pricked up stiffly and again subsided. Once in a while a foot would barely move, I saw the diminutive toes poise mildly on the moss. It's that we don't enjoy moving a lot, and the tank is so cramped—we barely move in any direction and we're hitting one of the others with our tail or our head—difficulties arise, fights, tiredness. The time feels like it's less if we stay quietly.

 

It was their quietness that made me lean toward them fascinated the first time I saw the axolotls. Obscurely I seemed to understand their secret will, to abolish space and time with an indifferent immobility. I knew better later; the gill contraction, the tentative reckoning of the delicate feet on the stones, the abrupt swimming (some of them swim with a simple undulation of the body) proved to me that they were capable of escaping that mineral lethargy in which they spent whole hours. Above all else, their eyes obsessed me. In the standing tanks on either side of them, different fishes showed me the simple stupidity of their handsome eyes so similar to our own. The eyes of the axolotls spoke to me of the presence of a different life, of another way of seeing. Glueing my face to the glass (the guard would cough fussily once in a while), I tried to see better those diminutive golden points, that entrance to the infinitely slow and remote world of these rosy creatures. It was useless to tap with one finger on the glass directly in front of their faces; they never gave the least reaction. The golden eyes continued burning with their soft, terrible light; they continued looking at me from an unfathomable depth which made me dizzy.

 

And nevertheless they were close. I knew it before this, before being an axolotl. I learned it the day I came near them for the first time. The anthropomorphic features of a monkey reveal the reverse of what most people believe, the distance that is traveled from them to us. The absolute lack of similarity between axolotls and human beings proved to me that my recognition was valid, that I was not propping myself up with easy analogies. Only the little hands . . . But an eft, the common newt, has such hands also, and we are not at all alike. I think it was the axolotls' heads, that triangular pink shape with the tiny eyes of gold. That looked and knew. That laid the claim. They were not animals.

 

It would seem easy, almost obvious, to fall into mythology. I began seeing in the axolotls a metamorphosis which did not succeed in revoking a mysterious humanity. I imagined them aware, slaves of their bodies, condemned infinitely to the silence of the abyss, to a hopeless meditation. Their blind gaze, the diminutive gold disc without expression and nonetheless terribly shining, went through me like a message: "Save us, save us." I caught myself mumbling words of advice, conveying childish hopes. They continued to look at me, immobile; from time to time the rosy branches of the gills stiffened. In that instant I felt a muted pain; perhaps they were seeing me, attracting my strength to penetrate into the impenetrable thing of their lives. They were not human beings, but I had found in no animal such a profound relation with myself. The axolotls were like witnesses of something, and at times like horrible judges. I felt ignoble in front of them; there was such a terrifying purity in those transparent eyes. They were larvas, but larva means disguise and also phantom. Behind those Aztec faces, without expression but of an implacable cruelty, what semblance was awaiting its hour?

 

I was afraid of them. I think that had it not been for feeling the proximity of other visitors and the guard, I would not have been bold enough to remain alone with them. "You eat them alive with your eyes, hey," the guard said, laughing; he likely thought I was a little cracked. What he didn't notice was that it was they devouring me slowly with their eyes, in a cannibalism of gold. At any distance from the aquarium, I had only to think of them, it was as though I were being affected from a distance. It got to the point that I was going every day, and at night I thought of them immobile in the darkness, slowly putting a hand out which immediately encountered another. Perhaps their eyes could see in the dead of night, and for them the day continued indefinitely. The eyes of axolotls have no lids.

 

I know now that there was nothing strange, that that had to occur. Leaning over in front of the tank each morning, the recognition was greater. They were suffering, every fiber of my body reached toward that stifled pain, that stiff torment at the bottom of the tank. They were lying in wait for something, a remote dominion destroyed, an age of liberty when the world had been that of the axolotls. Not possible that such a terrible expression which was attaining the overthrow of that forced blankness on their stone faces should carry any message other than one of pain, proof of that eternal sentence, of that liquid hell they were undergoing. Hopelessly, I wanted to prove to myself that my own sensibility was projecting a nonexistent consciousness upon the axolotls. They and I knew. So there was nothing strange in what happened. My face was pressed against the glass of the aquarium, my eyes were attempting once more to penetrate the mystery of those eyes of gold without iris, without pupil. I saw from very close up the face of an axolotl immobile next to the glass. No transition and no surprise, I saw my face against the glass, I saw it on the outside of the tank, I saw it on the other side of the glass. Then my face drew back and I understood.

 

Only one thing was strange: to go on thinking as usual, to know. To realize that was, for the first moment, like the horror of a man buried alive awaking to his fate. Outside, my face came close to the glass again, I saw my mouth, the lips compressed with the effort of understanding the axolotls. I was an axolotl and now I knew instantly that no understanding was possible. He was outside the aquarium, his thinking was a thinking outside the tank. Recognizlng him, being him himself, I was an axolotl and in my world. The horror began—I learned in the same moment —of believing myself prisoner in the body of an axolotl, metamorphosed into him with my human mind intact, buried alive in an axolotl, condemned to move lucidly among unconscious creatures. But that stopped when a foot just grazed my face, when I moved just a little to one side and saw an axolotl next to me who was looking at me, and understood that he knew also, no communication possible, but very clearly. Or I was also in him, or all of us were thinking humanlike, incapable of expression, limited to the golden splendor of our eyes looking at the face of the man pressed against the aquarium.

 

He returned many times, but he comes less often now. Weeks pass without his showing up. I saw him yesterday, he looked at me for a long time and left briskly. It seemed to me that he was not so much interested in us any more, that he was coming out of habit. Since the only thing I do is think, I could think about him a lot. It occurs to me that at the beginning we continued to communicate, that he felt more than ever one with the mystery which was claiming him. But the bridges were broken between him and me, because what was his obsession is now an axolotl, alien to his human life. I think that at the beginning I was capable of returning to him in a certain way—ah, only in a certain way—and of keeping awake his desire to know us better. I am an axolotl for good now, and if I think like a man it's only because every axolotl thinks like a man inside his rosy stone semblance. I believe that all this succeeded in communicating something to him in those first days, when I was still he. And in this final solitude to which he no longer comes, I console myself by thinking that perhaps he is going to write a story about us, that, believing he's making up a story, he's going to write all this about axolotls.

  

Il fut une époque où je pensais beaucoup aux axolotls. J’allais les voir à l’aquarium du Jardin des Plantes et je passais des heures à les regarder, à observer leur immobilité, leurs mouvements obscurs. Et maintenant je suis un axolotl. Le hasard me conduisit vers eux un matin de printemps où Paris déployait sa queue de paon après le lent hiver. Je descendis le boulevard Saint-Marcel, celui de l’hôpital, je vis les premiers verts parmi tout le gris et je me souvins des lions. J’étais très amis des lions et des panthères, mais je n’étais jamais entré dans l’enceinte humide et sombre des aquariums. Je laissai ma bicyclette contre les grilles et j’allais voir les tulipes. Les lions étaient laids et tristes et ma panthère dormait. Je me décidai pour les aquariums et, après avoir regardé avec indifférence des poissons ordinaires, je tombai par hasard sur les axolotls. Je passai une heure à les regarder, puis je partis, incapable de penser à autre chose.

 

À la bibliothèque Sainte-Geneviève je consultai un dictionnaire et j’appris que les axolotls étaient les formes larvaires, pourvues de branchies, de batraciens du genre amblystone. Qu’ils étaient originaires du Mexique, je le savais déjà, rien qu’à voir leur petit visage aztèque. Je lus qu’on en avait trouvé des spécimens en Afrique capables de vivre hors de l’eau pendant les périodes de sécheresse et qui reprenaient leur vie normale à la saison des pluies. On donnait leur nom espagnol, ajolote, on signalait qu’ils étaient comestibles et qu’on utilisait leur huile (on ne l’utilise plus) comme l’huile de foie de morue.

 

Je ne voulus pas consulter d’ouvrages spécialisés mais je revins le jour suivant au jardin des Plantes. Je pris l’habitude d’y aller tous les matins, et parfois même matin et soir. Le gardien des aquariums souriait d’un air perplexe en prenant mon ticket. Je m’appuyais contre la barre de fer qui borde les aquariums et je regardais les axolotls. Il n’y avait rien d’étrange à cela ; dès le premier instant j’avais senti que quelque chose me liait à eux, quelque chose d’infiniment lointain et oublié qui cependant nous unissait encore. Il m’avait suffit de m’arrêter un matin devant cet aquarium où des bulles couraient dans l’eau. Les axolotls s’entassaient sur l’étroit et misérable (personne mieux que moi ne sait à quel point il est étroit et misérable) fond de pierre et de mousse. Il y en avait neuf, la plupart d’entre eux appuyaient leur tête contre la vitre et regardaient de leurs yeux d’or ceux qui s’approchaient. Troublé, presque honteux, je trouvais qu’il y avait de l’impudeur à se pencher sur ces formes silencieuses et immobiles entassées au fond de l’aquarium. Mentalement, j’en isolai un, un peu à l’écart sur la droite, pour mieux l’étudier. Je vis un petit corps rose, translucide (je pensai aux statuettes chinoises en verre laiteux), semblable à un petit lézard de quinze centimètres, terminé par une queue de poisson d’une extraordinaire délicatesse - c’est la partie la plus sensible de notre corps. Sur son dos, une nageoire transparente se rattachait à la queue ; mais ce furent les pattes qui me fascinèrent, des pattes d’une incroyable finesse, terminés par de tout petits doigts avec des ongles - absolument humains, sans pourtant avoir la forme de la main humaine - mais comment aurais-je pu ignorer qu’ils étaient humains ? c’est alors que je découvris leurs yeux, leur visage. Un visage inexpressif sans autre trait que les yeux, deux orifices comme des têtes d’épingles entièrement d’or transparent, sans aucune vie, mais qui regardaient et qui se laissaient pénétrer par mon regard qui passait à travers le point doré et se perdait dans un mystère diaphane. Un très mince halo noir entourait l’oeil et l’inscrivait dans la chair rose, dans la pierre rose de la tête vaguement triangulaire, au contours courbes et irréguliers, qui la faisaient ressembler à une statue rongée par le temps. La bouche était dissimulée par le plan triangulaire de la tête et ce n’est que de profil que l’on s’apercevait qu’elle était très grande. Vue de face, c’était une fine rainure, comme une fissure dans de l’albâtre. De chaque côté de la tête, à la place des oreilles, se dressaient de très petites branches rouges comme du corail, une excroissance végétale, les branchies, je suppose. C’était la seule chose qui eût l’air vivante dans ce corps. Chaque vingt secondes elles se dressaient, toutes raides, puis s’abaissaient de nouveau. Parfois une patte bougeait, à peine, et je voyais les doigts minuscules se poser doucement sur la mousse. C’est que nous n’aimons pas beaucoup bouger, l’aquarium est si étroit ; si peu que nous remuions nous heurtons la tête ou la queue d’un autre ; il s’ensuit des difficultés, des disputes, de la fatigue. Le temps se sent moins si l’on reste immobile.

 

Ce fut leur immobilité qui me fit me pencher vers eux, fasciné, la première fois que je les vis. Il me sembla comprendre obscurément leur volonté secrète : abolir l’espace et le temps par une immobilité pleine d’indifférence. Par la suite, j’appris à mieux les comprendre, les branchies qui se contractent, les petites pattes fines qui tâtonnent sur les pierres, leurs fuites brusques (ils nagent par une simple ondulation du corps) me prouvèrent qu’ils étaient capables de s’évader de cette torpeur minérale où ils passaient des heures entières. Leurs yeux surtout m’obsédaient. A côté d’eux, dans les autres aquariums, des poissons me montraient la stupide simplicité de leurs beaux yeux semblables aux nôtres. Les yeux des axolotls me parlaient de la présence d’une vie différente, d’une autre façon de regarder. Je collais mon visage à la vitre (le gardien, inquiet, toussait de temps en temps) pour mieux voir les tout petits points dorés, cette ouverture sur le monde infiniment lent et éloigné des bêtes roses. Inutile de frapper du doigt contre la vitre, sous leur nez, jamais la moindre réaction. Les yeux d’or continuaient à brûler de leur douce et terrible lumière, continuaient à me regarder du fond d’un abîme insondable qui me donnait le vertige.

 

Et cependant les axolotls étaient proches de nous. Je le savais avant même de devenir un axolotl. Je le sus dès le jour où je m’approchai d’eux pour la première fois. Les traits anthropomorphiques d’un singe accusent la différence qu’il y a entre lui et nous, contrairement à ce que pensent la plupart des gens. L’absence totale de ressemblance entre un axolotl et un être humain me prouva que ma reconnaissance

était valable, que je ne m’appuyais pas sur des analogies faciles. Il y avait bien les petites mains. Mais un lézard a les mêmes mains et ne ressemble en rien à l’homme. Je crois que tout venait de la tête des axolotls, de sa forme triangulaire rose et de ses petits yeux d’or. Cela regardait et savait. Cela réclamait. Les axolotls n’étaient pas des animaux.

 

De là à tomber dans la mythologie, il n’y avait qu’un pas, facile à franchir, presque inévitable. Je finis par voir dans les axolotls une métamorphose qui n’arrivait pas à renoncer tout à fait à une mystérieuse humanité. Je les imaginais conscients, esclaves de leur corps, condamnés indéfiniment à un silence abyssal, à une méditation désespérée. Leur regard aveugle, le petit disque d’or inexpressif - et cependant terriblement lucide - me pénétrait comme un message : "Sauve-nous, sauve-nous." Je me surprenais en train de murmurer des paroles de consolation, de transmettre des espoirs puérils. Ils continuaient à me regarder, immobiles. Soudain les petites branches roses se dressaient sur leur tête, et je sentais à ce moment-là comme une douleur sourde. Ils me voyaient peut-être, ils captaient mes efforts pour pénétrer dans l’impénétrable de leur vie. Ce n’étaient pas des êtres humains mais jamais je ne m’étais senti un rapport aussi étroit entre des animaux et moi. Les axolotls étaient comme témoins de quelque chose et parfois ils devenaient de terribles juges. Je me trouvais ignoble devant eux, il y avait dans ces yeux transparents une si effrayante pureté. C’était des larves, mais larve veut dire masque et aussi fantôme. Derrière ces visages aztèques, inexpressifs, et cependant d’une cruauté implacable, quelle image attendait

son heure ?

 

Ils me faisaient peur. Je crois que sans la présence du gardien et des autres visiteurs je n’aurais jamais osé rester devant eux. " Vous les mangez des yeux ", me disait le gardien en riant, et il devait penser que je n’étais pas tout à fait normal. Il ne se rendait pas compte que c’était eux qui me dévoraient lentement des yeux, en un cannibalisme d’or. Loin d’eux je ne pouvais penser à autre chose, comme s’ils m’influençaient à distance. Je finis par y aller tous les jours et la nuit je les imaginais immobiles dans l’obscurité, avançant lentement une petite patte qui rencontrait soudain celle d’un autre. Leurs yeux voyaient peut-être la nuit et le jour pour eux n’avait pas de fin. Les yeux des axolotls n’ont pas de paupières.

 

Maintenant je sais qu’il n’y a rien eu d’étrange dans tout cela, que cela devait arriver. Ils me reconnaissaient un peu plus chaque matin quand je me penchais vers l’aquarium. Ils souffraient. Chaque fibre de mon corps enregistrait cette souffrance bâillonnée, cette torture rigide au fond de l’eau. Ils épiaient quelque chose, un lointain royaume aboli, un temps de liberté où le monde avait appartenu aux axolotls. Une expression aussi terrible qui arrivait à vaincre l’impassibilité forcée de ces visages de pierre contenait sûrement un message de douleur, la preuve de cette condamnation éternelle, de cet enfer liquide qu’ils enduraient. En vain essayai-je de me persuader que c’était ma propre sensibilité qui projetait sur les axolotls une conscience qu’ils n’avaient pas. Eux et moi nous savions. C’est pour cela que ce qui arriva n’est pas étrange. Je collais mon visage à la vitre de l’aquarium, mes yeux essayèrent une fois de plus de percer le mystère de ces yeux d’or sans iris et sans pupille. Je voyais de très près la tête d’un axolotl immobile contre la vitre. Puis mon visage s’éloigna et je compris. Une seule chose était étrange : continuer à penser comme avant, savoir. Quand j’en pris conscience, je ressentis l’horreur de celui qui s’éveille enterré vivant. Au-dehors, mon visage s’approchait à nouveau de la vitre, je voyais ma bouche aux lèvres serrées par l’effort que je faisais pour comprendre les axolotls. J’étais un axolotl et je venais de savoir en un éclair qu’aucune communication n’était possible. Il était hors de l’aquarium, sa pensée était une pensée hors de l’aquarium. Tout en le connaissant, tout en étant lui-même, j’étais un axolotl et j’étais dans mon monde. L’horreur venait de ce que - je le sus instantanément - je me croyais prisonnier dans le corps d’un axolotl, transféré en lui avec ma pensée d’homme, enterré vivant dans un axolotl, condamné à me mouvoir en toute lucidité parmi des créatures insensibles. Mais cette impression ne dura pas, une patte vint effleurer mon visage et en me tournant un peu je vis un axolotl à côté de moi qui me regardait et je compris que lui aussi savait, sans communication possible mais si clairement. Ou bien j’étais encore en l’homme, ou bien nous pensions comme des êtres humains, incapables de nous exprimer, limités à l’éclat doré de nos yeux qui regardaient ce visage d’homme collé à la vitre.

 

Il revint encore plusieurs fois mais il vient moins souvent à présent. Des semaines se passent sans qu’on le voie. Il est venu hier, il m’a regardé longuement et puis il est parti brusquement. Il me semble que ce n’est plus à nous qu’il s’intéresse, qu’il obéit plutôt à une habitude. Comme penser est la seule chose que je puisse faire, je pense beaucoup à lui. Pendant un certain temps nous avons continué d’être en communication lui et moi, et il se sentait plus que jamais lié au mystère qui l’obsédait. Mais les ponts sont coupés à présent, car ce qui était son obsession est devenu un axolotl, étranger à sa vie d’homme. Je crois qu’au début je pouvais encore revenir en lui, dans une certaine mesure - ah ! seulement dans une certaine

mesure - et maintenir éveillé son désir de mieux nous connaître. Maintenant je suis définitivement un axolotl et si je pense comme un être humain c’est tout simplement parce que les axolotls pensent comme les humains sous leur masque de pierre rose. Il me semble que j’étais arrivé à lui communiquer cette vérité, les premiers jours, lorsque j’étais encore en lui. Et dans cette solitude finale vers laquelle il ne revient déjà plus, cela me console de penser qu’il va peut-être écrire quelque chose sur nous ; il croira qu’il invente un conte et il écrira tout cela sur les axolotls.

 

Julio Cortázar (1914-1984)

NEDERLAND, NETHERLANDS, HOLLAND, PAYS-BAS, HOLANDA, PAISES BAJOS, Barendrecht, Un pueblo llamado Barendrecht, A town called Barendrecht, Une ville appelée Barendrecht, LAGARTIJAS, LEZARDS , LIZARDS, HAGEDISSEN, ECHSEN, LAGARTO,

 

AXOLOTIS.-

 

There was a time when I thought a great deal about the axolotls. I went to see them in the aquarium at the Jardin des Plantes and stayed for hours watching them, observing their immobility, their faint movements. Now I am an axolotl.

 

I got to them by chance one spring morning when Paris was spreading its peacock tail after a slow wintertime. I was heading down tbe boulevard Port-Royal, then I took Saint-Marcel and L'Hôpital and saw green among all that grey and remembered the lions. I was friend of the lions and panthers, but had never gone into the dark, humid building that was the aquarium. I left my bike against tbe gratings and went to look at the tulips. The lions were sad and ugly and my panther was asleep. I decided on the aquarium, looked obliquely at banal fish until, unexpectedly, I hit it off with the axolotls. I stayed watching them for an hour and left, unable to think of anything else.

 

In the library at Sainte-Geneviève, I consulted a dictionary and learned that axolotls are the larval stage (provided with gills) of a species of salamander of the genus Ambystoma. That they were Mexican I knew already by looking at them and their little pink Aztec faces and the placard at the top of the tank. I read that specimens of them had been found in Africa capable of living on dry land during the periods of drought, and continuing their life under water when the rainy season came. I found their Spanish name, ajolote, and the mention that they were edible, and that their oil was used (no longer used, it said ) like cod-liver oil.

 

I didn't care to look up any of the specialized works, but the next day I went back to the Jardin des Plantes. I began to go every morning, morning and aftemoon some days. The aquarium guard smiled perplexedly taking my ticket. I would lean up against the iron bar in front of the tanks and set to watching them. There's nothing strange in this, because after the first minute I knew that we were linked, that something infinitely lost and distant kept pulling us together. It had been enough to detain me that first morning in front of the sheet of glass where some bubbles rose through the water. The axolotls huddled on the wretched narrow (only I can know how narrow and wretched) floor of moss and stone in the tank. There were nine specimens, and the majority pressed their heads against the glass, looking with their eyes of gold at whoever came near them. Disconcerted, almost ashamed, I felt it a lewdness to be peering at these silent and immobile figures heaped at the bottom of the tank. Mentally I isolated one, situated on the right and somewhat apart from the others, to study it better. I saw a rosy little body, translucent (I thought of those Chinese figurines of milky glass), looking like a small lizard about six inches long, ending in a fish's tail of extraordinary delicacy, the most sensitive part of our body. Along the back ran a transparent fin which joined with the tail, but what obsessed me was the feet, of the slenderest nicety, ending in tiny fingers with minutely human nails. And then I discovered its eyes, its face. Inexpressive features, with no other trait save the eyes, two orifices, like brooches, wholly of transparent gold, lacking any life but looking, letting themselves be penetrated by my look, which seemed to travel past the golden level and lose itself in a diaphanous interior mystery. A very slender black halo ringed the eye and etched it onto the pink flesh, onto the rosy stone of the head, vaguely triangular, but with curved and triangular sides which gave it a total likeness to a statuette corroded by time. The mouth was masked by the triangular plane of the face, its considerable size would be guessed only in profile; in front a delicate crevice barely slit the lifeless stone. On both sides of the head where the ears should have been, there grew three tiny sprigs, red as coral, a vegetal outgrowth, the gills, I suppose. And they were the only thing quick about it; every ten or fifteen seconds the sprigs pricked up stiffly and again subsided. Once in a while a foot would barely move, I saw the diminutive toes poise mildly on the moss. It's that we don't enjoy moving a lot, and the tank is so cramped—we barely move in any direction and we're hitting one of the others with our tail or our head—difficulties arise, fights, tiredness. The time feels like it's less if we stay quietly.

 

It was their quietness that made me lean toward them fascinated the first time I saw the axolotls. Obscurely I seemed to understand their secret will, to abolish space and time with an indifferent immobility. I knew better later; the gill contraction, the tentative reckoning of the delicate feet on the stones, the abrupt swimming (some of them swim with a simple undulation of the body) proved to me that they were capable of escaping that mineral lethargy in which they spent whole hours. Above all else, their eyes obsessed me. In the standing tanks on either side of them, different fishes showed me the simple stupidity of their handsome eyes so similar to our own. The eyes of the axolotls spoke to me of the presence of a different life, of another way of seeing. Glueing my face to the glass (the guard would cough fussily once in a while), I tried to see better those diminutive golden points, that entrance to the infinitely slow and remote world of these rosy creatures. It was useless to tap with one finger on the glass directly in front of their faces; they never gave the least reaction. The golden eyes continued burning with their soft, terrible light; they continued looking at me from an unfathomable depth which made me dizzy.

 

And nevertheless they were close. I knew it before this, before being an axolotl. I learned it the day I came near them for the first time. The anthropomorphic features of a monkey reveal the reverse of what most people believe, the distance that is traveled from them to us. The absolute lack of similarity between axolotls and human beings proved to me that my recognition was valid, that I was not propping myself up with easy analogies. Only the little hands . . . But an eft, the common newt, has such hands also, and we are not at all alike. I think it was the axolotls' heads, that triangular pink shape with the tiny eyes of gold. That looked and knew. That laid the claim. They were not animals.

 

It would seem easy, almost obvious, to fall into mythology. I began seeing in the axolotls a metamorphosis which did not succeed in revoking a mysterious humanity. I imagined them aware, slaves of their bodies, condemned infinitely to the silence of the abyss, to a hopeless meditation. Their blind gaze, the diminutive gold disc without expression and nonetheless terribly shining, went through me like a message: "Save us, save us." I caught myself mumbling words of advice, conveying childish hopes. They continued to look at me, immobile; from time to time the rosy branches of the gills stiffened. In that instant I felt a muted pain; perhaps they were seeing me, attracting my strength to penetrate into the impenetrable thing of their lives. They were not human beings, but I had found in no animal such a profound relation with myself. The axolotls were like witnesses of something, and at times like horrible judges. I felt ignoble in front of them; there was such a terrifying purity in those transparent eyes. They were larvas, but larva means disguise and also phantom. Behind those Aztec faces, without expression but of an implacable cruelty, what semblance was awaiting its hour?

 

I was afraid of them. I think that had it not been for feeling the proximity of other visitors and the guard, I would not have been bold enough to remain alone with them. "You eat them alive with your eyes, hey," the guard said, laughing; he likely thought I was a little cracked. What he didn't notice was that it was they devouring me slowly with their eyes, in a cannibalism of gold. At any distance from the aquarium, I had only to think of them, it was as though I were being affected from a distance. It got to the point that I was going every day, and at night I thought of them immobile in the darkness, slowly putting a hand out which immediately encountered another. Perhaps their eyes could see in the dead of night, and for them the day continued indefinitely. The eyes of axolotls have no lids.

 

I know now that there was nothing strange, that that had to occur. Leaning over in front of the tank each morning, the recognition was greater. They were suffering, every fiber of my body reached toward that stifled pain, that stiff torment at the bottom of the tank. They were lying in wait for something, a remote dominion destroyed, an age of liberty when the world had been that of the axolotls. Not possible that such a terrible expression which was attaining the overthrow of that forced blankness on their stone faces should carry any message other than one of pain, proof of that eternal sentence, of that liquid hell they were undergoing. Hopelessly, I wanted to prove to myself that my own sensibility was projecting a nonexistent consciousness upon the axolotls. They and I knew. So there was nothing strange in what happened. My face was pressed against the glass of the aquarium, my eyes were attempting once more to penetrate the mystery of those eyes of gold without iris, without pupil. I saw from very close up the face of an axolotl immobile next to the glass. No transition and no surprise, I saw my face against the glass, I saw it on the outside of the tank, I saw it on the other side of the glass. Then my face drew back and I understood.

 

Only one thing was strange: to go on thinking as usual, to know. To realize that was, for the first moment, like the horror of a man buried alive awaking to his fate. Outside, my face came close to the glass again, I saw my mouth, the lips compressed with the effort of understanding the axolotls. I was an axolotl and now I knew instantly that no understanding was possible. He was outside the aquarium, his thinking was a thinking outside the tank. Recognizlng him, being him himself, I was an axolotl and in my world. The horror began—I learned in the same moment —of believing myself prisoner in the body of an axolotl, metamorphosed into him with my human mind intact, buried alive in an axolotl, condemned to move lucidly among unconscious creatures. But that stopped when a foot just grazed my face, when I moved just a little to one side and saw an axolotl next to me who was looking at me, and understood that he knew also, no communication possible, but very clearly. Or I was also in him, or all of us were thinking humanlike, incapable of expression, limited to the golden splendor of our eyes looking at the face of the man pressed against the aquarium.

 

He returned many times, but he comes less often now. Weeks pass without his showing up. I saw him yesterday, he looked at me for a long time and left briskly. It seemed to me that he was not so much interested in us any more, that he was coming out of habit. Since the only thing I do is think, I could think about him a lot. It occurs to me that at the beginning we continued to communicate, that he felt more than ever one with the mystery which was claiming him. But the bridges were broken between him and me, because what was his obsession is now an axolotl, alien to his human life. I think that at the beginning I was capable of returning to him in a certain way—ah, only in a certain way—and of keeping awake his desire to know us better. I am an axolotl for good now, and if I think like a man it's only because every axolotl thinks like a man inside his rosy stone semblance. I believe that all this succeeded in communicating something to him in those first days, when I was still he. And in this final solitude to which he no longer comes, I console myself by thinking that perhaps he is going to write a story about us, that, believing he's making up a story, he's going to write all this about axolotls.

  

Il fut une époque où je pensais beaucoup aux axolotls. J’allais les voir à l’aquarium du Jardin des Plantes et je passais des heures à les regarder, à observer leur immobilité, leurs mouvements obscurs. Et maintenant je suis un axolotl. Le hasard me conduisit vers eux un matin de printemps où Paris déployait sa queue de paon après le lent hiver. Je descendis le boulevard Saint-Marcel, celui de l’hôpital, je vis les premiers verts parmi tout le gris et je me souvins des lions. J’étais très amis des lions et des panthères, mais je n’étais jamais entré dans l’enceinte humide et sombre des aquariums. Je laissai ma bicyclette contre les grilles et j’allais voir les tulipes. Les lions étaient laids et tristes et ma panthère dormait. Je me décidai pour les aquariums et, après avoir regardé avec indifférence des poissons ordinaires, je tombai par hasard sur les axolotls. Je passai une heure à les regarder, puis je partis, incapable de penser à autre chose.

 

À la bibliothèque Sainte-Geneviève je consultai un dictionnaire et j’appris que les axolotls étaient les formes larvaires, pourvues de branchies, de batraciens du genre amblystone. Qu’ils étaient originaires du Mexique, je le savais déjà, rien qu’à voir leur petit visage aztèque. Je lus qu’on en avait trouvé des spécimens en Afrique capables de vivre hors de l’eau pendant les périodes de sécheresse et qui reprenaient leur vie normale à la saison des pluies. On donnait leur nom espagnol, ajolote, on signalait qu’ils étaient comestibles et qu’on utilisait leur huile (on ne l’utilise plus) comme l’huile de foie de morue.

 

Je ne voulus pas consulter d’ouvrages spécialisés mais je revins le jour suivant au jardin des Plantes. Je pris l’habitude d’y aller tous les matins, et parfois même matin et soir. Le gardien des aquariums souriait d’un air perplexe en prenant mon ticket. Je m’appuyais contre la barre de fer qui borde les aquariums et je regardais les axolotls. Il n’y avait rien d’étrange à cela ; dès le premier instant j’avais senti que quelque chose me liait à eux, quelque chose d’infiniment lointain et oublié qui cependant nous unissait encore. Il m’avait suffit de m’arrêter un matin devant cet aquarium où des bulles couraient dans l’eau. Les axolotls s’entassaient sur l’étroit et misérable (personne mieux que moi ne sait à quel point il est étroit et misérable) fond de pierre et de mousse. Il y en avait neuf, la plupart d’entre eux appuyaient leur tête contre la vitre et regardaient de leurs yeux d’or ceux qui s’approchaient. Troublé, presque honteux, je trouvais qu’il y avait de l’impudeur à se pencher sur ces formes silencieuses et immobiles entassées au fond de l’aquarium. Mentalement, j’en isolai un, un peu à l’écart sur la droite, pour mieux l’étudier. Je vis un petit corps rose, translucide (je pensai aux statuettes chinoises en verre laiteux), semblable à un petit lézard de quinze centimètres, terminé par une queue de poisson d’une extraordinaire délicatesse - c’est la partie la plus sensible de notre corps. Sur son dos, une nageoire transparente se rattachait à la queue ; mais ce furent les pattes qui me fascinèrent, des pattes d’une incroyable finesse, terminés par de tout petits doigts avec des ongles - absolument humains, sans pourtant avoir la forme de la main humaine - mais comment aurais-je pu ignorer qu’ils étaient humains ? c’est alors que je découvris leurs yeux, leur visage. Un visage inexpressif sans autre trait que les yeux, deux orifices comme des têtes d’épingles entièrement d’or transparent, sans aucune vie, mais qui regardaient et qui se laissaient pénétrer par mon regard qui passait à travers le point doré et se perdait dans un mystère diaphane. Un très mince halo noir entourait l’oeil et l’inscrivait dans la chair rose, dans la pierre rose de la tête vaguement triangulaire, au contours courbes et irréguliers, qui la faisaient ressembler à une statue rongée par le temps. La bouche était dissimulée par le plan triangulaire de la tête et ce n’est que de profil que l’on s’apercevait qu’elle était très grande. Vue de face, c’était une fine rainure, comme une fissure dans de l’albâtre. De chaque côté de la tête, à la place des oreilles, se dressaient de très petites branches rouges comme du corail, une excroissance végétale, les branchies, je suppose. C’était la seule chose qui eût l’air vivante dans ce corps. Chaque vingt secondes elles se dressaient, toutes raides, puis s’abaissaient de nouveau. Parfois une patte bougeait, à peine, et je voyais les doigts minuscules se poser doucement sur la mousse. C’est que nous n’aimons pas beaucoup bouger, l’aquarium est si étroit ; si peu que nous remuions nous heurtons la tête ou la queue d’un autre ; il s’ensuit des difficultés, des disputes, de la fatigue. Le temps se sent moins si l’on reste immobile.

 

Ce fut leur immobilité qui me fit me pencher vers eux, fasciné, la première fois que je les vis. Il me sembla comprendre obscurément leur volonté secrète : abolir l’espace et le temps par une immobilité pleine d’indifférence. Par la suite, j’appris à mieux les comprendre, les branchies qui se contractent, les petites pattes fines qui tâtonnent sur les pierres, leurs fuites brusques (ils nagent par une simple ondulation du corps) me prouvèrent qu’ils étaient capables de s’évader de cette torpeur minérale où ils passaient des heures entières. Leurs yeux surtout m’obsédaient. A côté d’eux, dans les autres aquariums, des poissons me montraient la stupide simplicité de leurs beaux yeux semblables aux nôtres. Les yeux des axolotls me parlaient de la présence d’une vie différente, d’une autre façon de regarder. Je collais mon visage à la vitre (le gardien, inquiet, toussait de temps en temps) pour mieux voir les tout petits points dorés, cette ouverture sur le monde infiniment lent et éloigné des bêtes roses. Inutile de frapper du doigt contre la vitre, sous leur nez, jamais la moindre réaction. Les yeux d’or continuaient à brûler de leur douce et terrible lumière, continuaient à me regarder du fond d’un abîme insondable qui me donnait le vertige.

 

Et cependant les axolotls étaient proches de nous. Je le savais avant même de devenir un axolotl. Je le sus dès le jour où je m’approchai d’eux pour la première fois. Les traits anthropomorphiques d’un singe accusent la différence qu’il y a entre lui et nous, contrairement à ce que pensent la plupart des gens. L’absence totale de ressemblance entre un axolotl et un être humain me prouva que ma reconnaissance

était valable, que je ne m’appuyais pas sur des analogies faciles. Il y avait bien les petites mains. Mais un lézard a les mêmes mains et ne ressemble en rien à l’homme. Je crois que tout venait de la tête des axolotls, de sa forme triangulaire rose et de ses petits yeux d’or. Cela regardait et savait. Cela réclamait. Les axolotls n’étaient pas des animaux.

 

De là à tomber dans la mythologie, il n’y avait qu’un pas, facile à franchir, presque inévitable. Je finis par voir dans les axolotls une métamorphose qui n’arrivait pas à renoncer tout à fait à une mystérieuse humanité. Je les imaginais conscients, esclaves de leur corps, condamnés indéfiniment à un silence abyssal, à une méditation désespérée. Leur regard aveugle, le petit disque d’or inexpressif - et cependant terriblement lucide - me pénétrait comme un message : "Sauve-nous, sauve-nous." Je me surprenais en train de murmurer des paroles de consolation, de transmettre des espoirs puérils. Ils continuaient à me regarder, immobiles. Soudain les petites branches roses se dressaient sur leur tête, et je sentais à ce moment-là comme une douleur sourde. Ils me voyaient peut-être, ils captaient mes efforts pour pénétrer dans l’impénétrable de leur vie. Ce n’étaient pas des êtres humains mais jamais je ne m’étais senti un rapport aussi étroit entre des animaux et moi. Les axolotls étaient comme témoins de quelque chose et parfois ils devenaient de terribles juges. Je me trouvais ignoble devant eux, il y avait dans ces yeux transparents une si effrayante pureté. C’était des larves, mais larve veut dire masque et aussi fantôme. Derrière ces visages aztèques, inexpressifs, et cependant d’une cruauté implacable, quelle image attendait

son heure ?

 

Ils me faisaient peur. Je crois que sans la présence du gardien et des autres visiteurs je n’aurais jamais osé rester devant eux. " Vous les mangez des yeux ", me disait le gardien en riant, et il devait penser que je n’étais pas tout à fait normal. Il ne se rendait pas compte que c’était eux qui me dévoraient lentement des yeux, en un cannibalisme d’or. Loin d’eux je ne pouvais penser à autre chose, comme s’ils m’influençaient à distance. Je finis par y aller tous les jours et la nuit je les imaginais immobiles dans l’obscurité, avançant lentement une petite patte qui rencontrait soudain celle d’un autre. Leurs yeux voyaient peut-être la nuit et le jour pour eux n’avait pas de fin. Les yeux des axolotls n’ont pas de paupières.

 

Maintenant je sais qu’il n’y a rien eu d’étrange dans tout cela, que cela devait arriver. Ils me reconnaissaient un peu plus chaque matin quand je me penchais vers l’aquarium. Ils souffraient. Chaque fibre de mon corps enregistrait cette souffrance bâillonnée, cette torture rigide au fond de l’eau. Ils épiaient quelque chose, un lointain royaume aboli, un temps de liberté où le monde avait appartenu aux axolotls. Une expression aussi terrible qui arrivait à vaincre l’impassibilité forcée de ces visages de pierre contenait sûrement un message de douleur, la preuve de cette condamnation éternelle, de cet enfer liquide qu’ils enduraient. En vain essayai-je de me persuader que c’était ma propre sensibilité qui projetait sur les axolotls une conscience qu’ils n’avaient pas. Eux et moi nous savions. C’est pour cela que ce qui arriva n’est pas étrange. Je collais mon visage à la vitre de l’aquarium, mes yeux essayèrent une fois de plus de percer le mystère de ces yeux d’or sans iris et sans pupille. Je voyais de très près la tête d’un axolotl immobile contre la vitre. Puis mon visage s’éloigna et je compris. Une seule chose était étrange : continuer à penser comme avant, savoir. Quand j’en pris conscience, je ressentis l’horreur de celui qui s’éveille enterré vivant. Au-dehors, mon visage s’approchait à nouveau de la vitre, je voyais ma bouche aux lèvres serrées par l’effort que je faisais pour comprendre les axolotls. J’étais un axolotl et je venais de savoir en un éclair qu’aucune communication n’était possible. Il était hors de l’aquarium, sa pensée était une pensée hors de l’aquarium. Tout en le connaissant, tout en étant lui-même, j’étais un axolotl et j’étais dans mon monde. L’horreur venait de ce que - je le sus instantanément - je me croyais prisonnier dans le corps d’un axolotl, transféré en lui avec ma pensée d’homme, enterré vivant dans un axolotl, condamné à me mouvoir en toute lucidité parmi des créatures insensibles. Mais cette impression ne dura pas, une patte vint effleurer mon visage et en me tournant un peu je vis un axolotl à côté de moi qui me regardait et je compris que lui aussi savait, sans communication possible mais si clairement. Ou bien j’étais encore en l’homme, ou bien nous pensions comme des êtres humains, incapables de nous exprimer, limités à l’éclat doré de nos yeux qui regardaient ce visage d’homme collé à la vitre.

 

Il revint encore plusieurs fois mais il vient moins souvent à présent. Des semaines se passent sans qu’on le voie. Il est venu hier, il m’a regardé longuement et puis il est parti brusquement. Il me semble que ce n’est plus à nous qu’il s’intéresse, qu’il obéit plutôt à une habitude. Comme penser est la seule chose que je puisse faire, je pense beaucoup à lui. Pendant un certain temps nous avons continué d’être en communication lui et moi, et il se sentait plus que jamais lié au mystère qui l’obsédait. Mais les ponts sont coupés à présent, car ce qui était son obsession est devenu un axolotl, étranger à sa vie d’homme. Je crois qu’au début je pouvais encore revenir en lui, dans une certaine mesure - ah ! seulement dans une certaine

mesure - et maintenir éveillé son désir de mieux nous connaître. Maintenant je suis définitivement un axolotl et si je pense comme un être humain c’est tout simplement parce que les axolotls pensent comme les humains sous leur masque de pierre rose. Il me semble que j’étais arrivé à lui communiquer cette vérité, les premiers jours, lorsque j’étais encore en lui. Et dans cette solitude finale vers laquelle il ne revient déjà plus, cela me console de penser qu’il va peut-être écrire quelque chose sur nous ; il croira qu’il invente un conte et il écrira tout cela sur les axolotls.

 

Julio Cortázar (1914-1984)

 

Operation “Salt City" resulted in the arrest of 248 individuals from May through September 2015. Of those arrested, 124 were active gang members. During the operation 22 firearms, more than $237,000 in U.S. currency, 70 grams of heroin, 266 grams of cocaine, and 723 grams of marijuana with a total estimated street value of almost $44,000 was taken off Syracuse streets by participating agencies.

Operation Salt City is part of the U.S. Marshals nation-wide “Triple Beam” gang reduction initiative. Triple Beam partners federal, state, and local law enforcement to reduce violent crime and take dangerous offenders off the streets. The goal of the U.S. Marshals Gang Enforcement Program is to seek out and disrupt illegal gang activity in areas of the country with smaller or nonexistent gang enforcement units by providing manpower, funding and the Marshals’ renowned fugitive tracking abilities.

 

Photo by Shane T. McCoy / US Marshals

ABSOLUTELY BETTER ON BLACK

  

Dico a voi, ehi, paladino! – insisté Carlomagno.

- Com’è che non mostrate la faccia al vostro re?

 

La voce uscì netta dal barbazzale.

- Perché io non esisto, sire.

 

da Il cavaliere inesistente di Italo Calvino

from The Nonexistent Knight by Italo Calvino

 

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This photos been taken during the last Christmas (25th december 2011) in Capracotta (Molise), Italy. At that time it was a very cold snow storm in the little village at 1421 m (A.M.S.L). My cousin (that you see in this photos) was wearing a traditional cloak from Capracotta called "Cuappot a Rota", so I could not resist to ask him to go out in the snow storm with this scenic and traditional cloak! :) It was very cold and windy so I was compleatily freezing, but I'm pretty satisfied with the result! :)

 

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Posters and Art Prints are now available @ ArtFlakes

  

Copyright © Francesca Alviani All rights reserved

Thanks for visiting!

28 October 2013

  

Awkward photo of me standing on a cliff, yayyy!

  

So today was Monday, which means school, except that I didn't have to go to my first class. Then desayuno where I learned some new dirty words in Spanish (soplapollas… fascinating).

  

And then I just had planning sessions, which involved making worksheets, mostly.

  

Afterwards, I came home and quickly grabbed my things and went to the bus station to catch a bus to Almería. My Bulgarian-Canadian friend, Vesselin (incorrectly spelled "Bessily" in a previous entry), wanted to show me La Alcazaba, which is an ancient castle in Almería.

  

His bilingual coordinator at the school next to mine, Jose Mario, is a historian. He'd shown Vesselin La Alcazaba and some other historic parts of the city a couple weeks ago. Since Vesselin had his NIE appointment in Almería today, I met him there in the afternoon.

  

We walked along the main road, and then into the older part of the city, where I'd never visited before. In general, there's this type of architecture and street that just screams "typical Spain" to me… tall, colorful brick buildings with balconies and iron bars on the windows, narrow cobblestone streets, heavy old wooden doors, and tile roofs.

  

A lot of cities have "newer" areas that don't look particularly Spanish. El Ejido itself is a new city, so it doesn't really have any of these charming neighborhoods. But the old part of Almería certainly has the "Spanish" look to it.

  

We reached the base of La Alcazaba and… it was closed. Turns out, the only day of the week that La Alcazaba is closed is Monday, and that's just when we happened to go. Vesselin was very apologetic, but I wasn't upset--he hadn't known.

  

So after calling Jose Mario to ask him to meet us for coffee in about an hour and a half, we decided to see what other historical sites we could find. We saw that, although you couldn't go up the hill to La Alcazaba, you could climb some nearby cliffs to an old wall and a statue of San Cristobal, and still get a pretty good view of the city.

  

I was wearing flats with little traction, so it was an interesting climb, but we made it up and the view was AWESOME! On one side, you could see the city spread out to the sea, with huge ships in the port. On the other side, you could see the mountains and valleys, and look across a valley to La Alcazaba. It was pretty cool. That's part of La Alcazaba behind me in the photo, by the way.

  

We discovered an easier road to take down the cliff, and walked around the old part of the city some more. We stopped by an old cathedral to look at the outside, and then went to where we needed to meet Jose Mario.

  

I was hungry, since I hadn't had time to eat lunch between school and catching the bus, so Jose Mario took us to a pastelería (bakery). Most places don't serve food around 5 pm, which it was… because lunch is earlier and dinner is later. But the pastelería had empanadillas, which are like croissants filled with ham and tuna.

  

I ate the empanadillas with a nice cold beer, and we all talked. Jose Mario is an interesting person. Like I said, he's a historian, so he knows a lot of random facts about the area, especially in regards to the events of the Guerra Civil.

  

I also found out he reads palms! According to him, I am easily going to be quite successful. Vesselin, on the other hand (PUN!) will have to work hard to be successful. Jose Mario showed me the line that he looked at to determine such a thing, and then said sadly "The line is almost nonexistent on my hand, and it's true, I've never found success." That was kind of sad, since I know he was unable to fund his research and had to take a job teaching at a secondary school in El Ejido.

  

I don't put much stock into fortune-telling, but I always think it's fun. I'm also going to have two children, possibly twins, but if not twins, very close in age. So, watch out for that!

  

Jose Mario very kindly paid for my food, and then we walked around the city some more to see some other historical sites, like a statue of San Valentin surrounded by lovers' locks, and a crypt of all the bishops who were killed in the Guerra Civil.

  

I get the impression that Jose Mario's family supported Franco, though, so everything he tells is from a perspective I've never heard before. I'm really not judging--I think it's interesting because of course, we always hear about the atrocities committed by the army and the Falangists, but not as much about the other side. As always, I like hearing both sides, because I think every event is complex, NEVER black-and-white. So it's important to have a nuanced understanding of things.

  

We ended the night at an art gallery, where Jose Mario was meeting a friend. There were some watercolors that impressed me with their treatment of bricks and stones, but fell flat in the depiction of greenery. There was one really nice oil painting of a ship on the sea, and some drawings with unusually complex shadows, but overall nothing that got me too excited.

  

So, Vesselin and I headed back to the bus station to catch a bus home. On the way home, I got a phone call from a woman I've never met before. Her sister came to the intercambio once, and told me that her sister was looking for a private teacher for her daughter.

  

I had explained that I teach secondary students and only give lessons to bachillerato students right now, and that I mostly just practice conversations rather than any sort of curriculum. But the woman who called me wanted me to teach her five-year-old daughter, who doesn't know much English yet.

  

I was taken off guard by the call, It seemed like everything the woman said made me more apprehensive about the job, but I didn't think to just say NO. She told me she lives in Almerimar, and I told her I don't have a car so it would be very difficult for me to go there. She also said that she and her daughter have a very full schedule, so there are only a few specific times that work for her. In the middle of all this (involving fast Spanish), she arranged to meet me at a cafe tomorrow.

  

After hanging up, I was like "WAIT, what? I don't want to do that." And then I got a text from her later, changing the meeting time for tomorrow. I decided I'd have to somehow tell her that I couldn't take the job.

  

Got home, said bye to Vesselin, went to Mercadona, came back to my apartment. Made the WORST hard-boiled eggs ever and ate some salmorejo, then went to bed.

 

NEDERLAND, NETHERLANDS, HOLLAND, PAYS-BAS, HOLANDA, PAISES BAJOS, Barendrecht, Un pueblo llamado Barendrecht, A town called Barendrecht, Une ville appelée Barendrecht, LAGARTIJAS, LEZARDS , LIZARDS, HAGEDISSEN, ECHSEN, LAGARTO,

  

AXOLOTIS.-

 

There was a time when I thought a great deal about the axolotls. I went to see them in the aquarium at the Jardin des Plantes and stayed for hours watching them, observing their immobility, their faint movements. Now I am an axolotl.

 

I got to them by chance one spring morning when Paris was spreading its peacock tail after a slow wintertime. I was heading down tbe boulevard Port-Royal, then I took Saint-Marcel and L'Hôpital and saw green among all that grey and remembered the lions. I was friend of the lions and panthers, but had never gone into the dark, humid building that was the aquarium. I left my bike against tbe gratings and went to look at the tulips. The lions were sad and ugly and my panther was asleep. I decided on the aquarium, looked obliquely at banal fish until, unexpectedly, I hit it off with the axolotls. I stayed watching them for an hour and left, unable to think of anything else.

 

In the library at Sainte-Geneviève, I consulted a dictionary and learned that axolotls are the larval stage (provided with gills) of a species of salamander of the genus Ambystoma. That they were Mexican I knew already by looking at them and their little pink Aztec faces and the placard at the top of the tank. I read that specimens of them had been found in Africa capable of living on dry land during the periods of drought, and continuing their life under water when the rainy season came. I found their Spanish name, ajolote, and the mention that they were edible, and that their oil was used (no longer used, it said ) like cod-liver oil.

 

I didn't care to look up any of the specialized works, but the next day I went back to the Jardin des Plantes. I began to go every morning, morning and aftemoon some days. The aquarium guard smiled perplexedly taking my ticket. I would lean up against the iron bar in front of the tanks and set to watching them. There's nothing strange in this, because after the first minute I knew that we were linked, that something infinitely lost and distant kept pulling us together. It had been enough to detain me that first morning in front of the sheet of glass where some bubbles rose through the water. The axolotls huddled on the wretched narrow (only I can know how narrow and wretched) floor of moss and stone in the tank. There were nine specimens, and the majority pressed their heads against the glass, looking with their eyes of gold at whoever came near them. Disconcerted, almost ashamed, I felt it a lewdness to be peering at these silent and immobile figures heaped at the bottom of the tank. Mentally I isolated one, situated on the right and somewhat apart from the others, to study it better. I saw a rosy little body, translucent (I thought of those Chinese figurines of milky glass), looking like a small lizard about six inches long, ending in a fish's tail of extraordinary delicacy, the most sensitive part of our body. Along the back ran a transparent fin which joined with the tail, but what obsessed me was the feet, of the slenderest nicety, ending in tiny fingers with minutely human nails. And then I discovered its eyes, its face. Inexpressive features, with no other trait save the eyes, two orifices, like brooches, wholly of transparent gold, lacking any life but looking, letting themselves be penetrated by my look, which seemed to travel past the golden level and lose itself in a diaphanous interior mystery. A very slender black halo ringed the eye and etched it onto the pink flesh, onto the rosy stone of the head, vaguely triangular, but with curved and triangular sides which gave it a total likeness to a statuette corroded by time. The mouth was masked by the triangular plane of the face, its considerable size would be guessed only in profile; in front a delicate crevice barely slit the lifeless stone. On both sides of the head where the ears should have been, there grew three tiny sprigs, red as coral, a vegetal outgrowth, the gills, I suppose. And they were the only thing quick about it; every ten or fifteen seconds the sprigs pricked up stiffly and again subsided. Once in a while a foot would barely move, I saw the diminutive toes poise mildly on the moss. It's that we don't enjoy moving a lot, and the tank is so cramped—we barely move in any direction and we're hitting one of the others with our tail or our head—difficulties arise, fights, tiredness. The time feels like it's less if we stay quietly.

 

It was their quietness that made me lean toward them fascinated the first time I saw the axolotls. Obscurely I seemed to understand their secret will, to abolish space and time with an indifferent immobility. I knew better later; the gill contraction, the tentative reckoning of the delicate feet on the stones, the abrupt swimming (some of them swim with a simple undulation of the body) proved to me that they were capable of escaping that mineral lethargy in which they spent whole hours. Above all else, their eyes obsessed me. In the standing tanks on either side of them, different fishes showed me the simple stupidity of their handsome eyes so similar to our own. The eyes of the axolotls spoke to me of the presence of a different life, of another way of seeing. Glueing my face to the glass (the guard would cough fussily once in a while), I tried to see better those diminutive golden points, that entrance to the infinitely slow and remote world of these rosy creatures. It was useless to tap with one finger on the glass directly in front of their faces; they never gave the least reaction. The golden eyes continued burning with their soft, terrible light; they continued looking at me from an unfathomable depth which made me dizzy.

 

And nevertheless they were close. I knew it before this, before being an axolotl. I learned it the day I came near them for the first time. The anthropomorphic features of a monkey reveal the reverse of what most people believe, the distance that is traveled from them to us. The absolute lack of similarity between axolotls and human beings proved to me that my recognition was valid, that I was not propping myself up with easy analogies. Only the little hands . . . But an eft, the common newt, has such hands also, and we are not at all alike. I think it was the axolotls' heads, that triangular pink shape with the tiny eyes of gold. That looked and knew. That laid the claim. They were not animals.

 

It would seem easy, almost obvious, to fall into mythology. I began seeing in the axolotls a metamorphosis which did not succeed in revoking a mysterious humanity. I imagined them aware, slaves of their bodies, condemned infinitely to the silence of the abyss, to a hopeless meditation. Their blind gaze, the diminutive gold disc without expression and nonetheless terribly shining, went through me like a message: "Save us, save us." I caught myself mumbling words of advice, conveying childish hopes. They continued to look at me, immobile; from time to time the rosy branches of the gills stiffened. In that instant I felt a muted pain; perhaps they were seeing me, attracting my strength to penetrate into the impenetrable thing of their lives. They were not human beings, but I had found in no animal such a profound relation with myself. The axolotls were like witnesses of something, and at times like horrible judges. I felt ignoble in front of them; there was such a terrifying purity in those transparent eyes. They were larvas, but larva means disguise and also phantom. Behind those Aztec faces, without expression but of an implacable cruelty, what semblance was awaiting its hour?

 

I was afraid of them. I think that had it not been for feeling the proximity of other visitors and the guard, I would not have been bold enough to remain alone with them. "You eat them alive with your eyes, hey," the guard said, laughing; he likely thought I was a little cracked. What he didn't notice was that it was they devouring me slowly with their eyes, in a cannibalism of gold. At any distance from the aquarium, I had only to think of them, it was as though I were being affected from a distance. It got to the point that I was going every day, and at night I thought of them immobile in the darkness, slowly putting a hand out which immediately encountered another. Perhaps their eyes could see in the dead of night, and for them the day continued indefinitely. The eyes of axolotls have no lids.

 

I know now that there was nothing strange, that that had to occur. Leaning over in front of the tank each morning, the recognition was greater. They were suffering, every fiber of my body reached toward that stifled pain, that stiff torment at the bottom of the tank. They were lying in wait for something, a remote dominion destroyed, an age of liberty when the world had been that of the axolotls. Not possible that such a terrible expression which was attaining the overthrow of that forced blankness on their stone faces should carry any message other than one of pain, proof of that eternal sentence, of that liquid hell they were undergoing. Hopelessly, I wanted to prove to myself that my own sensibility was projecting a nonexistent consciousness upon the axolotls. They and I knew. So there was nothing strange in what happened. My face was pressed against the glass of the aquarium, my eyes were attempting once more to penetrate the mystery of those eyes of gold without iris, without pupil. I saw from very close up the face of an axolotl immobile next to the glass. No transition and no surprise, I saw my face against the glass, I saw it on the outside of the tank, I saw it on the other side of the glass. Then my face drew back and I understood.

 

Only one thing was strange: to go on thinking as usual, to know. To realize that was, for the first moment, like the horror of a man buried alive awaking to his fate. Outside, my face came close to the glass again, I saw my mouth, the lips compressed with the effort of understanding the axolotls. I was an axolotl and now I knew instantly that no understanding was possible. He was outside the aquarium, his thinking was a thinking outside the tank. Recognizlng him, being him himself, I was an axolotl and in my world. The horror began—I learned in the same moment —of believing myself prisoner in the body of an axolotl, metamorphosed into him with my human mind intact, buried alive in an axolotl, condemned to move lucidly among unconscious creatures. But that stopped when a foot just grazed my face, when I moved just a little to one side and saw an axolotl next to me who was looking at me, and understood that he knew also, no communication possible, but very clearly. Or I was also in him, or all of us were thinking humanlike, incapable of expression, limited to the golden splendor of our eyes looking at the face of the man pressed against the aquarium.

 

He returned many times, but he comes less often now. Weeks pass without his showing up. I saw him yesterday, he looked at me for a long time and left briskly. It seemed to me that he was not so much interested in us any more, that he was coming out of habit. Since the only thing I do is think, I could think about him a lot. It occurs to me that at the beginning we continued to communicate, that he felt more than ever one with the mystery which was claiming him. But the bridges were broken between him and me, because what was his obsession is now an axolotl, alien to his human life. I think that at the beginning I was capable of returning to him in a certain way—ah, only in a certain way—and of keeping awake his desire to know us better. I am an axolotl for good now, and if I think like a man it's only because every axolotl thinks like a man inside his rosy stone semblance. I believe that all this succeeded in communicating something to him in those first days, when I was still he. And in this final solitude to which he no longer comes, I console myself by thinking that perhaps he is going to write a story about us, that, believing he's making up a story, he's going to write all this about axolotls.

  

Il fut une époque où je pensais beaucoup aux axolotls. J’allais les voir à l’aquarium du Jardin des Plantes et je passais des heures à les regarder, à observer leur immobilité, leurs mouvements obscurs. Et maintenant je suis un axolotl. Le hasard me conduisit vers eux un matin de printemps où Paris déployait sa queue de paon après le lent hiver. Je descendis le boulevard Saint-Marcel, celui de l’hôpital, je vis les premiers verts parmi tout le gris et je me souvins des lions. J’étais très amis des lions et des panthères, mais je n’étais jamais entré dans l’enceinte humide et sombre des aquariums. Je laissai ma bicyclette contre les grilles et j’allais voir les tulipes. Les lions étaient laids et tristes et ma panthère dormait. Je me décidai pour les aquariums et, après avoir regardé avec indifférence des poissons ordinaires, je tombai par hasard sur les axolotls. Je passai une heure à les regarder, puis je partis, incapable de penser à autre chose.

 

À la bibliothèque Sainte-Geneviève je consultai un dictionnaire et j’appris que les axolotls étaient les formes larvaires, pourvues de branchies, de batraciens du genre amblystone. Qu’ils étaient originaires du Mexique, je le savais déjà, rien qu’à voir leur petit visage aztèque. Je lus qu’on en avait trouvé des spécimens en Afrique capables de vivre hors de l’eau pendant les périodes de sécheresse et qui reprenaient leur vie normale à la saison des pluies. On donnait leur nom espagnol, ajolote, on signalait qu’ils étaient comestibles et qu’on utilisait leur huile (on ne l’utilise plus) comme l’huile de foie de morue.

 

Je ne voulus pas consulter d’ouvrages spécialisés mais je revins le jour suivant au jardin des Plantes. Je pris l’habitude d’y aller tous les matins, et parfois même matin et soir. Le gardien des aquariums souriait d’un air perplexe en prenant mon ticket. Je m’appuyais contre la barre de fer qui borde les aquariums et je regardais les axolotls. Il n’y avait rien d’étrange à cela ; dès le premier instant j’avais senti que quelque chose me liait à eux, quelque chose d’infiniment lointain et oublié qui cependant nous unissait encore. Il m’avait suffit de m’arrêter un matin devant cet aquarium où des bulles couraient dans l’eau. Les axolotls s’entassaient sur l’étroit et misérable (personne mieux que moi ne sait à quel point il est étroit et misérable) fond de pierre et de mousse. Il y en avait neuf, la plupart d’entre eux appuyaient leur tête contre la vitre et regardaient de leurs yeux d’or ceux qui s’approchaient. Troublé, presque honteux, je trouvais qu’il y avait de l’impudeur à se pencher sur ces formes silencieuses et immobiles entassées au fond de l’aquarium. Mentalement, j’en isolai un, un peu à l’écart sur la droite, pour mieux l’étudier. Je vis un petit corps rose, translucide (je pensai aux statuettes chinoises en verre laiteux), semblable à un petit lézard de quinze centimètres, terminé par une queue de poisson d’une extraordinaire délicatesse - c’est la partie la plus sensible de notre corps. Sur son dos, une nageoire transparente se rattachait à la queue ; mais ce furent les pattes qui me fascinèrent, des pattes d’une incroyable finesse, terminés par de tout petits doigts avec des ongles - absolument humains, sans pourtant avoir la forme de la main humaine - mais comment aurais-je pu ignorer qu’ils étaient humains ? c’est alors que je découvris leurs yeux, leur visage. Un visage inexpressif sans autre trait que les yeux, deux orifices comme des têtes d’épingles entièrement d’or transparent, sans aucune vie, mais qui regardaient et qui se laissaient pénétrer par mon regard qui passait à travers le point doré et se perdait dans un mystère diaphane. Un très mince halo noir entourait l’oeil et l’inscrivait dans la chair rose, dans la pierre rose de la tête vaguement triangulaire, au contours courbes et irréguliers, qui la faisaient ressembler à une statue rongée par le temps. La bouche était dissimulée par le plan triangulaire de la tête et ce n’est que de profil que l’on s’apercevait qu’elle était très grande. Vue de face, c’était une fine rainure, comme une fissure dans de l’albâtre. De chaque côté de la tête, à la place des oreilles, se dressaient de très petites branches rouges comme du corail, une excroissance végétale, les branchies, je suppose. C’était la seule chose qui eût l’air vivante dans ce corps. Chaque vingt secondes elles se dressaient, toutes raides, puis s’abaissaient de nouveau. Parfois une patte bougeait, à peine, et je voyais les doigts minuscules se poser doucement sur la mousse. C’est que nous n’aimons pas beaucoup bouger, l’aquarium est si étroit ; si peu que nous remuions nous heurtons la tête ou la queue d’un autre ; il s’ensuit des difficultés, des disputes, de la fatigue. Le temps se sent moins si l’on reste immobile.

 

Ce fut leur immobilité qui me fit me pencher vers eux, fasciné, la première fois que je les vis. Il me sembla comprendre obscurément leur volonté secrète : abolir l’espace et le temps par une immobilité pleine d’indifférence. Par la suite, j’appris à mieux les comprendre, les branchies qui se contractent, les petites pattes fines qui tâtonnent sur les pierres, leurs fuites brusques (ils nagent par une simple ondulation du corps) me prouvèrent qu’ils étaient capables de s’évader de cette torpeur minérale où ils passaient des heures entières. Leurs yeux surtout m’obsédaient. A côté d’eux, dans les autres aquariums, des poissons me montraient la stupide simplicité de leurs beaux yeux semblables aux nôtres. Les yeux des axolotls me parlaient de la présence d’une vie différente, d’une autre façon de regarder. Je collais mon visage à la vitre (le gardien, inquiet, toussait de temps en temps) pour mieux voir les tout petits points dorés, cette ouverture sur le monde infiniment lent et éloigné des bêtes roses. Inutile de frapper du doigt contre la vitre, sous leur nez, jamais la moindre réaction. Les yeux d’or continuaient à brûler de leur douce et terrible lumière, continuaient à me regarder du fond d’un abîme insondable qui me donnait le vertige.

 

Et cependant les axolotls étaient proches de nous. Je le savais avant même de devenir un axolotl. Je le sus dès le jour où je m’approchai d’eux pour la première fois. Les traits anthropomorphiques d’un singe accusent la différence qu’il y a entre lui et nous, contrairement à ce que pensent la plupart des gens. L’absence totale de ressemblance entre un axolotl et un être humain me prouva que ma reconnaissance

était valable, que je ne m’appuyais pas sur des analogies faciles. Il y avait bien les petites mains. Mais un lézard a les mêmes mains et ne ressemble en rien à l’homme. Je crois que tout venait de la tête des axolotls, de sa forme triangulaire rose et de ses petits yeux d’or. Cela regardait et savait. Cela réclamait. Les axolotls n’étaient pas des animaux.

 

De là à tomber dans la mythologie, il n’y avait qu’un pas, facile à franchir, presque inévitable. Je finis par voir dans les axolotls une métamorphose qui n’arrivait pas à renoncer tout à fait à une mystérieuse humanité. Je les imaginais conscients, esclaves de leur corps, condamnés indéfiniment à un silence abyssal, à une méditation désespérée. Leur regard aveugle, le petit disque d’or inexpressif - et cependant terriblement lucide - me pénétrait comme un message : "Sauve-nous, sauve-nous." Je me surprenais en train de murmurer des paroles de consolation, de transmettre des espoirs puérils. Ils continuaient à me regarder, immobiles. Soudain les petites branches roses se dressaient sur leur tête, et je sentais à ce moment-là comme une douleur sourde. Ils me voyaient peut-être, ils captaient mes efforts pour pénétrer dans l’impénétrable de leur vie. Ce n’étaient pas des êtres humains mais jamais je ne m’étais senti un rapport aussi étroit entre des animaux et moi. Les axolotls étaient comme témoins de quelque chose et parfois ils devenaient de terribles juges. Je me trouvais ignoble devant eux, il y avait dans ces yeux transparents une si effrayante pureté. C’était des larves, mais larve veut dire masque et aussi fantôme. Derrière ces visages aztèques, inexpressifs, et cependant d’une cruauté implacable, quelle image attendait

son heure ?

 

Ils me faisaient peur. Je crois que sans la présence du gardien et des autres visiteurs je n’aurais jamais osé rester devant eux. " Vous les mangez des yeux ", me disait le gardien en riant, et il devait penser que je n’étais pas tout à fait normal. Il ne se rendait pas compte que c’était eux qui me dévoraient lentement des yeux, en un cannibalisme d’or. Loin d’eux je ne pouvais penser à autre chose, comme s’ils m’influençaient à distance. Je finis par y aller tous les jours et la nuit je les imaginais immobiles dans l’obscurité, avançant lentement une petite patte qui rencontrait soudain celle d’un autre. Leurs yeux voyaient peut-être la nuit et le jour pour eux n’avait pas de fin. Les yeux des axolotls n’ont pas de paupières.

 

Maintenant je sais qu’il n’y a rien eu d’étrange dans tout cela, que cela devait arriver. Ils me reconnaissaient un peu plus chaque matin quand je me penchais vers l’aquarium. Ils souffraient. Chaque fibre de mon corps enregistrait cette souffrance bâillonnée, cette torture rigide au fond de l’eau. Ils épiaient quelque chose, un lointain royaume aboli, un temps de liberté où le monde avait appartenu aux axolotls. Une expression aussi terrible qui arrivait à vaincre l’impassibilité forcée de ces visages de pierre contenait sûrement un message de douleur, la preuve de cette condamnation éternelle, de cet enfer liquide qu’ils enduraient. En vain essayai-je de me persuader que c’était ma propre sensibilité qui projetait sur les axolotls une conscience qu’ils n’avaient pas. Eux et moi nous savions. C’est pour cela que ce qui arriva n’est pas étrange. Je collais mon visage à la vitre de l’aquarium, mes yeux essayèrent une fois de plus de percer le mystère de ces yeux d’or sans iris et sans pupille. Je voyais de très près la tête d’un axolotl immobile contre la vitre. Puis mon visage s’éloigna et je compris. Une seule chose était étrange : continuer à penser comme avant, savoir. Quand j’en pris conscience, je ressentis l’horreur de celui qui s’éveille enterré vivant. Au-dehors, mon visage s’approchait à nouveau de la vitre, je voyais ma bouche aux lèvres serrées par l’effort que je faisais pour comprendre les axolotls. J’étais un axolotl et je venais de savoir en un éclair qu’aucune communication n’était possible. Il était hors de l’aquarium, sa pensée était une pensée hors de l’aquarium. Tout en le connaissant, tout en étant lui-même, j’étais un axolotl et j’étais dans mon monde. L’horreur venait de ce que - je le sus instantanément - je me croyais prisonnier dans le corps d’un axolotl, transféré en lui avec ma pensée d’homme, enterré vivant dans un axolotl, condamné à me mouvoir en toute lucidité parmi des créatures insensibles. Mais cette impression ne dura pas, une patte vint effleurer mon visage et en me tournant un peu je vis un axolotl à côté de moi qui me regardait et je compris que lui aussi savait, sans communication possible mais si clairement. Ou bien j’étais encore en l’homme, ou bien nous pensions comme des êtres humains, incapables de nous exprimer, limités à l’éclat doré de nos yeux qui regardaient ce visage d’homme collé à la vitre.

 

Il revint encore plusieurs fois mais il vient moins souvent à présent. Des semaines se passent sans qu’on le voie. Il est venu hier, il m’a regardé longuement et puis il est parti brusquement. Il me semble que ce n’est plus à nous qu’il s’intéresse, qu’il obéit plutôt à une habitude. Comme penser est la seule chose que je puisse faire, je pense beaucoup à lui. Pendant un certain temps nous avons continué d’être en communication lui et moi, et il se sentait plus que jamais lié au mystère qui l’obsédait. Mais les ponts sont coupés à présent, car ce qui était son obsession est devenu un axolotl, étranger à sa vie d’homme. Je crois qu’au début je pouvais encore revenir en lui, dans une certaine mesure - ah ! seulement dans une certaine

mesure - et maintenir éveillé son désir de mieux nous connaître. Maintenant je suis définitivement un axolotl et si je pense comme un être humain c’est tout simplement parce que les axolotls pensent comme les humains sous leur masque de pierre rose. Il me semble que j’étais arrivé à lui communiquer cette vérité, les premiers jours, lorsque j’étais encore en lui. Et dans cette solitude finale vers laquelle il ne revient déjà plus, cela me console de penser qu’il va peut-être écrire quelque chose sur nous ; il croira qu’il invente un conte et il écrira tout cela sur les axolotls.

 

Julio Cortázar (1914-1984)

NEDERLAND, NETHERLANDS, HOLLAND, PAYS-BAS, HOLANDA, PAISES BAJOS, Barendrecht, Un pueblo llamado Barendrecht, A town called Barendrecht, Une ville appelée Barendrecht, LAGARTIJAS, LEZARDS , LIZARDS, HAGEDISSEN, ECHSEN, LAGARTO,

  

AXOLOTIS.-

 

There was a time when I thought a great deal about the axolotls. I went to see them in the aquarium at the Jardin des Plantes and stayed for hours watching them, observing their immobility, their faint movements. Now I am an axolotl.

 

I got to them by chance one spring morning when Paris was spreading its peacock tail after a slow wintertime. I was heading down tbe boulevard Port-Royal, then I took Saint-Marcel and L'Hôpital and saw green among all that grey and remembered the lions. I was friend of the lions and panthers, but had never gone into the dark, humid building that was the aquarium. I left my bike against tbe gratings and went to look at the tulips. The lions were sad and ugly and my panther was asleep. I decided on the aquarium, looked obliquely at banal fish until, unexpectedly, I hit it off with the axolotls. I stayed watching them for an hour and left, unable to think of anything else.

 

In the library at Sainte-Geneviève, I consulted a dictionary and learned that axolotls are the larval stage (provided with gills) of a species of salamander of the genus Ambystoma. That they were Mexican I knew already by looking at them and their little pink Aztec faces and the placard at the top of the tank. I read that specimens of them had been found in Africa capable of living on dry land during the periods of drought, and continuing their life under water when the rainy season came. I found their Spanish name, ajolote, and the mention that they were edible, and that their oil was used (no longer used, it said ) like cod-liver oil.

 

I didn't care to look up any of the specialized works, but the next day I went back to the Jardin des Plantes. I began to go every morning, morning and aftemoon some days. The aquarium guard smiled perplexedly taking my ticket. I would lean up against the iron bar in front of the tanks and set to watching them. There's nothing strange in this, because after the first minute I knew that we were linked, that something infinitely lost and distant kept pulling us together. It had been enough to detain me that first morning in front of the sheet of glass where some bubbles rose through the water. The axolotls huddled on the wretched narrow (only I can know how narrow and wretched) floor of moss and stone in the tank. There were nine specimens, and the majority pressed their heads against the glass, looking with their eyes of gold at whoever came near them. Disconcerted, almost ashamed, I felt it a lewdness to be peering at these silent and immobile figures heaped at the bottom of the tank. Mentally I isolated one, situated on the right and somewhat apart from the others, to study it better. I saw a rosy little body, translucent (I thought of those Chinese figurines of milky glass), looking like a small lizard about six inches long, ending in a fish's tail of extraordinary delicacy, the most sensitive part of our body. Along the back ran a transparent fin which joined with the tail, but what obsessed me was the feet, of the slenderest nicety, ending in tiny fingers with minutely human nails. And then I discovered its eyes, its face. Inexpressive features, with no other trait save the eyes, two orifices, like brooches, wholly of transparent gold, lacking any life but looking, letting themselves be penetrated by my look, which seemed to travel past the golden level and lose itself in a diaphanous interior mystery. A very slender black halo ringed the eye and etched it onto the pink flesh, onto the rosy stone of the head, vaguely triangular, but with curved and triangular sides which gave it a total likeness to a statuette corroded by time. The mouth was masked by the triangular plane of the face, its considerable size would be guessed only in profile; in front a delicate crevice barely slit the lifeless stone. On both sides of the head where the ears should have been, there grew three tiny sprigs, red as coral, a vegetal outgrowth, the gills, I suppose. And they were the only thing quick about it; every ten or fifteen seconds the sprigs pricked up stiffly and again subsided. Once in a while a foot would barely move, I saw the diminutive toes poise mildly on the moss. It's that we don't enjoy moving a lot, and the tank is so cramped—we barely move in any direction and we're hitting one of the others with our tail or our head—difficulties arise, fights, tiredness. The time feels like it's less if we stay quietly.

 

It was their quietness that made me lean toward them fascinated the first time I saw the axolotls. Obscurely I seemed to understand their secret will, to abolish space and time with an indifferent immobility. I knew better later; the gill contraction, the tentative reckoning of the delicate feet on the stones, the abrupt swimming (some of them swim with a simple undulation of the body) proved to me that they were capable of escaping that mineral lethargy in which they spent whole hours. Above all else, their eyes obsessed me. In the standing tanks on either side of them, different fishes showed me the simple stupidity of their handsome eyes so similar to our own. The eyes of the axolotls spoke to me of the presence of a different life, of another way of seeing. Glueing my face to the glass (the guard would cough fussily once in a while), I tried to see better those diminutive golden points, that entrance to the infinitely slow and remote world of these rosy creatures. It was useless to tap with one finger on the glass directly in front of their faces; they never gave the least reaction. The golden eyes continued burning with their soft, terrible light; they continued looking at me from an unfathomable depth which made me dizzy.

 

And nevertheless they were close. I knew it before this, before being an axolotl. I learned it the day I came near them for the first time. The anthropomorphic features of a monkey reveal the reverse of what most people believe, the distance that is traveled from them to us. The absolute lack of similarity between axolotls and human beings proved to me that my recognition was valid, that I was not propping myself up with easy analogies. Only the little hands . . . But an eft, the common newt, has such hands also, and we are not at all alike. I think it was the axolotls' heads, that triangular pink shape with the tiny eyes of gold. That looked and knew. That laid the claim. They were not animals.

 

It would seem easy, almost obvious, to fall into mythology. I began seeing in the axolotls a metamorphosis which did not succeed in revoking a mysterious humanity. I imagined them aware, slaves of their bodies, condemned infinitely to the silence of the abyss, to a hopeless meditation. Their blind gaze, the diminutive gold disc without expression and nonetheless terribly shining, went through me like a message: "Save us, save us." I caught myself mumbling words of advice, conveying childish hopes. They continued to look at me, immobile; from time to time the rosy branches of the gills stiffened. In that instant I felt a muted pain; perhaps they were seeing me, attracting my strength to penetrate into the impenetrable thing of their lives. They were not human beings, but I had found in no animal such a profound relation with myself. The axolotls were like witnesses of something, and at times like horrible judges. I felt ignoble in front of them; there was such a terrifying purity in those transparent eyes. They were larvas, but larva means disguise and also phantom. Behind those Aztec faces, without expression but of an implacable cruelty, what semblance was awaiting its hour?

 

I was afraid of them. I think that had it not been for feeling the proximity of other visitors and the guard, I would not have been bold enough to remain alone with them. "You eat them alive with your eyes, hey," the guard said, laughing; he likely thought I was a little cracked. What he didn't notice was that it was they devouring me slowly with their eyes, in a cannibalism of gold. At any distance from the aquarium, I had only to think of them, it was as though I were being affected from a distance. It got to the point that I was going every day, and at night I thought of them immobile in the darkness, slowly putting a hand out which immediately encountered another. Perhaps their eyes could see in the dead of night, and for them the day continued indefinitely. The eyes of axolotls have no lids.

 

I know now that there was nothing strange, that that had to occur. Leaning over in front of the tank each morning, the recognition was greater. They were suffering, every fiber of my body reached toward that stifled pain, that stiff torment at the bottom of the tank. They were lying in wait for something, a remote dominion destroyed, an age of liberty when the world had been that of the axolotls. Not possible that such a terrible expression which was attaining the overthrow of that forced blankness on their stone faces should carry any message other than one of pain, proof of that eternal sentence, of that liquid hell they were undergoing. Hopelessly, I wanted to prove to myself that my own sensibility was projecting a nonexistent consciousness upon the axolotls. They and I knew. So there was nothing strange in what happened. My face was pressed against the glass of the aquarium, my eyes were attempting once more to penetrate the mystery of those eyes of gold without iris, without pupil. I saw from very close up the face of an axolotl immobile next to the glass. No transition and no surprise, I saw my face against the glass, I saw it on the outside of the tank, I saw it on the other side of the glass. Then my face drew back and I understood.

 

Only one thing was strange: to go on thinking as usual, to know. To realize that was, for the first moment, like the horror of a man buried alive awaking to his fate. Outside, my face came close to the glass again, I saw my mouth, the lips compressed with the effort of understanding the axolotls. I was an axolotl and now I knew instantly that no understanding was possible. He was outside the aquarium, his thinking was a thinking outside the tank. Recognizlng him, being him himself, I was an axolotl and in my world. The horror began—I learned in the same moment —of believing myself prisoner in the body of an axolotl, metamorphosed into him with my human mind intact, buried alive in an axolotl, condemned to move lucidly among unconscious creatures. But that stopped when a foot just grazed my face, when I moved just a little to one side and saw an axolotl next to me who was looking at me, and understood that he knew also, no communication possible, but very clearly. Or I was also in him, or all of us were thinking humanlike, incapable of expression, limited to the golden splendor of our eyes looking at the face of the man pressed against the aquarium.

 

He returned many times, but he comes less often now. Weeks pass without his showing up. I saw him yesterday, he looked at me for a long time and left briskly. It seemed to me that he was not so much interested in us any more, that he was coming out of habit. Since the only thing I do is think, I could think about him a lot. It occurs to me that at the beginning we continued to communicate, that he felt more than ever one with the mystery which was claiming him. But the bridges were broken between him and me, because what was his obsession is now an axolotl, alien to his human life. I think that at the beginning I was capable of returning to him in a certain way—ah, only in a certain way—and of keeping awake his desire to know us better. I am an axolotl for good now, and if I think like a man it's only because every axolotl thinks like a man inside his rosy stone semblance. I believe that all this succeeded in communicating something to him in those first days, when I was still he. And in this final solitude to which he no longer comes, I console myself by thinking that perhaps he is going to write a story about us, that, believing he's making up a story, he's going to write all this about axolotls.

  

Il fut une époque où je pensais beaucoup aux axolotls. J’allais les voir à l’aquarium du Jardin des Plantes et je passais des heures à les regarder, à observer leur immobilité, leurs mouvements obscurs. Et maintenant je suis un axolotl. Le hasard me conduisit vers eux un matin de printemps où Paris déployait sa queue de paon après le lent hiver. Je descendis le boulevard Saint-Marcel, celui de l’hôpital, je vis les premiers verts parmi tout le gris et je me souvins des lions. J’étais très amis des lions et des panthères, mais je n’étais jamais entré dans l’enceinte humide et sombre des aquariums. Je laissai ma bicyclette contre les grilles et j’allais voir les tulipes. Les lions étaient laids et tristes et ma panthère dormait. Je me décidai pour les aquariums et, après avoir regardé avec indifférence des poissons ordinaires, je tombai par hasard sur les axolotls. Je passai une heure à les regarder, puis je partis, incapable de penser à autre chose.

 

À la bibliothèque Sainte-Geneviève je consultai un dictionnaire et j’appris que les axolotls étaient les formes larvaires, pourvues de branchies, de batraciens du genre amblystone. Qu’ils étaient originaires du Mexique, je le savais déjà, rien qu’à voir leur petit visage aztèque. Je lus qu’on en avait trouvé des spécimens en Afrique capables de vivre hors de l’eau pendant les périodes de sécheresse et qui reprenaient leur vie normale à la saison des pluies. On donnait leur nom espagnol, ajolote, on signalait qu’ils étaient comestibles et qu’on utilisait leur huile (on ne l’utilise plus) comme l’huile de foie de morue.

 

Je ne voulus pas consulter d’ouvrages spécialisés mais je revins le jour suivant au jardin des Plantes. Je pris l’habitude d’y aller tous les matins, et parfois même matin et soir. Le gardien des aquariums souriait d’un air perplexe en prenant mon ticket. Je m’appuyais contre la barre de fer qui borde les aquariums et je regardais les axolotls. Il n’y avait rien d’étrange à cela ; dès le premier instant j’avais senti que quelque chose me liait à eux, quelque chose d’infiniment lointain et oublié qui cependant nous unissait encore. Il m’avait suffit de m’arrêter un matin devant cet aquarium où des bulles couraient dans l’eau. Les axolotls s’entassaient sur l’étroit et misérable (personne mieux que moi ne sait à quel point il est étroit et misérable) fond de pierre et de mousse. Il y en avait neuf, la plupart d’entre eux appuyaient leur tête contre la vitre et regardaient de leurs yeux d’or ceux qui s’approchaient. Troublé, presque honteux, je trouvais qu’il y avait de l’impudeur à se pencher sur ces formes silencieuses et immobiles entassées au fond de l’aquarium. Mentalement, j’en isolai un, un peu à l’écart sur la droite, pour mieux l’étudier. Je vis un petit corps rose, translucide (je pensai aux statuettes chinoises en verre laiteux), semblable à un petit lézard de quinze centimètres, terminé par une queue de poisson d’une extraordinaire délicatesse - c’est la partie la plus sensible de notre corps. Sur son dos, une nageoire transparente se rattachait à la queue ; mais ce furent les pattes qui me fascinèrent, des pattes d’une incroyable finesse, terminés par de tout petits doigts avec des ongles - absolument humains, sans pourtant avoir la forme de la main humaine - mais comment aurais-je pu ignorer qu’ils étaient humains ? c’est alors que je découvris leurs yeux, leur visage. Un visage inexpressif sans autre trait que les yeux, deux orifices comme des têtes d’épingles entièrement d’or transparent, sans aucune vie, mais qui regardaient et qui se laissaient pénétrer par mon regard qui passait à travers le point doré et se perdait dans un mystère diaphane. Un très mince halo noir entourait l’oeil et l’inscrivait dans la chair rose, dans la pierre rose de la tête vaguement triangulaire, au contours courbes et irréguliers, qui la faisaient ressembler à une statue rongée par le temps. La bouche était dissimulée par le plan triangulaire de la tête et ce n’est que de profil que l’on s’apercevait qu’elle était très grande. Vue de face, c’était une fine rainure, comme une fissure dans de l’albâtre. De chaque côté de la tête, à la place des oreilles, se dressaient de très petites branches rouges comme du corail, une excroissance végétale, les branchies, je suppose. C’était la seule chose qui eût l’air vivante dans ce corps. Chaque vingt secondes elles se dressaient, toutes raides, puis s’abaissaient de nouveau. Parfois une patte bougeait, à peine, et je voyais les doigts minuscules se poser doucement sur la mousse. C’est que nous n’aimons pas beaucoup bouger, l’aquarium est si étroit ; si peu que nous remuions nous heurtons la tête ou la queue d’un autre ; il s’ensuit des difficultés, des disputes, de la fatigue. Le temps se sent moins si l’on reste immobile.

 

Ce fut leur immobilité qui me fit me pencher vers eux, fasciné, la première fois que je les vis. Il me sembla comprendre obscurément leur volonté secrète : abolir l’espace et le temps par une immobilité pleine d’indifférence. Par la suite, j’appris à mieux les comprendre, les branchies qui se contractent, les petites pattes fines qui tâtonnent sur les pierres, leurs fuites brusques (ils nagent par une simple ondulation du corps) me prouvèrent qu’ils étaient capables de s’évader de cette torpeur minérale où ils passaient des heures entières. Leurs yeux surtout m’obsédaient. A côté d’eux, dans les autres aquariums, des poissons me montraient la stupide simplicité de leurs beaux yeux semblables aux nôtres. Les yeux des axolotls me parlaient de la présence d’une vie différente, d’une autre façon de regarder. Je collais mon visage à la vitre (le gardien, inquiet, toussait de temps en temps) pour mieux voir les tout petits points dorés, cette ouverture sur le monde infiniment lent et éloigné des bêtes roses. Inutile de frapper du doigt contre la vitre, sous leur nez, jamais la moindre réaction. Les yeux d’or continuaient à brûler de leur douce et terrible lumière, continuaient à me regarder du fond d’un abîme insondable qui me donnait le vertige.

 

Et cependant les axolotls étaient proches de nous. Je le savais avant même de devenir un axolotl. Je le sus dès le jour où je m’approchai d’eux pour la première fois. Les traits anthropomorphiques d’un singe accusent la différence qu’il y a entre lui et nous, contrairement à ce que pensent la plupart des gens. L’absence totale de ressemblance entre un axolotl et un être humain me prouva que ma reconnaissance

était valable, que je ne m’appuyais pas sur des analogies faciles. Il y avait bien les petites mains. Mais un lézard a les mêmes mains et ne ressemble en rien à l’homme. Je crois que tout venait de la tête des axolotls, de sa forme triangulaire rose et de ses petits yeux d’or. Cela regardait et savait. Cela réclamait. Les axolotls n’étaient pas des animaux.

 

De là à tomber dans la mythologie, il n’y avait qu’un pas, facile à franchir, presque inévitable. Je finis par voir dans les axolotls une métamorphose qui n’arrivait pas à renoncer tout à fait à une mystérieuse humanité. Je les imaginais conscients, esclaves de leur corps, condamnés indéfiniment à un silence abyssal, à une méditation désespérée. Leur regard aveugle, le petit disque d’or inexpressif - et cependant terriblement lucide - me pénétrait comme un message : "Sauve-nous, sauve-nous." Je me surprenais en train de murmurer des paroles de consolation, de transmettre des espoirs puérils. Ils continuaient à me regarder, immobiles. Soudain les petites branches roses se dressaient sur leur tête, et je sentais à ce moment-là comme une douleur sourde. Ils me voyaient peut-être, ils captaient mes efforts pour pénétrer dans l’impénétrable de leur vie. Ce n’étaient pas des êtres humains mais jamais je ne m’étais senti un rapport aussi étroit entre des animaux et moi. Les axolotls étaient comme témoins de quelque chose et parfois ils devenaient de terribles juges. Je me trouvais ignoble devant eux, il y avait dans ces yeux transparents une si effrayante pureté. C’était des larves, mais larve veut dire masque et aussi fantôme. Derrière ces visages aztèques, inexpressifs, et cependant d’une cruauté implacable, quelle image attendait

son heure ?

 

Ils me faisaient peur. Je crois que sans la présence du gardien et des autres visiteurs je n’aurais jamais osé rester devant eux. " Vous les mangez des yeux ", me disait le gardien en riant, et il devait penser que je n’étais pas tout à fait normal. Il ne se rendait pas compte que c’était eux qui me dévoraient lentement des yeux, en un cannibalisme d’or. Loin d’eux je ne pouvais penser à autre chose, comme s’ils m’influençaient à distance. Je finis par y aller tous les jours et la nuit je les imaginais immobiles dans l’obscurité, avançant lentement une petite patte qui rencontrait soudain celle d’un autre. Leurs yeux voyaient peut-être la nuit et le jour pour eux n’avait pas de fin. Les yeux des axolotls n’ont pas de paupières.

 

Maintenant je sais qu’il n’y a rien eu d’étrange dans tout cela, que cela devait arriver. Ils me reconnaissaient un peu plus chaque matin quand je me penchais vers l’aquarium. Ils souffraient. Chaque fibre de mon corps enregistrait cette souffrance bâillonnée, cette torture rigide au fond de l’eau. Ils épiaient quelque chose, un lointain royaume aboli, un temps de liberté où le monde avait appartenu aux axolotls. Une expression aussi terrible qui arrivait à vaincre l’impassibilité forcée de ces visages de pierre contenait sûrement un message de douleur, la preuve de cette condamnation éternelle, de cet enfer liquide qu’ils enduraient. En vain essayai-je de me persuader que c’était ma propre sensibilité qui projetait sur les axolotls une conscience qu’ils n’avaient pas. Eux et moi nous savions. C’est pour cela que ce qui arriva n’est pas étrange. Je collais mon visage à la vitre de l’aquarium, mes yeux essayèrent une fois de plus de percer le mystère de ces yeux d’or sans iris et sans pupille. Je voyais de très près la tête d’un axolotl immobile contre la vitre. Puis mon visage s’éloigna et je compris. Une seule chose était étrange : continuer à penser comme avant, savoir. Quand j’en pris conscience, je ressentis l’horreur de celui qui s’éveille enterré vivant. Au-dehors, mon visage s’approchait à nouveau de la vitre, je voyais ma bouche aux lèvres serrées par l’effort que je faisais pour comprendre les axolotls. J’étais un axolotl et je venais de savoir en un éclair qu’aucune communication n’était possible. Il était hors de l’aquarium, sa pensée était une pensée hors de l’aquarium. Tout en le connaissant, tout en étant lui-même, j’étais un axolotl et j’étais dans mon monde. L’horreur venait de ce que - je le sus instantanément - je me croyais prisonnier dans le corps d’un axolotl, transféré en lui avec ma pensée d’homme, enterré vivant dans un axolotl, condamné à me mouvoir en toute lucidité parmi des créatures insensibles. Mais cette impression ne dura pas, une patte vint effleurer mon visage et en me tournant un peu je vis un axolotl à côté de moi qui me regardait et je compris que lui aussi savait, sans communication possible mais si clairement. Ou bien j’étais encore en l’homme, ou bien nous pensions comme des êtres humains, incapables de nous exprimer, limités à l’éclat doré de nos yeux qui regardaient ce visage d’homme collé à la vitre.

 

Il revint encore plusieurs fois mais il vient moins souvent à présent. Des semaines se passent sans qu’on le voie. Il est venu hier, il m’a regardé longuement et puis il est parti brusquement. Il me semble que ce n’est plus à nous qu’il s’intéresse, qu’il obéit plutôt à une habitude. Comme penser est la seule chose que je puisse faire, je pense beaucoup à lui. Pendant un certain temps nous avons continué d’être en communication lui et moi, et il se sentait plus que jamais lié au mystère qui l’obsédait. Mais les ponts sont coupés à présent, car ce qui était son obsession est devenu un axolotl, étranger à sa vie d’homme. Je crois qu’au début je pouvais encore revenir en lui, dans une certaine mesure - ah ! seulement dans une certaine

mesure - et maintenir éveillé son désir de mieux nous connaître. Maintenant je suis définitivement un axolotl et si je pense comme un être humain c’est tout simplement parce que les axolotls pensent comme les humains sous leur masque de pierre rose. Il me semble que j’étais arrivé à lui communiquer cette vérité, les premiers jours, lorsque j’étais encore en lui. Et dans cette solitude finale vers laquelle il ne revient déjà plus, cela me console de penser qu’il va peut-être écrire quelque chose sur nous ; il croira qu’il invente un conte et il écrira tout cela sur les axolotls.

 

Julio Cortázar (1914-1984)

NEDERLAND, NETHERLANDS, HOLLAND, PAYS-BAS, HOLANDA, PAISES BAJOS, Barendrecht, Un pueblo llamado Barendrecht, A town called Barendrecht, Une ville appelée Barendrecht, LAGARTIJAS, LEZARDS , LIZARDS, HAGEDISSEN, ECHSEN, LAGARTO,

  

AXOLOTIS.-

 

There was a time when I thought a great deal about the axolotls. I went to see them in the aquarium at the Jardin des Plantes and stayed for hours watching them, observing their immobility, their faint movements. Now I am an axolotl.

 

I got to them by chance one spring morning when Paris was spreading its peacock tail after a slow wintertime. I was heading down tbe boulevard Port-Royal, then I took Saint-Marcel and L'Hôpital and saw green among all that grey and remembered the lions. I was friend of the lions and panthers, but had never gone into the dark, humid building that was the aquarium. I left my bike against tbe gratings and went to look at the tulips. The lions were sad and ugly and my panther was asleep. I decided on the aquarium, looked obliquely at banal fish until, unexpectedly, I hit it off with the axolotls. I stayed watching them for an hour and left, unable to think of anything else.

 

In the library at Sainte-Geneviève, I consulted a dictionary and learned that axolotls are the larval stage (provided with gills) of a species of salamander of the genus Ambystoma. That they were Mexican I knew already by looking at them and their little pink Aztec faces and the placard at the top of the tank. I read that specimens of them had been found in Africa capable of living on dry land during the periods of drought, and continuing their life under water when the rainy season came. I found their Spanish name, ajolote, and the mention that they were edible, and that their oil was used (no longer used, it said ) like cod-liver oil.

 

I didn't care to look up any of the specialized works, but the next day I went back to the Jardin des Plantes. I began to go every morning, morning and aftemoon some days. The aquarium guard smiled perplexedly taking my ticket. I would lean up against the iron bar in front of the tanks and set to watching them. There's nothing strange in this, because after the first minute I knew that we were linked, that something infinitely lost and distant kept pulling us together. It had been enough to detain me that first morning in front of the sheet of glass where some bubbles rose through the water. The axolotls huddled on the wretched narrow (only I can know how narrow and wretched) floor of moss and stone in the tank. There were nine specimens, and the majority pressed their heads against the glass, looking with their eyes of gold at whoever came near them. Disconcerted, almost ashamed, I felt it a lewdness to be peering at these silent and immobile figures heaped at the bottom of the tank. Mentally I isolated one, situated on the right and somewhat apart from the others, to study it better. I saw a rosy little body, translucent (I thought of those Chinese figurines of milky glass), looking like a small lizard about six inches long, ending in a fish's tail of extraordinary delicacy, the most sensitive part of our body. Along the back ran a transparent fin which joined with the tail, but what obsessed me was the feet, of the slenderest nicety, ending in tiny fingers with minutely human nails. And then I discovered its eyes, its face. Inexpressive features, with no other trait save the eyes, two orifices, like brooches, wholly of transparent gold, lacking any life but looking, letting themselves be penetrated by my look, which seemed to travel past the golden level and lose itself in a diaphanous interior mystery. A very slender black halo ringed the eye and etched it onto the pink flesh, onto the rosy stone of the head, vaguely triangular, but with curved and triangular sides which gave it a total likeness to a statuette corroded by time. The mouth was masked by the triangular plane of the face, its considerable size would be guessed only in profile; in front a delicate crevice barely slit the lifeless stone. On both sides of the head where the ears should have been, there grew three tiny sprigs, red as coral, a vegetal outgrowth, the gills, I suppose. And they were the only thing quick about it; every ten or fifteen seconds the sprigs pricked up stiffly and again subsided. Once in a while a foot would barely move, I saw the diminutive toes poise mildly on the moss. It's that we don't enjoy moving a lot, and the tank is so cramped—we barely move in any direction and we're hitting one of the others with our tail or our head—difficulties arise, fights, tiredness. The time feels like it's less if we stay quietly.

 

It was their quietness that made me lean toward them fascinated the first time I saw the axolotls. Obscurely I seemed to understand their secret will, to abolish space and time with an indifferent immobility. I knew better later; the gill contraction, the tentative reckoning of the delicate feet on the stones, the abrupt swimming (some of them swim with a simple undulation of the body) proved to me that they were capable of escaping that mineral lethargy in which they spent whole hours. Above all else, their eyes obsessed me. In the standing tanks on either side of them, different fishes showed me the simple stupidity of their handsome eyes so similar to our own. The eyes of the axolotls spoke to me of the presence of a different life, of another way of seeing. Glueing my face to the glass (the guard would cough fussily once in a while), I tried to see better those diminutive golden points, that entrance to the infinitely slow and remote world of these rosy creatures. It was useless to tap with one finger on the glass directly in front of their faces; they never gave the least reaction. The golden eyes continued burning with their soft, terrible light; they continued looking at me from an unfathomable depth which made me dizzy.

 

And nevertheless they were close. I knew it before this, before being an axolotl. I learned it the day I came near them for the first time. The anthropomorphic features of a monkey reveal the reverse of what most people believe, the distance that is traveled from them to us. The absolute lack of similarity between axolotls and human beings proved to me that my recognition was valid, that I was not propping myself up with easy analogies. Only the little hands . . . But an eft, the common newt, has such hands also, and we are not at all alike. I think it was the axolotls' heads, that triangular pink shape with the tiny eyes of gold. That looked and knew. That laid the claim. They were not animals.

 

It would seem easy, almost obvious, to fall into mythology. I began seeing in the axolotls a metamorphosis which did not succeed in revoking a mysterious humanity. I imagined them aware, slaves of their bodies, condemned infinitely to the silence of the abyss, to a hopeless meditation. Their blind gaze, the diminutive gold disc without expression and nonetheless terribly shining, went through me like a message: "Save us, save us." I caught myself mumbling words of advice, conveying childish hopes. They continued to look at me, immobile; from time to time the rosy branches of the gills stiffened. In that instant I felt a muted pain; perhaps they were seeing me, attracting my strength to penetrate into the impenetrable thing of their lives. They were not human beings, but I had found in no animal such a profound relation with myself. The axolotls were like witnesses of something, and at times like horrible judges. I felt ignoble in front of them; there was such a terrifying purity in those transparent eyes. They were larvas, but larva means disguise and also phantom. Behind those Aztec faces, without expression but of an implacable cruelty, what semblance was awaiting its hour?

 

I was afraid of them. I think that had it not been for feeling the proximity of other visitors and the guard, I would not have been bold enough to remain alone with them. "You eat them alive with your eyes, hey," the guard said, laughing; he likely thought I was a little cracked. What he didn't notice was that it was they devouring me slowly with their eyes, in a cannibalism of gold. At any distance from the aquarium, I had only to think of them, it was as though I were being affected from a distance. It got to the point that I was going every day, and at night I thought of them immobile in the darkness, slowly putting a hand out which immediately encountered another. Perhaps their eyes could see in the dead of night, and for them the day continued indefinitely. The eyes of axolotls have no lids.

 

I know now that there was nothing strange, that that had to occur. Leaning over in front of the tank each morning, the recognition was greater. They were suffering, every fiber of my body reached toward that stifled pain, that stiff torment at the bottom of the tank. They were lying in wait for something, a remote dominion destroyed, an age of liberty when the world had been that of the axolotls. Not possible that such a terrible expression which was attaining the overthrow of that forced blankness on their stone faces should carry any message other than one of pain, proof of that eternal sentence, of that liquid hell they were undergoing. Hopelessly, I wanted to prove to myself that my own sensibility was projecting a nonexistent consciousness upon the axolotls. They and I knew. So there was nothing strange in what happened. My face was pressed against the glass of the aquarium, my eyes were attempting once more to penetrate the mystery of those eyes of gold without iris, without pupil. I saw from very close up the face of an axolotl immobile next to the glass. No transition and no surprise, I saw my face against the glass, I saw it on the outside of the tank, I saw it on the other side of the glass. Then my face drew back and I understood.

 

Only one thing was strange: to go on thinking as usual, to know. To realize that was, for the first moment, like the horror of a man buried alive awaking to his fate. Outside, my face came close to the glass again, I saw my mouth, the lips compressed with the effort of understanding the axolotls. I was an axolotl and now I knew instantly that no understanding was possible. He was outside the aquarium, his thinking was a thinking outside the tank. Recognizlng him, being him himself, I was an axolotl and in my world. The horror began—I learned in the same moment —of believing myself prisoner in the body of an axolotl, metamorphosed into him with my human mind intact, buried alive in an axolotl, condemned to move lucidly among unconscious creatures. But that stopped when a foot just grazed my face, when I moved just a little to one side and saw an axolotl next to me who was looking at me, and understood that he knew also, no communication possible, but very clearly. Or I was also in him, or all of us were thinking humanlike, incapable of expression, limited to the golden splendor of our eyes looking at the face of the man pressed against the aquarium.

 

He returned many times, but he comes less often now. Weeks pass without his showing up. I saw him yesterday, he looked at me for a long time and left briskly. It seemed to me that he was not so much interested in us any more, that he was coming out of habit. Since the only thing I do is think, I could think about him a lot. It occurs to me that at the beginning we continued to communicate, that he felt more than ever one with the mystery which was claiming him. But the bridges were broken between him and me, because what was his obsession is now an axolotl, alien to his human life. I think that at the beginning I was capable of returning to him in a certain way—ah, only in a certain way—and of keeping awake his desire to know us better. I am an axolotl for good now, and if I think like a man it's only because every axolotl thinks like a man inside his rosy stone semblance. I believe that all this succeeded in communicating something to him in those first days, when I was still he. And in this final solitude to which he no longer comes, I console myself by thinking that perhaps he is going to write a story about us, that, believing he's making up a story, he's going to write all this about axolotls.

  

Il fut une époque où je pensais beaucoup aux axolotls. J’allais les voir à l’aquarium du Jardin des Plantes et je passais des heures à les regarder, à observer leur immobilité, leurs mouvements obscurs. Et maintenant je suis un axolotl. Le hasard me conduisit vers eux un matin de printemps où Paris déployait sa queue de paon après le lent hiver. Je descendis le boulevard Saint-Marcel, celui de l’hôpital, je vis les premiers verts parmi tout le gris et je me souvins des lions. J’étais très amis des lions et des panthères, mais je n’étais jamais entré dans l’enceinte humide et sombre des aquariums. Je laissai ma bicyclette contre les grilles et j’allais voir les tulipes. Les lions étaient laids et tristes et ma panthère dormait. Je me décidai pour les aquariums et, après avoir regardé avec indifférence des poissons ordinaires, je tombai par hasard sur les axolotls. Je passai une heure à les regarder, puis je partis, incapable de penser à autre chose.

 

À la bibliothèque Sainte-Geneviève je consultai un dictionnaire et j’appris que les axolotls étaient les formes larvaires, pourvues de branchies, de batraciens du genre amblystone. Qu’ils étaient originaires du Mexique, je le savais déjà, rien qu’à voir leur petit visage aztèque. Je lus qu’on en avait trouvé des spécimens en Afrique capables de vivre hors de l’eau pendant les périodes de sécheresse et qui reprenaient leur vie normale à la saison des pluies. On donnait leur nom espagnol, ajolote, on signalait qu’ils étaient comestibles et qu’on utilisait leur huile (on ne l’utilise plus) comme l’huile de foie de morue.

 

Je ne voulus pas consulter d’ouvrages spécialisés mais je revins le jour suivant au jardin des Plantes. Je pris l’habitude d’y aller tous les matins, et parfois même matin et soir. Le gardien des aquariums souriait d’un air perplexe en prenant mon ticket. Je m’appuyais contre la barre de fer qui borde les aquariums et je regardais les axolotls. Il n’y avait rien d’étrange à cela ; dès le premier instant j’avais senti que quelque chose me liait à eux, quelque chose d’infiniment lointain et oublié qui cependant nous unissait encore. Il m’avait suffit de m’arrêter un matin devant cet aquarium où des bulles couraient dans l’eau. Les axolotls s’entassaient sur l’étroit et misérable (personne mieux que moi ne sait à quel point il est étroit et misérable) fond de pierre et de mousse. Il y en avait neuf, la plupart d’entre eux appuyaient leur tête contre la vitre et regardaient de leurs yeux d’or ceux qui s’approchaient. Troublé, presque honteux, je trouvais qu’il y avait de l’impudeur à se pencher sur ces formes silencieuses et immobiles entassées au fond de l’aquarium. Mentalement, j’en isolai un, un peu à l’écart sur la droite, pour mieux l’étudier. Je vis un petit corps rose, translucide (je pensai aux statuettes chinoises en verre laiteux), semblable à un petit lézard de quinze centimètres, terminé par une queue de poisson d’une extraordinaire délicatesse - c’est la partie la plus sensible de notre corps. Sur son dos, une nageoire transparente se rattachait à la queue ; mais ce furent les pattes qui me fascinèrent, des pattes d’une incroyable finesse, terminés par de tout petits doigts avec des ongles - absolument humains, sans pourtant avoir la forme de la main humaine - mais comment aurais-je pu ignorer qu’ils étaient humains ? c’est alors que je découvris leurs yeux, leur visage. Un visage inexpressif sans autre trait que les yeux, deux orifices comme des têtes d’épingles entièrement d’or transparent, sans aucune vie, mais qui regardaient et qui se laissaient pénétrer par mon regard qui passait à travers le point doré et se perdait dans un mystère diaphane. Un très mince halo noir entourait l’oeil et l’inscrivait dans la chair rose, dans la pierre rose de la tête vaguement triangulaire, au contours courbes et irréguliers, qui la faisaient ressembler à une statue rongée par le temps. La bouche était dissimulée par le plan triangulaire de la tête et ce n’est que de profil que l’on s’apercevait qu’elle était très grande. Vue de face, c’était une fine rainure, comme une fissure dans de l’albâtre. De chaque côté de la tête, à la place des oreilles, se dressaient de très petites branches rouges comme du corail, une excroissance végétale, les branchies, je suppose. C’était la seule chose qui eût l’air vivante dans ce corps. Chaque vingt secondes elles se dressaient, toutes raides, puis s’abaissaient de nouveau. Parfois une patte bougeait, à peine, et je voyais les doigts minuscules se poser doucement sur la mousse. C’est que nous n’aimons pas beaucoup bouger, l’aquarium est si étroit ; si peu que nous remuions nous heurtons la tête ou la queue d’un autre ; il s’ensuit des difficultés, des disputes, de la fatigue. Le temps se sent moins si l’on reste immobile.

 

Ce fut leur immobilité qui me fit me pencher vers eux, fasciné, la première fois que je les vis. Il me sembla comprendre obscurément leur volonté secrète : abolir l’espace et le temps par une immobilité pleine d’indifférence. Par la suite, j’appris à mieux les comprendre, les branchies qui se contractent, les petites pattes fines qui tâtonnent sur les pierres, leurs fuites brusques (ils nagent par une simple ondulation du corps) me prouvèrent qu’ils étaient capables de s’évader de cette torpeur minérale où ils passaient des heures entières. Leurs yeux surtout m’obsédaient. A côté d’eux, dans les autres aquariums, des poissons me montraient la stupide simplicité de leurs beaux yeux semblables aux nôtres. Les yeux des axolotls me parlaient de la présence d’une vie différente, d’une autre façon de regarder. Je collais mon visage à la vitre (le gardien, inquiet, toussait de temps en temps) pour mieux voir les tout petits points dorés, cette ouverture sur le monde infiniment lent et éloigné des bêtes roses. Inutile de frapper du doigt contre la vitre, sous leur nez, jamais la moindre réaction. Les yeux d’or continuaient à brûler de leur douce et terrible lumière, continuaient à me regarder du fond d’un abîme insondable qui me donnait le vertige.

 

Et cependant les axolotls étaient proches de nous. Je le savais avant même de devenir un axolotl. Je le sus dès le jour où je m’approchai d’eux pour la première fois. Les traits anthropomorphiques d’un singe accusent la différence qu’il y a entre lui et nous, contrairement à ce que pensent la plupart des gens. L’absence totale de ressemblance entre un axolotl et un être humain me prouva que ma reconnaissance

était valable, que je ne m’appuyais pas sur des analogies faciles. Il y avait bien les petites mains. Mais un lézard a les mêmes mains et ne ressemble en rien à l’homme. Je crois que tout venait de la tête des axolotls, de sa forme triangulaire rose et de ses petits yeux d’or. Cela regardait et savait. Cela réclamait. Les axolotls n’étaient pas des animaux.

 

De là à tomber dans la mythologie, il n’y avait qu’un pas, facile à franchir, presque inévitable. Je finis par voir dans les axolotls une métamorphose qui n’arrivait pas à renoncer tout à fait à une mystérieuse humanité. Je les imaginais conscients, esclaves de leur corps, condamnés indéfiniment à un silence abyssal, à une méditation désespérée. Leur regard aveugle, le petit disque d’or inexpressif - et cependant terriblement lucide - me pénétrait comme un message : "Sauve-nous, sauve-nous." Je me surprenais en train de murmurer des paroles de consolation, de transmettre des espoirs puérils. Ils continuaient à me regarder, immobiles. Soudain les petites branches roses se dressaient sur leur tête, et je sentais à ce moment-là comme une douleur sourde. Ils me voyaient peut-être, ils captaient mes efforts pour pénétrer dans l’impénétrable de leur vie. Ce n’étaient pas des êtres humains mais jamais je ne m’étais senti un rapport aussi étroit entre des animaux et moi. Les axolotls étaient comme témoins de quelque chose et parfois ils devenaient de terribles juges. Je me trouvais ignoble devant eux, il y avait dans ces yeux transparents une si effrayante pureté. C’était des larves, mais larve veut dire masque et aussi fantôme. Derrière ces visages aztèques, inexpressifs, et cependant d’une cruauté implacable, quelle image attendait

son heure ?

 

Ils me faisaient peur. Je crois que sans la présence du gardien et des autres visiteurs je n’aurais jamais osé rester devant eux. " Vous les mangez des yeux ", me disait le gardien en riant, et il devait penser que je n’étais pas tout à fait normal. Il ne se rendait pas compte que c’était eux qui me dévoraient lentement des yeux, en un cannibalisme d’or. Loin d’eux je ne pouvais penser à autre chose, comme s’ils m’influençaient à distance. Je finis par y aller tous les jours et la nuit je les imaginais immobiles dans l’obscurité, avançant lentement une petite patte qui rencontrait soudain celle d’un autre. Leurs yeux voyaient peut-être la nuit et le jour pour eux n’avait pas de fin. Les yeux des axolotls n’ont pas de paupières.

 

Maintenant je sais qu’il n’y a rien eu d’étrange dans tout cela, que cela devait arriver. Ils me reconnaissaient un peu plus chaque matin quand je me penchais vers l’aquarium. Ils souffraient. Chaque fibre de mon corps enregistrait cette souffrance bâillonnée, cette torture rigide au fond de l’eau. Ils épiaient quelque chose, un lointain royaume aboli, un temps de liberté où le monde avait appartenu aux axolotls. Une expression aussi terrible qui arrivait à vaincre l’impassibilité forcée de ces visages de pierre contenait sûrement un message de douleur, la preuve de cette condamnation éternelle, de cet enfer liquide qu’ils enduraient. En vain essayai-je de me persuader que c’était ma propre sensibilité qui projetait sur les axolotls une conscience qu’ils n’avaient pas. Eux et moi nous savions. C’est pour cela que ce qui arriva n’est pas étrange. Je collais mon visage à la vitre de l’aquarium, mes yeux essayèrent une fois de plus de percer le mystère de ces yeux d’or sans iris et sans pupille. Je voyais de très près la tête d’un axolotl immobile contre la vitre. Puis mon visage s’éloigna et je compris. Une seule chose était étrange : continuer à penser comme avant, savoir. Quand j’en pris conscience, je ressentis l’horreur de celui qui s’éveille enterré vivant. Au-dehors, mon visage s’approchait à nouveau de la vitre, je voyais ma bouche aux lèvres serrées par l’effort que je faisais pour comprendre les axolotls. J’étais un axolotl et je venais de savoir en un éclair qu’aucune communication n’était possible. Il était hors de l’aquarium, sa pensée était une pensée hors de l’aquarium. Tout en le connaissant, tout en étant lui-même, j’étais un axolotl et j’étais dans mon monde. L’horreur venait de ce que - je le sus instantanément - je me croyais prisonnier dans le corps d’un axolotl, transféré en lui avec ma pensée d’homme, enterré vivant dans un axolotl, condamné à me mouvoir en toute lucidité parmi des créatures insensibles. Mais cette impression ne dura pas, une patte vint effleurer mon visage et en me tournant un peu je vis un axolotl à côté de moi qui me regardait et je compris que lui aussi savait, sans communication possible mais si clairement. Ou bien j’étais encore en l’homme, ou bien nous pensions comme des êtres humains, incapables de nous exprimer, limités à l’éclat doré de nos yeux qui regardaient ce visage d’homme collé à la vitre.

 

Il revint encore plusieurs fois mais il vient moins souvent à présent. Des semaines se passent sans qu’on le voie. Il est venu hier, il m’a regardé longuement et puis il est parti brusquement. Il me semble que ce n’est plus à nous qu’il s’intéresse, qu’il obéit plutôt à une habitude. Comme penser est la seule chose que je puisse faire, je pense beaucoup à lui. Pendant un certain temps nous avons continué d’être en communication lui et moi, et il se sentait plus que jamais lié au mystère qui l’obsédait. Mais les ponts sont coupés à présent, car ce qui était son obsession est devenu un axolotl, étranger à sa vie d’homme. Je crois qu’au début je pouvais encore revenir en lui, dans une certaine mesure - ah ! seulement dans une certaine

mesure - et maintenir éveillé son désir de mieux nous connaître. Maintenant je suis définitivement un axolotl et si je pense comme un être humain c’est tout simplement parce que les axolotls pensent comme les humains sous leur masque de pierre rose. Il me semble que j’étais arrivé à lui communiquer cette vérité, les premiers jours, lorsque j’étais encore en lui. Et dans cette solitude finale vers laquelle il ne revient déjà plus, cela me console de penser qu’il va peut-être écrire quelque chose sur nous ; il croira qu’il invente un conte et il écrira tout cela sur les axolotls.

 

Julio Cortázar (1914-1984)

NEDERLAND, NETHERLANDS, HOLLAND, PAYS-BAS, HOLANDA, PAISES BAJOS, Barendrecht, Un pueblo llamado Barendrecht, A town called Barendrecht, Une ville appelée Barendrecht, LAGARTIJAS, LEZARDS , LIZARDS, HAGEDISSEN, ECHSEN, LAGARTO,

 

AXOLOTIS.-

 

There was a time when I thought a great deal about the axolotls. I went to see them in the aquarium at the Jardin des Plantes and stayed for hours watching them, observing their immobility, their faint movements. Now I am an axolotl.

 

I got to them by chance one spring morning when Paris was spreading its peacock tail after a slow wintertime. I was heading down tbe boulevard Port-Royal, then I took Saint-Marcel and L'Hôpital and saw green among all that grey and remembered the lions. I was friend of the lions and panthers, but had never gone into the dark, humid building that was the aquarium. I left my bike against tbe gratings and went to look at the tulips. The lions were sad and ugly and my panther was asleep. I decided on the aquarium, looked obliquely at banal fish until, unexpectedly, I hit it off with the axolotls. I stayed watching them for an hour and left, unable to think of anything else.

 

In the library at Sainte-Geneviève, I consulted a dictionary and learned that axolotls are the larval stage (provided with gills) of a species of salamander of the genus Ambystoma. That they were Mexican I knew already by looking at them and their little pink Aztec faces and the placard at the top of the tank. I read that specimens of them had been found in Africa capable of living on dry land during the periods of drought, and continuing their life under water when the rainy season came. I found their Spanish name, ajolote, and the mention that they were edible, and that their oil was used (no longer used, it said ) like cod-liver oil.

 

I didn't care to look up any of the specialized works, but the next day I went back to the Jardin des Plantes. I began to go every morning, morning and aftemoon some days. The aquarium guard smiled perplexedly taking my ticket. I would lean up against the iron bar in front of the tanks and set to watching them. There's nothing strange in this, because after the first minute I knew that we were linked, that something infinitely lost and distant kept pulling us together. It had been enough to detain me that first morning in front of the sheet of glass where some bubbles rose through the water. The axolotls huddled on the wretched narrow (only I can know how narrow and wretched) floor of moss and stone in the tank. There were nine specimens, and the majority pressed their heads against the glass, looking with their eyes of gold at whoever came near them. Disconcerted, almost ashamed, I felt it a lewdness to be peering at these silent and immobile figures heaped at the bottom of the tank. Mentally I isolated one, situated on the right and somewhat apart from the others, to study it better. I saw a rosy little body, translucent (I thought of those Chinese figurines of milky glass), looking like a small lizard about six inches long, ending in a fish's tail of extraordinary delicacy, the most sensitive part of our body. Along the back ran a transparent fin which joined with the tail, but what obsessed me was the feet, of the slenderest nicety, ending in tiny fingers with minutely human nails. And then I discovered its eyes, its face. Inexpressive features, with no other trait save the eyes, two orifices, like brooches, wholly of transparent gold, lacking any life but looking, letting themselves be penetrated by my look, which seemed to travel past the golden level and lose itself in a diaphanous interior mystery. A very slender black halo ringed the eye and etched it onto the pink flesh, onto the rosy stone of the head, vaguely triangular, but with curved and triangular sides which gave it a total likeness to a statuette corroded by time. The mouth was masked by the triangular plane of the face, its considerable size would be guessed only in profile; in front a delicate crevice barely slit the lifeless stone. On both sides of the head where the ears should have been, there grew three tiny sprigs, red as coral, a vegetal outgrowth, the gills, I suppose. And they were the only thing quick about it; every ten or fifteen seconds the sprigs pricked up stiffly and again subsided. Once in a while a foot would barely move, I saw the diminutive toes poise mildly on the moss. It's that we don't enjoy moving a lot, and the tank is so cramped—we barely move in any direction and we're hitting one of the others with our tail or our head—difficulties arise, fights, tiredness. The time feels like it's less if we stay quietly.

 

It was their quietness that made me lean toward them fascinated the first time I saw the axolotls. Obscurely I seemed to understand their secret will, to abolish space and time with an indifferent immobility. I knew better later; the gill contraction, the tentative reckoning of the delicate feet on the stones, the abrupt swimming (some of them swim with a simple undulation of the body) proved to me that they were capable of escaping that mineral lethargy in which they spent whole hours. Above all else, their eyes obsessed me. In the standing tanks on either side of them, different fishes showed me the simple stupidity of their handsome eyes so similar to our own. The eyes of the axolotls spoke to me of the presence of a different life, of another way of seeing. Glueing my face to the glass (the guard would cough fussily once in a while), I tried to see better those diminutive golden points, that entrance to the infinitely slow and remote world of these rosy creatures. It was useless to tap with one finger on the glass directly in front of their faces; they never gave the least reaction. The golden eyes continued burning with their soft, terrible light; they continued looking at me from an unfathomable depth which made me dizzy.

 

And nevertheless they were close. I knew it before this, before being an axolotl. I learned it the day I came near them for the first time. The anthropomorphic features of a monkey reveal the reverse of what most people believe, the distance that is traveled from them to us. The absolute lack of similarity between axolotls and human beings proved to me that my recognition was valid, that I was not propping myself up with easy analogies. Only the little hands . . . But an eft, the common newt, has such hands also, and we are not at all alike. I think it was the axolotls' heads, that triangular pink shape with the tiny eyes of gold. That looked and knew. That laid the claim. They were not animals.

 

It would seem easy, almost obvious, to fall into mythology. I began seeing in the axolotls a metamorphosis which did not succeed in revoking a mysterious humanity. I imagined them aware, slaves of their bodies, condemned infinitely to the silence of the abyss, to a hopeless meditation. Their blind gaze, the diminutive gold disc without expression and nonetheless terribly shining, went through me like a message: "Save us, save us." I caught myself mumbling words of advice, conveying childish hopes. They continued to look at me, immobile; from time to time the rosy branches of the gills stiffened. In that instant I felt a muted pain; perhaps they were seeing me, attracting my strength to penetrate into the impenetrable thing of their lives. They were not human beings, but I had found in no animal such a profound relation with myself. The axolotls were like witnesses of something, and at times like horrible judges. I felt ignoble in front of them; there was such a terrifying purity in those transparent eyes. They were larvas, but larva means disguise and also phantom. Behind those Aztec faces, without expression but of an implacable cruelty, what semblance was awaiting its hour?

 

I was afraid of them. I think that had it not been for feeling the proximity of other visitors and the guard, I would not have been bold enough to remain alone with them. "You eat them alive with your eyes, hey," the guard said, laughing; he likely thought I was a little cracked. What he didn't notice was that it was they devouring me slowly with their eyes, in a cannibalism of gold. At any distance from the aquarium, I had only to think of them, it was as though I were being affected from a distance. It got to the point that I was going every day, and at night I thought of them immobile in the darkness, slowly putting a hand out which immediately encountered another. Perhaps their eyes could see in the dead of night, and for them the day continued indefinitely. The eyes of axolotls have no lids.

 

I know now that there was nothing strange, that that had to occur. Leaning over in front of the tank each morning, the recognition was greater. They were suffering, every fiber of my body reached toward that stifled pain, that stiff torment at the bottom of the tank. They were lying in wait for something, a remote dominion destroyed, an age of liberty when the world had been that of the axolotls. Not possible that such a terrible expression which was attaining the overthrow of that forced blankness on their stone faces should carry any message other than one of pain, proof of that eternal sentence, of that liquid hell they were undergoing. Hopelessly, I wanted to prove to myself that my own sensibility was projecting a nonexistent consciousness upon the axolotls. They and I knew. So there was nothing strange in what happened. My face was pressed against the glass of the aquarium, my eyes were attempting once more to penetrate the mystery of those eyes of gold without iris, without pupil. I saw from very close up the face of an axolotl immobile next to the glass. No transition and no surprise, I saw my face against the glass, I saw it on the outside of the tank, I saw it on the other side of the glass. Then my face drew back and I understood.

 

Only one thing was strange: to go on thinking as usual, to know. To realize that was, for the first moment, like the horror of a man buried alive awaking to his fate. Outside, my face came close to the glass again, I saw my mouth, the lips compressed with the effort of understanding the axolotls. I was an axolotl and now I knew instantly that no understanding was possible. He was outside the aquarium, his thinking was a thinking outside the tank. Recognizlng him, being him himself, I was an axolotl and in my world. The horror began—I learned in the same moment —of believing myself prisoner in the body of an axolotl, metamorphosed into him with my human mind intact, buried alive in an axolotl, condemned to move lucidly among unconscious creatures. But that stopped when a foot just grazed my face, when I moved just a little to one side and saw an axolotl next to me who was looking at me, and understood that he knew also, no communication possible, but very clearly. Or I was also in him, or all of us were thinking humanlike, incapable of expression, limited to the golden splendor of our eyes looking at the face of the man pressed against the aquarium.

 

He returned many times, but he comes less often now. Weeks pass without his showing up. I saw him yesterday, he looked at me for a long time and left briskly. It seemed to me that he was not so much interested in us any more, that he was coming out of habit. Since the only thing I do is think, I could think about him a lot. It occurs to me that at the beginning we continued to communicate, that he felt more than ever one with the mystery which was claiming him. But the bridges were broken between him and me, because what was his obsession is now an axolotl, alien to his human life. I think that at the beginning I was capable of returning to him in a certain way—ah, only in a certain way—and of keeping awake his desire to know us better. I am an axolotl for good now, and if I think like a man it's only because every axolotl thinks like a man inside his rosy stone semblance. I believe that all this succeeded in communicating something to him in those first days, when I was still he. And in this final solitude to which he no longer comes, I console myself by thinking that perhaps he is going to write a story about us, that, believing he's making up a story, he's going to write all this about axolotls.

  

Il fut une époque où je pensais beaucoup aux axolotls. J’allais les voir à l’aquarium du Jardin des Plantes et je passais des heures à les regarder, à observer leur immobilité, leurs mouvements obscurs. Et maintenant je suis un axolotl. Le hasard me conduisit vers eux un matin de printemps où Paris déployait sa queue de paon après le lent hiver. Je descendis le boulevard Saint-Marcel, celui de l’hôpital, je vis les premiers verts parmi tout le gris et je me souvins des lions. J’étais très amis des lions et des panthères, mais je n’étais jamais entré dans l’enceinte humide et sombre des aquariums. Je laissai ma bicyclette contre les grilles et j’allais voir les tulipes. Les lions étaient laids et tristes et ma panthère dormait. Je me décidai pour les aquariums et, après avoir regardé avec indifférence des poissons ordinaires, je tombai par hasard sur les axolotls. Je passai une heure à les regarder, puis je partis, incapable de penser à autre chose.

 

À la bibliothèque Sainte-Geneviève je consultai un dictionnaire et j’appris que les axolotls étaient les formes larvaires, pourvues de branchies, de batraciens du genre amblystone. Qu’ils étaient originaires du Mexique, je le savais déjà, rien qu’à voir leur petit visage aztèque. Je lus qu’on en avait trouvé des spécimens en Afrique capables de vivre hors de l’eau pendant les périodes de sécheresse et qui reprenaient leur vie normale à la saison des pluies. On donnait leur nom espagnol, ajolote, on signalait qu’ils étaient comestibles et qu’on utilisait leur huile (on ne l’utilise plus) comme l’huile de foie de morue.

 

Je ne voulus pas consulter d’ouvrages spécialisés mais je revins le jour suivant au jardin des Plantes. Je pris l’habitude d’y aller tous les matins, et parfois même matin et soir. Le gardien des aquariums souriait d’un air perplexe en prenant mon ticket. Je m’appuyais contre la barre de fer qui borde les aquariums et je regardais les axolotls. Il n’y avait rien d’étrange à cela ; dès le premier instant j’avais senti que quelque chose me liait à eux, quelque chose d’infiniment lointain et oublié qui cependant nous unissait encore. Il m’avait suffit de m’arrêter un matin devant cet aquarium où des bulles couraient dans l’eau. Les axolotls s’entassaient sur l’étroit et misérable (personne mieux que moi ne sait à quel point il est étroit et misérable) fond de pierre et de mousse. Il y en avait neuf, la plupart d’entre eux appuyaient leur tête contre la vitre et regardaient de leurs yeux d’or ceux qui s’approchaient. Troublé, presque honteux, je trouvais qu’il y avait de l’impudeur à se pencher sur ces formes silencieuses et immobiles entassées au fond de l’aquarium. Mentalement, j’en isolai un, un peu à l’écart sur la droite, pour mieux l’étudier. Je vis un petit corps rose, translucide (je pensai aux statuettes chinoises en verre laiteux), semblable à un petit lézard de quinze centimètres, terminé par une queue de poisson d’une extraordinaire délicatesse - c’est la partie la plus sensible de notre corps. Sur son dos, une nageoire transparente se rattachait à la queue ; mais ce furent les pattes qui me fascinèrent, des pattes d’une incroyable finesse, terminés par de tout petits doigts avec des ongles - absolument humains, sans pourtant avoir la forme de la main humaine - mais comment aurais-je pu ignorer qu’ils étaient humains ? c’est alors que je découvris leurs yeux, leur visage. Un visage inexpressif sans autre trait que les yeux, deux orifices comme des têtes d’épingles entièrement d’or transparent, sans aucune vie, mais qui regardaient et qui se laissaient pénétrer par mon regard qui passait à travers le point doré et se perdait dans un mystère diaphane. Un très mince halo noir entourait l’oeil et l’inscrivait dans la chair rose, dans la pierre rose de la tête vaguement triangulaire, au contours courbes et irréguliers, qui la faisaient ressembler à une statue rongée par le temps. La bouche était dissimulée par le plan triangulaire de la tête et ce n’est que de profil que l’on s’apercevait qu’elle était très grande. Vue de face, c’était une fine rainure, comme une fissure dans de l’albâtre. De chaque côté de la tête, à la place des oreilles, se dressaient de très petites branches rouges comme du corail, une excroissance végétale, les branchies, je suppose. C’était la seule chose qui eût l’air vivante dans ce corps. Chaque vingt secondes elles se dressaient, toutes raides, puis s’abaissaient de nouveau. Parfois une patte bougeait, à peine, et je voyais les doigts minuscules se poser doucement sur la mousse. C’est que nous n’aimons pas beaucoup bouger, l’aquarium est si étroit ; si peu que nous remuions nous heurtons la tête ou la queue d’un autre ; il s’ensuit des difficultés, des disputes, de la fatigue. Le temps se sent moins si l’on reste immobile.

 

Ce fut leur immobilité qui me fit me pencher vers eux, fasciné, la première fois que je les vis. Il me sembla comprendre obscurément leur volonté secrète : abolir l’espace et le temps par une immobilité pleine d’indifférence. Par la suite, j’appris à mieux les comprendre, les branchies qui se contractent, les petites pattes fines qui tâtonnent sur les pierres, leurs fuites brusques (ils nagent par une simple ondulation du corps) me prouvèrent qu’ils étaient capables de s’évader de cette torpeur minérale où ils passaient des heures entières. Leurs yeux surtout m’obsédaient. A côté d’eux, dans les autres aquariums, des poissons me montraient la stupide simplicité de leurs beaux yeux semblables aux nôtres. Les yeux des axolotls me parlaient de la présence d’une vie différente, d’une autre façon de regarder. Je collais mon visage à la vitre (le gardien, inquiet, toussait de temps en temps) pour mieux voir les tout petits points dorés, cette ouverture sur le monde infiniment lent et éloigné des bêtes roses. Inutile de frapper du doigt contre la vitre, sous leur nez, jamais la moindre réaction. Les yeux d’or continuaient à brûler de leur douce et terrible lumière, continuaient à me regarder du fond d’un abîme insondable qui me donnait le vertige.

 

Et cependant les axolotls étaient proches de nous. Je le savais avant même de devenir un axolotl. Je le sus dès le jour où je m’approchai d’eux pour la première fois. Les traits anthropomorphiques d’un singe accusent la différence qu’il y a entre lui et nous, contrairement à ce que pensent la plupart des gens. L’absence totale de ressemblance entre un axolotl et un être humain me prouva que ma reconnaissance

était valable, que je ne m’appuyais pas sur des analogies faciles. Il y avait bien les petites mains. Mais un lézard a les mêmes mains et ne ressemble en rien à l’homme. Je crois que tout venait de la tête des axolotls, de sa forme triangulaire rose et de ses petits yeux d’or. Cela regardait et savait. Cela réclamait. Les axolotls n’étaient pas des animaux.

 

De là à tomber dans la mythologie, il n’y avait qu’un pas, facile à franchir, presque inévitable. Je finis par voir dans les axolotls une métamorphose qui n’arrivait pas à renoncer tout à fait à une mystérieuse humanité. Je les imaginais conscients, esclaves de leur corps, condamnés indéfiniment à un silence abyssal, à une méditation désespérée. Leur regard aveugle, le petit disque d’or inexpressif - et cependant terriblement lucide - me pénétrait comme un message : "Sauve-nous, sauve-nous." Je me surprenais en train de murmurer des paroles de consolation, de transmettre des espoirs puérils. Ils continuaient à me regarder, immobiles. Soudain les petites branches roses se dressaient sur leur tête, et je sentais à ce moment-là comme une douleur sourde. Ils me voyaient peut-être, ils captaient mes efforts pour pénétrer dans l’impénétrable de leur vie. Ce n’étaient pas des êtres humains mais jamais je ne m’étais senti un rapport aussi étroit entre des animaux et moi. Les axolotls étaient comme témoins de quelque chose et parfois ils devenaient de terribles juges. Je me trouvais ignoble devant eux, il y avait dans ces yeux transparents une si effrayante pureté. C’était des larves, mais larve veut dire masque et aussi fantôme. Derrière ces visages aztèques, inexpressifs, et cependant d’une cruauté implacable, quelle image attendait

son heure ?

 

Ils me faisaient peur. Je crois que sans la présence du gardien et des autres visiteurs je n’aurais jamais osé rester devant eux. " Vous les mangez des yeux ", me disait le gardien en riant, et il devait penser que je n’étais pas tout à fait normal. Il ne se rendait pas compte que c’était eux qui me dévoraient lentement des yeux, en un cannibalisme d’or. Loin d’eux je ne pouvais penser à autre chose, comme s’ils m’influençaient à distance. Je finis par y aller tous les jours et la nuit je les imaginais immobiles dans l’obscurité, avançant lentement une petite patte qui rencontrait soudain celle d’un autre. Leurs yeux voyaient peut-être la nuit et le jour pour eux n’avait pas de fin. Les yeux des axolotls n’ont pas de paupières.

 

Maintenant je sais qu’il n’y a rien eu d’étrange dans tout cela, que cela devait arriver. Ils me reconnaissaient un peu plus chaque matin quand je me penchais vers l’aquarium. Ils souffraient. Chaque fibre de mon corps enregistrait cette souffrance bâillonnée, cette torture rigide au fond de l’eau. Ils épiaient quelque chose, un lointain royaume aboli, un temps de liberté où le monde avait appartenu aux axolotls. Une expression aussi terrible qui arrivait à vaincre l’impassibilité forcée de ces visages de pierre contenait sûrement un message de douleur, la preuve de cette condamnation éternelle, de cet enfer liquide qu’ils enduraient. En vain essayai-je de me persuader que c’était ma propre sensibilité qui projetait sur les axolotls une conscience qu’ils n’avaient pas. Eux et moi nous savions. C’est pour cela que ce qui arriva n’est pas étrange. Je collais mon visage à la vitre de l’aquarium, mes yeux essayèrent une fois de plus de percer le mystère de ces yeux d’or sans iris et sans pupille. Je voyais de très près la tête d’un axolotl immobile contre la vitre. Puis mon visage s’éloigna et je compris. Une seule chose était étrange : continuer à penser comme avant, savoir. Quand j’en pris conscience, je ressentis l’horreur de celui qui s’éveille enterré vivant. Au-dehors, mon visage s’approchait à nouveau de la vitre, je voyais ma bouche aux lèvres serrées par l’effort que je faisais pour comprendre les axolotls. J’étais un axolotl et je venais de savoir en un éclair qu’aucune communication n’était possible. Il était hors de l’aquarium, sa pensée était une pensée hors de l’aquarium. Tout en le connaissant, tout en étant lui-même, j’étais un axolotl et j’étais dans mon monde. L’horreur venait de ce que - je le sus instantanément - je me croyais prisonnier dans le corps d’un axolotl, transféré en lui avec ma pensée d’homme, enterré vivant dans un axolotl, condamné à me mouvoir en toute lucidité parmi des créatures insensibles. Mais cette impression ne dura pas, une patte vint effleurer mon visage et en me tournant un peu je vis un axolotl à côté de moi qui me regardait et je compris que lui aussi savait, sans communication possible mais si clairement. Ou bien j’étais encore en l’homme, ou bien nous pensions comme des êtres humains, incapables de nous exprimer, limités à l’éclat doré de nos yeux qui regardaient ce visage d’homme collé à la vitre.

 

Il revint encore plusieurs fois mais il vient moins souvent à présent. Des semaines se passent sans qu’on le voie. Il est venu hier, il m’a regardé longuement et puis il est parti brusquement. Il me semble que ce n’est plus à nous qu’il s’intéresse, qu’il obéit plutôt à une habitude. Comme penser est la seule chose que je puisse faire, je pense beaucoup à lui. Pendant un certain temps nous avons continué d’être en communication lui et moi, et il se sentait plus que jamais lié au mystère qui l’obsédait. Mais les ponts sont coupés à présent, car ce qui était son obsession est devenu un axolotl, étranger à sa vie d’homme. Je crois qu’au début je pouvais encore revenir en lui, dans une certaine mesure - ah ! seulement dans une certaine

mesure - et maintenir éveillé son désir de mieux nous connaître. Maintenant je suis définitivement un axolotl et si je pense comme un être humain c’est tout simplement parce que les axolotls pensent comme les humains sous leur masque de pierre rose. Il me semble que j’étais arrivé à lui communiquer cette vérité, les premiers jours, lorsque j’étais encore en lui. Et dans cette solitude finale vers laquelle il ne revient déjà plus, cela me console de penser qu’il va peut-être écrire quelque chose sur nous ; il croira qu’il invente un conte et il écrira tout cela sur les axolotls.

 

Julio Cortázar (1914-1984)

 

Leamington is a municipality in Essex County, Ontario, Canada. With a population of 28,403, it is the second largest municipality in the Windsor-Essex County area (after the separated municipality of Windsor, Ontario). It includes Point Pelee, the southernmost point of mainland Canada.

 

Known as the "Tomato Capital of Canada", it is the location of a tomato processing factory owned by Highbury-Canco, previously owned until 2014 by the Heinz Company. Due to its location in the southernmost part of Canada, Leamington uses the motto "Sun Parlour of Canada". In 2006, MoneySense Magazine ranked Leamington as the No. 1 best place to live in Canada.

 

Leamington enjoys the second warmest climate in Canada, after the Lower Mainland of British Columbia.

 

Leamington has been known for its tourism and attractions and is known as the tomato capital of Canada. Leamington's attractions include cycle paths and nearby Point Pelee National Park. Leamington also has a large and modern marina. The town's water tower, visible for miles in the flat southern Ontario landscape, is also in the shape and colour of a giant tomato. Celebrating its position as an agricultural powerhouse and its heritage as the H. J. Heinz Company's centre for processing "red goods," the city hosts a "Tomato Festival" each August, as a kickoff of the tomato-harvesting season. Car shows, beauty pageants, parades, and a fair are featured at the festival.

 

Leamington's position on the north shore of Lake Erie makes it an important recreational centre. The tourist information booth in the centre of town is a large fiberglass tomato.

 

Leamington is also home to Point Pelee National Park, which contains the southernmost point on mainland Canada and draws thousands of visitors annually and is also home to one of the largest migrations of Monarch butterflies annually.

 

Known as the tomato capital of Canada, Leamington became the home of the H. J. Heinz factory in 1908. The Heinz products are shipped from Leamington, with English and French labels, mostly to the United States. Ketchup and baby food are the main products. In November 2013 Heinz announced that it would close the Leamington plant in 2014, meaning job losses for 740 employees at the plant and hundreds more support workers.

 

Due to a 54-year-old law in Canada, which bans the use of tomato paste in tomato juice, Highbury Canco still produces tomato juice and other products for Heinzs. Around 250 workers still process canned products at the over 100 year old factory.

 

Leamington has also been known for its greenhouses, and now has the largest concentration of commercial greenhouses in all of North America, with 1,969 acres (797 ha) of greenhouse vegetable production in the general area. Major products of the greenhouse industry, in addition to tomatoes, are peppers, cucumbers, roses, and other flowers. Hydroponic farming has been very successfully adopted by many greenhouse operators in Leamington. Historically, tobacco was an important crop in the area, but tobacco production declined in the 1960s and today is virtually nonexistent.

 

Migrant workers, mostly Mexican and Caribbean seasonal labourers, annually arrive in the region to work in Leamington's greenhouses and farms. Several Mexican and Jamaican shops and a Mexican consulate have opened to service the migrants.

 

en.wikipedia.org/wiki/Leamington,_Ontario

 

en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...

"Friday the 13th - Better Than Monday Whatever"

 

marketplace.secondlife.com/p/CHILLaXe-Friday-13th-Shorts/...

 

Swap your Monday blues for some Friday thrills with these hilarious "Friday the 13th - Better Than Monday Whatever" shorts! Featuring an adorable Baby Jason donning his iconic hockey mask, these black shorts are perfect for those who prefer their scares cute and their Mondays nonexistent. Whether you're chilling at home plotting your next move or slashing through beach waves, these shorts will keep you comfy and ready for any mischief. Because honestly, Mondays has nothing on Friday....😈🎃

Spaceship Earth, the iconic and symbolic structure of Epcot, opened with the park in Future World in 1982. The 18-storym 180-foot tall geosphere, whose design was conceived by Wallace Floyd Design Group and completed by Simpson Gumpertz & Heger Inc., is derived from the Class 2 geodesic polyhedron. Each face of the polyhedron is divided into three isosceles triangles to form each point—with, in theory, 11,520 triangles forming 3,840 points (some are nonexistent due to supports and doors). The 15,520,000 pound sphere, with a circumference of 518.1 feet and a diameter of 165 feet, is raised 18-feet off the ground by three pylons sunk more than 120-feet into the ground.

 

Inside the sphere, guests take a 15-minute dark Omnimover ride in a "time machine" to learn how advancements in communication have helped create the future. Narrators have included Lawrence Dobkin, Walter Cronkite, Jeremy Irons and now Dame Judi Dench.

🎵 singing in really creepy unison 🎶

 

🎵🎤 Come with us

Come be with us

We will be close to you

You will be one of us 🎶🎶

 

l-r:

Leafmon

A Slime Digimon which has a breath of fresh greens (a tiny leaf) on its tail. It has many of the elements of a plant and the composition of its body includes chlorophyll, so it photosynthesizes to grow. It possesses a leaf-shaped tail, and the leaf protects it from intense sunlight or when it is raining. Due to its pure nature, it doesn't distrust others even if they are frightening. However, it is just a little bit shy. As it was just born it is unable to battle, but its innocent spirit, overflowing with vitality, can make the surrounding people remember pure feelings that were forgotten, wrapping them in a calm air. However, if one tries to mess with it too much, it will spit acidic bubbles to intimidate them.

 

Pururumon

A Slime Digimon with a chubby body similar to silicon, it jiggles flabbily when it crawls forward. Both of its small fins are unexpectedly handy, but to be absolutely precise it is not yet able to fly. As it loves the smell of the sun, on days with good weather it lies sprawled on the lawn and smells the scent of grass with a sniff, immersing it in a good mood. If it gets in a pinch, it foams out acidic bubbles and covers the opponent in them, then seizes the opportunity to flee.

 

Tsubumon

A Baby Digimon which has an appearance like a seed, although it is not a Plant-species Digimon. It cannot fly, but it is able to move over land, water, or anywhere, while hopping and bouncing, and it is said that there is no place where Tsubumon cannot move through. However, because of its small body it is sent flying on days with a strong wind, and as a result of that it is often mistaken for a Plant-species. With its Signature Move "San no Awa", it drives off the opponent.

 

Chicomon

A small, blue-colored, Dragon Digimon child. Although it is small and powerless, it has the potential to evolve to every Dragon Digimon. For that reason, it is a Digimon that is considered exceedingly valuable by tamers and researchers of Dragon Digimon. It is cherished due to its personality of friendliness and overflowing curiosity, characteristic of Baby Digimon. Just like other Baby Digimon, it spits acidic bubbles to attack, but as usual, their power is nonexistent.

 

Yukimi Botamon

A Baby Digimon whose whole body is covered in fluffy, white hair. It is considered a species of Botamon, and was named "Yukimi Botamon" after its white body, but the details are not clearly known. It is weak to heat, and tends to prefer cold places, so its body feels cold to the touch. Its attack technique is breathing out freezing cold air (Diamond Dust). When Yukimi Botamon exhales, the moisture in the air freezes, and falls while brilliantly glittering.

__________________________

A year of the shows and performers of the Bijou Planks Theater.

A nonexistent creature made from Playdoh, marbles and Photoshop

Rare in Nl. Photo taken on heathland, Zilvense heide near Loenen.

 

Oedipoda caerulescens is a medium-sized grasshopper, between 15 and 21 mm for males and between 22 to 28 mm for females. The body coloration varies greatly depending on the substrate on which the animals have developed: reddish brown, gray, yellowish, or even completely dark or bright. The forewings are crossed most often by two or three pale bands, but the most striking characteristic, very visible when the insect flies away, is the bright coloration of the hind wings, a beautiful turquoise highlighted with a black marginal stripe. Furthermore, the posterior femora have a notch on their upper surface. At rest, confusion is possible with other Oedipoda species such as O. germanica.

 

Oedipoda caerulescens frequents dry areas with low and open vegetation: dunes, heathlands, grasslands on sand and sunlit limestone rocks. Many stations correspond to land recently used for human activities, such as coal spoil heaps, quarries and pits, the ballast of railway tracks, etc. It is exclusively a terrestrial insect, and its cryptic coloration often matches its substrate. The female lays her eggs in bare, dry soil. In this species, acoustic emissions are virtually nonexistent. The diet consists mainly of grasses.

We got off our coach (after a mornings tour around Seville) and headed for the Alcazar! We didn't go on the boat trip, so we followed the tour guide towards the Cathedral, before we made our own way to the Alcazar.

 

On Av de la Constitucion in Seville facing the cathedral and The Archivo General de Indias.

 

Metro Centro

 

Metrocenter is the T1 line tram operated by TUSSAM running down the center of the city of Seville ( Spain ). Binds the exchanger of San Bernardo station to Plaza Nueva , with a distance of 2.2 km .

 

The first phase opened on October 28th of 2007 , while the second phase (opened on April 15 of 2011 ) extends the route from San Bernardo Prado up to connect to the Metro and Cercanías Renfe.

 

In the tram are valid both urban bus pass in any modality, and the Metropolitan Intermodal Transport Consortium card.

  

The tram stop is the Archivo de Indias.

 

Metro Centro tram no 303.

 

Near the Edificio Coliseo España.

 

Edificio Coliseo España

 

The Colosseum Spain, has become an icon in the new Constitution Avenue. The building has gone through many experiences throughout its history, some speak of monumentality and glamor, others neglect and contempt.

 

The roaring twenties, led to the arrival of new services Sevilla hitherto nonexistent, and many public and private buildings, hotels, fire stations, train stations and of course, cinemas and theaters arise. This was done the Teatro Coliseo Cinema Spain, a building that would house something as modern as the film, but without forgetting the Sevillian touch. The film would not get a plot in the Seville and Andalusian architecture well into the thirties, where Deco architecture was chosen.

 

Currently used as offices of the Board of Andalucia

Lake Ronkonkoma Long Island New York 11779 USA August 2020

 

Lake Ronkonkoma, Long Island's largest freshwater lake, is in Suffolk County, New York, United States, and has a circumference of about 2 miles (3.2 km), and is 0.65 miles (1.05 km) across on average. A kettle lake formed by retreating glaciers, it is owned by the Town of Islip under the terms of the Nichols Patent. The land around it is controlled by three town governments - Smithtown, Islip and Brookhaven. The name Ronkonkoma comes from an Algonquian expression meaning "boundary fishing-lake", also earlier written as Raconkumake and Raconkamuck

  

Lake Ronkonkoma served as a boundary between lands occupied by four Native American communities: Nissequogues Setaukets Secatogues and Unkechaugs

 

The lake was created by a retreating glacier.

 

The primary gamefish is bass

 

The most prevalent legend is about Princess Ronkonkoma, an Indian princess who died at the lake in the mid-1600s. One version of the story is that she was walking across the ice one winter when she met and fell in love with an English woodcutter named Hugh Birdsall, who lived across the lake. However, her father—chief of the Setauket tribe—forbade their relationship. So every day for 7 years, she would write letters on pieces of bark, row to the middle of the lake, and float the letters across the lake to Hugh. Then, after all those years of being kept apart from her love, she rowed to the middle of the lake and stabbed herself to death.

 

There are variations on this particular story, such as that the princess drowned herself after learning about her lover's death, and that her body washed up in Connecticut (which ties into the idea that the lake is bottomless, and that there are underground channels to other lakes). While there's no proof the princess ever existed, Hugh Birdsall was a real person who eventually moved back to England and got married there.

 

In any case, the story goes that she claims a boy's life every year either to avenge her lover's death, or to try to find herself a soulmate in death. And the statistics back up this "curse": of all the recorded drownings on this lake, the vast majority have been young males.

 

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Dr. David S. Igneri was the head lifeguard at Lake Ronkonkoma for 32 summers, and says there were at least 30 deaths during that time, all males. On the program Weird U.S., which aired on the History Channel in 2005, Igneri explains that one of the biggest challenges was that visibility in the lake is nonexistent after about the first 10 feet; if anyone submerges lower than that, no one will be able to rescue the person because the lake becomes enveloped in total blackness.

 

In 1965, Igneri had a recurring nightmare about trying to complete a rescue. He dove deep into the lake and panicked because he lost his orientation. When he got to the surface, he heard fireworks. Although Igneri was not previously interested in the paranormal, he believed this dream was a warning that someone was going to drown on the Fourth of July. He warned his staff of 11 lifeguards—and sure enough, late that afternoon, an epileptic 15-year-old boy had a seizure and went down in the water. The lifeguards dove for 45 minutes and did everything they could, but could not find the boy. As Igneri swam back to the surface after his last dive, fireworks went off.

  

Author Michael R. Ebert, who must be the foremost authority on the legends of Lake Ronkonkoma. He published the spiral-bound book "The Curse of Lake Ronkonkoma" in 2002, and it is available at the Sachem, Connetquot and Smithtown libraries.

 

The first time he remembers hearing about the lake's "curse" was when he attended Ronkonkoma Junior High School in the early 1990s and one of his classmates drowned in the lake.

 

"If I remember correctly, he and some friends were supposedly drinking beer on a rowboat and were horsing around when he fell in and was unable to swim to shore due to his bulky winter clothes."

 

After Ebert's college graduation, he searched for more information about the lake's legends in local history books, but found little—which convinced him to write his own book. He spent about six months visiting libraries and the Lake Ronkonkoma Historical Society to research articles, maps and geographical studies dating back to the early 1900s.

 

In addition to the stories about Princess Ronkonkoma and the bottomless lake, Ebert also found several other mysteries, such as the way the lake rises and falls with no relation to local rainfall. "The Indians believed it to be the work of Manitos, the great spirit of the lake," he says. "One study showed that over 7 years in the early 1900s, the rainfall on Long Island was below the usual average by about 52 inches, yet the lake rose 7 feet."

 

Then there were the rumors of "healing properties" of the lake, supposedly started by a Brooklyn businessman who wanted to capitalize on the lake's appeal as a local tourist attraction in the 1900s. "The guy even reportedly sold 'lake juice' in small vials, and I found an old ad promoting the lake as a health resort that cured diseases," says Ebert.

 

So whether you believe the lake will heal what ails you, or that a vengeful princess spirit is out there waiting to drown you, there's no denying that Lake Ronkonkoma is one of Long Island's most whispered-about points of interest.

 

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Lake Ronkonkoma Long Island New York 11779 USA August 2020

 

Lake Ronkonkoma, Long Island's largest freshwater lake, is in Suffolk County, New York, United States, and has a circumference of about 2 miles (3.2 km), and is 0.65 miles (1.05 km) across on average. A kettle lake formed by retreating glaciers, it is owned by the Town of Islip under the terms of the Nichols Patent. The land around it is controlled by three town governments - Smithtown, Islip and Brookhaven. The name Ronkonkoma comes from an Algonquian expression meaning "boundary fishing-lake", also earlier written as Raconkumake and Raconkamuck

  

Lake Ronkonkoma served as a boundary between lands occupied by four Native American communities: Nissequogues Setaukets Secatogues and Unkechaugs

 

The lake was created by a retreating glacier.

 

The primary gamefish is bass

 

The most prevalent legend is about Princess Ronkonkoma, an Indian princess who died at the lake in the mid-1600s. One version of the story is that she was walking across the ice one winter when she met and fell in love with an English woodcutter named Hugh Birdsall, who lived across the lake. However, her father—chief of the Setauket tribe—forbade their relationship. So every day for 7 years, she would write letters on pieces of bark, row to the middle of the lake, and float the letters across the lake to Hugh. Then, after all those years of being kept apart from her love, she rowed to the middle of the lake and stabbed herself to death.

 

There are variations on this particular story, such as that the princess drowned herself after learning about her lover's death, and that her body washed up in Connecticut (which ties into the idea that the lake is bottomless, and that there are underground channels to other lakes). While there's no proof the princess ever existed, Hugh Birdsall was a real person who eventually moved back to England and got married there.

 

In any case, the story goes that she claims a boy's life every year either to avenge her lover's death, or to try to find herself a soulmate in death. And the statistics back up this "curse": of all the recorded drownings on this lake, the vast majority have been young males.

 

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Dr. David S. Igneri was the head lifeguard at Lake Ronkonkoma for 32 summers, and says there were at least 30 deaths during that time, all males. On the program Weird U.S., which aired on the History Channel in 2005, Igneri explains that one of the biggest challenges was that visibility in the lake is nonexistent after about the first 10 feet; if anyone submerges lower than that, no one will be able to rescue the person because the lake becomes enveloped in total blackness.

 

In 1965, Igneri had a recurring nightmare about trying to complete a rescue. He dove deep into the lake and panicked because he lost his orientation. When he got to the surface, he heard fireworks. Although Igneri was not previously interested in the paranormal, he believed this dream was a warning that someone was going to drown on the Fourth of July. He warned his staff of 11 lifeguards—and sure enough, late that afternoon, an epileptic 15-year-old boy had a seizure and went down in the water. The lifeguards dove for 45 minutes and did everything they could, but could not find the boy. As Igneri swam back to the surface after his last dive, fireworks went off.

  

Author Michael R. Ebert, who must be the foremost authority on the legends of Lake Ronkonkoma. He published the spiral-bound book "The Curse of Lake Ronkonkoma" in 2002, and it is available at the Sachem, Connetquot and Smithtown libraries.

 

The first time he remembers hearing about the lake's "curse" was when he attended Ronkonkoma Junior High School in the early 1990s and one of his classmates drowned in the lake.

 

"If I remember correctly, he and some friends were supposedly drinking beer on a rowboat and were horsing around when he fell in and was unable to swim to shore due to his bulky winter clothes."

 

After Ebert's college graduation, he searched for more information about the lake's legends in local history books, but found little—which convinced him to write his own book. He spent about six months visiting libraries and the Lake Ronkonkoma Historical Society to research articles, maps and geographical studies dating back to the early 1900s.

 

In addition to the stories about Princess Ronkonkoma and the bottomless lake, Ebert also found several other mysteries, such as the way the lake rises and falls with no relation to local rainfall. "The Indians believed it to be the work of Manitos, the great spirit of the lake," he says. "One study showed that over 7 years in the early 1900s, the rainfall on Long Island was below the usual average by about 52 inches, yet the lake rose 7 feet."

 

Then there were the rumors of "healing properties" of the lake, supposedly started by a Brooklyn businessman who wanted to capitalize on the lake's appeal as a local tourist attraction in the 1900s. "The guy even reportedly sold 'lake juice' in small vials, and I found an old ad promoting the lake as a health resort that cured diseases," says Ebert.

 

So whether you believe the lake will heal what ails you, or that a vengeful princess spirit is out there waiting to drown you, there's no denying that Lake Ronkonkoma is one of Long Island's most whispered-about points of interest.

 

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In Japanese mythology the primal female, Izanami (top left), "the female inviter", who together with the primal male, Izanagi, created the first entities - the islands of Japan, mountains and finally fire, at which point she died and went to the underworld.

 

Such was her partners mourning, he spoke to himself liberally, that he decided to go to the underworld to get her out. Despite her warning he looked at Izanami, and saw that she was dead! This should not have been a surprise, but he was horrified and fled. Izanami gave chase and the two parted at the gates of hell with the following promise.

 

Inazami: "If you trap me in the underworld with that rock I will kill 1000 children a day"

 

Inazagi: "I will make 1500 parturition huts (where Japanese women go in myth and reality to give birth)."

 

Like the myth of the Fall, in Genesis, this creation myth has a taboo (on birth hence the "parturition huts" rather than fig leaves hiding sex) and explains the origin of death, the separation of two worlds, and the beginning of going forth and multiplying.

 

The Japanese population has increased ever since, until, five years ago, when in 2010 it started to fall. It occurred to me that Izanami must be out and about. But I did not know what that might mean.

 

More recently I have tended to believe that these primal females that are shut in caves, hell or our breasts, are the interlocutors that some Western psychologists and philosophers claim underpins the narrative self. I met her a long time ago, in a brief moment of psychosis and presumed it was only me. Still more recently I have seen that Freud and Derrida are hinting at the same structure. It is not only me. Izanami is listening to everyone who talks 'to themselves'.

 

Who was she? Izanami helps her partner drip brine from his "pond lance" to create the first "self-stiffening" island. She accepts (but must not give) invitations to sex. When she invites the results are disasterous, so she just says yes, "Ah! what a fair and lovely man!". Izanami affirms. Until that her partner realised that she was dead, Izanami made him feel really good about himself. She completed him. Izanami is the great male-ego-massager.

 

This is what the narrative self does for you. Our self-narratives allow us to spin self-evaluations in a positive direction, and in the West this tendency has spun out of control (Twenge & Campbell, 2009; Ehrenreich, 2009, Dawes, 1994). While there are still lots of people with low self esteem the USA, and they are maintaining the birth rate, it has been pointed out that self-esttem correlates with low teen pregnancy, (Mecca, Smelser, & Vasconcellos, 1989), high use of contraceptives (Ager, Shea, & Agronow, 1982; Cvetkovich & Grote 1980: Herold, Goodwin, & Lero 1979; Hornick, Doran, & Crawford 1979: see Mecca, Smelser, & Vasconcellos, 1989) and the singles culture that has exploded since the 1960's and 70s in the USA (Twenge & Campbell, 2009) .

 

A Japanese television presenter (Hasegawa, 2014) has made a similar claim regarding the declinging birth rate in Japan. "The decline in the Japanese birth rate does not stop because young people love themselves more than raising children." (日本の少子化が止まらないのは、若者が子育てよりも自分のことが大好きだから).

 

The opinion of one commentator is all very well but what about hard research?

 

Nagahisa, Kashiwa, (2003) gave adult married women a questionnaire about how they felt about their lives containing containing 21 questions (Table 3, p 42 bottom three factors shown), upon which they performed an exploratory factor analysis to see which items grouped with which others. They found that there were four main factors in the womens lives which they named (reordered to match Table 4)

 

1) Satisfaction with husband

2) Satisfaction as parent.

3) Satisfaction with self.

4) Impatience and disillusment with own individuality.

 

Unfortunately for my theory, self-esteem correlates positively, and self-dillusionment negatively with satisfaction with parenthood. My hypothesis was not upheld. I thought that hypothesis may have been supported when I first started writing this since the factors are ordered differently in Table 3 and 4 in the original paper.

 

Still the paper tested satisfaction with parent child relationship and not the intention to have more or less children. I shall have to do my own research. The prediction is that self-esteem will be related to sexual self-worth (see Anderson, 1990) rather than as valuations of and as a parent. It is probably more appropriate to investigate Japanese male self esteem and desire for children.

 

The Japanese have been pushing self-esteem on their children since the 1990s. They now have a large sector of their population that not only see themselves positively (in the usual Japanese autoscopic manner) but narrate themselves positively as well. As Hasegawa (2014) says, these hybrids are unliklely to want involve themselves in childrearing.

 

Bibliography

Ehrenreich, B. (2009). Bright-sided: How the relentless promotion of positive thinking has undermined America. Macmillan.

Dawes, R. (1994). House of Cards. New York: Free Press. (Quoted by Heine. et al. 1999. Early critique of Self-Esteem movement, republished 2009)

Hisanaga, Kashiwagi (1999) 永久ひさ子, & 柏木惠子. 成人期女性における資源配分と生活感.教育心理学研究 Vol. 47 (1999) No. 2 p. 170-179

Hasegawa, Y. 長谷川富.(2014).日本の少子化が止まらないのは、若者が子育てよりも自分のことが大好きだから. Blog post.

spotlight-media.jp/article/93578650305704689

Mecca, A. M., Smelser, N. J., & Vasconcellos, J. (Eds.). (1989). The social importance of self-esteem. Univ of California Press.

Jean M. Twenge, W. Keith Campbell (2009) The Narcissism Epidemic: Living in the Age of Entitlement, Free Press.

 

Notes

 

The "pond spear" of Izanagi and Izanami is usually translated as jewelled spear from a reading of the 沼 character used in the Kojiki to mean jewel. But the Kojiki rarely uses characters phonetically alone unless it says so ("these three characters should be read phonetically") so the lance was jeweled and one from a bog or pond. Weapon's entering a reflective pond, is repeated in the next section of the Kojiki when Susano'o meets Izanagi's replacement above the "well in the middle of heaven" and allows his sister to chew up his sword and spit it into this new pond.

 

Much of Japanese mythic creation takes place over water often dripping upon them. I think that this is an attempt to illustrate the "contradictory" (Nishida) looping of the klien bottle of the visual self. For that which sees, consciousness, to see itself, the face in the mirror must at the same time cover it, become it. So Japanese heroes and heroines, and the first person of Japanese songs, are often crying, spitting, and dripping impure symblos above mirrored surfaces.

 

Jean M. Twenge, W. Keith Campbell (2009) The Narcissism Epidemic: Living in the Age of Entitlement

 

books.google.co.jp/books?isbn=1416575995

 

At the same time that the interest in self-esttem and self-expression ramped up, the culture begam to move away from community-oriented thinking. As Robert Putnam showed in his bestseller, Bowling Alone, membership in groups such as Kiwanis, the PTA, and even bowling leagues began to decline in the '70s. Personal relationships showed similar trends. The divorce rate skyrocketed, young people began tomarry later, and the birth rate plummeted. Singles culture, practically nonexistent in the 1950's and 1960's was all the rage, with singles only aparment complexes springing up and disco rooms full of gold-chain wearing bachelors and young bachelorettes trying not to spraing their ankles dancing to "Stayin Aliv" in four inch platform heels. A few other atuhors have also pegged the roots of the narcissim epidemic to the 70's..."the "Me" Decade"

 

publishing.cdlib.org/ucpressebooks/view?docId=ft6c6006v5&...

 

Four of the five studies investigating the association between selfesteem and contraceptive use report similar findings: low self-esteem is associated with less frequent or less sustained use of contraceptives. ...No study demonstrates a link between low self-esteem and effective use of contraceptives.

 

Ager, Shea, and Agronow 1982

Cvetkovich and Grote 1980

Herold, Goodwin, and Lero 1979

MacKinnon Self-Esteem Scale

Hornick, Doran, and Crawford 1979

Rogel and Zuehlke 1982

 

high self-esteem has been associated with effective contraception primarily for white adolescents, thereby limiting the applicability of these findings to other groups. Nevertheless, there is sufficient correlational evidence to further consider a possible causal link between self-esteem and contraceptive use.

www.catholicculture.org/culture/library/view.cfm?recnum=1446

 

Males become sexual predators whose self-esteem rests on mastering women, maneuvering them to relinquish sexual favors without commitment or support from the man.35 A male's status will actually be enhanced to the extent his mastery of women allows him to parasitically draw economic and material support from them.

 

Elijah Anderson, Streetwise: Race, Class, and Change in an Urban Community (Chicago: University of Chicago, 1990), pp. 112-119.

 

news.google.com/newspapers?nid=1368&dat=19900818&...

Self-esteem, values called tools to help curb teen pregnancy.

 

www.overpopulation.org/pop-sustainability.html

 

Dr. Adamu: Giving them information on how to control their reproduction and get health care - and that there is a choice - empowers them and gives them the self-esteem to choose the number and the spacing of their children.

 

Dr Potts: If you respect women and give them a choice, they will tend to have fewer children.

 

spotlight-media.jp/article/93578650305704689

 

日本の少子化が止まらないのは、若者が子育てよりも自分のことが大好きだからフリーアナウンサ 長谷川豊

Minke Whale meat on the menu at Vinhusid Steakhouse, Reykjavík, Iceland. I boycotted all restaurants which served it © Linda Dawn Hammond / IndyFoto.com March 14, 2014

I boycotted ALL restaurants which served whale, shark or puffin (Lundi) while visiting Iceland. Whale meat and puffins (Lundi) are also on the menu at Hereford Steikhus, Reykjavík, Iceland

According to Elding, a great Icelandic eco whale watching tour, only 5% of the whales killed in Iceland are consumed by locals and 40% by tourists looking for a kick. Some of whom had just stepped off the whale watching tour- very hypocritical. Since a campaign by IFAW to stop this opportunistic experimentation, tourist consumption has dropped to 20%. Now the one company still killing fin and minke whales, Hvalur, managed by Kristján Loftsso (Kristjan Loftsson), is selling byproducts of its cruel product to a local beer company, Steðja Brewery. I'm adding them to my boycott list. I later learned that the picturesque Icelandic horses we see offered for rides to tourists are also bred for meat. © Linda Dawn Hammond / IndyFoto.com Feb 21, 2014

www.ifaw.org/united-states/our-work/whales/meet-us-don%E2...

Meet Us Don't Eat Us: Campaign to take whale meat off the menu for tourists

 

Tourists who visit Iceland during the summer may be greeted by a high-profile campaign from IFAW and Ice Whale (Icelandic Whale Watching Association), encouraging them to enjoy responsible whale watching but to avoid sampling whale meat.

 

The campaign, Meet Us Don't Eat Us is aimed at dispelling the myth some tourists believe that whale meat is a popular dish enjoyed by most Icelanders. However, according to a 2010 Gallup poll survey, only about 5% of Icelanders say they eat it regularly.

Similarly, many people believe Iceland's commercial whaling is a centuries-old tradition, but in reality it started in 1948 and stopped in 1989, with a few boats resuming minke whaling in 2003, initially for so-called scientific research.

IFAW believes an estimated 40% of tourists are persuaded to eat whale meat while in Iceland, mainly out of curiosity. The result is that whales are killed every year just to be sampled by tourists.

The Meet Us Don't Eat Us campaign urges visitors to think carefully about the menu choices they make in the country's excellent restaurants to ensure they don't go home with a bad taste in their mouths.

The campaign, which runs from June to September, is being promoted around Reykjavik by volunteers dressed in whale tail costumes. The volunteers will be talking to tourists in downtown Reykjavik and asking them to sign postcards promising to avoid whale meat and asking Iceland to stop whaling.

The campaign, which ran for the first time in 2011, has ruffled some feathers in Iceland. Despite IFAW signing and paying a four-month contract to place adverts in Keflavik Airport last year, the airport's general manager ordered IFAW to remove them shortly after they went on display following complaints from whalers. The campaign then sparked a major media debate in the country on the issue of free speech and IFAW was delighted to see many Icelanders, including politicians, speak out in defence of the campaign.

In early May, 2012 Kristjan Loftsson, the lone Icelandic whaler responsible for killing 280 endangered fin whales in Icelandic waters over the past six years, told Icelandic media that because of economic issues, including difficulties in trading the meat with Japan following its tsunami tragedy, he would not be fin whaling in 2012. This is the second year in a row that Loftsson has cancelled the hunt, having laid off 30 staff last year. IFAW welcomed this decision and sees it as a positive sign that Loftsson recognises that fin whaling is uneconomic. Icelanders traditionally do not eat fin whale meat and these whales have been killed with a view to selling the meat to Japan, which has so far met with little success.

 

However, commercial hunting of minke whales in Iceland continues. In total, 58 minke whales were killed last season, by two companies. This was from a self-allocated catch limit of 216. IFAW urges Iceland to end all whaling now to protect whales for future generations and to safeguard its successful whale watching industry.

IFAW ran the first workshop looking into the feasibility of whale watching in Iceland more than 20 years ago and has worked closely with Icelandic whale watch operators for several years to promote whale watching as a humane and profitable alternative to the cruelty of whaling.

www.theatlantic.com/international/archive/2014/01/iceland...

Iceland's Newest Beer Ingredient: Whale

One brewery is experimenting with a whale of an ale or technically, an ale of a whale.

SVATI KIRSTEN NARULA

JAN 9 2014, 12:46 PM ET

 

Iceland doesn't treat cetaceans the way most of the world wants them to be treated. Like Japan and Norway, Iceland has continued to hunt fin and minke whales in defiance of an international moratorium on the practice. It's not a challenge to find a restaurant serving whale meat in the capital city of Reykjavík. With all this in mind, is it really surprising that Iceland's whaling business has recently teamed up with a brewery to produce "whale beer"?

 

Steðja Brewery

Hvalur, the company managed by "the Icelandic Ahab" Kristján Loftsson, is providing whale mealâa byproduct of processing the animal's meat and oilâto Steðja Brewery to create a limited edition product tied to Iceland's annual mid-winter festival Thorrablot. The beer, marketed as a drink for "true vikings," will only be available from January 24 through February 22. It's 5.2 percent alcohol and is supposedly "healthy" by virtue of containing whale, which is, according to the brewery, high in protein and low in fat.

Dagbjartur Ariliusson, the brewery's owner, told reporters that whale beer makes sense in the context of Thorrablot and the country's history. For many centuries, he said, they have celebrated this festival by eating "cured food, including whale fat, and now we have the beer to drink with this food." Pickled whale blubber is a traditional Thorrablot menu item.

Like so much else Iceland does with whales, the development is drawing impassioned ire from conservationists and anti-whaling activists. The Whale and Dolphin Conservation (WDC) society's campaign managers have called the beer launch an attempt "to diversify whale products in the face of almost nonexistent local consumer demand" and "about as immoral and outrageous as you can get." WDC has also gone after Hvalur for "perversely" powering its whale-hunting ships with whale oil.

The outcry probably won't stop tourists from rushing to sample whale steaks and sashimi at Reykjavík restaurants. Even if whale beer doesn't taste very good because, let's be honest, putting meat of any kind in beer is uncommon and gross it could, one day, be yet another item on a traveler's bucket list.

 

www.ifaw.org/united-states/news/september-drew-end-so-did...

As September drew to an end, so did whaling in Iceland, but for how long?

By: Robbie Marsland

Posted: Mon, 10/14/2013

2013 was a grim year, with a decrease in minke whales killed offset by a vast increase in the number of fin whales killed.

There are two types of whaling in Iceland.

 

These days, minke whaling is carried out primarily by one vessel, Hrafnreyður KÃ-100.

The number of whales killed each season for the small Icelandic whale meat market has dropped from 58 in 2011, to 52 in 2012 and 35 this year.

Less than 5% of Icelanders regularly eat whale meat and thanks to IFAW's Meet Us Don't Eat Us and Whale Friendly Restaurants initiatives in the country, the percentage of tourists eating whale meat has dropped from around 40% to around 20%.

SEE ALSO: "Whale friendly" is the way forward for Icelandic tourism

Not only are sales down for the minke whalers, but it looks like their costs are up. Facing an extended whale watching sanctuary and the displeasure of the Icelandic tourism community, this year the minke whalers kept out of the enormous Faxafloi bay outside Reykjavik, the capital.

They motored around Iceland's western fjords and started to worry the whale watchers in the north of Iceland between Akureyri and Husavik the northern home of Icelandic whale watching. Not surprisingly, their presence there was also hotly contested by whale watching companies.

So as the winter storms start hitting Iceland, we will have to wait and see if the whalers decide it is worth enduring further international and national criticism to go out and cruelly kill minke whales for a steadily declining market that must yield little or no financial return¦

Fin whales are the second species hunted and cruelly killed in Iceland.

In recent years fin whales have only been hunted by one operator. He is Kristjan Loftsson, the son of a whaler who made a fortune from whaling in the 60s, 70s and 80s - before the vast majority of the world (including Iceland) saw sense and stopped killing whales.

Mr Loftsson started killing fin whales again in 2009. No-one was really sure why he started again because fin whale meat is not eaten in Iceland, and the only other place international trade laws allow him to sell the meat is Japan, and they don't seem overly keen to buy fin whale meat from him.

So it wasn't a surprise when Mr Loftsson didn't go fin whaling in 2011 and 2012. But it was a surprise when he sent his ships out to kill the second largest whale in the world again last June.

As of the end of September his two 1940s steam-driven whaling boats had dragged 134 fin whales back to his whaling station just outside Reykjavik.

But it's not been plain sailing for Mr Loftsson this season.

He was used to the idea of there being celebrations when he brought in the first fin whale of the season. Instead of showing a proud Mr Loftsson flensing (cutting up) his first whale, the newspapers chose to cover the small crowd of demonstrators on the hill above the station holding the banner: What's the point in Icelandic whaling?

Later in the season one of his minority shareholders was quoted in the national newspapers as being very concerned that the fin whaling was losing money and depreciating the value of the company shares.

Loftsson's worst moment came in July when a consignment of his fin whale meat was rejected by the port of Rotterdam which wanted nothing to do with his cruel and controversial trade.

Not only that but he had to see photos plastered all over the TV and newspapers of a whale watching boat greeting the returning whale meat with enormous pointing hands and, once again, the message What's the point in Icelandic whaling?

Rotterdam was closed to his trade and so his export options seem to be dwindling.

2013 was a grim year for us with a decrease in minke whales killed offset by a vast increase in the number of fin whales killed.

However, there does seem to have been a sea change in Icelandic attitudes towards this so-called industry and more and more people are asking themselves and in public, what is the point of Icelandic whaling?

--RM

IFAW will continue to work closely with the whale watching and tourism sector and supportive MPs over the winter months. Stay tuned!

HORSE SLAUGHTER of foals in Iceland

 

www.pferd-und-fleisch.de/Horsemeat/iceland.htm

 

ICELANDIC SLAUGHTERHOUSE ADVERTISES FOR HORSES TO FEED OVERSEAS DINERS

MAY 5, 2012 VIVIAN GRANT FARRELL

 

tuesdayshorse.wordpress.com/2012/05/05/icelandic-slaughte...

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!

  

Some background:

The outbreak of the war in Europe in September 1939 did not immediately affect the status of the Armée de l'Air in French Indochina because it had the task of defending a wide area of Southeast Asia, including the future Laos, Cambodia and Vietnam. And yet its array of airplanes seemed inadequate to perform any kind of real defense against any incursion by an enemy, because there were less than 100 airplanes available to it, all obsolescent or obsolete. In September 1931, Japan invaded and occupied Manchuria. This was an area of northeast China, which encompassed the provinces of Jilin, Liaoning and Heilongjiang. Nearly six whole years later, in July 1937, the Second Sino-Japanese War had begun. As yet, the French colonial authorities were hoping that the Japanese would not be brazen enough to take on the might of a European power. However, it became increasingly likely after the German invasion of Poland in September 1939, since Japan was part of the Axis alliance and thus Germany's ally.

 

On September 26, 1940, Japanese troops landed in Haiphong, violating a cease-fire which had been signed only the previous day. From the middle of the following month, the French became heavily involved in repelling Japanese army assaults. Following the Fall of France in 1940, Thais perceived a chance to regain the territories they had lost years earlier. The collapse of Metropolitan France made the French hold on Indochina tenuous. After the Japanese invasion of French Indochina in September 1940, the French were forced to allow the Japanese to set up military bases. This seemingly subservient behavior convinced the Thai regime that Vichy France would not seriously resist a confrontation with Thailand.

 

During the French-Thai War, the Thai Air Force achieved several air-to-air-victories in dogfights against the Vichy Armée de l'Air. During World War II, the Thai Air Force supported the Royal Thai Army in its occupation of the Shan States of Burma as somewhat reluctant allies of the Japanese and took part in the defense of Bangkok against allied air raids in the latter part of the war, achieving some successes against state-of-the-art aircraft like the P-51 Mustang and the B-29 Superfortress. During these times, the RTAF was actively supplied by the Japanese with Imperial Japanese Army Air Force aircraft such as the Ki-43 "Oscar," and the Ki-27 "Nate." Other RTAF personnel took an active part the anti-Japanese resistance movement.

 

French forces in Indochina consisted of an army of approximately fifty thousand men, The most obvious deficiency of the French army lay in its shortage of armor; however, the Armée de l'Air had in its inventory approximately a hundred aircraft, of which around sixty could be considered first line. These consisted of thirty Potez 25 TOEs, four Farman 221s, eight Loire 130 flying boats, six Potez 542s, nine Morane M.S.406s.

 

The M.S.406 was a French fighter aircraft developed and manufactured by Morane-Saulnier starting in 1938. In response to a requirement for a fighter issued by the French Air Force in 1934, Morane-Saulnier built a prototype, designated MS.405, of mixed materials. This had the distinction of being the company's first low-wing monoplane, as well as the first to feature an enclosed cockpit, and the first design with a retracting undercarriage. The entry to service of the M.S.406 to the French Air Force in early 1939 represented the first modern fighter aircraft to be adopted by the service, and the type was also used in the French overseas colonies. The M.S.406 was France's most numerous fighter during the Second World War and one of only two French designs to exceed 1,000 in number. At the beginning of the war, it was one of only two French-built aircraft capable of 400 km/h (250 mph) – the other being the Potez 630.

 

Although a sturdy and highly manoeuvrable fighter aircraft, the M.S.406 was considered underpowered and weakly armed when compared to its contemporaries, esp. over continental Europe. Most critically, the M.S.406 was outperformed by the Messerschmitt Bf 109E during the Battle of France and no serious threat to the German fighter. In less advanced theatres like Indochina, though, the M.S. 406 was a respectable contender, but its numbers were low.

 

When the French-Thai War broke out in Indochina, the Thai Army was a relatively well-equipped force, consisting of some sixty thousand men, with artillery and tanks. The Royal Thai Navy — consisting of several vessels, including two coastal defence ships, twelve torpedo boats and four submarines — was inferior to the French naval forces, though, but the Royal Thai Air Force held both a quantitative and qualitative edge over l'Armee de l'Air. Among the 140 aircraft that composed the air force's initial first-line strength were twenty-four Mitsubishi Ki-30 light bombers, nine Mitsubishi Ki-21 and six Martin B-10 twin-engine bombers, seventy Vought Corsair dive bombers, and twenty-five Curtiss Hawk 75 fighters.

 

While nationalistic demonstrations and anti-French rallies were held in Bangkok, border skirmishes erupted along the Mekong frontier. The superior Royal Thai Air Force conducted daytime bombing runs over Vientiane, Sisophon, and Battambang with impunity. The French retaliated with their own planes, but the damage caused was less than equal. The activities of the Thai air force, particularly in the field of dive-bombing, was such that Admiral Jean Decoux, the governor of French Indochina, grudgingly remarked that the Thai planes seemed to have been flown by men with plenty of war experience.

 

In early January 1941, the Thai Burapha and Isan Armies launched their offensive on Laos and Cambodia. French resistance was instantaneous, but many units were simply swept along by the better-equipped Thai forces, with some French equipment – including some aircraft – being captured and immediately pressed into Thai army service. The Thais swiftly took Laos, but Cambodia proved a much harder nut to crack.

 

On January 16, 1941 the French launched a large counterattack on the Thai-held villages of Yang Dang Khum and Phum Preav, initiating the fiercest battle of the war. Because of over-complicated orders and nonexistent intelligence, the French counterattacks were cut to pieces and fighting ended with a French withdrawal from the area. The Thais were unable to pursue the retreating French, as their forward tanks were kept in check by the gunnery of French Foreign Legion artillerists.

 

On January 24, the final air battle took place when Thai bombers raided the French airfield at Angkor near Siem Reap, which quickly fell. The last Thai mission commenced at 0710 hours on January 28, when the Martins of the 50th Bomber Squadron set out on a raid on Sisophon, escorted by three Hawk 75Ns of the 60th Fighter Squadron.

 

Although the French won an important naval victory over the Thais, Japan forced the French to accept Japanese mediation of a peace treaty that returned the disputed territory to Thai control. A general armistice was arranged by Japan to go into effect on January 28. On May 9 a peace treaty was signed in Tokyo, with the French being coerced by the Japanese into relinquishing their hold on the disputed territories. However, the French (now part of the Axis Forces’ Vichy regime) were left in place to administer the rump colony of Indochina until 9 March 1945, when the Japanese staged a coup d'état in French Indochina and took control, establishing their own colony, the Empire of Vietnam, as a puppet state controlled by Tokyo.

 

Until then, Japanese authorities heavily influenced the diminishing Vichy French presence in the region and handed over a lot of leftover military hardware to its own allies, primarily the Thai forces. However, there was not much left to be distributed: about 30% of the French aircraft were rendered unserviceable by the end of the French-Thai War in early 1941, some as a result of minor damage sustained in air raids that remained unrepaired. The Armée de l'Air admitted the loss of only one Farman F221 and two Morane M.S.406s destroyed on the ground, but, in reality, its losses were greater and the influence of Japan on the leftover stock was fogged in order to save face. However, even in 1944, single former Vichy French aircraft and tanks were still active in the region, primarily under Thai flag.

  

General characteristics:

Crew: 1

Length: 8.17 m (26 ft 10 in)

Wingspan: 10.61 m (34 ft 10 in)

Height: 3.25 m (10 ft 8 in)

Wing area: 16 m2 (170 sq ft)

Empty weight: 1,895 kg (4,178 lb)

Gross weight: 2,540 kg (5,600 lb)

 

Powerplant:

1 × Hispano-Suiza 12Y-31 V-12 liquid-cooled piston engine with

619 kW (830 hp) for take-off at 2,520 rpm at sea level,

driving a 3-bladed variable-pitch propeller, 3 m (9 ft 10 in) diameter

 

Performance:

Maximum speed: 490 km/h (304 mph; 265 kn) at 4,500 m (14,764 ft)

Stall speed: 160 km/h (99 mph, 86 kn) without flaps

135 km/h (84 mph; 73 kn) with flaps

Range: 1,100 km (680 mi, 590 nmi) at 66% power

Combat range: 720 km (450 mi, 390 nmi)

Endurance: 2 hours 20 minutes 30 seconds (average combat mission)

Service ceiling: 9,400 m (30,800 ft)

Time to altitude: 2,000 m (6,562 ft) in 2 minutes 32 seconds

9,000 m (29,528 ft) in 21 minutes 37 seconds

Wing loading: 154 kg/m2 (32 lb/sq ft)

Power/mass: 2.95 kg/kW (4.85 lb/hp)

Take-off run to 8 m (26 ft): 270 m (886 ft)

Landing run from 8 m (26 ft): 340 m (1,115 ft)

 

Armament:

1× 20 mm (0.787 in) Hispano-Suiza HS.404 cannon, firing through the propeller hub

2× 7.5 mm (0.295 in) MAC 1934 machine guns in the outer wings

  

The kit and its assembly:

This quick build was created in the wake of the “Captured” group build at whatifmodellers.com and actually is a personal interpretation of someone else’s idea, namely of fellow modeler NARSES who came up with the idea of a captured French M.S. 406 in Indochina under a new Thai flag. I found the idea so weird, yet realistic, that I decided to build one, too.

 

The model is the very simple but quite acceptable M.S. 406 from Hobby Boss. Externally the model is nice, with recessed panel lines and a basic landing gear. Internally, it is rather bleak, even though it has a full cockpit with a floor, integrally molded seat and even some details behind the pilot’s armor bulkhead. The canopy is a single piece and very clear, but it comes with massive locator bars, so that I decided to keep the canopy closed and added a pilot figure to cover the minimal interior. I was lucky to find a Japanese (though pretty “flat”) WWII pilot in the donor bank, left over from a Hasegawa model. I also gave the figure some seat belts (made from adhesive tape), but the rest remained unchanged – even the original metal axis for the propeller was used. I just replaced the machine gun barrels with hollow steel needles and added a pitot on the wing, which is probably part of the kit but not indicated in the instructions. The same is true for the foldable ventral antenna.

 

The build was finished quickly, in the course of just a single evening, including the pilot and some overall PSR.

  

Painting and markings:

My interpretation of a French aircraft in Thai service after the French-Thai War stuck closely to the real world Vichy livery, which was the standard French camouflage in grey/green/brown with light blue-grey undersides (all from ModelMaster’s Authentic Color range), together with a yellow-and-red-striped cowling (a base with Humbrol 69 and red decal stripes added later) and a white cheatline long the fuselage. The tail of French aircraft in Indochina was painted all-red from early 1941 onwards upon Japanese command, because of friendly fire incidents. This was adopted for the model (with a mix of Humbrol 19 and some 73), which is supposed to belong into the 1942 time frame.

 

As a captured aircraft, the original French roundels were replaced/overpainted with red disks/hinomaru, and then Thai elephant markings added on top. That’s a personal idea, ordnance directly supplied to the Thai forces from Japan had the simple, square “elephant flag” emblem directly applied to the wings and the fin (but no fuselage roundel). The all-red tail was taken over, but I painted the rudder in a dark IJA green, since it would formerly carry a French fin flash. The same green was used to overpaint a serial number on the fin and a former squadron emblem under the cockpit.

The hinomaru come from a PrintScale Ki-46 sheet, and these markings are intentionally a bit oversized, so that they cover well the former French markings and are highly visible. The elephant markings some from a PrintScale Ki-27 sheet, so that the red tone on both sources are very close to each other. The Ki-27 sheet also provided the Thai ciphers “3” and “4”, combined into a “34”.

 

The interior was painted in medium grey, and the model externally received some signs of wear and tear in the form of dry-brushed leading edges and around the cockpit as well as some soot stains behind the exhaust stubs and the machine guns. Finally, the model was sealed with a coat of matt acrylic varnish (Italeri).

  

A quick build, and the easy-build Hobby Boss M.S. 406 is certainly not as crisp as a “real” model, but in this case the story behind the weird livery was more in the focus than the canvas underneath. However, an interesting result, and the hybrid paint scheme with heritage from three different operators make the aircraft an unusual, if not exotic sight.

A GOD VICTORIOUS JOURNEY Part 1 of 2

by Patricia Diane Cota-Robles

  

Every time I am blessed with the awesome gift of participating in a facet of the unfolding Divine Plan involving the Company of Heaven and dedicated Lightworkers from around the world, I know without question that this blessed planet and ALL her Life are going to succeed in our Ascension in the Light. Our Pilgrimage to the sacred sites along the Mediterranean Sea and the South of France confirmed this Truth for me.

 

The reality is that the miracles that took place during our Pilgrimage transcend what can be expressed in words, but I will do my best to share with you the events of our journey. There were 103 pilgrims who physically joined us on this trip. We were all very aware that there were also thousands of Lightworkers joining with us in consciousness. We held each and every one of you securely in the Divinity of our hearts, and we reveled in the loving support that we received from around the world.

 

To understand the importance of this mission, I would like to briefly share with you why our Father-Mother God sent forth the Clarion Call for assistance from embodied Lightworkers in this endeavor.

 

We are at a critical turning point in the evolution of this sweet Earth. In order for us to accomplish the next step in our evolutionary process, we must reverse the adverse effects of Humanity’s fall from Grace. This process involves bringing into balance the Divine Masculine and the Divine Feminine Polarities of God within every person’s Heart Flame. It also involves preparing every Heart Flame and the physical, etheric, mental and emotional bodies of each soul, to withstand the 5th-Dimensional frequencies of our I AM Presence, our true God reality.

 

Prior to the fall, the Masculine and Feminine Polarities of our Father-Mother God were balanced within every person on Earth. The Masculine Polarity of our Father God activated our left-brain hemispheres and radiated into the physical plane through the power center of our Throat Chakras. This frequency of Divine Light radiated as a sapphire blue Flame of Power within the Immortal Victorious Threefold Flame in our hearts. The Feminine Polarity of our Mother God activated our right-brain hemispheres and radiated into the physical plane through the love center of our Heart Chakras. This frequency of Divine Light radiated as a crystalline pink Flame of Love within the Threefold Flame in our hearts.

 

These two perfectly balanced polarities of our Father-Mother God then merged into one powerful Violet Flame. This Sacred Fire blazed through our brains and awakened our spiritual brain centers to their full Divine Potential. These centers consist of our pituitary, pineal, hypothalamus glands and the ganglionic centers at the base of our brains.

 

With the Masculine and Feminine Polarities of God balanced within our brains and our spiritual centers activated to their full potential, our Crown Chakras of Enlightenment opened to full breadth birthing the Son or Daughter of God, The Christ or Christ Consciousness, within every person. This frequency of Divine Light radiated as a golden-yellow Flame of Enlightenment within the Threefold Flame in our hearts.

 

The Immortal Victorious Threefold Flame pulsating in every heart is the physical expression of the Holy Trinity in the world of form. In order for a Son or Daughter of God to exist, this blue, pink and gold Flame, representing the Power, Love and Wisdom of our God Parents and Their Beloved Child, must be present within the heart. In order for a Son or Daughter of God to reach his or her full Divine Potential, however, the Threefold Flame must not only exist it must be balanced. This means the perfect balance of our Father God’s Power and our Mother God’s Love, which is better known as the Holy Spirit. Through this balance, the Beloved Child of God—The Christ—is birthed within every person.

 

In our evolutionary process, there came a point in time when the Sons and Daughters of God evolving on Earth made the free-will choice to use our gift of Life in ways that conflicted with God’s Will. Through our thoughts, words, actions and feelings, we created gross mutations of the patterns of perfection pulsating within the Causal Body of God. These human miscreations began manifesting on Earth as aging, decay, disease, lack and limitation, fear, war, violence, corruption, inclement weather conditions, cataclysmic Earth changes and every other malady existing on Earth today.

 

In a futile attempt to keep ourselves from feeling so much pain, we closed our Heart Chakras to try to block our ability to feel. This fateful decision closed the portal through which our Mother God radiated Her Love into the physical plane. This forced our Mother God to withdraw to a mere trickle of Her original Divine Potential. Without the balance of our Mother God’s Divine Love, our right-brain hemispheres became almost dormant. This caused our spiritual brain centers to atrophy and our Crown Chakras of Enlightenment to close. We lost contact with The Christ within. We forgot that we are Beloved Children of God, and we lost awareness of the fact that all our Father-Mother God has is ours.

 

For aeons of time, we have been buried in the effluvia of our human miscreations. Age after Age enlightened Beings, Avatars, Buddhas and Adepts have embodied to try to awaken Humanity to the Truth of who we are and why we are in this Earthly school of learning. Progress has been painfully slow, often nonexistent.

 

Finally, a little over 2,000 years ago, during the inception of the Piscean Age, a plan was set into motion to anchor the archetypes for Humanity’s pathway back to Christ Consciousness. This plan, much like what is occurring now at the dawn of the Aquarian Age, involved embodied Lightworkers working in unison with the entire Company of Heaven.

 

The plan was for two willing representatives of our Father-Mother God to embody on Earth to cocreate the matrix of Divine Balance for the Masculine and Feminine Polarities of our Father-Mother God. This matrix was to be created by these two soul’s modeling the path of Divine Love that would open the Heart Chakra and allow the return of our Mother God through the Baptism of the Holy Spirit.

 

The souls chosen to accomplish this monumental feat were Beloved Jesus and his Divine Complement or Twin Flame, Beloved Mary Magdalene. Jesus in his full capacity as a Son of God volunteered to anchor the matrix for the Divine Masculine, and Mary Magdalene in her full capacity as a Daughter of God volunteered to anchor the matrix for the Divine Feminine.

 

To herald the coming of the these two resplendent Beings, and to bring the Divine Ceremony that would initiate their mission, the Being we know as John the Baptist volunteered to embody on Earth.

 

Jesus and Mary Magdalene descended to Earth together and began the preparation for their sacred mission. This was not an easy task. The fragmented, fear-based human ego, which developed when Humanity closed our Heart Chakras, thus preventing our power from being balanced with love and reverence for Life, has been fighting tooth and nail for millennia to try to block the return of our Mother God. This manipulative faction of our fallen personality was not going to give up its control of our lives easily.

 

Jesus and Mary Magdalene knew that the fallen consciousness of Humanity was not going to allow people to immediately grasp the opportunity to balance the Masculine and Feminine Polarities of God within their hearts. In fact, they knew that it would be centuries before we really understood what they were trying to teach us. That is why in Revelations Jesus says to John the Beloved ,“In the Day of the Seventh Angel, when he begins to sound, the mystery of God will be fulfilled and time will be no more.”

 

During the Piscean Age, the 6th Solar Aspect of Deity was the predominant influence. Now, during the Aquarian Age, the 7th Solar Aspect of Deity is the predominant influence. This is the Day of the Seventh Angel, and he is beginning to sound.

 

Jesus said that the voice of the 7th Angel would proclaim the time of the Second Coming of The Christ. This heralds the return of Christ Consciousness within every man, woman and child. This will occur through the return of our Mother God and the Baptism of the Holy Spirit, the Baptism by Sacred Fire.

 

In spite of the overwhelming resistance, Jesus and Mary Magdalene accomplished their mission and anchored the matrix for the balance of the Divine Feminine and Masculine Polarities of God within every evolving soul’s Heart Flame. This occurred whether a person was in or out of embodiment or if the soul was from the past, present or future.

 

After Jesus’ crucifixion, Resurrection and Ascension plans were set into motion to protect Mary Magdalene from the wrath of the people who were still resisting the return of our Mother God. The Essene Brotherhood and Sisterhood, along with Mother Mary, Joseph of Arimathea, John the Beloved and some of the other disciples, guarded Mary Magdalene and the daughter she and Jesus had conceived.

 

Mary Magdalene was over-Lighted by the Company of Heaven and safely guided to various locations on the planet where she was able to anchor the matrix for the Divine Balance of our Mother God into the body of Mother Earth. This prepared the way for the coming of the Seventh Angel and the day when he would begin to sound, when our Mother God would at last reclaim Her rightful place within the hearts of the Children of God. This would be a time when Christ Consciousness would once again be birthed into the hearts and minds of Humanity.

 

The Truth about Mary Magdalene’s mission and the fact that she was anchoring the matrix for the return of our Mother God was cloaked in secrecy to conceal the plan from the masses and to prevent the plan from being blocked through the abuse of power being wielded by Humanity’s patriarchal human egos.

 

Her protectors were well aware of her mission, and after her Ascension they steadfastly held the Immaculate Concept for the return of our Mother God. These selfless exponents of God’s Will formed mystery schools and passed the information on in veiled and mysterious symbols that could not be deciphered by the common man or woman.

 

The newly formed Christian churches had difficulty blocking the groundswell of information that kept surfacing in mysterious ways about Mary Magdalene and her relationship with Jesus, her Beloved Twin Flame. Various Gospels were being circulated, which gave conflicting accounts of what really occurred during the pageantry and the founding of the Christian Dispensation.

 

In 325 AD, the Roman Emperor Constantine I decided that the confusion in the Christian doctrine needed to be stopped and that the various factions needed a unified belief system. He called a meeting of over 300 bishops and organized what has been noted as the first Ecumenical Council. This was the Council of Nicaea.

 

During this gathering he denounced Arianism, which was founded by the theologian Arius. These teachings taught that Jesus was a Son of God, as are all the Children of Earth. He reiterated that God is within every person, and that people do not need to depend on Human Beings outside of themselves in order to communicate with God or to receive God’s Forgiveness.

 

This belief system interfered greatly with the power and control of the priesthood and the Church, so Constantine ordered Arius to cease and desist in teaching such heresy. At the end of the gathering Constantine ordered a vote, and all but three bishops signed the Nicaean Creed forbidding Arianism.

 

Constantine felt this vote of support gave him the right to proceed with his mission. He gathered the 48 gospels that were being circulated amongst the various factions of the Church. He went through all of them carefully and selected only the four gospels that indicated that Jesus was Divine—above all other Human Beings. These four gospels were unnamed, as were many of the 48 gospels. Constantine made the executive decision to name the gospels he chose to be included in the Bible: Matthew, Mark, Luke and John.

 

He then proceeded to go through the rest of the teachings in the Bible. In order to maintain the supreme power of the Church and the patriarchal priesthood, he removed any reference to the relationship between Mary Magdalene and Jesus, as well as any reference he could identify regarding reincarnation. Constantine’s actions redefined the status of Christianity, and formed the basis for the Bible used today throughout the Christian world.

 

Even with this obvious betrayal of the Truth, the mission of Jesus and Mary Magdalene could not be suppressed. To the total consternation of the Church, the reality of their spiritual and intimate relationship kept surfacing. One by one, the seekers of Truth were guided to the mystery schools and secret societies. Little by little, they learned about the sacred mission of Jesus and Mary Magdalene.

 

In 590 AD, Pope Gregory I had had enough and was determined to once and for all put an end to this threat to the patriarchal supremacy of the Church. With the stroke of the pen, Pope Gregory I declared Mary Magdalene to be a prostitute and asserted that she was seething with seven evil spirits. This was the very first time that Mary Magdalene was said to be a prostitute. That unconscionable lie was written nearly 600 years after her embodiment. As far as the Church was concerned, this concocted story squelched the rumors about Jesus and Mary Magdalene’s marriage.

 

In order to maintain a semblance of damage control, the Church leaders tried to transfer the attention from Mary Magdalene to Jesus’ Mother, the Virgin Mary. This was a futile effort in their attempt to block the return of our Mother God, because Beloved Mother Mary was an important Aspect of the Divine Feminine herself.

 

As the forerunners of the Divine Feminine progressed through those tumultuous times, Mother Mary protected the Truth about Mary Magdalene by holding the exoteric focus of the Divine Mother. At the same time, Mary Magdalene continued her mission of preparing the way for the return of our Mother God through esoteric circles and her teachings within the sacred mystery schools and secret societies.

 

For centuries, the Immaculate Concept of Mary Magdalene’s Divine Mission with Beloved Jesus was guarded from the outer world by her valiant protectors. With unfailing tenacity, these selfless souls prepared for the Day of the Seventh Angel when the return of our Mother God would be brought to fruition.

 

Throughout history there are bits and pieces of information regarding the souls fulfilling the service of protecting the mission of Mary Magdalene and Jesus, but most of them are terribly distorted and contaminated with misinformation from the patriarchal Church. The groups most noteworthy in this mission were the Essenes, the Druids, the Cathars and the Knights Templar.

 

Within the historic documentations of England, Spain, France and places throughout the Mediterranean, the mystical stories of the Essenes, Druids, Cathars and the Knights Templar can still be found. The most blatant proof of the Church’s attempt to suppress the secret knowledge of the Divine Feminine is revealed in the accounts of the horrific persecution and the brutal demise of these dedicated Lightworkers during the Crusades and the Inquisition.

 

Since the dawning of the Aquarian Age, which took place a few decades ago, Lightworkers have been making Pilgrimages to the areas where these atrocities took place. The intent of these Pilgrimages was to transmute the Etheric Records of the pain and suffering involved in protecting the Truth of the return of our Mother God. This purification was an important facet of the Divine Plan that had to be completed before the blocked Heart Meridian within the body of Mother Earth could be reopened. This Heart Meridian is the portal through which the completion of Mary Magdalene and Jesus’ Divine Mission will be fulfilled. It is the portal through which the Divine Balance of the Masculine and Feminine Polarities of God will be reactivated in the body of Mother Earth.

 

That brings us to our recent Pilgrimage. To signal to the world that the purification of the past had been completed and that all was in readiness for the next phase of the Divine Plan, an amazing outer-world event took place. On October 13, 1307, the Knights Templar throughout France were arrested and placed in prisons where they were tortured and eventually died. This was a massive endeavor orchestrated by the Inquisition to prevent the Knights from revealing the secret of Mary Magdalene and the Divine Feminine.

 

On October 13, 2007, exactly 700 years later, the Vatican revealed that it had found some 800-year-old documents from the Knights Templar, which had mysteriously been misplaced. The Vatican said that the documents would be released to the world, and they apologized for their transgressions.

 

In this monumental year of completion, this veiled message from the Church asking for forgiveness for its past transgressions involving the Knights Templar was broadcast on CNN via satellite throughout the world. As Humanity focused our attention on this message, the transmutation of the atrocities of the past was brought to completion. This event occurred the day before our glorious Pilgrimage began.

 

We had been told by our Father-Mother God that the time for the opening of the blocked Heart Meridian in the body of Mother Earth had come. This is the meridian that the Essenes, Druids, Cathars and Knights Templar and been protecting over centuries of time in preparation for the return of our Mother God. This was the same meridian along which Mary Magdalene anchored the matrix for the Divine Balance of the Masculine and Feminine Polarities of God in the years following Jesus’ Ascension.

 

Our God Parents said that those of us who were motivated by our Heart’s Call to make the sacrifice of our time, energy and money to accomplish this mission, had made this Pilgrimage again and again over centuries of time. They told us that the ancient footsteps we would be walking in were our own.

 

On October 14, 103 pilgrims from 15 countries began the journey to Barcelona, Spain. We arrived on October 15, and after settling into our hotel we gathered for a group dinner. During that time, Archangel Raphael Consecrated each of our Earthly Bodies and lifted us into a frequency that would allow us to be the most effective conductors of Light possible. We were each given a sacred necklace with a symbol of the open Heart of the Divine Feminine to wear during our holy adventure.

 

On October 16, we had breakfast together and loaded the busses for a tour of Barcelona. Barcelona has over 2,000 years of history. It became a Roman colony in 133 BC. Many of the churches and cathedrals in Barcelona are dedicated to various female Saints, but the grandest of them all is dedicated to the Holy Family: Mary, Joseph and Jesus. These are the Beings in the Christian Dispensation who represent the Divine Father, the Divine Mother and the Holy Child of God, The Christ. They are the representatives of the Sacred Fire, the Holy Trinity, blazing in every person’s heart.

 

This magnificent edifice is called the Temple of the Sagrada Familia. One facet of the structure is called the Central Portal of Birth. Two colossal domes are dedicated to the Virgin Mary and Jesus, The Christ, respectively. This is an example of the outer-world service of Mother Mary in which she is standing in for the esoteric mission of Mary Magdalene.

 

In the sacred endeavor of building this Temple, the architect, Antoni Gaudi, created a staggering sense of verticality, a meeting point between Heaven and Earth, God and Humanity.

 

After our tour of Barcelona, we progressed to the dock to board our beautiful cruise ship to begin our Pilgrimage through the Mediterranean. In Ages past, the Pilgrimage we were embarking on to the various positions along the Heart Meridian of Mother Earth was an arduous and dangerous feat. In this day and age, the trip is made by millions of travelers every year on luxurious cruise ships. This is not by chance. Divine Intervention has played an important part in this phenomenon.

 

The Beings of Light from the Realms of Truth set the tone for our adventure. They revealed to us that the collective body of Lightworkers present on this Pilgrimage represented the microcosm of the macrocosm of Humanity. They said that our collective life experiences through all of our Earthly sojourns contained a fragment of the Earthly experience of every evolving soul on Earth. We were told that the Etheric Records of the painful experiences of the past were now transmuted, and our mission was to serve as surrogates on behalf of all Humanity as we anchored the archetypes for the New Earth. We were also asked by our Father-Mother God to serve as acupuncture needles along the Heart Meridian of Mother Earth.

 

Our guidance from On High was to focus on the Immaculate Concept of Heaven on Earth, as we opened the Heart Meridian and cleared the way for the Divine Balance of the Masculine and Feminine Polarities of God within Humanity and the body of Mother Earth.

 

The Company of Heaven perceived our sense of awe and assured us that we already had everything we needed within our Beings to accomplish our individual facets of this Divine Plan. We were told that each of us had been preparing for lifetimes for this Cosmic Moment, so as one unified Heart Flame we released any feelings of doubt or inadequacy and invoked our I AM Presence to take full dominion of our thoughts, words, actions and feelings.

 

The Company of Heaven asked that during our trek through the Mediterranean, we not organize any group tours involving all of the 103 people on this mission. Instead, we were each instructed to listen to our inner guidance and to participate individually in the available tours and opportunities that resonated in our heart of hearts. The end result of this plan was that our group traversed each location north, south, east and west. This enabled us to cover the gamut of each acupuncture point along the Heart Meridian of Mother Earth.

 

On October 17, we reached the Isle of Mallorca in the Bay of Palma. The first settlers came to this island around the 5th century BC. Most of them came from the South of France. In the year 123 BC, Mallorca came under Roman rule.

 

One of the most important and emblematic monuments on this island is the Cathedral of Mallorca. It was the custom in medieval times to dedicate the first churches built in towns reconquered from “the pagans” to Jesus or Mother Mary. In Mallorca, which is an important point along the Heart Meridian of Mother Earth and thus a facet of the portal for the return of our Mother God, the cathedral was dedicated to Mother Mary.

 

August 15, the day celebrated as Mother Mary’s Ascension Day, is the local Feast Day. The devotion to Mother Mary, the Divine Mother, is reflected throughout the history of the cathedral and the works of art contained within it. The cathedral adopted as its seal the Throne of Mary on the waves. The water element represents the Emotional Body and the feeling nature of our Mother God.

  

A nonexistent creature made from Playdoh, marbles and Photoshop

The thing that always annoyed me about this setup is that so much space is used up, I can hardly put a book and some papers on the desk to work with. So I was wondering what took up the most space, and it is most definitely the laptop. If it wasn't there I have a lot more space that I can use. Also the model is quite old, more than 3 years old. It isn't that well supported by the new OS versions anymore, and the battery life is nonexistent. Another thing that annoyed me where all those cables that I always had to plug in and out. I used to have an USB hub, but the old laptop/OS had problems with that - it wouldn't wake up after hibernation if the USB hub was connected....

 

So I was looking for some better way of setting up my desktop, and after A LOT of thinking, fiddling around, more thinking, going to hardware shops (e.g. media market and medimax hardware discounters) and thinking about what to buy, more thinking and annoying my friends, I finally came up with something (don't laugh, it actually took me half a year of thinking this through - but for now I am pretty happy with the result).

Nature morte à la tête de mouton

 

"We live together, we act on, and react to, one another; but always and in all circumstances we are by ourselves.

The martyrs go hand in hand into the arena; they are crucified alone. Embraced, the lovers desperately try to fuse their insulated ecstasies into a single self-transcendence; in vain. By its very nature every embodied spirit is doomed to suffer and enjoy in solitude. Sensations, feelings, insights, fancies - all these are private and, except through symbols and at second hand, incommunicable. We can pool information about experiences, but never the experiences themselves. From family to nation, every human group is a society of island universes.

Most island universes are sufficiently like one another to Permit of inferential understanding or even of mutual empathy or "feeling into." Thus, remembering our own bereavements and humiliations, we can condole with others in analogous circumstances, can put ourselves (always, of course, in a slightly Pickwickian sense) in their places. But in certain cases communication between universes is incomplete or even nonexistent. The mind is its own place, and the Places inhabited by the insane and the exceptionally gifted are so different from the places where ordinary men and women live, that there is little or no common ground of memory to serve as a basis for understanding or fellow feeling. Words are uttered, but fail to enlighten. The things and events to which the symbols refer belong to mutually exclusive realms of experience." A.H.

  

O mañana de domingo, tarde de jueves.

 

Louvre, 2010

Lake Ronkonkoma Long Island New York 11779 USA August 2020

 

Lake Ronkonkoma, Long Island's largest freshwater lake, is in Suffolk County, New York, United States, and has a circumference of about 2 miles (3.2 km), and is 0.65 miles (1.05 km) across on average. A kettle lake formed by retreating glaciers, it is owned by the Town of Islip under the terms of the Nichols Patent. The land around it is controlled by three town governments - Smithtown, Islip and Brookhaven. The name Ronkonkoma comes from an Algonquian expression meaning "boundary fishing-lake", also earlier written as Raconkumake and Raconkamuck

  

Lake Ronkonkoma served as a boundary between lands occupied by four Native American communities: Nissequogues Setaukets Secatogues and Unkechaugs

 

The lake was created by a retreating glacier.

 

The primary gamefish is bass

 

The most prevalent legend is about Princess Ronkonkoma, an Indian princess who died at the lake in the mid-1600s. One version of the story is that she was walking across the ice one winter when she met and fell in love with an English woodcutter named Hugh Birdsall, who lived across the lake. However, her father—chief of the Setauket tribe—forbade their relationship. So every day for 7 years, she would write letters on pieces of bark, row to the middle of the lake, and float the letters across the lake to Hugh. Then, after all those years of being kept apart from her love, she rowed to the middle of the lake and stabbed herself to death.

 

There are variations on this particular story, such as that the princess drowned herself after learning about her lover's death, and that her body washed up in Connecticut (which ties into the idea that the lake is bottomless, and that there are underground channels to other lakes). While there's no proof the princess ever existed, Hugh Birdsall was a real person who eventually moved back to England and got married there.

 

In any case, the story goes that she claims a boy's life every year either to avenge her lover's death, or to try to find herself a soulmate in death. And the statistics back up this "curse": of all the recorded drownings on this lake, the vast majority have been young males.

 

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Dr. David S. Igneri was the head lifeguard at Lake Ronkonkoma for 32 summers, and says there were at least 30 deaths during that time, all males. On the program Weird U.S., which aired on the History Channel in 2005, Igneri explains that one of the biggest challenges was that visibility in the lake is nonexistent after about the first 10 feet; if anyone submerges lower than that, no one will be able to rescue the person because the lake becomes enveloped in total blackness.

 

In 1965, Igneri had a recurring nightmare about trying to complete a rescue. He dove deep into the lake and panicked because he lost his orientation. When he got to the surface, he heard fireworks. Although Igneri was not previously interested in the paranormal, he believed this dream was a warning that someone was going to drown on the Fourth of July. He warned his staff of 11 lifeguards—and sure enough, late that afternoon, an epileptic 15-year-old boy had a seizure and went down in the water. The lifeguards dove for 45 minutes and did everything they could, but could not find the boy. As Igneri swam back to the surface after his last dive, fireworks went off.

  

Author Michael R. Ebert, who must be the foremost authority on the legends of Lake Ronkonkoma. He published the spiral-bound book "The Curse of Lake Ronkonkoma" in 2002, and it is available at the Sachem, Connetquot and Smithtown libraries.

 

The first time he remembers hearing about the lake's "curse" was when he attended Ronkonkoma Junior High School in the early 1990s and one of his classmates drowned in the lake.

 

"If I remember correctly, he and some friends were supposedly drinking beer on a rowboat and were horsing around when he fell in and was unable to swim to shore due to his bulky winter clothes."

 

After Ebert's college graduation, he searched for more information about the lake's legends in local history books, but found little—which convinced him to write his own book. He spent about six months visiting libraries and the Lake Ronkonkoma Historical Society to research articles, maps and geographical studies dating back to the early 1900s.

 

In addition to the stories about Princess Ronkonkoma and the bottomless lake, Ebert also found several other mysteries, such as the way the lake rises and falls with no relation to local rainfall. "The Indians believed it to be the work of Manitos, the great spirit of the lake," he says. "One study showed that over 7 years in the early 1900s, the rainfall on Long Island was below the usual average by about 52 inches, yet the lake rose 7 feet."

 

Then there were the rumors of "healing properties" of the lake, supposedly started by a Brooklyn businessman who wanted to capitalize on the lake's appeal as a local tourist attraction in the 1900s. "The guy even reportedly sold 'lake juice' in small vials, and I found an old ad promoting the lake as a health resort that cured diseases," says Ebert.

 

So whether you believe the lake will heal what ails you, or that a vengeful princess spirit is out there waiting to drown you, there's no denying that Lake Ronkonkoma is one of Long Island's most whispered-about points of interest.

 

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Mel Gibson's movie "The Passion" set out to be a statement and work-of-art with the simultaneous desire to exhibit the Gospel message in a unique form for film (produced entirely in latin and aramaic languages without subtitles), centered on the affliction of Jesus of Nazareth at the hands of his persecutors some 2000 years ago.

 

The first controversy which stirred about this film was that it would, unlike its predecessors in cinema, 'tell it like it is,' a no-holds-barred bloody spectacle... because that is precisely what happened to Jesus; the vicious prison beatings - his beard plucked from his face, the public lashing with a device designed to shred away flesh down to the bone -- 39 times -- to the crushing ordeal of carrying his cross through the streets while being spat upon, pelted with stones and shards of glass, to the literal nerve-splitting, excruciating crucifixion; that's where the word comes from -- "ex" = out of & "crusia" = the cross. The ordeal of Christ's unjust torture and murder by his conspirators through the agency of the Roman government is intrinsic to the story. Even the Apostle Peter, a Jew, did not hold back in his excoriation of what they had done: "But ye denied the Holy One and the Just, and desired a murderer to be granted unto you; And killed the Prince of life, whom God hath raised from the dead; whereof we are witnesses" (Acts 3:14-15). The history, politics and iconoclastic nature of Jesus' revolutionary message to the Jews is pivotal. Inexpendable. For any one element to be removed, diminishes the whole.

 

In times past cinema and theatre have attempted to deliver the story wrapped in everything from outlandishly wooden performances with crucifixions so romanticized as to be silly (ie, "The Greatest Story Ever Told" with Max Von Sydow) to revoltingly humanistic rapes of the Gospel like the late 70s "Godspell," where Christ is reduced to a superman-clown performing magic tricks to song-n-dance Gospel messages... and no resurrection. Franco Zeffirelli in 1977 attempted a tour de force in his multi-part mini-series for televison, "Jesus of Nazareth," but even it fell short of capturing the true pangs of the horror in the death of Jesus, though it scored very big points for artistry and adhering to most essential Gospel profundities. Later, Martin Scorsese would overshadow the Gospel message almost entirely, yet while creating an unforgettable crucifixion that had people weeping openly in the theatres. The right combination has simply never been accomplished. Gibson's "The Passion" promised to be the 'great white hope'. But once again, forces entangle and overthrow...

 

The next big controversy centered around Gibson's personal motives for making the film, attacks on his personal life, past, even his family began to surface. Out of this the well known stench of Jewish Defense League and ADL mindlessness began to waft through the air. Sure enough, it was eventually revealed the Gibson and company were being intimidated and harassed by Jewish groups in a snit to 'change' his film -- and alter history -- to make Jews more comfortable with their historic role in the death of the man who single handedly changed western civilization forever. The audacity alone is astonishing, but not surprising. Not anymore.

 

Meanwhile, Ernst Zundel, in failing health, rots away in a Canadian jail cell while a confederacy of Orwellian dunces attempt to prosecute him for his 'thoughts,' clearly to make an example of him to anyone who would dare question the accuracy of Holocaust numbers or demand historical veracity.

 

Meanwhile Mordechai Vanunu is spending his 12th year in an Israeli maximum security prison for daring to speak out about Israel's secretive nuclear program in what is hailed by the U.S. as the shining example of 'democracy' for the mid-east.

 

Meanwhile David Icke is being systematically pursued and persecuted by deranged anti-defamation squads and other fascist groups along his lecture and books tours because they believe his speaking of "reptilian" alien beings is code-speak for "Jews" trickled out to a clandestine neo-nazi organization disguised as Icke/UFO/NWO aficionados.

 

Gibson and company have clearly caved in to Jewish influence and demands and "softened" the film, extracting scenes and circumstances which cast Jews in an unfavorable light, be it historically valid or not. Gibson started off as a true firebrand in this endeavor, with a passion for his 'passion' -- for him to be suddenly and skillfully nipped in the bud on this work of art must have more to do with mere money, public relations or civic minded-ness. No, it is clear, considering the atmosphere of our times, something far more disturbing in skullduggery is going on behind the scenes. Someone is likely being threatened with physical harm. There are times when one can just sense that something more is happening beyond the veil, and this is one of them. When people suddenly go coldly silent, when they hack off whole limbs of their statues, rewrite entire plays, find themselves on a blacklist... someone somewhere has been pushed into that corner of suffering extortion on a level no one should have to face. There are those who don't believe such power exists nor is wielded in this world. Those people are simply fools.

 

This is not going to stop. Jewish "defense" organizations and those who sympathize with them are steadily crucifying one person after another, one voice after another, one artwork, author, play, expression, political party, politician or public servant after another on their cross of coerced appeasement. They don't give a damn about the Constitution, the Bill of Rights, freedom of expression, freedom of speech or religion -- they don't give a damn about anyone or anything but themselves, and even THEY don't represent JEWS! They are entirely self-appointed overseers of some nonexistent Jewish mythos that lays claims to everything from holy land to moral absolution on the world stage to justification of racist/Apartheid government to media control over how Jews are treated in an industry their own people, for the most part, seemingly control. These people are in severe denial, history has no meaning to them, truth is of no value whatsoever. The truth be damned, so long as a star chamber of Jews have their way. Gee... is this scenario FAMILIAR or what???

 

They are a tiny group of extremists; powerful, evil, unrelenting social dictators who have discovered that they can trump the game anytime they want with the 'Jew card' and pull everything to a sickening, deafening stop, and silence not only their critics but alter history and art and politics to their own twisted bent. And what's worse, their actions bring about untold persecutions by thickheaded racist morons who are their antithetical equal opposites, bent on persecuting every Jew for what this powerful minority of Jews do in their name.

 

These people and these organizations need to be exposed, defied at every turn and legally destroyed before they utterly dominate every aspect of our lives. These are serious times. There are serious consequences to complacency. It can last just so long before their cries of "anti-semitism" and "nazi" to rouse the ire of the sensitive soon fall on scolded ears who have also felt their unrighteous indignation as they burn everything of truth in their path toward the ultimate victory of complete control. But before it reaches that point, we have to do something about it. Speak up, speak out, sacrifice what is necessary for truth. Gibson needs to. I expected him to. He has failed. He is clearly unwilling to take the cup offered him. We all need to. Or the tentacles of this insidious monster will squeeze and crush out every bit of life and light left in this world.

(By Alton Raines 8-14-2003)

 

"To all -

 

"Allegedly, in just a few weeks, on March 1, 2010, Europe's best-known political prisoner and my husband, Ernst Zundel, is scheduled to be released from prison. In an emotional telephone conversation with him yesterday, he told me that he is entering the most dangerous phase of his life yet - that the "restrictions" on him will be "Draconian." I leave it up to you to read into that what you will.

 

"For one, we take it for granted that, at the very least, he will not be allowed a passport, which means he cannot travel anywhere outside the largely Zionist-controlled EU. Since I cannot join him for various reasons, private and political, this means that for the time being, our marriage will have to be "on hold."

 

"This morning I was sent an excellent, a bit outdated summary of what the Zundel Struggle is really all about. Even though I dislike just being sent a link, in this case I will make an exception and send you one because this article is well-written and graphically beautifully organized and lends itself to hard copy and cyber reproduction. Please spread and post it far and wide.

 

www.revisionists.com/revisionists/zundel.html

 

"There are plans, of course, to wrestle Ernst away from his tormentors, of which you will hear more in weeks and months to come. If you can afford to join our struggle financially, please let me know, and I will put you on our Power Letter list which goes out once a month. However, this letter goes only to active supporters who take this struggle seriously and understand what it takes to succeed.

 

"Please do not reply to this email - instead, write me a short note and send it to irimland@zundelsite.org

 

"I thank you in advance."

 

Ingrid Zündel

 

The Roman Bridge crosses the old course of the Jarama River This 148-meter-long civil construction, composed of five arches (four small and one large) nestled among poplars and other deciduous trees that lend it an evocative image each autumn, is called a Roman bridge. But only the foundations and some studies of the ashlar blocks remain from Roman times because, in reality, it dates from the Middle Ages with significant additions during the 16th century that gave it its current appearance.

 

Visitors who arrive at this point always ask themselves the same question: But where is the Jarama River? Is this thin trickle of water? It is indeed surprising to find such a large bridge supporting an almost nonexistent flow of water. But the answer lies in the fact that, as has happened so many times throughout history, the riverbed was displaced for various reasns, in this case by almost half a kilometer. Therefore, the Jarama River should be sought further west because what flows there (when it does) is a meager irrigation canal, the Caz stream, which carries less water than a canteen with holes in it.

 

Nearby, there is a recreational area, right next to the actual Jarama, known as "La Chopera" (The Poplar Grove), where families come "with their picnic blankets and Tupperware" to spend the morning or afternoon in the shade and sit down to eat at one of the tables while the children play.

The second stop on the way home from my college visit was in Richmond!

 

The Richmond Kmart appears to be a former Grants (and thus reminded me of the Erie Kmart that I visited last summer). It is very noticeably bigger than Anderson; it is also very nice; it has a Kmart Express gas station and it has a former Kmart Cafe (that still has the counter/displays, the full menu board and even the register! Looks like a more recent KCafe closure from what I've seen; if anybody else here has any more information I would like to know more about it!). This store appears to be doing fairly well for one of the last remaining stores in/near the Miami Valley.

 

Of course, I had to check out the Kmart Express after my main store rounds were complete, so I headed over there and looked around. This is the second Kmart Express I've seen, but the first one I have actually visited, as the other one (at the now nonexistent Brooklyn Super Kmart) had already closed. I didn't buy anything at this KExpress though, as I had spent my money in the main store. Hopefully next time I can buy some coffee or donuts from Kmart Express while going to/from Anderson (if I plan another college visit to Anderson U, which is likely)!

 

Hopefully the Richmond Kmart will still be able to remain "normal" for a good time longer...I like this store! :D

 

Kmart #7246 - 3150 National Road West - Richmond, Indiana

Zephyr is worried. The severe storm season has been been very mild - almost nonexistent - so far. But she knows that one certain group of Midwest storm devas far too well. They're just biding their time, waiting for the right moment.....

The Eden Project is a visitor attraction in Cornwall, England, UK. The project is located in a reclaimed china clay pit, located 2 km (1.2 mi) from the town of St Blazey and 5 km (3 mi) from the larger town of St Austell.

 

The complex is dominated by two huge enclosures consisting of adjoining domes that house thousands of plant species, and each enclosure emulates a natural biome. The biomes consist of hundreds of hexagonal and pentagonal ethylene tetrafluoroethylene (ETFE) inflated cells supported by geodesic tubular steel domes. The larger of the two biomes simulates a rainforest environment (and is the largest indoor rainforest in the world) and the second, a Mediterranean environment. The attraction also has an outside botanical garden which is home to many plants and wildlife native to Cornwall and the UK in general; it also has many plants that provide an important and interesting backstory, for example, those with a prehistoric heritage.

 

There are plans to build an Eden Project North in the seaside town of Morecambe, Lancashire, with a focus on the marine environment.

 

The clay pit in which the project is sited was in use for over 160 years. In 1981, the pit was used by the BBC as the planet surface of Magrathea in the TV series the Hitchhiker's Guide to the Galaxy. By the mid-1990s the pit was all but exhausted.

 

The initial idea for the project dates back to 1996, with construction beginning in 1998. The work was hampered by torrential rain in the first few months of the project, and parts of the pit flooded as it sits 15 m (49 ft) below the water table.

 

The first part of the Eden Project, the visitor centre, opened to the public in May 2000. The first plants began arriving in September of that year,[8] and the full site opened on 17 March 2001.

 

To counter criticism from environmental groups, the Eden Project committed to investigate a rail link to the site. The rail link was never built, and car parking on the site is still funded from revenue generated from general admission ticket sales.

 

The Eden Project was used as a filming location for the 2002 James Bond film Die Another Day. On 2 July 2005 The Eden Project hosted the "Africa Calling" concert of the Live 8 concert series. It has also provided some plants for the British Museum's Africa garden.

 

In 2005, the Project launched "A Time of Gifts" for the winter months, November to February. This features an ice rink covering the lake, with a small café-bar attached, as well as a Christmas market. Cornish choirs regularly perform in the biomes.

 

In 2007, the Eden Project campaigned unsuccessfully for £50 million in Big Lottery Fund money for a proposed desert biome.[10][11] It received just 12.07% of the votes, the lowest for the four projects being considered. As part of the campaign, the Eden Project invited people all over Cornwall to try to break the world record for the biggest ever pub quiz as part of its campaign to bring £50 million of lottery funds to Cornwall.

 

In December 2009, much of the project, including both greenhouses, became available to navigate through Google Street View.

 

The Eden Trust revealed a trading loss of £1.3 million for 2012–13, on a turnover of £25.4 million. The Eden Project had posted a surplus of £136,000 for the previous year. In 2014 Eden accounts showed a surplus of £2 million.

 

The World Pasty Championships, an international competition to find the best Cornish pasties and other pasty-type savoury snacks, have been held at the Eden Project since 2012.

 

The Eden Project is said to have contributed over £1 billion to the Cornish economy. In 2016, Eden became home to Europe's second-largest redwood forest (after the Giants Grove at Birr Castle, Birr Castle, Ireland) when forty saplings of coast redwoods, Sequoia sempervirens, which could live for 4,000 years and reach 115 metres in height, were planted there.

 

The Eden Project received 1,010,095 visitors in 2019.

 

In December 2020 the project was closed after heavy rain caused several landslips at the site. Managers at the site are assessing the damage and will announce when the project will reopen on the company's website. Reopening became irrelevant as Covid lockdown measures in the UK indefinitely closed the venue from early 2021, though it had reopened by May 2021 after remedial works had taken place. The site was used for an event during the 2021 G7 Summit, hosted by the United Kingdom.

 

The project was conceived by Tim Smit and Jonathan Ball, and designed by Grimshaw Architects and structural engineering firm Anthony Hunt Associates (now part of Sinclair Knight Merz). Davis Langdon carried out the project management, Sir Robert McAlpine and Alfred McAlpine did the construction, MERO jointly designed and built the biome steel structures, the ETFE pillows that build the façade were realized by Vector Foiltec, and Arup was the services engineer, economic consultant, environmental engineer and transportation engineer. Land Use Consultants led the masterplan and landscape design. The project took 2½ years to construct and opened to the public on 17 March 2001.

 

Once into the attraction, there is a meandering path with views of the two biomes, planted landscapes, including vegetable gardens, and sculptures that include a giant bee and previously The WEEE Man (removed in 2016), a towering figure made from old electrical appliances and was meant to represent the average electrical waste used by one person in a lifetime.

 

At the bottom of the pit are two covered biomes:

 

The Tropical Biome, covers 1.56 ha (3.9 acres) and measures 55 m (180 ft) high, 100 m (328 ft) wide, and 200 m (656 ft) long. It is used for tropical plants, such as fruiting banana plants, coffee, rubber and giant bamboo, and is kept at a tropical temperature and moisture level.

 

The Mediterranean Biome covers 0.654 ha (1.6 acres) and measures 35 m (115 ft) high, 65 m (213 ft) wide, and 135 m (443 ft) long. It houses familiar warm temperate and arid plants such as olives and grape vines and various sculptures.

 

The Outdoor Gardens represent the temperate regions of the world with plants such as tea, lavender, hops, hemp, and sunflowers, as well as local plant species.

 

The covered biomes are constructed from a tubular steel (hex-tri-hex) with mostly hexagonal external cladding panels made from the thermoplastic ETFE. Glass was avoided due to its weight and potential dangers. The cladding panels themselves are created from several layers of thin UV-transparent ETFE film, which are sealed around their perimeter and inflated to create a large cushion. The resulting cushion acts as a thermal blanket to the structure. The ETFE material is resistant to most stains, which simply wash off in the rain. If required, cleaning can be performed by abseilers. Although the ETFE is susceptible to punctures, these can be easily fixed with ETFE tape. The structure is completely self-supporting, with no internal supports, and takes the form of a geodesic structure. The panels vary in size up to 9 m (29.5 ft) across, with the largest at the top of the structure.

 

The ETFE technology was supplied and installed by the firm Vector Foiltec, which is also responsible for ongoing maintenance of the cladding. The steel spaceframe and cladding package (with Vector Foiltec as ETFE subcontractor) was designed, supplied and installed by MERO (UK) PLC, who also jointly developed the overall scheme geometry with the architect, Nicholas Grimshaw & Partners.

 

The entire build project was managed by McAlpine Joint Venture.

 

The Core is the latest addition to the site and opened in September 2005. It provides the Eden Project with an education facility, incorporating classrooms and exhibition spaces designed to help communicate Eden's central message about the relationship between people and plants. Accordingly, the building has taken its inspiration from plants, most noticeable in the form of the soaring timber roof, which gives the building its distinctive shape.

 

Grimshaw developed the geometry of the copper-clad roof in collaboration with a sculptor, Peter Randall-Page, and Mike Purvis of structural engineers SKM Anthony Hunts. It is derived from phyllotaxis, which is the mathematical basis for nearly all plant growth; the "opposing spirals" found in many plants such as the seeds in a sunflower's head, pine cones and pineapples. The copper was obtained from traceable sources, and the Eden Project is working with Rio Tinto Group to explore the possibility of encouraging further traceable supply routes for metals, which would enable users to avoid metals mined unethically. The services and acoustic, mechanical, and electrical engineering design was carried out by Buro Happold.

 

The Core is also home to art exhibitions throughout the year. A permanent installation entitled Seed, by Peter Randall-Page, occupies the anteroom. Seed is a large, 70 tonne egg-shaped stone installation standing some 13 feet (4.0 m) tall and displaying a complex pattern of protrusions that are based upon the geometric and mathematical principles that underlie plant growth.

 

Environmental aspects

The biomes provide diverse growing conditions, and many plants are on display.

 

The Eden Project includes environmental education focusing on the interdependence of plants and people; plants are labelled with their medicinal uses. The massive amounts of water required to create the humid conditions of the Tropical Biome, and to serve the toilet facilities, are all sanitised rain water that would otherwise collect at the bottom of the quarry. The only mains water used is for hand washing and for cooking. The complex also uses Green Tariff Electricity – the energy comes from one of the many wind turbines in Cornwall, which were among the first in Europe.

 

In December 2010 the Eden Project received permission to build a geothermal electricity plant which will generate approx 4MWe, enough to supply Eden and about 5000 households. The project will involve geothermal heating as well as geothermal electricity. Cornwall Council and the European Union came up with the greater part of £16.8m required to start the project. First a well will be sunk nearly 3 miles (4.5 km) into the granite crust underneath Eden.

 

Eden co-founder, Sir Tim Smit said, "Since we began, Eden has had a dream that the world should be powered by renewable energy. The sun can provide massive solar power and the wind has been harnessed by humankind for thousands of years, but because both are intermittent and battery technology cannot yet store all we need there is a gap. We believe the answer lies beneath our feet in the heat underground that can be accessed by drilling technology that pumps water towards the centre of the Earth and brings it back up superheated to provide us with heat and electricity".

 

Drilling began in May 2021, and it was expected the project would be completed by 2023

 

Other projects

Eden Project Morecambe

In 2018, the Eden Project revealed its design for a new version of the project, located on the seafront in Morecambe, Lancashire. There will be biomes shaped like mussels and a focus on the marine environment. There will also be reimagined lidos, gardens, performance spaces, immersive experiences, and observatories.

 

Grimshaw are the architects for the project, which is expected to cost £80 million. The project is a partnership with the Lancashire Enterprise Partnership, Lancaster University, Lancashire County Council, and Lancaster City Council. In December 2018, the four local partners agreed to provide £1 million to develop the idea, which allowed the development of an outline planning application for the project. It is expected that there will be 500 jobs created and 8,000 visitors a day to the site.

 

Having been granted planning permission in January 2022 and with £50 million of levelling-up funding granted in January 2023, it is due to open in 2026 and predicted to benefit the North West economy by £200 million per year.

 

Eden Project Dundee

In May 2020, the Eden Project revealed plans to establish their first attraction in Scotland, and named Dundee as the proposed site of the location. The city's Camperdown Park was widely touted to be the proposed location of the new attraction however in May 2021, it was announced that the Eden Project had chosen the site of the former gasworks in Dundee as the location. It was planned that the new development would result in 200 new jobs and "contribute £27m a year to the regional economy". The project is in partnership with Dundee City Council, the University of Dundee and the Northwood Charitable Trust.

 

In 2021, Eden Project announced that they would establish fourteen hectares of new wildflower habitat in areas across Dundee, including Morgan Academy and Caird Park.

 

In July 2023, new images were released depicting what the Dundee attraction would look which accompanied the planning permission documents for the new attraction which would be submitted by autumn 2023.

 

South Downs

In 2020, Eastbourne Borough Council and the Eden Project announced a joint project to explore the viability of a new Eden site in the South Downs National Park.

 

Qingdao, China

In 2015, the Eden Project announced that it had reached an agreement to construct an Eden site in Qingdao, China. While the site had originally been slated to open by 2020, construction fell behind schedule due to the COVID-19 pandemic and the opening date was delayed to 2023. The new site is expected to focus on "water" and its central role in civilization and nature.

 

Eden Project New Zealand

A planned Eden Project for the New Zealand city of Christchurch, to be called Eden Project New Zealand/Eden Project Aotearoa, is expected to be inaugurated in 2025. It is to be centred close to the Avon River, on a site largely razed as a result of the 2011 Christchurch Earthquake.

 

Eden Sessions

Since 2002, the Project has hosted a series of musical performances, called the Eden Sessions, usually held during the summer.

 

The 2024 sessions will be headlined by Fatboy Slim, Suede, Manic Street Preachers, The National, JLS, Crowded House, Rick Astley, Tom Grennan and Paolo Nutini.

 

In the media

The Eden Project has appeared in various television shows and films such as the James Bond film Die Another Day, The Bad Education Movie, in the Netflix series The Last Bus, and in the CBeebies show Andy's Aquatic Adventure.

 

A weekly radio show called The Eden Radio Project is held every Thursday afternoon on Radio St Austell Bay.

 

On 18 November 2019, on the Trees A Crowd podcast, David Oakes would interview the Eden Project's Head of Interpretation, Dr Jo Elworthy, about the site.

 

Art is a diverse range of human activity and its resulting product that involves creative or imaginative talent generally expressive of technical proficiency, beauty, emotional power, or conceptual ideas.

 

There is no generally agreed definition of what constitutes art, and its interpretation has varied greatly throughout history and across cultures. In the Western tradition, the three classical branches of visual art are painting, sculpture, and architecture. Theatre, dance, and other performing arts, as well as literature, music, film and other media such as interactive media, are included in a broader definition of the arts. Until the 17th century, art referred to any skill or mastery and was not differentiated from crafts or sciences. In modern usage after the 17th century, where aesthetic considerations are paramount, the fine arts are separated and distinguished from acquired skills in general, such as the decorative or applied arts.

 

The nature of art and related concepts, such as creativity and interpretation, are explored in a branch of philosophy known as aesthetics. The resulting artworks are studied in the professional fields of art criticism and the history of art.

 

In the perspective of the history of art, artistic works have existed for almost as long as humankind: from early prehistoric art to contemporary art; however, some theorists think that the typical concept of "artistic works" does not fit well outside modern Western societies. One early sense of the definition of art is closely related to the older Latin meaning, which roughly translates to "skill" or "craft", as associated with words such as "artisan". English words derived from this meaning include artifact, artificial, artifice, medical arts, and military arts. However, there are many other colloquial uses of the word, all with some relation to its etymology.

 

Over time, philosophers like Plato, Aristotle, Socrates and Immanuel Kant, among others, questioned the meaning of art. Several dialogues in Plato tackle questions about art: Socrates says that poetry is inspired by the muses, and is not rational. He speaks approvingly of this, and other forms of divine madness (drunkenness, eroticism, and dreaming) in the Phaedrus (265a–c), and yet in the Republic wants to outlaw Homer's great poetic art, and laughter as well. In Ion, Socrates gives no hint of the disapproval of Homer that he expresses in the Republic. The dialogue Ion suggests that Homer's Iliad functioned in the ancient Greek world as the Bible does today in the modern Christian world: as divinely inspired literary art that can provide moral guidance, if only it can be properly interpreted.

 

With regards to the literary art and the musical arts, Aristotle considered epic poetry, tragedy, comedy, Dithyrambic poetry and music to be mimetic or imitative art, each varying in imitation by medium, object, and manner. For example, music imitates with the media of rhythm and harmony, whereas dance imitates with rhythm alone, and poetry with language. The forms also differ in their object of imitation. Comedy, for instance, is a dramatic imitation of men worse than average; whereas tragedy imitates men slightly better than average. Lastly, the forms differ in their manner of imitation—through narrative or character, through change or no change, and through drama or no drama. Aristotle believed that imitation is natural to mankind and constitutes one of mankind's advantages over animals.

 

The more recent and specific sense of the word art as an abbreviation for creative art or fine art emerged in the early 17th century. Fine art refers to a skill used to express the artist's creativity, or to engage the audience's aesthetic sensibilities, or to draw the audience towards consideration of more refined or finer works of art.

 

Within this latter sense, the word art may refer to several things: (i) a study of a creative skill, (ii) a process of using the creative skill, (iii) a product of the creative skill, or (iv) the audience's experience with the creative skill. The creative arts (art as discipline) are a collection of disciplines which produce artworks (art as objects) that are compelled by a personal drive (art as activity) and convey a message, mood, or symbolism for the perceiver to interpret (art as experience). Art is something that stimulates an individual's thoughts, emotions, beliefs, or ideas through the senses. Works of art can be explicitly made for this purpose or interpreted on the basis of images or objects. For some scholars, such as Kant, the sciences and the arts could be distinguished by taking science as representing the domain of knowledge and the arts as representing the domain of the freedom of artistic expression.

 

Often, if the skill is being used in a common or practical way, people will consider it a craft instead of art. Likewise, if the skill is being used in a commercial or industrial way, it may be considered commercial art instead of fine art. On the other hand, crafts and design are sometimes considered applied art. Some art followers have argued that the difference between fine art and applied art has more to do with value judgments made about the art than any clear definitional difference. However, even fine art often has goals beyond pure creativity and self-expression. The purpose of works of art may be to communicate ideas, such as in politically, spiritually, or philosophically motivated art; to create a sense of beauty (see aesthetics); to explore the nature of perception; for pleasure; or to generate strong emotions. The purpose may also be seemingly nonexistent.

 

The nature of art has been described by philosopher Richard Wollheim as "one of the most elusive of the traditional problems of human culture". Art has been defined as a vehicle for the expression or communication of emotions and ideas, a means for exploring and appreciating formal elements for their own sake, and as mimesis or representation. Art as mimesis has deep roots in the philosophy of Aristotle. Leo Tolstoy identified art as a use of indirect means to communicate from one person to another. Benedetto Croce and R. G. Collingwood advanced the idealist view that art expresses emotions, and that the work of art therefore essentially exists in the mind of the creator. The theory of art as form has its roots in the philosophy of Kant, and was developed in the early 20th century by Roger Fry and Clive Bell. More recently, thinkers influenced by Martin Heidegger have interpreted art as the means by which a community develops for itself a medium for self-expression and interpretation. George Dickie has offered an institutional theory of art that defines a work of art as any artifact upon which a qualified person or persons acting on behalf of the social institution commonly referred to as "the art world" has conferred "the status of candidate for appreciation". Larry Shiner has described fine art as "not an essence or a fate but something we have made. Art as we have generally understood it is a European invention barely two hundred years old."

 

Art may be characterized in terms of mimesis (its representation of reality), narrative (storytelling), expression, communication of emotion, or other qualities. During the Romantic period, art came to be seen as "a special faculty of the human mind to be classified with religion and science".

 

A shell engraved by Homo erectus was determined to be between 430,000 and 540,000 years old. A set of eight 130,000 years old white-tailed eagle talons bear cut marks and abrasion that indicate manipulation by neanderthals, possibly for using it as jewelry. A series of tiny, drilled snail shells about 75,000 years old—were discovered in a South African cave. Containers that may have been used to hold paints have been found dating as far back as 100,000 years.

 

The oldest piece of art found in Europe is the Riesenhirschknochen der Einhornhöhle, dating back 51,000 years and made by Neanderthals.

 

Sculptures, cave paintings, rock paintings and petroglyphs from the Upper Paleolithic dating to roughly 40,000 years ago have been found, but the precise meaning of such art is often disputed because so little is known about the cultures that produced them.

 

The first undisputed sculptures and similar art pieces, like the Venus of Hohle Fels, are the numerous objects found at the Caves and Ice Age Art in the Swabian Jura UNESCO World Heritage Site, where the oldest non-stationary works of human art yet discovered were found, in the form of carved animal and humanoid figurines, in addition to the oldest musical instruments unearthed so far, with the artifacts dating between 43,000 and 35,000 BC, so being the first centre of human art.

  

Cave paintings, Lascaux, France, c. 17,000 BCE

Many great traditions in art have a foundation in the art of one of the great ancient civilizations: Ancient Egypt, Mesopotamia, Persia, India, China, Ancient Greece, Rome, as well as Inca, Maya, and Olmec. Each of these centers of early civilization developed a unique and characteristic style in its art. Because of the size and duration of these civilizations, more of their art works have survived and more of their influence has been transmitted to other cultures and later times. Some also have provided the first records of how artists worked. For example, this period of Greek art saw a veneration of the human physical form and the development of equivalent skills to show musculature, poise, beauty, and anatomically correct proportions.

 

In Byzantine and Medieval art of the Western Middle Ages, much art focused on the expression of subjects about biblical and religious culture, and used styles that showed the higher glory of a heavenly world, such as the use of gold in the background of paintings, or glass in mosaics or windows, which also presented figures in idealized, patterned (flat) forms. Nevertheless, a classical realist tradition persisted in small Byzantine works, and realism steadily grew in the art of Catholic Europe.

 

Renaissance art had a greatly increased emphasis on the realistic depiction of the material world, and the place of humans in it, reflected in the corporeality of the human body, and development of a systematic method of graphical perspective to depict recession in a three-dimensional picture space.

 

In the east, Islamic art's rejection of iconography led to emphasis on geometric patterns, calligraphy, and architecture. Further east, religion dominated artistic styles and forms too. India and Tibet saw emphasis on painted sculptures and dance, while religious painting borrowed many conventions from sculpture and tended to bright contrasting colors with emphasis on outlines. China saw the flourishing of many art forms: jade carving, bronzework, pottery (including the stunning terracotta army of Emperor Qin), poetry, calligraphy, music, painting, drama, fiction, etc. Chinese styles vary greatly from era to era and each one is traditionally named after the ruling dynasty. So, for example, Tang dynasty paintings are monochromatic and sparse, emphasizing idealized landscapes, but Ming dynasty paintings are busy and colorful, and focus on telling stories via setting and composition. Japan names its styles after imperial dynasties too, and also saw much interplay between the styles of calligraphy and painting. Woodblock printing became important in Japan after the 17th century.

 

The western Age of Enlightenment in the 18th century saw artistic depictions of physical and rational certainties of the clockwork universe, as well as politically revolutionary visions of a post-monarchist world, such as Blake's portrayal of Newton as a divine geometer, or David's propagandistic paintings. This led to Romantic rejections of this in favor of pictures of the emotional side and individuality of humans, exemplified in the novels of Goethe. The late 19th century then saw a host of artistic movements, such as academic art, Symbolism, impressionism and fauvism among others.

 

The history of 20th-century art is a narrative of endless possibilities and the search for new standards, each being torn down in succession by the next. Thus the parameters of Impressionism, Expressionism, Fauvism, Cubism, Dadaism, Surrealism, etc. cannot be maintained very much beyond the time of their invention. Increasing global interaction during this time saw an equivalent influence of other cultures into Western art. Thus, Japanese woodblock prints (themselves influenced by Western Renaissance draftsmanship) had an immense influence on impressionism and subsequent development. Later, African sculptures were taken up by Picasso and to some extent by Matisse. Similarly, in the 19th and 20th centuries the West has had huge impacts on Eastern art with originally western ideas like Communism and Post-Modernism exerting a powerful influence.

 

Modernism, the idealistic search for truth, gave way in the latter half of the 20th century to a realization of its unattainability. Theodor W. Adorno said in 1970, "It is now taken for granted that nothing which concerns art can be taken for granted any more: neither art itself, nor art in relationship to the whole, nor even the right of art to exist." Relativism was accepted as an unavoidable truth, which led to the period of contemporary art and postmodern criticism, where cultures of the world and of history are seen as changing forms, which can be appreciated and drawn from only with skepticism and irony. Furthermore, the separation of cultures is increasingly blurred and some argue it is now more appropriate to think in terms of a global culture, rather than of regional ones.

 

In The Origin of the Work of Art, Martin Heidegger, a German philosopher and seminal thinker, describes the essence of art in terms of the concepts of being and truth. He argues that art is not only a way of expressing the element of truth in a culture, but the means of creating it and providing a springboard from which "that which is" can be revealed. Works of art are not merely representations of the way things are, but actually produce a community's shared understanding. Each time a new artwork is added to any culture, the meaning of what it is to exist is inherently changed.

 

Historically, art and artistic skills and ideas have often been spread through trade. An example of this is the Silk Road, where Hellenistic, Iranian, Indian and Chinese influences could mix. Greco Buddhist art is one of the most vivid examples of this interaction. The meeting of different cultures and worldviews also influenced artistic creation. An example of this is the multicultural port metropolis of Trieste at the beginning of the 20th century, where James Joyce met writers from Central Europe and the artistic development of New York City as a cultural melting pot.

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!

  

Some background:

The outbreak of the war in Europe in September 1939 did not immediately affect the status of the Armée de l'Air in French Indochina because it had the task of defending a wide area of Southeast Asia, including the future Laos, Cambodia and Vietnam. And yet its array of airplanes seemed inadequate to perform any kind of real defense against any incursion by an enemy, because there were less than 100 airplanes available to it, all obsolescent or obsolete. In September 1931, Japan invaded and occupied Manchuria. This was an area of northeast China, which encompassed the provinces of Jilin, Liaoning and Heilongjiang. Nearly six whole years later, in July 1937, the Second Sino-Japanese War had begun. As yet, the French colonial authorities were hoping that the Japanese would not be brazen enough to take on the might of a European power. However, it became increasingly likely after the German invasion of Poland in September 1939, since Japan was part of the Axis alliance and thus Germany's ally.

 

On September 26, 1940, Japanese troops landed in Haiphong, violating a cease-fire which had been signed only the previous day. From the middle of the following month, the French became heavily involved in repelling Japanese army assaults. Following the Fall of France in 1940, Thais perceived a chance to regain the territories they had lost years earlier. The collapse of Metropolitan France made the French hold on Indochina tenuous. After the Japanese invasion of French Indochina in September 1940, the French were forced to allow the Japanese to set up military bases. This seemingly subservient behavior convinced the Thai regime that Vichy France would not seriously resist a confrontation with Thailand.

 

During the French-Thai War, the Thai Air Force achieved several air-to-air-victories in dogfights against the Vichy Armée de l'Air. During World War II, the Thai Air Force supported the Royal Thai Army in its occupation of the Shan States of Burma as somewhat reluctant allies of the Japanese and took part in the defense of Bangkok against allied air raids in the latter part of the war, achieving some successes against state-of-the-art aircraft like the P-51 Mustang and the B-29 Superfortress. During these times, the RTAF was actively supplied by the Japanese with Imperial Japanese Army Air Force aircraft such as the Ki-43 "Oscar," and the Ki-27 "Nate." Other RTAF personnel took an active part the anti-Japanese resistance movement.

 

French forces in Indochina consisted of an army of approximately fifty thousand men, The most obvious deficiency of the French army lay in its shortage of armor; however, the Armée de l'Air had in its inventory approximately a hundred aircraft, of which around sixty could be considered first line. These consisted of thirty Potez 25 TOEs, four Farman 221s, eight Loire 130 flying boats, six Potez 542s, nine Morane M.S.406s.

 

The M.S.406 was a French fighter aircraft developed and manufactured by Morane-Saulnier starting in 1938. In response to a requirement for a fighter issued by the French Air Force in 1934, Morane-Saulnier built a prototype, designated MS.405, of mixed materials. This had the distinction of being the company's first low-wing monoplane, as well as the first to feature an enclosed cockpit, and the first design with a retracting undercarriage. The entry to service of the M.S.406 to the French Air Force in early 1939 represented the first modern fighter aircraft to be adopted by the service, and the type was also used in the French overseas colonies. The M.S.406 was France's most numerous fighter during the Second World War and one of only two French designs to exceed 1,000 in number. At the beginning of the war, it was one of only two French-built aircraft capable of 400 km/h (250 mph) – the other being the Potez 630.

 

Although a sturdy and highly manoeuvrable fighter aircraft, the M.S.406 was considered underpowered and weakly armed when compared to its contemporaries, esp. over continental Europe. Most critically, the M.S.406 was outperformed by the Messerschmitt Bf 109E during the Battle of France and no serious threat to the German fighter. In less advanced theatres like Indochina, though, the M.S. 406 was a respectable contender, but its numbers were low.

 

When the French-Thai War broke out in Indochina, the Thai Army was a relatively well-equipped force, consisting of some sixty thousand men, with artillery and tanks. The Royal Thai Navy — consisting of several vessels, including two coastal defence ships, twelve torpedo boats and four submarines — was inferior to the French naval forces, though, but the Royal Thai Air Force held both a quantitative and qualitative edge over l'Armee de l'Air. Among the 140 aircraft that composed the air force's initial first-line strength were twenty-four Mitsubishi Ki-30 light bombers, nine Mitsubishi Ki-21 and six Martin B-10 twin-engine bombers, seventy Vought Corsair dive bombers, and twenty-five Curtiss Hawk 75 fighters.

 

While nationalistic demonstrations and anti-French rallies were held in Bangkok, border skirmishes erupted along the Mekong frontier. The superior Royal Thai Air Force conducted daytime bombing runs over Vientiane, Sisophon, and Battambang with impunity. The French retaliated with their own planes, but the damage caused was less than equal. The activities of the Thai air force, particularly in the field of dive-bombing, was such that Admiral Jean Decoux, the governor of French Indochina, grudgingly remarked that the Thai planes seemed to have been flown by men with plenty of war experience.

 

In early January 1941, the Thai Burapha and Isan Armies launched their offensive on Laos and Cambodia. French resistance was instantaneous, but many units were simply swept along by the better-equipped Thai forces, with some French equipment – including some aircraft – being captured and immediately pressed into Thai army service. The Thais swiftly took Laos, but Cambodia proved a much harder nut to crack.

 

On January 16, 1941 the French launched a large counterattack on the Thai-held villages of Yang Dang Khum and Phum Preav, initiating the fiercest battle of the war. Because of over-complicated orders and nonexistent intelligence, the French counterattacks were cut to pieces and fighting ended with a French withdrawal from the area. The Thais were unable to pursue the retreating French, as their forward tanks were kept in check by the gunnery of French Foreign Legion artillerists.

 

On January 24, the final air battle took place when Thai bombers raided the French airfield at Angkor near Siem Reap, which quickly fell. The last Thai mission commenced at 0710 hours on January 28, when the Martins of the 50th Bomber Squadron set out on a raid on Sisophon, escorted by three Hawk 75Ns of the 60th Fighter Squadron.

 

Although the French won an important naval victory over the Thais, Japan forced the French to accept Japanese mediation of a peace treaty that returned the disputed territory to Thai control. A general armistice was arranged by Japan to go into effect on January 28. On May 9 a peace treaty was signed in Tokyo, with the French being coerced by the Japanese into relinquishing their hold on the disputed territories. However, the French (now part of the Axis Forces’ Vichy regime) were left in place to administer the rump colony of Indochina until 9 March 1945, when the Japanese staged a coup d'état in French Indochina and took control, establishing their own colony, the Empire of Vietnam, as a puppet state controlled by Tokyo.

 

Until then, Japanese authorities heavily influenced the diminishing Vichy French presence in the region and handed over a lot of leftover military hardware to its own allies, primarily the Thai forces. However, there was not much left to be distributed: about 30% of the French aircraft were rendered unserviceable by the end of the French-Thai War in early 1941, some as a result of minor damage sustained in air raids that remained unrepaired. The Armée de l'Air admitted the loss of only one Farman F221 and two Morane M.S.406s destroyed on the ground, but, in reality, its losses were greater and the influence of Japan on the leftover stock was fogged in order to save face. However, even in 1944, single former Vichy French aircraft and tanks were still active in the region, primarily under Thai flag.

  

General characteristics:

Crew: 1

Length: 8.17 m (26 ft 10 in)

Wingspan: 10.61 m (34 ft 10 in)

Height: 3.25 m (10 ft 8 in)

Wing area: 16 m2 (170 sq ft)

Empty weight: 1,895 kg (4,178 lb)

Gross weight: 2,540 kg (5,600 lb)

 

Powerplant:

1 × Hispano-Suiza 12Y-31 V-12 liquid-cooled piston engine with

619 kW (830 hp) for take-off at 2,520 rpm at sea level,

driving a 3-bladed variable-pitch propeller, 3 m (9 ft 10 in) diameter

 

Performance:

Maximum speed: 490 km/h (304 mph; 265 kn) at 4,500 m (14,764 ft)

Stall speed: 160 km/h (99 mph, 86 kn) without flaps

135 km/h (84 mph; 73 kn) with flaps

Range: 1,100 km (680 mi, 590 nmi) at 66% power

Combat range: 720 km (450 mi, 390 nmi)

Endurance: 2 hours 20 minutes 30 seconds (average combat mission)

Service ceiling: 9,400 m (30,800 ft)

Time to altitude: 2,000 m (6,562 ft) in 2 minutes 32 seconds

9,000 m (29,528 ft) in 21 minutes 37 seconds

Wing loading: 154 kg/m2 (32 lb/sq ft)

Power/mass: 2.95 kg/kW (4.85 lb/hp)

Take-off run to 8 m (26 ft): 270 m (886 ft)

Landing run from 8 m (26 ft): 340 m (1,115 ft)

 

Armament:

1× 20 mm (0.787 in) Hispano-Suiza HS.404 cannon, firing through the propeller hub

2× 7.5 mm (0.295 in) MAC 1934 machine guns in the outer wings

  

The kit and its assembly:

This quick build was created in the wake of the “Captured” group build at whatifmodellers.com and actually is a personal interpretation of someone else’s idea, namely of fellow modeler NARSES who came up with the idea of a captured French M.S. 406 in Indochina under a new Thai flag. I found the idea so weird, yet realistic, that I decided to build one, too.

 

The model is the very simple but quite acceptable M.S. 406 from Hobby Boss. Externally the model is nice, with recessed panel lines and a basic landing gear. Internally, it is rather bleak, even though it has a full cockpit with a floor, integrally molded seat and even some details behind the pilot’s armor bulkhead. The canopy is a single piece and very clear, but it comes with massive locator bars, so that I decided to keep the canopy closed and added a pilot figure to cover the minimal interior. I was lucky to find a Japanese (though pretty “flat”) WWII pilot in the donor bank, left over from a Hasegawa model. I also gave the figure some seat belts (made from adhesive tape), but the rest remained unchanged – even the original metal axis for the propeller was used. I just replaced the machine gun barrels with hollow steel needles and added a pitot on the wing, which is probably part of the kit but not indicated in the instructions. The same is true for the foldable ventral antenna.

 

The build was finished quickly, in the course of just a single evening, including the pilot and some overall PSR.

  

Painting and markings:

My interpretation of a French aircraft in Thai service after the French-Thai War stuck closely to the real world Vichy livery, which was the standard French camouflage in grey/green/brown with light blue-grey undersides (all from ModelMaster’s Authentic Color range), together with a yellow-and-red-striped cowling (a base with Humbrol 69 and red decal stripes added later) and a white cheatline long the fuselage. The tail of French aircraft in Indochina was painted all-red from early 1941 onwards upon Japanese command, because of friendly fire incidents. This was adopted for the model (with a mix of Humbrol 19 and some 73), which is supposed to belong into the 1942 time frame.

 

As a captured aircraft, the original French roundels were replaced/overpainted with red disks/hinomaru, and then Thai elephant markings added on top. That’s a personal idea, ordnance directly supplied to the Thai forces from Japan had the simple, square “elephant flag” emblem directly applied to the wings and the fin (but no fuselage roundel). The all-red tail was taken over, but I painted the rudder in a dark IJA green, since it would formerly carry a French fin flash. The same green was used to overpaint a serial number on the fin and a former squadron emblem under the cockpit.

The hinomaru come from a PrintScale Ki-46 sheet, and these markings are intentionally a bit oversized, so that they cover well the former French markings and are highly visible. The elephant markings some from a PrintScale Ki-27 sheet, so that the red tone on both sources are very close to each other. The Ki-27 sheet also provided the Thai ciphers “3” and “4”, combined into a “34”.

 

The interior was painted in medium grey, and the model externally received some signs of wear and tear in the form of dry-brushed leading edges and around the cockpit as well as some soot stains behind the exhaust stubs and the machine guns. Finally, the model was sealed with a coat of matt acrylic varnish (Italeri).

  

A quick build, and the easy-build Hobby Boss M.S. 406 is certainly not as crisp as a “real” model, but in this case the story behind the weird livery was more in the focus than the canvas underneath. However, an interesting result, and the hybrid paint scheme with heritage from three different operators make the aircraft an unusual, if not exotic sight.

The second stop on the way home from my college visit was in Richmond!

 

The Richmond Kmart appears to be a former Grants (and thus reminded me of the Erie Kmart that I visited last summer). It is very noticeably bigger than Anderson; it is also very nice; it has a Kmart Express gas station and it has a former Kmart Cafe (that still has the counter/displays, the full menu board and even the register! Looks like a more recent KCafe closure from what I've seen; if anybody else here has any more information I would like to know more about it!). This store appears to be doing fairly well for one of the last remaining stores in/near the Miami Valley.

 

Of course, I had to check out the Kmart Express after my main store rounds were complete, so I headed over there and looked around. This is the second Kmart Express I've seen, but the first one I have actually visited, as the other one (at the now nonexistent Brooklyn Super Kmart) had already closed. I didn't buy anything at this KExpress though, as I had spent my money in the main store. Hopefully next time I can buy some coffee or donuts from Kmart Express while going to/from Anderson (if I plan another college visit to Anderson U, which is likely)!

 

Hopefully the Richmond Kmart will still be able to remain "normal" for a good time longer...I like this store! :D

 

Kmart #7246 - 3150 National Road West - Richmond, Indiana

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!

  

Some background:

The outbreak of the war in Europe in September 1939 did not immediately affect the status of the Armée de l'Air in French Indochina because it had the task of defending a wide area of Southeast Asia, including the future Laos, Cambodia and Vietnam. And yet its array of airplanes seemed inadequate to perform any kind of real defense against any incursion by an enemy, because there were less than 100 airplanes available to it, all obsolescent or obsolete. In September 1931, Japan invaded and occupied Manchuria. This was an area of northeast China, which encompassed the provinces of Jilin, Liaoning and Heilongjiang. Nearly six whole years later, in July 1937, the Second Sino-Japanese War had begun. As yet, the French colonial authorities were hoping that the Japanese would not be brazen enough to take on the might of a European power. However, it became increasingly likely after the German invasion of Poland in September 1939, since Japan was part of the Axis alliance and thus Germany's ally.

 

On September 26, 1940, Japanese troops landed in Haiphong, violating a cease-fire which had been signed only the previous day. From the middle of the following month, the French became heavily involved in repelling Japanese army assaults. Following the Fall of France in 1940, Thais perceived a chance to regain the territories they had lost years earlier. The collapse of Metropolitan France made the French hold on Indochina tenuous. After the Japanese invasion of French Indochina in September 1940, the French were forced to allow the Japanese to set up military bases. This seemingly subservient behavior convinced the Thai regime that Vichy France would not seriously resist a confrontation with Thailand.

 

During the French-Thai War, the Thai Air Force achieved several air-to-air-victories in dogfights against the Vichy Armée de l'Air. During World War II, the Thai Air Force supported the Royal Thai Army in its occupation of the Shan States of Burma as somewhat reluctant allies of the Japanese and took part in the defense of Bangkok against allied air raids in the latter part of the war, achieving some successes against state-of-the-art aircraft like the P-51 Mustang and the B-29 Superfortress. During these times, the RTAF was actively supplied by the Japanese with Imperial Japanese Army Air Force aircraft such as the Ki-43 "Oscar," and the Ki-27 "Nate." Other RTAF personnel took an active part the anti-Japanese resistance movement.

 

French forces in Indochina consisted of an army of approximately fifty thousand men, The most obvious deficiency of the French army lay in its shortage of armor; however, the Armée de l'Air had in its inventory approximately a hundred aircraft, of which around sixty could be considered first line. These consisted of thirty Potez 25 TOEs, four Farman 221s, eight Loire 130 flying boats, six Potez 542s, nine Morane M.S.406s.

 

The M.S.406 was a French fighter aircraft developed and manufactured by Morane-Saulnier starting in 1938. In response to a requirement for a fighter issued by the French Air Force in 1934, Morane-Saulnier built a prototype, designated MS.405, of mixed materials. This had the distinction of being the company's first low-wing monoplane, as well as the first to feature an enclosed cockpit, and the first design with a retracting undercarriage. The entry to service of the M.S.406 to the French Air Force in early 1939 represented the first modern fighter aircraft to be adopted by the service, and the type was also used in the French overseas colonies. The M.S.406 was France's most numerous fighter during the Second World War and one of only two French designs to exceed 1,000 in number. At the beginning of the war, it was one of only two French-built aircraft capable of 400 km/h (250 mph) – the other being the Potez 630.

 

Although a sturdy and highly manoeuvrable fighter aircraft, the M.S.406 was considered underpowered and weakly armed when compared to its contemporaries, esp. over continental Europe. Most critically, the M.S.406 was outperformed by the Messerschmitt Bf 109E during the Battle of France and no serious threat to the German fighter. In less advanced theatres like Indochina, though, the M.S. 406 was a respectable contender, but its numbers were low.

 

When the French-Thai War broke out in Indochina, the Thai Army was a relatively well-equipped force, consisting of some sixty thousand men, with artillery and tanks. The Royal Thai Navy — consisting of several vessels, including two coastal defence ships, twelve torpedo boats and four submarines — was inferior to the French naval forces, though, but the Royal Thai Air Force held both a quantitative and qualitative edge over l'Armee de l'Air. Among the 140 aircraft that composed the air force's initial first-line strength were twenty-four Mitsubishi Ki-30 light bombers, nine Mitsubishi Ki-21 and six Martin B-10 twin-engine bombers, seventy Vought Corsair dive bombers, and twenty-five Curtiss Hawk 75 fighters.

 

While nationalistic demonstrations and anti-French rallies were held in Bangkok, border skirmishes erupted along the Mekong frontier. The superior Royal Thai Air Force conducted daytime bombing runs over Vientiane, Sisophon, and Battambang with impunity. The French retaliated with their own planes, but the damage caused was less than equal. The activities of the Thai air force, particularly in the field of dive-bombing, was such that Admiral Jean Decoux, the governor of French Indochina, grudgingly remarked that the Thai planes seemed to have been flown by men with plenty of war experience.

 

In early January 1941, the Thai Burapha and Isan Armies launched their offensive on Laos and Cambodia. French resistance was instantaneous, but many units were simply swept along by the better-equipped Thai forces, with some French equipment – including some aircraft – being captured and immediately pressed into Thai army service. The Thais swiftly took Laos, but Cambodia proved a much harder nut to crack.

 

On January 16, 1941 the French launched a large counterattack on the Thai-held villages of Yang Dang Khum and Phum Preav, initiating the fiercest battle of the war. Because of over-complicated orders and nonexistent intelligence, the French counterattacks were cut to pieces and fighting ended with a French withdrawal from the area. The Thais were unable to pursue the retreating French, as their forward tanks were kept in check by the gunnery of French Foreign Legion artillerists.

 

On January 24, the final air battle took place when Thai bombers raided the French airfield at Angkor near Siem Reap, which quickly fell. The last Thai mission commenced at 0710 hours on January 28, when the Martins of the 50th Bomber Squadron set out on a raid on Sisophon, escorted by three Hawk 75Ns of the 60th Fighter Squadron.

 

Although the French won an important naval victory over the Thais, Japan forced the French to accept Japanese mediation of a peace treaty that returned the disputed territory to Thai control. A general armistice was arranged by Japan to go into effect on January 28. On May 9 a peace treaty was signed in Tokyo, with the French being coerced by the Japanese into relinquishing their hold on the disputed territories. However, the French (now part of the Axis Forces’ Vichy regime) were left in place to administer the rump colony of Indochina until 9 March 1945, when the Japanese staged a coup d'état in French Indochina and took control, establishing their own colony, the Empire of Vietnam, as a puppet state controlled by Tokyo.

 

Until then, Japanese authorities heavily influenced the diminishing Vichy French presence in the region and handed over a lot of leftover military hardware to its own allies, primarily the Thai forces. However, there was not much left to be distributed: about 30% of the French aircraft were rendered unserviceable by the end of the French-Thai War in early 1941, some as a result of minor damage sustained in air raids that remained unrepaired. The Armée de l'Air admitted the loss of only one Farman F221 and two Morane M.S.406s destroyed on the ground, but, in reality, its losses were greater and the influence of Japan on the leftover stock was fogged in order to save face. However, even in 1944, single former Vichy French aircraft and tanks were still active in the region, primarily under Thai flag.

  

General characteristics:

Crew: 1

Length: 8.17 m (26 ft 10 in)

Wingspan: 10.61 m (34 ft 10 in)

Height: 3.25 m (10 ft 8 in)

Wing area: 16 m2 (170 sq ft)

Empty weight: 1,895 kg (4,178 lb)

Gross weight: 2,540 kg (5,600 lb)

 

Powerplant:

1 × Hispano-Suiza 12Y-31 V-12 liquid-cooled piston engine with

619 kW (830 hp) for take-off at 2,520 rpm at sea level,

driving a 3-bladed variable-pitch propeller, 3 m (9 ft 10 in) diameter

 

Performance:

Maximum speed: 490 km/h (304 mph; 265 kn) at 4,500 m (14,764 ft)

Stall speed: 160 km/h (99 mph, 86 kn) without flaps

135 km/h (84 mph; 73 kn) with flaps

Range: 1,100 km (680 mi, 590 nmi) at 66% power

Combat range: 720 km (450 mi, 390 nmi)

Endurance: 2 hours 20 minutes 30 seconds (average combat mission)

Service ceiling: 9,400 m (30,800 ft)

Time to altitude: 2,000 m (6,562 ft) in 2 minutes 32 seconds

9,000 m (29,528 ft) in 21 minutes 37 seconds

Wing loading: 154 kg/m2 (32 lb/sq ft)

Power/mass: 2.95 kg/kW (4.85 lb/hp)

Take-off run to 8 m (26 ft): 270 m (886 ft)

Landing run from 8 m (26 ft): 340 m (1,115 ft)

 

Armament:

1× 20 mm (0.787 in) Hispano-Suiza HS.404 cannon, firing through the propeller hub

2× 7.5 mm (0.295 in) MAC 1934 machine guns in the outer wings

  

The kit and its assembly:

This quick build was created in the wake of the “Captured” group build at whatifmodellers.com and actually is a personal interpretation of someone else’s idea, namely of fellow modeler NARSES who came up with the idea of a captured French M.S. 406 in Indochina under a new Thai flag. I found the idea so weird, yet realistic, that I decided to build one, too.

 

The model is the very simple but quite acceptable M.S. 406 from Hobby Boss. Externally the model is nice, with recessed panel lines and a basic landing gear. Internally, it is rather bleak, even though it has a full cockpit with a floor, integrally molded seat and even some details behind the pilot’s armor bulkhead. The canopy is a single piece and very clear, but it comes with massive locator bars, so that I decided to keep the canopy closed and added a pilot figure to cover the minimal interior. I was lucky to find a Japanese (though pretty “flat”) WWII pilot in the donor bank, left over from a Hasegawa model. I also gave the figure some seat belts (made from adhesive tape), but the rest remained unchanged – even the original metal axis for the propeller was used. I just replaced the machine gun barrels with hollow steel needles and added a pitot on the wing, which is probably part of the kit but not indicated in the instructions. The same is true for the foldable ventral antenna.

 

The build was finished quickly, in the course of just a single evening, including the pilot and some overall PSR.

  

Painting and markings:

My interpretation of a French aircraft in Thai service after the French-Thai War stuck closely to the real world Vichy livery, which was the standard French camouflage in grey/green/brown with light blue-grey undersides (all from ModelMaster’s Authentic Color range), together with a yellow-and-red-striped cowling (a base with Humbrol 69 and red decal stripes added later) and a white cheatline long the fuselage. The tail of French aircraft in Indochina was painted all-red from early 1941 onwards upon Japanese command, because of friendly fire incidents. This was adopted for the model (with a mix of Humbrol 19 and some 73), which is supposed to belong into the 1942 time frame.

 

As a captured aircraft, the original French roundels were replaced/overpainted with red disks/hinomaru, and then Thai elephant markings added on top. That’s a personal idea, ordnance directly supplied to the Thai forces from Japan had the simple, square “elephant flag” emblem directly applied to the wings and the fin (but no fuselage roundel). The all-red tail was taken over, but I painted the rudder in a dark IJA green, since it would formerly carry a French fin flash. The same green was used to overpaint a serial number on the fin and a former squadron emblem under the cockpit.

The hinomaru come from a PrintScale Ki-46 sheet, and these markings are intentionally a bit oversized, so that they cover well the former French markings and are highly visible. The elephant markings some from a PrintScale Ki-27 sheet, so that the red tone on both sources are very close to each other. The Ki-27 sheet also provided the Thai ciphers “3” and “4”, combined into a “34”.

 

The interior was painted in medium grey, and the model externally received some signs of wear and tear in the form of dry-brushed leading edges and around the cockpit as well as some soot stains behind the exhaust stubs and the machine guns. Finally, the model was sealed with a coat of matt acrylic varnish (Italeri).

  

A quick build, and the easy-build Hobby Boss M.S. 406 is certainly not as crisp as a “real” model, but in this case the story behind the weird livery was more in the focus than the canvas underneath. However, an interesting result, and the hybrid paint scheme with heritage from three different operators make the aircraft an unusual, if not exotic sight.

After so many years, the details tend to get a bit fuzzy, y'know? Still, it's my own history, so I'm very familiar with it, and the basic chronology here is quite accurate.

The story begins in the fall of 1962, when I was nine years old. This was when I started watching a live local show on TV. Basically, it featured a bunch of high school students dancing to the music as a disc jockey played the hits of the day. One of the first records I remember from direct experience was the Four Seasons' smash hit, "Sherry".

Well, I kept watching week by week. I found the music fascinating, even though I didn't understand the boy/girl stuff at all at that age. A major breakthrough came in February of 1964, when the Beatles made their first appearance on the Ed Sullivan Show. Now the fascination attained a whole new level. Eventually, I became more interested in listening than watching. "House Party" was on CHSJ radio every Saturday morning, when they counted down the top 50. The show culminated when the host played the 'BIG GUN NUMBER ONE!" just before signing off at noon.

The host was a guy who went by the nickname "Rockin' Robbert" (with two 'b's). Robbert left sometime in the summer of '65 and was replaced by Pat Donelan. He'd keep mentioning these "Smart Charts" listing all the hits, and I kept getting more curious about what the things looked like. So I eventually got sufficiently curious to pick one up at MRA's, a long-established uptown department store (in those days, malls were almost nonexistent in Saint John). Thus, I became a bit of a chart addict. I obsessively watched as my favourite songs climbed (or fell down) the chart. I was eager to hear the latest from the Beatles-----and everybody else. So I got my first Smart Chart in November 1965, and continued the habit almost every week throughout '66 and into the start of '67.

For some reason, I stopped getting the Smart Charts in January of 1967, though I still listened to the music. In fact, I KEPT listening to the music well into the '70s-----until Disco, a genre I could not stand, came along and started dominating.

Pat Donelan stayed in the radio business for many years, though not in Saint John. In fact, he was only the DJ at CHSJ for a few months before a new guy took over.

But December, 1965, was a great era for memorable music. I've got at least SOME recollection of virtually every song on this chart. CHSJ was big on promoting "Canadian Talent", with no fewer than seven homegrown groups or singers in the top 50 records. "Rocket record of the week" was an interesting feature, highlighting the song that had climbed the chart faster than any other. The all-time CHSJ feat in that department came in February, 1966, when the Beach Boys "Barbara Ann" shot from nowhere to number one in a single week! Then there was the "Pick to Click", which sometimes clicked and sometimes bombed. "Thunderball" wasn't a big hit, but I liked it enough to buy the 45 rpm single-----which I still have to this day.

Though personalized art appeared during World War I, and occasionally grew to incorporate the entire aircraft, most pilots carried a saying or a slogan, or a family crest, or squadron symbol. Some were named, but nose art was not common. During World War II, nose art not only saw its true beginnings, but its heyday.

 

No one knows exactly who started nose art first--it appeared with both the British and the Germans around the first time, with RAF pilots painting Hitler being kicked or skulls and crossbones on their aircraft, while German nose art was usually a personal symbol, named for a girlfriend or adopting a mascot (such as Adolf Galland using Mickey Mouse, something Walt Disney likely didn't approve of). It would be with the Americans, and a lesser extent the Canadians, that nose art truly became common--and started including its most famous forms, which was usually half-naked or completely naked women. This was not always true, but it often was.

 

The quality of nose art depended on the squadron or wing artist. Some of it was rather crude, while others were equal to the finest pinup artists in the United States, such as Alberto Vargas. For men thousands of miles away from home and lonely, a curvaceous blonde on a B-17 or a P-51 made that loneliness a bit easier. Others thought naked women were a little crude, and just limited themselves to names, or depicted animals, cartoon characters, or patriotic emblems, or caricatures of the Axis dictators they were fighting.

 

Generally speaking, there was little censorship, with squadron and group commanders rarely intervening on names or pictures; the pilots themselves practiced self-censorship, with profanity almost unknown, and full-frontal nudity nearly nonexistent. After the loss of a B-17 named "Murder Inc.," which the Germans captured and used to make propaganda, the 8th Air Force, at least, set up a nose art committee that reviewed the nose art of aircraft--but even it rarely wielded its veto. For the most part, nose art was limited only by the crew's imagination and the artist's ability. The British tended to stay away from the lurid nudes of the Americans, though the Canadians adopted them as well. (The Axis also did not use nose art in this fashion, and neither did the Soviets, who usually confined themselves to patriotic slogans on their aircraft, such as "For Stalin!" or "In the Spirit of the Motherland!")

 

When World War II ended, so did nose art, for the most part. In the peacetime, postwar armed forces, the idea of having naked women were wives and children could see it was not something the postwar USAF or Navy wanted, and when it wasn't scrapped, it was painted over. A few units (especially those away from home and family) still allowed it, but it would take Korea to begin a renaissance of nose art.

 

When I visited the Palm Springs Air Museum in 2021, I wasn't able to get a picture of the nose art on "Bunny," one of the museum's P-51 Mustangs--it was undergoing maintenance at the time, so the cowling was on the floor. When we revisited in June 2023, "Bunny" was back in one piece, so I definitely made sure to get this shot of the nose art.

 

"Bunny" is in the colors of the famous 332nd Fighter Group--the legendary "Tuskegee Airmen"--and thus has a very rare example of African-American nose art. Most of the 332nd didn't carry nose art on their P-51s (though most had names), but the group's favorite pin-up girl was actress Lena Horne. "Bunny" is very much flyable.

This is one of those items that, in another reality, I would have totally taken from this abandonment and put it in my nonexistent trophy case.

Weteringschans 16/01/2013 15h33

Officially the name Weteringcircuit is nonexistent but everyone in Amsterdam knows where it is. Since 2002 tramline 25 makes a strange twist through Amsterdam due to the important contruction works of the Noord-Zuid métro line in the Ferdinand Bolstraat. This Combino is coming from Frederiksplein and instead of turning immediately right from Weteringschans to Vijzelgracht and Vijzelstraat it has to make a loop around the square because there is no direct right turn. It is still (2013) not sure when the normal route will be reset for service.

More information about tramline 25:

Wikipedia - Tramline 25 (Dutch)

Amsterdamse Trams - Lijn 25 (Cor Fijma, Dutch)

an all to common scene along the transcanada highway. overheard a trucker say that the "privacy act out to apply to truckers being able to relieve themselves in private" in reference to the cheapness of this country where roadside stops are few and nonexistent, the result being a highway biohazard of human urine containers, feces, diapers, plastic u name it.................

 

follow me on facebook @ Bullfrogphoto

For groups fgr, happy sundays, funny faces, ugly underwear group and things you may not know about me.

The things you may not know are added as notes.

Testimonals to tiny wings and gooner-licious.

Uhm.. only two.. but that is because I only have two contacts in fgr so far.. =tom= I hope you will forgive me for that..

 

Inspired by Klaksvík and Vardø. Two fjords nearly meet; the isthmus in between and two safe harbours create perfect place for a city. 2011.

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