Or e’er, thrice
summer gone, we first surveyed,
Beyond the azure wave
and dusty lands,
This lofty place
where now mine eye on domes
And towers dwells ….
Sorry.
I’ve been
reading
Cymbeline! Anyway,
as I was saying
, before our
first trip to San Miguel, we read a couple of books which Jeanne had found at
Amazon (she does that: she finds tour books and so forth, then gets me to read
them so she doesn’t have to).
One was
Tony Cohan’s
On Mexican Time, and the
other was
Falling in Love with San
Miguel, by Carol Schmidt and Norma Hair.
Cohan was married to an artist when they moved here, and the women are a
lesbian couple who also built a life
here.
Jeanne claims to have seen them around here twice.
It turns out that the ladies are right now in
the process of leaving here for health reasons having to do with altitude
(6400’), though they still love the place and don’t exactly relish going back
to Phoenix; and local scuttle says that Cohan has been seized upon by a younger
woman and has left the artist.
Carol and Norma write very practical books and blogs about
our not-so-little town: what it’s like to be gay here, and how to live cheaply
on Social Security income, for example.
Tony Cohan was a writer from LA already before coming here, and the book
is much more esoteric.
He writes about
coming here on vacation and slowly being sucked into a different view of the
world.
They eventually bought a fixer-upper
and settled here for a number of years.
As
his title suggests, he is preoccupied about how life here’s changes your view
of reality.
I sympathize.
A couple of days ago, Jeanne and I were sitting in the jardín, as the plaza here
is known. It is a beautiful square in
front of the main church (there are many, and almost all architecturally
significant), the mock-Gothic Parroquia,
shady with huge sculpted ficus by day, softly lit with twining lights at night,
and it is the town’s social center, busy by day and crowded by night. For no particular reason, I asked Jeanne the
time. “Twelve forty-eight,” she
replied. At that moment, the parroquia clock chimed out noon. It is, of course, correct; as is Jeanne – but
not here. Here, there is really no such
concept as 12:48: why would the forty-eight be important?
Later in the day we returned to the jardin, which is only about five blocks away. We sat on a bench looking outwards, listening
to a rather good mariachi band in front of one of the restaurants under the
arcades, and not too far away there was a tuna,
as they are called in Spain and probably here: student groups singing
traditional songs in colorful costumes.
Children all around are playing with inflated toys and flashing lights
bought from the vendors on the church steps.
Adults stand around the food stalls which sell roasted corn and other
delicacies.

Were it not for all this activity, I might think we were
stuck in
Waiting for Godot.
“We should be going,” says my Vladimir.
We do not move.
“Are we ready to leave?” asks her Estragon,
somewhat later.
She does not
answer.
It appears we are not ready to
leave.
Even when we do stand up, it is
to take another stroll around the plaza.
At home, on our rooftop, I sit and write, rigging up an umbrella
against the bright light so that I can see the screen. I’m often distracted by the view, and take
numerous pictures of the agglomeration of domes which appeared in an earlier
blog, because they are to me what Rouen cathedral was to Monet, a net designed
to catch the light. I suspect Monet’s
pictures are better (!), but it doesn’t matter: I just sit here and lose track
of time until Jeanne’s head startles me when it appears, breathing hard, at the
top of our spiral staircase. How long
have we been here? Must be six or seven
weeks, right?


We are back at the
jardín.
We could not find the restaurant we had
chosen for a late-night snack, so we settled for a very good pizza at La
Terraza on the corner of the square.
Had
we found our first choice, we would have missed it all.
The square is hopping, with at least two
mariachi bands.
One of them hooks up
with a large table of people next to us, and we are surrounded by the band, all
nine of them: three violins, three trumpets, and three guitars of various
sizes. They are very good and they go on forever.
In contrast to the Colombian music we hear
from time to time because of our family connections, all Mexican tunes, even the sad ones, are happy and infectious; whereas all Colombian tunes, even the happy
ones, are plaintive and melancholy.
Much
of the mariachi music is in ¾ time, but my old folk-dancer’s ear says that some
are in weird Balkan rhythms, 9/16 or something.
The evening is magic, even the children as young as five winding through
the musicians trying to sell gum for a peso or two are picturesque.
If you think it is a cliché to sit on a balmy
evening in a beautiful setting and listen to nine tenors singing
Cielito lindo, all I can say is, don’t
knock it until you’ve fried it.
Go out
and see what you can find in downtown Minneapolis at ten o’ clock at night, my
friends.
As we leave, we bump into the
other mariachi band following a white donkey and leading a young couple, a
bunch of people in odd military uniforms, plus a nondescript crowd picked up
along the way.
(The next day, we see the
same couple posing for wedding pictures.)
I’ll tell you this. I
have lived a cosmopolitan life, as many of you know, and could take you to
places in England, France, Spain or the U.S. as lovely as Baja California. But if I had to choose a single place to
settle down because of the people themselves, it would be magical, maddening
Mexico every time.