The countryside, caves, and a castle

Miskolc is a university town two hours northeast of Budapest, but I'm afraid in the two days out there I didn't see much of the university or the town. Instead much of my attention went to the drive (to Miskolc, as well as to Aggtelek) and to the sights: a castle, a cave (pictured), and a bath inside a cave. On the way we stopped for gas, which is paid for after filling up the tank, the reverse of what I'm used to. "But what if people just drive off without paying?" I asked my friend. The answer was cameras, both at the gas station and all over the highway, which also means drivers can receive fines (for speeding, or anything else) a month after the fact.

California has conditioned me to love driving and the whole process of a drive, but even then a cruise through the countryside seems like it'll always be an unexpected pleasure. It was better often to watch rather than talk during the hours driving from Miskolc to Aggtelek and back: brown leaves with hints of burgundy and gold still clung to the trees as if it were autumn, and clouds hung low in the sky, so low some wrapped around villages and mountains like smoke, and others moved so quickly over the land we seemed to be driving alongside them. I forget too that these highways pass through villages simultaneously cut off from the world (a woman pumping water in front of her home) and connected to it (satellites on top of every other house).

In Aggtelek we descended 270 steps to reach the two-million-year-old cave shared with Slovakia. Like clouds, the stalactites (from the ceiling), stalagmites (from the gound), and stalagnates (combining the two) form recognizable images, from Santa Claus to dolphins to Romeo and Juliet, and they continue to form. Others have fallen (some more than once), but the tallest stalagmite is 19 meters, and in Giant's Hall (main photo) the ceiling is 27 meters high. The entire UNESCO site is 25 kilometers, so although our tour was under two hours, I can see how others last for seven.

That was conducted in Hungarian, but earlier, I took a shorter, bilingual tour of Diosgyor Castle in Miskolc. Aside from my friend and I, just four teenage girls went on the tour, so it was as though I had a private guide because I was the only one who needed English. It's dedicated to King Louis the Great, who ruled Hungary and Poland in the 14th century, so the small castle has a wax museum depicting the life of the times, which evidently meant leprosy from an appalling sewage system (dumping trash out windows), belief in a hell modeled after Where the Wild Things Are, and non-lethal combats as sport (the winner gets a flower). The guide said this was the largest collection of wax figures in Central Europe - odd for just half a dozen small rooms, but there was a lot of supporting cast.

As for the castle itself, four stone block towers rise up from the corners, with similarly wrought walls and a bridge connecting to the surrounding land. Most of the space is occupied by a courtyard with a platform at the east end. Not much fills the small rooms, but to reach some you can walk underground, and (better yet) others you can reach by climbing four or five sets of stairs inside the towers, where it is wonderful to look out over Miskolc as the sun sets.

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Reading: Ferenc Molnar, The Paul Street Boys
Listening to: Sheryl Crow, "Sweet Child of Mine"

Civizational clash: nationalism and stereotypes

The trip to Eger on Sunday was an educational one even before we arrived, in that I learned how the main roads work. Turning into an exit, we encountered highway patrol parked there to check whether drivers had paid the fee to use the highway. Luckily my friends had, because I think it's similar to the hit-or-miss enforcement of the metro. Speaking of which, the subway is slightly less enigmatic now, and I bet Hungarians have figured out how to cheat the system because it's not difficult over time to get a sense of where guards will be checking tickets - the exception being the one time I came across a guard who actually hopped onto a train to see our tickets.

Anyway, the highway procedure should not be so surprising, I'm just used to U.S. tax policy. What my friends did on the other hand was buy a day pass at a gas station. You can buy passes for any range of times, and by SMS as well, which is funny because you could theoretically have to keep your confirmation SMS for a year to show as proof.

The remaining enlightenment that I derived from Eger was similarly not direct nor immediate, creeping up on me days later.

I was glad to have known about Egri Csillagok, the nationally required reading about Eger's uniquely successful defense against the expanding Ottomans in 1552. It means Stars of Eger, but is for some reason translated as Eclipse of the Crescent Moon, and the writer Geza Gardonyi's grave can be found at the castle in Eger. I didn't learn much from the Hungarian tour guide, depending instead on what my friends could translate. While deciding on the obligatory wine (the city is known for it), one friend insisted I buy Egri Bikaver, i.e., Bull's Blood of Eger. The legend goes that in the days preparing for the Ottoman attack, Hungarians drank this red wine, which dripped down their lips and convinced the Ottomans that they had drank bull's blood, and that was why they were strong enough to defeat them.

The story, along with the history as a larger context, joins other sources of national pride (the unsuccessful 1848 rebellion against the Habsburgs, the disastrous 1956 anti-Soviet uprising, the smooth 1989 shedding of communism, etc.). These, in turn, have their part in the even larger context of the overall idea of any country's national legacies, which I have started to wonder about lately. Brainwashing is just the extreme form of a universal practice in national education systems of conditioning citizens to understand and support their countries. At least at a basic level this means emphasizing achievements over mistakes as proof of greatness. Doesn't a country founded on liberty sound better than one founded on tax evasion?

It's true that the events of 1989 and 1956 and 1848 durably shape the Hungary we see today. And if anyone is to inherit these legacies, mustn't it be the Hungarians? But my problem, or at least what I question, is whether and how much anyone has a right to claim these legacies. Yesterday I read this in The Unbearable Lightness of Being: "What we have not chosen we cannot consider either our merit or our failure."

The Spain of today is not the Spain of the conquistadors. That is to say Prime Minister Zapatero's government had no say in the country's colonization decisions in the 16th century. What fidelity, then, do Latin Americans owe Spain? What accountability, then, does Spain owe them? I thought of this in more recent history when hearing that a French court blamed the country for deporting Jews during the Holocaust, and (in an Eastern/Central European class) that Polish people in the town of Jedwabne killed the Jewish half of their neighbors. In class my professor distinguished between guilt (as Sarkozy should not feel guilty for the choices of de Gaulle) and responsibility (as the Polish should admit historical accuracies).

If we take it for granted that, indeed, Belgium is liable for its colonial past or that Italians rightly take pride in the roots of the Renaissance, I think this implies some credence to Samuel Huntington's Clash of Civilizations. It divides the world and much of its history into seven main civilizations, which define conflict along cultural lines. It's not the best way to examine the aforementioned legacies, but in my mind there's a relevantly deterministic outlook. His theory has generally met resistance (including from me), probably because we dislike the idea of simplifying cultures so much that we say Germans behave that way because they're German. In this way it's 'wrong' to stereotype peoples, and yet right to identify them according to histories dating back decades, centuries, or millenniums. I'm still trying to reconcile this.

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Listening to: Dru Hill, "We're Not Making Love No More"
Reading: Milan Kundera, The Unbearable Lightness of Being

The fairest of them all

When we discovered Saturday that $30 would get us third row seats at the Snow White ballet at the Hungarian State Opera House, my roommates and I booked tickets for the following day. Our friends bought tickets for under $2 (reread that if you must) and from their albeit oblique seats they were at least close enough to make out faces. The price says nothing of the dignity of the Opera House, which, though small by Lincoln Center's standards, boasted more than its share of ceiling frescoes, red velvet walls, and sparkling chandeliers. It had more to do, a roommate pointed out, with the family appeal of the performance, which was fine with me. I loved seeing the children just as dolled up as their parents and I think all of it was fitting, even if I couldn't help recalling however briefly the Hungarians who dressed up for the debut of McDonald's. Admittedly the clapping in unison and children jumping up and down did not add to the elegance, but I'm sure that won't be the case when I see Anna Karenina next month.

As I watched I questioned my own inner child for never questioning my love of the fairy tale. A shrew talking to a mirror? Queen with no king? Dwarf coal miners in the woods? And we shouldn't even go into the outmoded concept that white skin equals beauty (or as Ralph Ellison ingeniously put it, 'white is right'). But on the topic of beauty, for all the esteem that she inspires, the titular character does little more than look pretty as she keeps house for seven incapable bachelors. In the ballet, at least, she dances, but the time immemorial question remains, is that beauty? If one can dance as others can't, is this accomplishment? Is something admirable because it is difficult, worthy because it is beautiful, beautiful because it is achieved...

For better or worse the ballet tweaked the Disney movie to give the witch three minions: red, orange, and purple and resembling the Olympics trolls if Billy Peltzer had fed them after midnight. It also altered Snow White's iconic blue and yellow, which became an unrecognizable peasant dress of pink and light blue (then again Disney didn't invent the tale). Aside from the flamboyance of the queen, purity of the prince and princess, and remarkable dwarfishness of the septet played by ordinary men, the costumes did little to impress. But are the designers at a disadvantage because of the nature of the story? Or does any play/ballet/opera/film/show have the potential to win Best Costume?

What the performance lacked in attire it compensated for in special effects and setting, which were quite ornate for a ballet. In one number, the backup dancers brought in the mirror (a gilded frame in reality) and illustrated its reflective capacity with one ballerina in front cleaning the 'glass,' the other behind, mimicking her actions. For the rest of the show, the mirror's role was to enclose a screen on which was projected previously (though poorly) recorded gestures of the queen as she admired herself. Most impressive was the Jekyll and Hyde scene: after downing a noxious brew, the witch stood before the mirror in such an elaborate cape that we saw nothing of her except what was shown on the screen. She cringed, writhed, and emerged a warted, fibbing-wooden-puppet of a hag, off to deliver her forbidden fruit. The transformation was so complete and seamless that I didn't realize until curtain call that the post-potion hag was played by another dancer, a ballerino in fact.

And because I know you were wondering, the seven are: Happy, Sneezy, Sleepy, Bashful, Grumpy, Dopey, and Doc.

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Listening to: Rush, "Limelight"

Who you gonna call? Mr. Knife.

Vietnamese are superstitious people, especially about the hereafter, and although I think superstition (like religion) derives from lack of awareness, I’ll admit I once believed in some of it. My mom used to tell me that if I left my hair down outside at night, ghosts would hide in it and follow me into my house. I don’t know if she was just trying scare me – like the story about scraping and eating food from sidewalk cracks in the afterlife if I threw any away now – but until middle school it pushed me so far as to hold up my hair by hand when I didn’t have a hair-tie.

I hadn’t thought about those stories much until recently, when I visited my grandmothers in Hue. One afternoon, while some men were preparing a cung, one of my grandmothers yelled across the yard that they better not stand too close to the trees. I’d forgotten that ghosts are plentiful in trees – the greener the tree, the more abundant the ghosts. To humor her, one of the men assured my grandmother that they were safe in the daytime.

Though amusing, the warning didn’t really surprise me. What did surprise me the next day was when my other grandmother invited me to spend the night with her. I wasn’t planning to take her up on the offer, but was even more deterred when I noticed the knife on her bed. She apparently slept with it as protection from ghosts.

The real puppets in Vietnam

Water puppets (mua roi nuoc) are to Vietnam as street performers are to New York: watching them is a very Vietnamese thing to do, just not for local Vietnamese. Most of the audience Saturday night were visitors, and the creators intended the dozen or so skits to teach viewers about Vietnamese life and culture. Some scenes, such as men fishing or animals hatching, could be universally understood. But, ironically, I suspect some of the most interesting ‘lessons’ were beyond foreigners without the context to understand them. Only people familiar with cung would recognize that the puppets carrying plates of fruit in a procession were honoring their ancestors. And though I only vaguely remember reading the legend of the turtle that helped Vietnamese defeat their enemies, I doubt many outsiders recalled the fable when they saw the puppet of the golden turtle. But the figure is as much a part of the country’s folklore as Paul Bunyan is of America’s.

The stage consisted of a long, shallow pool of murky water (the better to hide puppet masters, I’m guessing) in front of an iconic building of red shingles and curved roofs. On either side sat three performers who handled all the sound: wearing traditional ao dai, they voiced the characters of the puppets (human and otherwise), sang when appropriate, and accompanied the entire act with musical instruments.

In some skits, the brightly colored wooden and metal puppets obeyed the constraints of the water – humans rowed, ducks swam, dragons danced and squirted water. In others, the characters miraculously walked on water, acting out the skits as if on land. But the whole time I wondered how the puppeteers maneuvered their dolls. Could they hold their breath underwater just long enough for a skit? Were they lying to the side of the pool, reaching in unseen? Was it all done by machines? The last question was answered when seven or eight puppet masters appeared onstage at the end of the show. Seeing the people drenched from the neck down probably answered the first question, but I’m not much closer to figuring out their secret.