Chapter Nineteen: Why is Spain a Catholic Country Pt. II o Caudillo por la Gracia de Dios

After centuries of monarchy interspersed with years of dictatorship, the Spanish people tried to create a democratic government. They would join other western countries and enjoy elections, defined human rights, and a secular government. But, of course, by Spanish people I'm talking about just part of the society. This leftist agenda didn't sit so well with the conservative land owners, army, fascists, and the Church.

So, after just a few years of the Second Republic, the conservative Nationalist forces went to take back the country. The war lasted until 1939, with atrocities committed by both sides (although, while recognizing that neither side was perfect, I'd have to say I'm anti-fascist and don't think the "order" they imposed justified the bloody civil war or a coup against a legitimate government but that's a subject for another chapter). The Nationalists won and "Caudillo" or "Generalissimo" Franco gained power. Of course, once in power he faced the challenge of holding together all these groups. The military and conservatives benefited from Franco's regime, but the Catholics were a different matter. The Catholic Church gained a large amount of control over the education system and Spain backed away from the secular stance of the Republic.

While the Church distanced itself from Franco in the later years of his rule, they provided him with strong support during his first years and maintained the Catholic status of Spain through his rule. Today, everyone recognizes Franco's human rights violations and I think (although this is still a taboo topic among Spain's older generations) accepts that the Republic was - for all its disorder - a better alternative. Well, I guess not everyone.

The Pope made a recent visit to Spain and noted "In Spain, a strong, aggressive laicity, an anti-clericalism, a secularization has been born as we experienced in the 1930s. For the future of the faith, it is this meeting - not a confrontation but a meeting - between faith and laicity which has a central point in Spanish culture."

Unfortunately, these meetings usually turn into confrontations and I'm not sure the Church has the moral legitimacy to imply that the Republic was a terrible time in Spanish history. I'm all for the Pope calling for a renewal of individual faith, but his comments appear to be supporting the imposition of religion onto the state and people. And homie don't play that.

Chapter Eighteen: Strike Out o La Huelga General

"Batten down the hatches," countless emails and news reports said. "The strike's a-coming."

Given the effectiveness of previous strikes, the quantity of signs, and the society's (partially misdirected) rage at Socialist Prime Minister Zapatero, I was getting ready to endure the storm. Checking the supplies of peanut butter and sending out a few emails just in case, I headed out.

As I stepped into the hall, I noticed it was dark, darker than a burnt squid ink paella. But that didn't matter, because the hall lights are usually off. They love conserving energy here like Santiago pilgrims love their rapidly decaying clothes. I pushed a button on the wall and the elevator responded, saving me from a rather rigorous run down eleven flights of stairs.

I headed into the Metro, feeling optimistic upon seeing Metro workers, but still fretting about the reports that the Metro would probably just be running at 50%. And running at 50% in Spain usually means 10%.

The electronic sign stated the usual "train arriving in 5 minutes," but I didn't take it for granted until I stepped on the train five minutes later. The Metro ride and walk to class went surprisingly smoothly as I walked up the escalator free from the usual crowds that block my path. While I did see a few shops closed later, I decided that all in all, things were actually working better the day of the strike.

Que productividad. There was no difference between regular efficiency and strike day efficiency.

Chapter Seventeen: Stuck Inside of Lisbon with the Sintra Fado Again o Sintra y Barrio Alto

 
After a break from walking and a nice banana pancake breakfast, I began the next morning with a walk to Lisbon's Rossio train station. I sat inside the beautiful 19th century building, snapped a few photos of the surrounding area and the São Jorge castle, and waited for the train to the historic suburb of Sintra. The train pulled into what looked like a typical suburb with small buildings, few people and plenty of space... until I looked up and spotted a castle on one of the surrounding mountains.

We took a bumpy bus ride to the Moorish Castle, originally built around the 10th century and restored in the 19th, which was engulfed by a forest high in the Sintra hills. After a short hike with various ruins lining the path, castle walls appeared. We entered the castle, passing by different storage areas and a cistern, before realizing we could walk along the fort's walls. The walls offered what was the best view I'd had so far during the semester and were fun to walk on. I took a different path to the top of the fort, from which I could see the Pena Palace, another of Sintra's historical landmarks.

The Pena Palace seems to be the Portuguese version of the Hearst Castle, but with Moorish style architecture. Constructed in the 19th century and filled with tons of impressive rooms, it offered a look into the upper class lifestyle and taste.

After a lovely lunch in Sintra, we went back to Lisbon, strolling through a large plaza and by the river. Following a questionable suggestion from a hostel employee, we walked by where the sewage meets the river. As the hostel employee had said, there were fish swarming in the sewage water and birds eager to grab them. A disturbing sight, but interesting in some way.

We walked back through the city center by the stylish Santa Justa elevator and made our way to the Barrio Alto. Passing restaurants serving cod (Portugal's specialty) and Fado (Portuguese blues) lounges, we settled with a tapas and wine bar for dinner. There we were served fried potatoes, shrimp in a garlic sauce, sangria, a flaming sausage, and cheese.

While flying back, I considered the atmosphere of Lisbon. It's a much more southern city than Madrid, in the same sort of way that Sevilla is. It had a laid back way about it with the chestnut vendors roaming the streets and the slightly decaying buildings. As I shuffled through the thoughts and images I associated with the city - the trams, roasting chestnuts, castle views, tainted river, and confusing streets - I listened to Lisbon resident Panda Bear's album Person Pitch, drifting in Lisbon daydreams as we left the Spanish style roofs and tile works behind.

Chapter Sixteen: Our Neighbor to the West o El Primer Día en Lisbon

I decided it prudent to take advantage of the relative proximity of Portugal and have a weekend getaway in Lisbon. As with many trips, I hadn't researched Lisbon until the night before the journey, so I looked through various suggestions, TripAdvisor, and Wikipedia to create a plan for seeing the city. These scrawled notes became the blueprint for a delightful trip.

Upon arriving in Lisbon, we dropped our belongings in a charming hostel -which served banana pancakes every morning - and continued to downtown Lisbon for lunch at an Indian restaurant. We strolled around the area, finding trams that went all over the city. While my previous experience with trams had mainly been the quaint and touristy trolleys in San Francisco, I learned through a bumpy half hour ride that the Lisbon trams are much more functional than decorative.

 

After staying on the tram too long and having to make another trip through the city, we eventually ended up in one of the city's higher neighborhoods, close to the Castle of São Jorge that overlooks the city. All bruises from the tram ride were soon forgotten as we looked out upon a sea of Spanish tile roofs and the Tagus River -which I called the "river ocean" given our proximity to the peninsula's coast and the fact that I wasn't sure if it was a river or the entrance to an ocean.

As we looked along the Tagus, we saw a reddish bridge that connected the two sides of the river known as the "25 de Abril" bridge. Given the tram ride and seeing the "25 de Abril" bridge, I almost felt like I was back in San Francisco, ready for some clam chowder courtesy of Fisherman's Wharf or an encounter with some junkies courtesy of the Haight. Anyway, climbing along the walls of the Castle was an adventure in itself and it was amazing to be walking along the rampart just as people in the past had - with no safety railings.

 

The trip back from the castle was a little more confusing and I ended up strolling through what felt like most of Lisbon. We ended up finding a tram to Belem, the city's historical neighborhood. After walking by the Jerónimos Monastery and seeing what I think is the Monument to the Discoveries from afar, we headed to the possibly world famous "Pastéis de Belém" where Lisbon's pastry delicacy "Pastéis de Belém" is served and theoretically originated. Apparently nuns started making them in the monastery (and apparently desert and pastry making is a popular pastime for monks and nuns according to my Señora) before they began selling them in the shop next door. Sitting in a large tiled room, I enjoyed a sandwich and pastéis before finishing the first day in Lisbon. Alright, this chapter has gotten sufficiently long, so I think the next chapter will deal with my visit to Sintra and the rest of Lisbon.

Chapter Fifteen: Why is Spain a Catholic Country Pt. I o Los Reyes Católicos

Seeing as I have to mention a cathedral in nearly every chapter, I thought it would be appropriate to address Spain's Catholic nature. The story begins in 1492, the same one Americans know as the year Columbus discovered America. In Spain, 1492 is known for two other events - the "Reconquista" and the "Expulsión/Inquisición." The "Reconquista" had been an ongoing effort - as in around seven hundred years - to kick those rascally Moors out of Spain. Of course, the Moors had been in Spain for quite a while and occupied a lot of Spain, especially in the South and Andalusia. But, while the Moors had basically become natives and built up Córdoba as one of the most cultural cities in their empire, the Spaniards just weren't having it. Led by legendary heroes like "El Cid" and St. James -who apparently became known as the "Moorslayer" at some point - the Spanish "Reconquista" ended in 1492 with the Catholic Monarchs finally triumphing and pushing out an Islamic influence.

The "Expulsión" and "Inquisición" effort, also supported by the Catholic Monarchs, meant the expulsion of all non-Christians. All Jewish and Islamic citizens were kicked out of the country, while those who stayed behind were forced to convert or killed during the "Inquisición." Removing the other major religions while uniting Spain through the joining of Aragón and Castilla, the "Reyes Católicos" made Spain the Catholic country it currently is. This cheerful story continues with a subsequent chapter titled "Why is Spain a Catholic Country Part II o Caudillo por la Gracia de Dios."

Chapter Fourteen: The Minds of Gaudí, Picasso, and Mariscal o Tres Artistas de Barcelona

The real highlights of Barcelona for me weren't in seeing the city's history, but in seeing the works and evolution of artists who at one point called Barcelona home.

The Sagrada Familia - "Holy Family"- Cathedral, Gaudí's most famous work, is a cool mix of Gaudí's Catholicism, attention to detail, and love of nature. The Nativity side of the Cathedral, with its numerous religious scenes and ornate arches, is an astounding start to seeing the cathedral, but it's made even more exciting by the spires that stand above the rest of the church. These spires - a conspicuous part of the Barcelona skyline - further separate Gaudí's eccentric design from the more conventional Spanish cathedrals. The museum underneath the cathedral gave more insight into how the cathedral and its intricate aspects were planned by Gaudí, an architect who was involved in pretty much every aspect of the buildings he created. Inside the cathedral, the work is still in progress. Some stained glass, pillars, and ceiling decorations have been put in, but more is to be added before the Cathedral is completed sometime around 2025 (although I have the feeling that this is a schedule that people in 2050 are going to look back and laugh at). The "Stations of the Cross" side features much more austere work and simpler architecture, providing an interesting contrast with the hopeful Nativity side.

Gaudí's other big contribution to Barcelona, the Parque Güell, is a park overlooking the sprawling city. It's a park filled with Alice in Wonderland style designs, a large lizard sculpture, and cave-like structures. Again, Gaudí's love of nature and eccentricity is on display for the flocks of tourists that migrate there and clog the steps at the center of the park. While a lot of people headed back after a quick walk through the park, I decided to stroll around more, further away from the crowds and Gaudí's work. I walked up the hill and found another great view of the city, in a much quieter area, although I'm not sure if it was part of the park itself or if it was a residential neighborhood.

 

 

I'm pretty sure the Parque Güell and the Sagrada Familia are the biggest Gaudí tourist draws, but my favorite piece of his is the Casa de Botlló. When I first passed it, it seemed like an "eccentricity for eccentricity's sake" piece of architecture. What I found inside was something entirely different - a piece of art that is exciting and displays the work of an artist who was truly ahead of his time. As the audioguide reminded me every minute or so, Gaudí's work is both aesthetically and functionally motivated. In the case of the Casa Botlló, located in the seaside town of Barcelona, that meant letting the sea in aesthetically and using the form of the house to let the pleasant weather in. Gaudí included large windows for natural light, vents to bring in outside air, and walls that twist in natural patterns - and almost appear to be the interior of an animal.

Aside from the genius of the Casa Botlló, I was able to explore a little of Gaudí's La Pedrera, which now houses the Caixa Catalunya Obra Social, a free modern arts exhibition space. When I visited the building, the work of the Barcelona (originally from Valencia, apparently, but has been working in Barcelona since the 1970's) artist Mariscal was on display and it offered a fun alternative to the intense and calculated Gaudí works. Apparently starting with experimenting with letter fonts and making his way to creating his own art, Mariscal gained a large audience with his work for the Barcelona 1992 Olympics, creating cute mascot characters. For the rest of his career, he has been working on different whimsical ideas, magazine covers, and fonts. His style is lively and while I guess some could see it as tacky or commercial, it was fun and didn't seem to take itself too seriously.

My final cultural adventure during the Barcelona trip was the Museo Picasso. Entering the Museum, I knew about Picasso's changing styles, but the Museo Picasso really brought them to life. Starting with his early days where he was a perfectly fine impressionist painter (following in the footsteps and using the last name of his father), it illustrates his transition into his "etapa azul," "etapa rosa," cubism, ceramics, and other areas and includes some of his best work. Some of my favorites in the collection are "La Salchichona," some of his early Impressionist miniatures, and his "Las Meninas" series in which he plays with Velázquez's classic. A temporary exhibit of Picasso and Degas paintings were set up, which made it easy to see Degas' influence on Picasso. Placing the two artists' works side by side, the similarity between the subject matter (dancers usually), movement, and positioning of the subjects were evident. So, like a certain Catalonian artist said himself, "good artists copy, great artists steal."

 

On the subject, for legal reasons and what have you, I'd like to note that I did not create or take pictures of the Picasso and Mariscal pictures featured here, just got them off of Google's image search para mostrar ejemplos de lo que dije. The Picasso paintings are some of my favorites and the Mariscal pictures are his Olympic mascot and his font design.