Culture – Page 2 – Mystery, fantasy and romance at the dangerous ends of the earth

Cuzco Conversion

By Karen Abrahamson | April 11, 2011

I’ve now been in Cuzco for three days and I have to say I really like this city. People are friendly. The scenery is beautiful with red-tile roofs swirling across and up the sides of the valley like a terra cotta wine in a glass. There are 16th Century churches, camposinos on the corners, wild and wooly local markets and beautiful, quiet parks where I can sit in the shade and think. There are lovely old mansions surrounding the Plaza des Armas, that have their second floors converted to restaurants so you can sit in a screened alcove and peer out old carved windows at the colorful crowds in the plaza. I guess, that’s the theme for Cuzco – conversion.

Old Camposino Woman. She shows such strength. (2011) Photo (c) Karen Abrahamson

Today is Sunday and election day, but the city has been magnificently quiet all things considered. Stores were open (at least tourist ones were), and there were none of the rallies and rousing music I’ve come to associate with this election. I spent the morning climbing out of Cuzco proper to the ancient site of Sacsaywaman – one of the last strongholds of the Inca before the Spanish finally triumphed – and, in the ancient city plan (where streets formed a puma), Sacsaywaman was the part that formed the head.

It’s a long climb: first up steep, cobbled streets that are slippery enough cars must take a run to reach the top. Then follow the road until a cobbled path leads you into a pass between two of the hills surrounding the city. I kept telling myself that if I couldn’t do this then I had no business even contemplating Machu Picchu. The old heart was pumping and I was gulping in air, but I made it and, sweating, handed in my entry ticket.

A ruined wall at Sacsaywaman (2011) Photo (c) Karen Abrahamson

There was virtually no one there at 8:30 in the morning. A few alpaca grazed the green grass between the two sets of ruins. The great stone towers are gone, but the zigzag line of battlements that form the teeth of the Puma of ancient Cuzco, still jut into the ancient field. Instead of ritual sacrifice or battle cries, there were birds and butterflies and horses grazing in the next field over.

I climbed to the top of the exposed rocks and sat there in the sun. A friend had asked me to soak up the feel of the place and I have to say all I felt was silence, just as yesterday, when I travelled out to the Sacred Valley and Pisac fortress, there was just the wind through the fallen stone.

The terraces of Pisac with the ruins of the fortress on the bluff behind (2011) Photo (c) Karen Abrahamson

This was a great civilization, but it lasted only through a hundred years of expansion, before being blasted into oblivion by Pizzaro’s conquest. The Inca way was to take over a territory and subsume the local belief system into their own. Walking around Cuzco today I was more aware than ever of the thievery of conquest. Every cathedral, church and convent in this city is built on the remains of an ancient Incan palace or temple and they are built of stones robbed from said palaces and Sacsaywaman.

As I drove out to Pisac yesterday, my driver started talking about this. He is born of Spanish and Quechua (local Indian)-speaking parents, and I could hear the anger in his voice, which came back to me as I toured the great Cathedral of Cuzco. Every blasted surface of the place is gilded with gold or silver plate – probably robbed from the ancient temples. (Did you know that crazy old Puno was once called the City of Silver because during Incan times one street was actualy paved with it?) But most of all I was struck by the stark contrast to the ruins I’ve seen. Clean stone and narrow ways that give onto vistas. Perched on the heights, the ruins were automatically closer to Incan Apus and the sun.

The churches, however are encrusted with treasure and filled to the brim with figures of Christ and Mary of the mountains (an attempt to convert people from their worship of Pachamama- the earth mother), and I swear every other saint or maybe-saint known to man, as if said cathedral was looking for safety in numbers from what lurked beyond its doors. There is figure after figure in niche after niche, and altar after altar in chapel after cloister until I felt almost sick with the panoply and actually longed for the clean lines of the ruins.

I realized then that what the Spanish did in Peru, wasn’t really a matter of civilizing the people, but, like the Incas before them, was instead a matter of trading one form of Idolatry for another.

Cuzco's Plaza des Armas and the red roofs of the city from Sacsaywaman (2011) Photo (c) Karen Abrahamson

Zen and the Art of Travel

By Karen Abrahamson | February 14, 2011

This topic came to mind as I was running around through the frantic holiday seasons. Too many people, packed too close together and all of them trying to get too much done too fast under too much pressure. No wonder there were so many unhappy faces. I’ve seen the same look of tension on my face when I’m in the midst of a novel and things don’t feel like they’re working well. I can’t tell you the number of times I’ve called writing colleagues and gained their help to talk me through days of angst and despondency.

The same sort of tension can be experienced when you travel.

Ranakpur - old temple worker and the Zen of repetitive work (2000) Photo (c) Karen Abrahamson

You’re in a strange place, with a strange language so you can’t express yourself and as a writer that’s something you need to do. You don’t understand the logic or the cultural norms of the place and the people and that alone is frustrating. The fact you don’t necessarily know where you are, or how to get to the place you want to go, all add to the tension and vulnerability a traveler feels. This not knowing how to get from point A to point B (or even what point B should be) are both anxieties a writer feels, too.

So how do you react?

I know that both at home and abroad, when I’ve felt vulnerable and tense I’ve barked at people—and usually felt bad about it afterwards. The trouble is, we North Americans feel quite comfortable showing our displeasure at something. Often it’s a matter of blaming someone else for how we are feeling, but that’s not the way it is in most parts of the world. In many parts of the world just showing such negative emotion is considered rude—or worse.

My lesson in this came travelling in Burma. There I was, all 6 foot 1+ of me about to travel by local bus from Yangon to fabled Mandalay. I was careful. I did the right things. I made sure I was on an air-conditioned vehicle, had a seat by the window, and that I wasn’t at the rear of the bus. Well the best laid plans oft go awry, they say, and so it was for me. The first clue was when I arrived at the bus. Sure I had a window seat and I wasn’t at the rear. Nope. I was seated over the left front wheel well which meant that all the foot room in the seat was gone.

Okay, tension there.

Then it turned out my seat partner was a stout little man who was wide enough (or I was – it’s all a matter of perspective) that it was impossible for us both to lean back in our seat at the same time.

Okay, frosted now.

So we leave Yangon with me fuming and travel north into the dry lands south of Pagan and the air conditioning broke down. (Did I mention that NOTHING works in Burma?) And then the bus overheated so we had to keep stopping to cool the engine. And on. And on. And on. For hours.

I was furious. I was fuming.

Until I noticed something.

That stout little man never once leaned back and he never once stopped smiling.

He shared his foot space with me and every time we came to a stop, he made sure I got off the bus, got food and found my way around. The entire group of passengers took me under their wing, laughing when I doused my head under a water tap, being gracious when I shared my snacks (Good old M and Ms travel exceedingly well) and making sure I got back on the bus in time. What I learned from those people was patience. When my legs cramped up from their position or the heat became unbearable, I just had to look at my Buddha-shaped travel companion to remind myself that the Buddhist philosophy is that all things pass away, and so, too, would this bus ride.

And really, in the whole scheme of things, how bad was a twelve hour bus ride anyway? I made friends, I saw the country and I learned a vital skill that helps me to this day in my writing and travel.

Patience.

For every bad day, for every time that the words have to be pulled like hot coals from my brain or my wrists burn with pain, or I’m lost in another country, this too will pass. And when it’s over I’ll have learned so much along the way.

Voice: Kitchen Cupboards, Gleaming Mountains, and a Peeled Pommelo

By Karen Abrahamson | February 12, 2011

For all that Ben and Shiva are full brothers, they are very different cats with very different voices. Shiva, though much smaller, has the loud Siamese yowl that can shatter sleep like a siren. He’s a skitter-bug cat that loves to play and will make a toy out of anything he can get his little Velcro paws on. His favorite playtime is diving under the pillows on my bed and waiting, like a jaguar, for something to move so he can attack. He also likes to sit on top of the kitchen cupboards peering down like a vulture.

Sweet and evil (2009) Photo (c) Karen Abrahamson

Ben, on the other hand, is much quieter, with mews more like muttering to himself, but there are dark waters swirling in that cat. This week the challenge has been that he has figured out how to open upper kitchen cupboards – in particular the one above the fridge that holds the wine glasses (maybe he’s developed a taste for the vino?). He’ll throw anything off the fridge that I put up to block him. The scary thing is I actually know when he figured out how to do it. I saw him watching me as I was getting something out of the cupboard and the spark of idea absolutely flashed in his eyes.

While both of these cats have watched me open cupboards numerous times, both of them (and me) come from different perspectives. Shiva comes from the perspective of “that’s interesting that she can do that”, while Ben comes from the place of “If she can do that, so can I – and no one can stop me”. One comes from the place of a gentle, clowning soul, while the other is just, well, evil? Me, I just want my wine glasses safe in the cupboards, all of which illustrates the underlying concept of character voice – different perspectives regarding our environment.

This is different from a writer’s voice. A writer’s voice comes through as style. A writer’s style may grow and change, but you can tell a Stephen King no matter when he wrote it, or under what name. Same goes for a James Lee Burke. There’s a certain attention to detail that comes through no matter what he writes.

But character voice can be the bane of new writers. What is it? How does it work? What’s all the fuss about when I can write a beautiful descriptive scene, or a terrific action sequence?

Character voice ilustrates the different world view each character possesses, just as Ben and Shiva and I each have different perspectives about my kitchen cupboards. I’ll share with you two different stories from my travels that illustrate how two people can live through exactly the same thing and have totally different experiences.

I lived in Thailand for a while and while I was there I travelled around with a wonderful Thai friend named Nin. Now, one of my favorite Thai delights was the large citrus fruit called pommelo. For anyone who hasn’t tried them, they are like a grapefruit only much larger, drier, and sweeter, and their rind is about an inch thick. As a result they are delicious, but incredibly labor intensive to peel.

So Nin and I were driving with her fiancée and we stopped and bought a pommelo and she began to peel it for me. Not that I was in any way incapable of peeling the darn thing myself. She not only peeled the rind, she then carefully performed delicate surgery on each segment to release the luscious flesh from its skin. Then she passed each delicious piece to me or her husband-to-be.

Now that I think back on it, it was one of the most beautiful examples of the Thai ethic of total focus on performing each action perfectly in order to provide pleasure to others. At the time, however, I was embarrassed. I thought she didn’t think I was capable of peeling a pommelo, and I felt uncomfortable having her serve me when I could have peeling the fruit myself. Yet to Nin this was just being the lovely woman that she was, and gifting a friend with something she loved. Two different people experiencing the same thing, but coming from different cultures, our understanding of the event meant something dramatically different.

What draws the eye: Little girl in Kashgar, (1998) Photo (c) Karen Abrahamson

The other example took place along the Silk Road in western China. My friend and I were smashed side by side on an interminable bus ride across the Taklamakan desert and far in the distance across an eternally flat land, I saw a bluff gleaming in the low angled sunlight. I watched it change iridescent pinks, blues and mauves as the light fell in the late afternoon, so I hauled out my notebook and waxed on and on about the wonder of beauty in the midst of all that desolation. When I finished with my eloquence, I turned to my friend, a fellow Canuck and mathematician, and pointed out the mountain and prepared to launch into my ode to beauty. What did she say when I pointed out the mountain?

“Sure. It’s chalk.”

A perfect example of how different our minds worked. And that’s character voice. While I waxed poetry in my journal she was busy examining the visual data to determine the geological makeup of that mountain. The jar of the dissonance in our experiences shut me down – until I burst out laughing.

If only I could shut Ben down so easily.

You’re Going Where?

By Karen Abrahamson | January 4, 2011

Okay, so I’m going to Peru. I’m going to follow the Gringo Loop and hike the Inca Trail all the way to Machu Picchu.

Or at least that’s the plan. If food poisoning and altitude sickness don’t get me first.

But then neither of them has ever stopped me before. You see, I like to travel. I like to travel just as much as I like to write fiction and so I thought I’d combine my two passions in a blog as I get ready for the trip and as I hike (uphill both ways) to Machu Picchu.

A lot of people ask me how I decide where I want to go. Yes, I’ve been to ‘normal places’ in Europe, but mostly I travel a bit off the beaten path. I’ve traveled through East and West Africa by truck. I’ve spent three months in northern India travelling by train, bus, jeep and, dare I say, camel. I spent two months travelling the Silk Road through China and made side journeys to the Tibetan highlands. I’ve travelled in Egypt, Burma, and Cambodia and lived in Thailand. A good friend described my travel as going to all the weird places in the world. Of course he followed it up with the question “Why don’t you go someplace normal? Like Palm Springs? Like Florida?”

Answering that question is a lot like answering a best-selling author who, when I told her I was writing a suspense novel with romantic overtones set in Afghanistan, asked to me why in god’s name I would write something like that.

The answer?

Why not?

Besides, it was something I was interested in. It was something far away and foreign that I wanted to understand. That inspiration became Ashes and Light, it was just after the invasion of Afghanistan and I wanted to understand what was happening in that country. I’d enjoyed Khaled Hosseini’s The Kite Runner, but I wanted to write something that was more mainstream, that would reach into the hearts of readers who wouldn’t read The Kite Runner and provide them with insights that might explain – even a little bit – the misunderstandings that were brewing between Islam and the rest of the world. My travels to northwest India and far western China—areas that enjoy similarities of people, religion, culture and landscape with Afghanistan—all helped me with the book.

While the Afghan story arose from a cerebral process, sometimes the idea for a story or destination arises from something far simpler. Sometimes it’s another traveler’s tale. Sometimes it’s a photo. In the case of Peru, it was two postcards: One was a framed postcard in my doctor’s office of a traditionally dressed Peruvian girl peeking out from behind a brightly striped blanket. There was something so fresh and lovely in her face that it made me want to meet people like her. The other post card was of Machu Picchu and was from my parents who were on a world cruise. Unfortunately, they couldn’t visit the ancient Inca site because they are 83 years old and if the altitude sickness didn’t get them, the uneven ground would have.

So part of my reason for going to Peru is to bring the feel of Peru back to my folks. And that’s what I see travel as being—one part inspiration, one part imagination, and a whole lot of hard work and a magnificent gift—when it works. A lot like writing a book.

So I leave for Peru on March 25, 2011. Come on along, if you like, and I’ll try to get us through without the food poisoning and altitude sickness.