On Visible Cities

Note: This to be used as the head of a section to a proposed book of travel writings.

There’s a quote from Baudelaire I’ve always found funny: apparently, when asked why he didn’r write any nature poetry, his answer was simple and direct: “I don’t worship vegetables.”  Just the right amount of bluntness and smart-assery that reveals a genuine creature of the city.

The city is, for many of us, the landscape of record.  I didn’t grow up where that was the case: my two principal childhood homes were suburban and country, and the circles of my travels seem to take me back to small towns—places of mixed blessings that seem to be where I settle, as a rule.  But I believe the city is the arena in which the drama and situations of the 21^st century inevitably take place, and I believe there is nothing particularly fresh or insightful in saying that. 

As far as I know, the city became the center of the Modern soul about the time it became a character in imaginative literature.  For all the Romantics’ infatuation with Nature, you have old Willie Blake writing Songs of Innocence and Experience in the height of their heyday, and you can’t imagine those poems outside an urban setting.  The city pervades them, even the crazy visionary stuff, but “London” and the Chimney Sweep poems are shot through with the dirt and noise and claustrophobia that would enter our imaginations for the next two centuries.  There’s Dickens, and Baudelaire like I mentioned.  And Joyce, and Eliot, and Kafka.  Yes, lots of writers tried to get out of town, but so many stories begin and end in the city these days: we are condensed, overpopulated, forced to live and die in the presence of each other.

But it isn’t as bleak as that.  In Milan only a week ago, I again brushed against the ideas of the Italian Futurists—Marinetti and Boccioni and their celebration of the art of machinery and noise and combustion.  Too bad some of them filtered that passion into Fascism, because they were certainly on to something in the human spirit.  We love the new, the brilliant and violent.  We love the crash and clamor of things, especially when we’re young, but in my case some of the affections lingered into middle age, so here I am—part of me Futurist, while another part romances the past and the layers of cities.

And as character in modern fiction, cities in modern times take on personality.  You get to know them gradually: at first they are mysteries, broad stereotypes of what you have sometimes heard, perhaps.  For me, the cities often take shape through what I have read: I cannot imagine Prague, for example, other than through the lens of Franz Kafka, although in doing so, I no doubt miss the city on a number of levels.  As it reveals itself through exceptions to type, the city unfolds slowly and with nuance, like Molly Bloom or Quentin Compson, and you acquaint yourself in stages, learning streets and districts and skylines as you might countenance and expression.

So this entry is intended to head up a section of my travel writings called Visible Cities.  The homage is obvious: Calvino’s book Invisible Cities is one of the most beautiful things written in the 20^th century, and I owe him much more than a title. Calvino’s cities were drawn as rich prose poems, fantasies on ideas and on the way we organize, construct, and give meaning to the raw materials around us.  No wonder he used the city: it is always a chaos almost always struggling to become something: experts on chaos theory (of which I am certainly not one) claim that it is the only way to explain the traffic patterns of cities, and since that assertion requires a knowledge of physics above my pay grade, I will just assume they have a point, and that the city’s disorder was a kind of vehicle for larger, more conceptual orders that Calvino managed to discover in its parts and unruly complications.

My approach is more myth than science. I plan to start with cities observed rather than conceptual, from the brick and mortar of American towns to the marble and stone of Europe, dwelling in the tactile and, I hope, balancing how they were once imagined with some of the accidents of their growth into what and who they are.  Budapest and Vienna, Prague and Turin and Genoa and Milan, Detroit and Dublin, Chicago and my own home town of Louisville, smaller than each of these and in almost all ways more parochial, and yet revealing wonders if you look long enough (It was Pogo, after all, who said, “If you squint your eyes just right, you can see the gold of the Incas”). The idea is that there is connection and order behind the building blocks of this very world, that the makers of London, say, or of Venice, had an idea they were building toward, perhaps unconsciously, and that idea was an expression of a basic way in which they were who they were.  That it isn’t crazy to personify Prague in Kafka, Genoa in Columbus or Venice in the cholera of Mann’s great novella.  That our imagination imposes myths on a place, or extracts the myth from its foundations, and it is sometimes, even almost always, hard to tell the difference between those two imaginings.  ©2015 Michael Williams

Of Ten Thousand Buddhas Summit Monastery and a Place Close to Home

It’s a roundabout five miles or so from my doorstep to the Ten Thousand Buddhas Summit Monastery.  The road there leaves Corydon and slips onto the Old Forest Road (for a Tolkien student, the perfect road on which to leave the familiar).  From there, it winds over farmlands, reaches an unforeseen fork and takes a left, dipping between small houses and trailers, past a house complete with car-pursuing border collie (it happens every time: he lurks by the fence row waiting), then takes a left on Mathis Road, where a pair of broken-down barns announce your final turn—a mile-long driveway, rain-rutted and muddy, impassable for a goodly third of the year as it ascends toward the sprawling little complex where the monks live.

The first time there, back in the spring of 2013, we missed the final turn.  The sign for the monastery is a painted arrow on a boulder at the foot of the drive,  but it is only visible from one direction, and the direction wasn’t ours.  So we wandered for ten minutes up Mathis Road until it was all but clear that we had missed the turn-off.  On the way back, we saw it easily, turned and started the climb.

I am sure there are not ten thousand Buddhas at the crest of the hill.  Do we count the statues? the sangha (the Buddhist community)? a combination of both, or another form of reckoning?

Whatever the case, what does greet the traveler is an array of statues, fifty or sixty Buddhas, perhaps, in inviting postures of calm and welcome.  Coming up the hill for the first time was a kind of coming home—not in any profound sense of conversion or epiphany, because I’ve always been secular, skeptical, and (I hate to admit) perhaps even cynical when it comes to religious matters.  No, this homecoming was something more in the country of imagination and emotion, that feeling that you get when, after a long trip, you reach your own threshold, and the tension of wandering slides away and you feel that you can rest here, can put up your feet.

It was a feeling that surprised me, stripped of all but a residual spirituality—the call of the soul that a writer feels mid-novel.  For the thing that had brought me to the monastery was research—nothing academic or theological, but the kind of research all my novelist friends know about, the creation of the experience, of presence in a place, of paying attention to the senses as they take in what is around them.  In this case it was the glow off the white ceramic statuary, the smell of the surrounding forest and a faint undercurrent of sandalwood incense.

And most of all, the profound quiet of the place.  But more of that in a moment.

I was a few chapters into my work in progress, working title Ghost Month.  One of the novel’s heroes was turning out to be what I characterized at first as a “rock star Buddhist”—a Westerner with a sentimental attachment to the media image of Eastern serenity.  What happens, though, as a novel unfolds, is that a character surprises you; it became apparent early on that Dominic, in order to be anything beyond a shallow dilettante, would have learned something or other about the religion he embraced. 

I knew then I would have to brush against Buddhism in a way that was a bit more than a passing acquaintance.  So I began an internet search for nearby monasteries or centers, and with surprise (and a little embarrassment at my own ignorance) discovered the Summit Monastery not fifteen minutes away.  Hence the winding drive, the few minutes of being lost, and the arrival at this spot in the midst of this quiet.

The silence, oddly, did not carry with it a sense of removal.  I had grown up in a wide array of settings—city, suburbia, military post, and farm.  And I was reminded of my grandfather’s farm, the sloping field and the pond, behind it a still ten acres of woods.  A surprising sense of safety amid those trees, the high-pitched, percussive call of a cardinal and the ratcheting of cicadas.  It was all sound you could rest in, comfortable with the nearby road and the passage of the everyday. 

But with your feet on pavement, your thoughts could return to these woods.  It reminded my of something in Wordsworth, when the young man thought over his recollections of Tintern Abbey:

Oft, in lonely rooms, and mid the din

Of towns and cities, I have owed to them,

In hours of weariness, sensations sweet,

Felt in the blood, and felt along the heart,

And passing even into my purer mind

With tranquil restoration...

And it was later, not with Wordsworth's eloquence but with a gratitude to that eloquence, to that other monastery up in the Indiana hills and to the journey that had taken me there, I began to assemble my own thoughts and decided I would go back--this time, not simply as a matter of research.  Ultimately to make it a regular journey.

Over two years have passed since that first encounter.  I make regular trips to the Summit Monastery to meditate with the Rev. Thich Hang Dat, who has become friend and mentor in the interim.  And my understanding of what happened there that first time has changed in two years.

My failures of faith have been numberless—side roads taken hopefully, leading to dislocation and disappointment, steep roads I was too lazy to endure, roads through unsightly and mean country that I figured could not lead to where I was headed.  Whatever the case, the monastery settled in my later thoughts, I hope not superficially because I return to it again and again, practice the meditation I began there, consider it a wayside spot of sustenance and odd peace.

 

I will write more about it in the coming spring.  ©2015 Michael Williams

On Pilgrimage to Wellington: The Road to and from the Shire

Imagine a park high above the city of Wellington, New Zealand, a hemisphere and two seasons away from home.  There was a place where you stand on a woodland trail and look over and up through a canopy of trees into gray December light—it was gray that day, even if the season in the Southern Hemisphere was late spring. 

Wellington slopes as steeply as any city I have visited.  The incline leads from a kind of windy pinnacle (at least in the area where we stayed), the home of colleges and hospitals, down to a bright blue harbor and museums and level ground.  Your legs ached from walking the long journey, and the way back to where we stayed was strenuous as most mountain hikes.

Mount Victoria was our principal hike when my Tolkien students and I visited Wellington.  Small by mountain standards, it lies well in walking distance from the city, and upon its slopes lay the spot where, early in the Jackson movie, Frodo looks down the path, sees the air buckle and blur, and urges his companions to get off the road.  It was a moment in the first film, The Fellowship of the Ring, and consequently, a moment on that hill took me back to another occasion, many years before and much closer to home.

A moment that, like so many good moments, had begun with a gift.  Bed fast for a summer because of a baseball back injury, I was lucky to have a pair of cousins, both wiser and more hip than I could hope to be; they set before me a copy of  Lord of the Rings—a long book, they told me, to shorten the summer boredom.  And shorten the boredom it did: I read the trilogy three times that summer.  But during that first reading, there was an instant of awareness that sealed a summer’s (and a lifetime’s) devotion to that book, to fantasy literature, and to reading itself.

In chapter 3 of the Fellowship, at perhaps the first iconic moment in the trilogy, the hobbits are leaving the Shire on a mission that none of them truly understand yet.  They encounter the first of the Black Riders, the reconnaissance of the Dark Lord of Mordor.  That moment I remember distinctly, as the hobbits slide off the road into cover, as the Rider paces above them, sniffing for them in country forever transformed for them.

And for me.

My eyes lifted from the page, and I emerged from that world knowing that this story meant business.  It was not the first serious story I had ever read, I am certain; however, it was the first time I had understood the seriousness of a story.  All of a sudden, the elements of the fantastic that had offered escape in the other books I had read no longer offered the same refuges.  They were no longer a departure from reality—not even merely a commentary on reality—but a reality unto themselves, thresholds to a way of apprehending things that transformed me forever and entirely. 

I gave myself to that story at that moment.  To fantasy fiction.  To story in general.  It was life-changing, and I hope all of you have or have had a moment like it, the start of an adventure that tells you who you are.

Thirty-five years later, I would find out some interesting things about that scene.  In a 1938 letter to his publisher, Tolkien maintained that in this very chapter, the story had “taken an unpremeditated turn”.  I can’t imagine that the turn did not lie in this moment,  that it surprised him just as much as it surprised me.  Just as much as it surprised and drew in two of our New Zealand guides—Colin Bleasdale from Flat Earth New Zealand Enterprises, and Hammond Peek who had both worked on the movie (Peek won an Oscar® for sound mixing on Return of the King).  Both told us that this was the moment in the film that sold the story to them,  that drew them into Jackson’s world and Tolkien’s behind it.

Of course, the place was really decades and continents away for me.  A summer, sunstruck and tedious, when it hurt to move and when the only real joy felt like Middle Earth.  It struck me in Wellington how the act of pilgrimage was simply the wedding of yearning and place, that the shrine could be Jerusalem or Canterbury or a tree-hooded road in a park you had never imagined when the journey began.  The journey was always one of soul and heart; yes, it was the travel more than the destination, as wise pilgrims are fond of saying, but there needs to be a place where soul and heart can rest and take sustenance, where they look back in wonder and tell you how far you have come.

We did the obligatory pictures.  I huddled with my students at the spot where Elijah Wood and Sean Astin had eluded Jackson’s Dark Riders, and comedy crept into the journey.  I was reminded that part of the wonder of the stopping place was how things beckoned you not to take the destination seriously, that its greatest importance was, like all other places, as a signpost for where you have been and where you are going.  ©2014 Michael Williams

Of New Zealand, Tolkien, and Pilgrimage

The act of pilgrimage takes a number of turns across a lifetime.  Sometimes you embark with the destination in mind, as medieval pilgrims did to Jerusalem or Rome or Canterbury, and sometimes you find out (as I imagine some of those medieval pilgrims did) that the meaning of the journey lay in the process, in what you encountered along the way. 

We have all heard versions of that simple (and simplistic) “either/or”; it’s not much more profound to say that every pilgrimage is a combination of both the planned and the accidental, the destination and the getting-there.  What interests me today, though, is a different take on pilgrimage—one that arises from both these categories and yet veers away from being comfortably either or both.

Sometimes you are on a pilgrimage, and you don’t notice until you get there.

It’s been eight years since Rhonda and I made the journey to New Zealand, along with several colleagues and a handful of remarkable students from the University of Louisville’s Honors Program.  It was a journey to be envied, if you asked a number of my writer friends: a Tolkien seminar that included The Lord of the Rings, then Peter Jackson’s movie treatment of the great novels, would be followed by two weeks among the film sites in New Zealand.  We carefully selected these students, guided (at least in my case) by their love of the books.  We passed over worthy candidates in a search for those whose application essays showed a respect, a curiosity, and an affection for Tolkien’s work, so in some cases the almighty GPA was less a factor (though these were Honors students with excellent grades) than a passion for the subject. 

It was a good standard to apply.  We chose excellent company—bright and creative, irreverent and intellectually engaged.  I don’t remember what the grades were (A’s and B’s, no doubt), but I remember the people and their work with fondness, as the class evolved into a mutual labor of love.

The trip was, as you might imagine, a kind of crown to the experience.  Yes, they were supposed to work in New Zealand, but I kept assignments feather-light, the idea being to leave them to their resources, to let them become a Fellowship.  All disciplinary matters were in the capable hands of my colleagues, John Richardson and Luke Buckman, and to this day I have no idea whether any student was upbraided or even corrected.

The travel experience was not uniform.  There was pleasant and funny testament to this (one young woman boarded an airplane for the first time, and her exuberant whoop when it lifted off the ground kept me smiling from Louisville to Chicago on the first short leg of the journey), and there were circumstances more perilous and accidental: my passport was “inquired into,” as my name is not the most uncommon in the world, and one young man implied, loudly and teasingly and in the middle of LAX airport, that the inquiry had to do with “alleged connections to the IRA”.  Those connections were so deeply alleged that he had made them up on the spot, but the post 9/11 discomfort in an international airport was, believe me, very real. 

Despite my close brush with cavity search, the rest of the trip to our destination went according to plan.  And here we return to the subject at hand, because it was on a hilly little farm near Matamata on New Zealand’s North Island that it became clear to me how I had been a pilgrim all along.

Some of you may know this story, but when I was fourteen, a baseball injury placed me on my back, more or less, for an entire summer.  It turned out that the problem rose from my having a mild and undetected spina bifida, apparently more common in our region than was known at that time, mostly (oddly enough) in males of Welsh descent.  While I was laid up, my cousins Tom and Gary (two other males of Welsh descent) introduced me to the trilogy in the hopes that a long book could tide me over in a long, inactive summer. 

It did just that.  And in addition, it redefined me, as epiphanies are supposed to do. 

The revelation came for me, as I will tell in the next entry, in the third chapter of The Fellowship of the Ring.   For now, it is better to consider where it led me.  For after having read the trilogy, I knew that my story would center on stories, on reading them and telling them.  I would discover in the years to come that stories were my principal way of understanding the world, of vesting it with meanings both evident and veiled, both communal and deeply private.  Myths were stories, after all, and through telling tales we brush the edge of myth, even now in a world where the most simplistic among us pride themselves in being myth-free. 

It was a lesson I took with me, through college and graduate school, to my stay in publishing and on into writing, through my conflicts with fellow academics who considered the trilogy a “children’s book” without having read the trilogy (or, I would guess, much children’s literature), and who considered me (verbatim) “not a real writer” for embracing Tolkien, heroic fantasy, speculative fiction in all its shapes and forms.  Things have changed with the academicians, and with me as well, because it took me a while to realize that my journey and its branching, resultant conflicts were all pilgrimage as well.

On the Matamata farm it hit me.  This was a place Jackson had negotiated with a sheep farmer, who refused to speak to the eminent director until a contested televised rugby game was complete.  This was the place that housed the movie’s version of Bilbo’s Party Oak and the opening scenes set in the Shire.  Green slopes tumbled down to a fence row and a small, weedy pond not much bigger than the one in my grandfather’s east field, visible from the house in which I had read much of Two Towers.  The smell rose in the warm December air, fragrant and fresh, though there were sheep turds underfoot you’d have to watch for.  One of the students sat on the slope above what had once been Bag End, which was now a white oval framework bedded in the bright green of the hill, and he leaned on his knees, quiet and teary, on the edge of being overwhelmed by his emotions, fixed to this spot he was no doubt coloring and peopling in his memory and imagination. 

I sat down by him, put my arm around his shoulders.  Cautioned him that, if he started to cry, I would, too.  We looked off to the west, at the tree and the pond, each imagining a different Shire that was our mutual destination and home.  One of the young women produced a recorder and began to play the soft, solitary theme song of Jackson’s trilogy, and it never sounded so good and so lonely and so transformingly communal. 

It was, indeed, the stuff of pilgrimage.  The search for meaning and healing, in which the destination is less the goal than the place you set down the things you carry.   ©2014 Michael Williams

On the Pont d'Aël and the Colossal Wreck of Time

It was 40◦ C in Aosta that afternoon.  I was afraid to do the computations, and I wasn’t yet aware that this would be the night I spent in a lawn chair on the balcony of the flat, hopeful for breezes and night air. 

After helping grade the examinations in what would be my last duty of the term, I took off up into the Alps with my colleagues and friends, Anna Anselmo and Rosie Crawford.  We were headed toward the bridge at Pont d'Aël, the largest and most formidable of the bridges in the region. 

 I was assured that at that height the temperatures would be more forgiving, and Rosie drove us smoothly over the narrow, winding roads, pointing out the occasional sites of stories that were what I would call “Italian Gothic”—tales of child-murder and isolation, strewn with public and private tragedy.  We stopped for a drink part of the way to the site, as Rosie parked the car with magnificent disregard for traffic laws and we headed to a little pub equipped with good beer, a friendly Corgi, an overlook of Alpine meadows, and a cool late afternoon that gave respite from the heat in the town.

We were hastened, not rushed.  Most Italians are not rushed.  But if we were to meet our colleagues for dinner at Taverna di Gargantua (which was, by the way, a remarkable little restaurant back on the outskirts of Aosta), we would have only a small space at Pont d'Aël.

It was to be an exalted space. 

We walked out over the bridge (which had served as an aqueduct in the first century of the Christian era).  It spanned the rapid current of the Torrente Grand Eyvia, a stream or creek full worthy of the name Torrente.  The Grand Eyvia rushed south under the bridge, its roar audible even from the great height of the  Pont d'Aël as it was lost in the narrowing tunnel of bluff and pine and bright deciduous green.  Again I thought of Shelley’s brush with the sublime at the foot of Mont Blanc, not an hour from where I stood:

                                Dizzy Ravine! and when I gaze on thee

I seem as in a trance sublime and strange

To muse on my own separate fantasy,

My own, my human mind, which passively

Now renders and receives fast influencings,

Holding an unremitting interchange

With the clear universe of things around;

One legion of wild thoughts, whose wandering wings

Now float above thy darkness…

It was Anna, more compassionate than I, who speculated as to how had many lost their lives in the building of this structure.  She was right, of course, but it was a thought lost to me in the huge sublime of history.

This bridge, like all Roman structures, was built as a show of imperium.  Of course it provided transport and water—I’m not denying that—but the idea of it all was more than pragmatic: it was a footprint, a sign or presence and dominance, and as I thought that, Anna’s observation resonated in melancholy and irony. The inscription on the bridge attributes its making to a Caius Avillius Caimus, who, along with Augustus himself, are the names commemorated on the structure, while hundreds, perhaps thousands, labored in anonymity on a span that is nearly lost now, the roads to it obscure and narrow and winding, the woods encroaching to claim it.  The Pont d'Aël, Rosie told us, is relatively unknown even by the neighboring school children, though efforts have been made to acquaint them with the history of the region. 

I thought of Shelley again, a line from another famous poem: Look on my works, ye mighty, and despair.  We took a selfie atop a 2000 year old effort at permanence, at the longevity of names and images.  I think we were aware of the ironies.  At least Rosie, who knew the valley the best, mugged amusingly as the day slid into evening for us all.  ©2014 Michael Williams

On the Roman Bridge in Aosta

Next to the other two bridges I consider in this triad of entries, the little Roman Bridge in Aosta is smaller, more sunlit, more wed to the business and architecture of the town that grew up around it.  Small enough to be considered charming, lined with 17^th century shops and dwellings, it is domesticated unlike the bridges at Pont d’Aël or Pont St. Martin. 

And yet a message survives in its making, its orientation—difficult to translate at this late date, but still apparent if you simply follow your gaze west through the town.

The little bridge empties on its western side at a spot where you can look across a leisurely circle of road, neither compact nor businesslike enough to be called a roundabout.  The circle hedges in the great Augustan Arch of the town, and standing at the foot of the bridge, looking through the arch, you can catch a glimpse of further structures—the Praetorian Gates, and to the right of them, scarcely visible above the rooftops, the ruinous scaenae of the Roman theatre.  It is a rhetoric of arrivals, far smaller and less intimidating that the paths to the Fora in Rome, but a formidable approach nevertheless.

The terms under which you make the journey have changed in two millennia: time was when you were to be awed by Roman power, here at a far-flung outpost where the builders would no doubt have been insulted to hear their bridge described as “charming”.  Instead, they would have thought in terms of imperium, that quality, according to Cicero, sine quo res militaris administrari, teneri exercitus, bellum geri non potest (which, if my Latin is not far more ruinous than the bridge, translates to something close to “without which military matters cannot be governed, the army cannot be held together, and war cannot be waged”). These days imperium is masked by the layers of years, but a straight arrow shot by an archer more powerful than we could imagine could carry through two arches toward the far end of Aosta, where Mussolini’s wolves, symbols of two imperial visions layered atop each other, would mark the end of the line.

This is not an elegy about Time’s erosions.  Things have worn away, indeed, but what interests me is what is still there.  Imperium remains by implication.  You have to look for it in a latter day, removed from the time in which it towered in front of you in confrontation. Instead there is the loud daily life of the town, giving the impression of variety and scarcely guided chaos, as the souvenir shops clamor for your attention in the streets and you have to look and dig, intuit and guess, before you can see the direction of it all, the map that underlies generations of maps, the history that still shapes us as we travel unaware.  ©2014 Michael Williams

On Bridges #1

They figure largely in the stories I know and love, from the Billy Goats Gruff through Horatius at the Sublician Bridge.  Concord, Kwai, Remagen, and Khazad-Dum.  Almost always at a moment of reckoning, in a crucial juncture in some history. 

Of course, we wouldn’t know these bridges were it not for what happened on or across them.  But they are a transitional structure, liminal and also rhetorical in their insistence that they are the one and only way across a stream, a river, a gorge or chasm.  Perhaps we make them beautiful because they embody a language of connection—of links between what we know and what we have yet to discover.

Among its Roman ruins, the Aosta Valley contains three notable bridges: the Pont de Pierre in the town of Aosta itself, the Pont-Saint-Martin, and the Pont d'Aël.  All are remarkably preserved—the Pont de Pierre a bit occluded and domesticated by the late medieval buildings that surround it—but each suggests at more than a simple overpass or viaduct.  They are part of the Roman language of conquest, if you look at them carefully and consider what you see.

Of the three bridges, the Pont-Saint-Martin (built probably sometime in the 1^st century BCE) is the most famous.  A medieval legend has attached itself, and it goes something like this: Saint Martin, the Bishop of Tours, was returning to France, but found his way blocked by the river Lys, which had swept away the only crossing passage during a flood.  The resourceful saint cuts a deal with the Devil, who promises to build a bridge over the river in exchange for the soul of the first one to cross it.  Martin accepts the proposal, but in a nice reversal of the “devil in the details” stories we all have heard, triumphs on a technicality: he throws a piece of bread across the river, enticing a hungry dog to cross, thereby foiling (and infuriating) the devil, who vanishes in the river with a sulfurous explosion, leaving the bridge behind.  The carnival at Pont-Saint-Martin celebrates this confrontation, and concludes by burning an effigy of the devil under the bridge.

A fanciful story, its rhetoric evident.  The Romans and their culture translated into devils and demons, the bridge baptized in a display of Christian ingenuity.  Christ supplants Caesar in the clear-cut dynamic of good and evil, the burning effigy a fire ignited early, not long after the great transition of Constantine and Rome’s official embrace of the Faith (both Constantine and St. Martin are 4^th century figures).  The Pont-Saint-Martin spans an historical era, the passage from one world to the next.  Of the three bridges, this one has the clearest argument: you have to look closer to read the others.  ©2014 Michael Williams