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Showing posts with label Published writings. Show all posts
Showing posts with label Published writings. Show all posts

Thursday, February 25, 2021

"Uncle Frank" film review from Amazon Prime #AlanBall #unclefrank

 

"Uncle Frank" on Amazon Prime is a great slice of life to help you understand what it feels like to grow up gay in the Fundamentalist South under religious condemnation. Here is part of my review on IMBD. #Inclusion#lgbtq

 

Add this to the canon of the dysfunctional Fundamentalist South just released on Amazon Prime: “Uncle Frank.” The film is exceptionally well done and is bare-bones nauseating at the same time.  How did any LGBTQ+ person survive being gay in the Fundamentalist South?  The cast is spectacular. Sophia Lillis radiates honesty on screen. Paul Bettany personified stoic repression. The full cast magnifies the realism of the plot.  The cast is authentic and spectacular in their portrayal of human pathos and ethos.  Alan Ball writes a lived truth for many in the South.  How did any of us gays survive growing up in this tragic, hate-filled Fundamentalist South?  Only through our own strength of character and determination did we survive and eventually thrive.

 

Sunday, November 9, 2014

Atlanta: creating and fulfilling dreams 4/15/96 :an essay.

I wrote the following essay for the Atlanta Olympics in 1996. Coca-Cola had a competition "to welcome the world to Atlanta."  I entered the contest by writing this essay on what Atlanta means to me.  The result would be to have my portrait included on the "Centennial Olympic Wall" to honor Atlantans and their diversity.

I was selected as a semi-finalist and was called in to Coca-Cola Corporation for an interview in front of a group panel.  The chair of the interview committee asked me a question. She asked, "Your writing is exactly what we are looking for....but you are White.  How can you be White and believe in Diversity?"


I was so taken aback by the question that I fumbled my answer. I replied that I had friends of all races, colors, ages, and genders. I began to tell  the committee of my beliefs, and about one third of the way through my answer, I noticed the man at the head of the table, closed his interview book, thanked me for coming, and said, "let's go to lunch." Needless-to-say, I did not advance past this interview. I received a letter of consolation in the mail along with an Olympic pin.  I have always wondered, "my writing is exactly what Coca-Cola was looking for, so why did my skin color matter?"  I did notice that the consolation letter did say that my "story was so impressive, we encourage you to enter phase 3 of the program."



At this juncture in my life, I was 33, and had just buried my best friend only 3 days before. What I could not tell the members of the interview team that I am gay, and that I had just lost 17 friends to the AIDs epidemic, and that the recent loss of my best friend from college left me drained. At that point in my life, I did not have the strength or courage to face another challengeI could not speak the truth that I am gay.  In Georgia you could be fired for being gay with no just cause other than your sexual orientation. (This remains true today in Georgia, and in other states, too.)  I was afraid, afraid of being fired, afraid of being ostracized because so many people in my conservative Cobb County, gays were being shunned by the County Commissioners*, and so many people believed that "all gays have aids amd all fags should die."  These were my fears, possibly unwarranted, but warranted and reinforced by the media at that time.

See the essay below this letter.




Living in Atlanta brings to mind an image of the New South where hope over bigotry and freedom from oppression are intertwined
with the magnolia memories of the Old South, of my heritage of generations of southerners branching across the states, but with roots here in Georgia.

Living in Atlanta has provided me an opportunity to learn in its major universities and colleges, an opportunity to fulfill my American dream to become a teacher, and an opportunity to create my own personal garden where new traditions flourish.


Atlanta provides me a spirit of oneness, the peach of friendship, and the Stone Mountain of acceptance.  I see the freedom flags flying during dogwood days of Spring--in parades as celebrations of dreams, of life, of victories, of holidays, and of art and music.


And now, I see Atlanta as a city of international fellowship, of unity among nations in the games of strength of the human physique, but more-so in the strength of the human spirit.


Atlanta is the Mecca beckoning dreamers. Atlanta is a city where we lay the wreath of dreams--the city where all residents "have a dream."


Robert Robinson

4-15-1996

*http://articles.philly.com/1994-08-28/sports/25840464_1_gay-rights-gay-demonstrators-cobb-county

Wednesday, January 9, 2013

Ordinary, No! NY Times Film Review (blog) of "A Single Man" directed by Tom Ford.


by Robert Robinson on Wednesday, February 17, 2010 at 1:12pm ·
February 16th, 2010
9:09 pm
Rating:
60.
Ordinary, no!
Firth's characterization and Ford's choices in the film do not rather cause a distraction between the grayness of grief and the colors of life, but rather juxtapose the vibrancy of life and love to the starkness of loss and death. This emphasis is especially true in a time and place where homosexuality is an invisible minority. We, the audience, see that George lives in a glass house but he and his sorrow are invisible to his neighbors, invisible to all but the few who choose to peek inside his enclave and into his soul. To the world, George is an ordinary man, but Firth and Ford hint to his exceptionality by the use of his impeccable dress, his attention to detail, and to his fury within his class room, where eventually when George opens up, his voice is loud and clear, even defiant. It is this fanfare of the common man that allows us to understand and empathize with George’s grief. We again get the chance to understand his sorrow when George opens up to Charley as she dismisses his love, and therefore, his grief, as a substitute for the real deal.
You may say that Ford’s work is flawed, especially if you view it as a formulaic drama built on the paradigms of a heterosexual perspective. I say, it is an exceptional work of art, worthy of the Academy Award because it shows a glimpse into the fervent world of George and his repressed passions. It shows the grayness of invisibility amid the colors of life and in the sudden bursts of hope and desire a gay man faces even today.
– idealist rob , atlanta

Wednesday, October 27, 2010

Firth: A Single Man (A rebuttal to the NY Times film critic review)

Firth's characterization and Ford's choices in the film do not rather cause a distraction between the grayness of grief and the colors of life, but rather juxtapose the vibrancy of life and love to the starkness of loss and death. This emphasis is especially true in a time and place where homosexuality is an invisible minority. We, the audience, see that George lives in a glass house but he and his sorrow are invisible to his neighbors, invisible to all but the few who choose to peek inside his enclave and into his soul. To the world, George is an ordinary man, but Firth and Ford hint to his exceptionality by the use of his impeccable dress, his attention to detail, and to his fury within his class room, where eventually when George opens up, his voice is loud and clear, even defiant. It is this fanfare of the common man that allows us to understand and empathize with George’s grief. We again get the chance to understand his sorrow when George opens up to Charley as she dismisses his love, and therefore, his grief, as a substitute for the real deal.


You may say that Ford’s work is flawed, especially if you view it as a formulaic drama built on the paradigms of a heterosexual perspective. I say, it is an exceptional work of art, worthy of the Academy Award because it shows a glimpse into the fervent world of George and his repressed passions. It shows the grayness of invisibility amid the colors of life and the sudden bursts of hopes and desires a gay man faces even today.

Tuesday, October 26, 2010

Review of Canoe, a restaurant in Vinings, GA


Home > Atlanta > ITP (Inside the Perimeter) > Vinings >Is this your restaurant?

Canoe





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Canoe: "I'm Sorry"
by idealist (1 review)
December 21, 2007 - Doesn't like it

"I'm sorry" was the theme of our Friday night at Canoe. I'm sorry that I ordered the chutney duck, as it was served as a piece of extremely rare duck smothered in soy sauce. Now, nothing about Canoe's menu said "Asian food" . Nothing about the menu said, "Eat at your own risk". Nothing said, "Bring blood pressure medicine to compensate for our cooking or lack of skill therein." The waitress did say, "I'm sorry," when I told her that the duck had a strange taste that didn't co-incide with its title, Chutney Duck. However, the prompt service of the team of water servers kept me in gallons of refills as I attempted to eat the duck without calling attention to the fact that I was choking on the sodium; it was my yearly business dinner with my boss and colleagues--making a complaint about the quality of food was not an option in this company. When I told the waitress, whispering on the side, "it's 2 degrees from nasty," she did reply again with a smile, "I'm sorry." and proceeded to pour more water. What did I need to do? Ask for a side of pepper? Return the duck to swim on Salt Lake? Have it fly over to the Morton plant? Certainly these were options. At $24.95 for the entree', I could have FedEx'ed the duck across the USA. On the way out, while my boss was waiting on the valet, I told the Canoe hostess -again the reply? "I'm sorry" Yes, this time, I got the message. "I'm sorry" that I went to Canoe; "I'm sorry" that I didn't make a scene. "I'm sorry" that subtlety is not a tool that Canoe waitresses are trained to hone in on. "I'm sorry" that the menu was misleading--both in type and preparation of its type of cuisine. I'm sorry that I didn't know what I was getting into. (The sushi plates should have been my first clue). "I'm sorry" that I won't sleep tonight. "I'm sorry" that I will be trotting to the bathroom all night. "I'm sorry" that I chose gentlemanly manners to avoid conflict at my boss's holiday dinner party." Mostly, "I'm sorry that I ate at Canoe." I guess if it walks like a duck, talks like a duck, and tastes like soy sauce, it must be sushi," at least according to Canoe.
19 / 20 people recommend this review Recommend

Friday, October 15, 2010

Oprah.com post r.e. Waiting for Superman Tue 9/28/2010 2:23 PM

I am a 29-year veteran teacher; I attribute many of Education's problems to a flawed values and beliefs system. Call it a negative spiral where all parties are guilty of believing that kids cannot achieve, teachers are ineffective, & parents do not care. This vacuum of negativity drains the energy out of schools and resources. I have kept a 29-year journal of outrageous beliefs and behaviors out of so-called professionals, parents, booster organizations, and students. I have titled it The Problem in American Education: People Behaving Badly! These beliefs and behaviors have chipped away at the foundation of Education until it has crumbled around us. Granted, I can also share encounters with hundreds of wonderful people throughout my career, yet this post is to dissect why many of our schools are failing. If we as educators believe that students cannot achieve based on their race, gender, sexual orientation, or test scores, then we produce a product based on that belief: a failure. If we believe that all students can achieve given the right direction and choices, then we will produce a high achieving student regardless of the aforementioned factors. Exclusive schools are based on exclusion; inclusive education is based on inclusion of all. The strength of our diversity of people & talents make our country strong. When we espouse our own self-serving agendas, ethnocentric motivations, & political platforming, we forget: E pluribus unum, "Out of many, one...great nation.

Thanking the Academy, March 15, 2006

Clearly, the Academy slammed the Hollywood closet door shut, and put a deadbolt on it, too! The peoples' backs they broke were the gays and lesbians worldwide. Also, AMPAS has generated an affirmation for me personally. I personally thank all those associated with the development of Brokeback Mountain: the film is pivotal in American history and film. I would like to thank the Academy and Tony Curtis for inadvertently opening the door to this forum of discussion. I would like to thanks those who died before me that I might live, and I would like to thank those who tortured me so that I might become storing. I would like to thank those who hate me that I might be open to love. I would like to thank the radio dj's and the late-night talk show hosts who laugh about me, and the cartoonists that mock me, that I may stand as tall as this mountain and proudly state, "I isn’t queer." I am a homosexual man who has been promised "life, liberty, and the pursuit of happiness." --And I don't need a trophy to validate my existence or my success.

Brokeback Mountain is "The face [of gays] that launched a thousand ships," or shall I say keyboards? This is a film that provokes thought and discussion, brings bashers' anger to the printed word, such as the anger displayed by bloggers who proclaim "get over it, and voices of old Hollywood AMPAS members' defiance to view the film.



This is the film that has triggered true-life recollections of abuse and alienation by many gay men in America; it shows the hatred toward gays such as Matthew Shepherd and others who remain nameless and forgotten, killed for being gay "in the wrong place at the wrong time." [We’re dead]. Brokeback Mountain provides a glimpse of gay life and suffering in a Red State, and shows Blue Hollywood's hypocrisy. [Here I could insert a litany for the dead that I have known in my life]. This film, thanks to Ang Lee, Annie Proulx, the producers, and the actors, shows a rigid belief system that American homophobes don't want others to see--yet, it stands as a Mountain of Triumph for gays who have been mocked by caricatures such as Capote, Jack McFarland, Paul Lynde, and other gay stereotypes. Though these portrayals show the comic mask of gayness, the characters of Brokeback Mountain show the heart of gayness--a sexual orientation based on love, not on affected witticisms or clever costumes of flamboyance. Annie Proulx's direct and pointed comments to AMPAS conceal nothing and hide no truths behind Hollywood's facade. Just as Brokeback Mountain revealed "a love that dare not speak its name," Annie's words lay out the truth about Hollywood.

Thursday, October 14, 2010

Review of Looped, starring Valerie Harper, 2010


Looped, starring Valerie Harper, made the legend of Tallulah real for the now generation.
Costar Brian Hutchison annoyed the hell out of me for the first act, and then by the second act, I knew that that was his intent.  His discomforting tension and edginess kept me fidgeting along with him as I listened to the badinage from Valerie Harper's Tallulah. He was the perfect foil for Tallulah to express her free spirited life view. Not only was I looped by the dialogue, I was also hooked within minutes of Ms. Harper's entrance.  I grew up in Tallulah's home town of Jasper, Alabama, and longingly admired her reputation and also her mansion there.  To gain a glimpse of the renowned Bankhead family and to discover the catalyst for Tallulah's rebellion compelled me to hang onto every word of dialogue the play had to offer.  The tension and contrast of the main character and her foil led to a synergy in the second act, both hilarious and cathartic.
Valerie Harper was able to show the embodiment of a true stage and screen diva.  The young men rollicked in laughter at her every zippy one-liner.  I was glad to witness that these young men were learning that a diva is always a diva, even when facing the demise of her reputation, like a decaying Southern mansion.

Looped, starring Valerie Harper, made the legend of Tallulah real for the now generation.  Costar Brian Hutchison annoyed the hell out of me for the first act, and then by the second act, I knew that that was his intent.  His discomforting tension and edginess kept me figiting along with him as I listened to the badinage between his character and Valerie Harper's Tallulah. He was the perfect foil for Tallulah to express her free spirited life view. Not only was I looped by the dialogue, I was also hooked within minutes of Ms. Harper's entrance.  I grew up in Tallulah's home town of Jasper, Alabama, and longingly admired her reputation and also her mansion there.  To gain a glimpse of the renouned Bankhead family, and to discover the catalyst for Tallulah's rebellion compelled me to hang onto every word of dialogue the play had to offer.  The tension and contrast of the main character and her foil led to a synergy in the second act, both hilarious and cathartic.
Valerie Harper was able to show the embodiment of a true stage and screen diva.  The young men in the audience rollicked in laughter at her every zippy one-liner.  I was glad to witness that these young men were learning that a diva is always a diva, even when facing the demise of her reputation, like a decaying Southern mansion.

Review of Hamlet on Broadway, starring Jude Law, 2010

Mr. Brantley’s sullied perception does not do justice to Jude Law’s performance in Hamlet.  Relying on his own Cliff Note’s version of what Hamlet should be, and who the character should be, Mr. Brantley and his written opinion were far from what I saw on stage on Nov. 22, 2009.

Either Mr. Brantley had terrible seats when viewing the show in October, or either his scathing review of Mr. Law led to an excellent performance in November.  Mr. Law used nuance to depict the introspection of Hamlet. This “rakish leading man of film” articulated the lines with a fusion of verbal and kinetic synchronicity that emoted Hamlet’s inner struggle almost to perfection.  Quite frankly, he was able to carry the play.  To give Mr. Brantley the benefit of the doubt, perhaps Law’s mirror to life cast a weak reflection early in the play’s run only because the flaw in the play was the other actors’ ability to match and respond to Law’s subtleties. Even the royal court’s character portrayals were flat.  It was Law who kept the plot focused, even when the dialogue was paced at an allegro clip.  Law was able to portray Hamlet not so much as a Freudian weakling, but rather as a royal disgusted to have to deal with Denmark’s courtly petty deceit and staleness.

Once I was able to get past Claudius’s Leno-esque profile, I could begin to see this character come to life. Flat to begin with, Kevin R. McNally redeemed his performance in his prayer soliloquy.  Geraldine James finely portrayed Gertrude’s regality, but the delivery of her lines paralleled a Kennebunkport matriarch’s hostessing skills…a little to frilly and shallow.  Gugu Mbatha-Raw’s Ophelia was developing, but the director’s choices in her mad songs left us without a full understanding of Ophelia’s angst. That, coupled with her impeccably coiffed beauty in the scene left us without knowing her state of trauma. Staging, sound effects, and set design were not, Mr. Brantley, overblown beyond Shakespeare’s original intent, but where designed more as a chronicle of our times.  And that towering stage worked well to bring the characters down to crawling between heaven and earth.

Yet, it was Law, his Hamlet, who was able to stand tall.  It was Law, who was able to bring pregnant words to life.  It was Law who was able to depict a believeable Hamlet, both in age and in dignity.  I admit it, this teacher of Hamlet for the past 21 years stood outside the stage door seeking an autograph from Jude Law, not because I was star-struck, but because I was inspired. If Law can mesmerize and enthrall a theater full of teenagers and, in your words, Mr. Brantley, ‘captivate Broadway theatergoers who wouldn’t normally attend productions of Shakespeare,” then indeed, just as I muttered to Jude Law as he signed my playbill, “I hope he wins the Tony!”

Brokeback Mountain Breaks Down Barriers 2006

Brokeback Mountain Breaks Down Barriers 2006


Let's put it like this: Oh my God! When I saw Crash! I knew that it was a magnificent film and it both dispelled stereotypes and showed the beliefs in stereotypes as truths. Truly, the Academy Awards should have an award for Best Ensemble Cast. As a college professor, my students saw Crash and then discussed it in my Multiculturalism class this past summer. I thought at that time that nothing could beat it as Best Picture....but like Emerel says, "BAM!"

Along came Brokeback Mountain and the subtle eloquence of the music, scenery, and empathy were interrupted by magnificantly timed moments of Pathos! "Bam! The heartwrenching cruelty of society so played out by Randy Qauid, the murder and hatred of gays, and the repressed lies that society has caused gays (and their loved ones) to suffer---leading Heath to represent loss , repression, and fear, and Jake, representing both hope and helpless vulnerability beyond his control. These two heartwrenched lovers juxtaposed to the beauty of the cinematography is artistic nuance at its finest, making Ang Lee my choice for Best Director. And Let's not forget Jake as "Best Supporting Actor" at the Academy Awards. He epitomizes the tender side a gay man often must conceal and reveals the lonliness gays face in a crowd.

Crash is reality at its harshest----but Brokeback Mountain reveals to the American general public the repressed, secret suffering that so many gays have experienced in their real lives.

As I sat mesmerized in the theater, I noticed other men sharing the same silent suffering they and I had experienced in life--represented by Heath-- a repressed rage: loss and desperation that has to be endured. "If we can't fix it, we have to stand it." That stoicism stands like Brokeback Mountain itself and Ang Lee gracefully chisels away at America's prejudices, shaping our future culture. This by far, trumphs the reality the we all know exists in Crash---

Venice, July 2001

“Ah, Venice, the world would wail the loss of thee”, says Lord Byron over 170 years ago…Venice hasn’t changed much since then, and still hasn’t sunk into the Mediterranean.




Spending two glorious weeks in Venice this summer was the much needed respite from our modern America and its hectic pace—and though I have visited Venice as a tourist four times before, I finally learned what life was like as a resident of the island of Venice. My friend and I chose to rent an apartment on one of the residential streets just a couple of blocks from the Vivaldi church—which is on one of the lesser-known piazzas in Venice.



I had always wondered what was behind those double doors we always passed on our ACIS tours, and I had longed to capture a glimpse of what lay behind them. The apartment was the third floor of a former three-story residence behind a set of those double doors. The home was still in the family –the Mother occupied the first landing, the son, Caesar, the second; we had the privilege of climbing 66 stairs to reach our apartment---and it was a privilege because once there, we had a view of the campanile of San Marco, the terra cotta rooftops, of secret gardens that lay behind other homes—all this was for our pleasure on a daily basis. Occasionally one of the cruise ships would sail past and seem to stealth behind the rooftops.



But the most glorious part of my residence remained to be seen. It was only when waking before dawn that I received my biggest thrill. How can one capture in words the mist from the Grand Canal coating the rooftops in reflections of moonlight? How can one describe the complete stillness of the morning—without the sounds of cars whizzing in a maddening rush? God gave me a moment I will never forget…because in that moment of complete mist and stillness, I was able to capture in my memory a sunrise of most glorious proportions. The sunrise was a secret one, serenely rising over the campaniles---cresting over the staggered silhouettes of the buildings—and then making a simple statement: I am the sun: I am here, rest assured—and Venice will be, too—bask in the glory—and from that moment, life awakened.

A seagull began screeching---flying in zigzag patterns to awaken the others---and suddenly the air was alive with countless echoes from other birds, and the bells chime-in the morning—and as the sun began to radiate—the dew dissolved—and the bells continued for minutes. The cacophony continued—and I, too, was alive! -Alive in a way that can only occur in Venice. Each morning was like this—I anticipated sleep so that I might have other joyous awakenings.



Dr. K--- of Georgia State University, a renowned author and historian, lives in Venice each summer. She hosted Dr. E-- and me for a day of Venetian history and touring. The service she provided to us was immeasurable. She took us through the Venetian hospital, which was a former monastery. She narrated the history of several churches, pointing out architecture, historical significance, but also refreshed us with historical anecdotes that only a scholar could know.

Dr. K--- is famous for translating medieval manuscripts. Her colorful depictions of medieval leaders delighted us. We then took a ferry to Torricelli where we received a personal tour of the Etruscan museum. Dr. Kuntz’s knowledge of the civilizations of Venice was matched by her knowledge of the archeological discoveries in the Veneto. From laughter at sitting in Attila’s throne, to sobriety at discussing the frescos within Torcello’s churches, we gained a day of education that will probably never be matched.

Dr. K---’s brilliance did not take away from her generosity. She treated us to the Cipriani Hotel for lunch. There, the manager of the restaurant gave us white-glove treatment befitting a “professori doctori”

of her reputation. From the seafood salad anti-pasta served in shell, to the bronzoni baked and seasoned to perfection, we dined in the best of style. Since we could not decide on which dessert to have, the waiter just gave us each three different desserts---we were stuffed. –All this while looking onto the rose-gardens and grape-trellished pathway to The Church of Santa Maria (?).



Dr. E--- and I selected a favorite café, Cleopatra’s, family-owned and operated. We took at least one of our meals daily there. The result was rewarding. The whole family began to call us by name: Grandma, Grandpa, Mom, Pop, and three children all knew us by the end of our stay. Their smiles were huge when we would approach daily…They knew our favorite treats---pomodoro and mozzarella in oil and basil, vino rosso, and of course, a different flavor of gelatto at every meal. Seeing them daily allowed me to practice my Italian and learn more each time; Dr. E was already a scholar. The familial atmosphere was welcoming.



One morning we decided to take a train to the Friouli region and had another treat along the way. We caught one of the early water-taxis –and sitting in the prow of the boat, we were able to view a silent Grand Canal—the perfect photographic opportunities were around every bend….there I snapped Byron’s villa, the San Giorgio church, the Salute, the Academia, the Rialto Bridge—all illuminated by morning sunlight. Something inspiring exists in the silence of morning and in seeing an image untainted by reminders of modern times. We were almost transported: the taxi might have been a gondola, the century might have been the 19th---not the twenty-first. I thought, “What news on the Rialto?” as I passed under the famous bridge.

Post 911 Travel 2002

Passing Thoughts...




This is the year that I didn’t go to Europe. I didn’t walk along the Seine in Paris, or stop for a glass of wine at the corner café, nooked underneath the big elm tree. –you know, the one across from the Cathedral of La Madeleine. I didn’t visit the Musée d'Orsay and didn’t marvel at Van Gogh’s self portriat. This is the year that I wasn’t blinded by the sun as I walked up the Champs Elysees in the afternoon. –or lose the kid on the Metro on the way to the Louvre. I didn’t walk under those Louvre porticos where buggies had scrapped the stone walls, or had wobbled along those cobblestone roads upon approach. This is the year that I didn’t reflect on how pitiful the peasants must have felt prior to the French Revolution, wanting for a piece of cake. This was the year I wasn’t angry at the Louis’s.



This is the year that I didn’t make friends with a tour manager as brilliant as Rebecca or Debbie …and didn’t gain an international pen pal. This is the year that I regretted not taking a moment of quiet time talking to my new found friend as the students romped about the streets of Paris, or Rome, or London, or nostalgically at the close of our trip.



I didn’t see the Tragian’s column or pyramid; I didn’t hold back tears in the protestant cemetery in Rome standing over the graves of Keats, or Shelley, or Hunt. No one clicked a snapshot of a wayward cat in the cemetery or the Colloseo, or the Pantheon. No one smelled the oleander.



I didn’t drip my gellatio across the Bridge of Sighs, or scowl at the panhandlers that made the way across the canal so tight with tourists. I had no proscuitto and mozzarella at Café’ Cleopatra’s in Venice, no vino rosso, no proud winks at my companions as we wondered how the poor people lived. I heard no bells in any campanile. I heard no voices echo in the narrow streets. I took no gondola rides.



I had to wait in no long lines outside the Tower, and didn’t have to hurry past the Crown Jewels. No chance for me to pray or reflect in Poet’s Corner and visualize the voices of angels ringing in the nave. I wasn’t yanked back to the curb for looking the wrong way on a busy London street, and I wasn’t refreshed by afternoon tea.



No kids matured a year’s worth in three weeks. No kid imitated the statue in Trafalgar Square, or back in the Platz d’ Bastille. No one laughed at Churchill’s portly belly or marveled at Queen Elizabeth II’s petite coronation gown. No one said, “Mind the gap.” No luggage broke.



I didn’t smell the fresh air on Mt. Pollutes or cast a reflection into Lake Lucerne. No snuggling under goose down comforters in July this year!

I had no chance to see the transformation in my students’ clothes and behavior as they entered the dining room of the Hotel Grande Lucerne, complete with its white linens, sparkling crystal, and dour waiters. No chance. No chance.



I took no train rides, no chunnel trip, no Eurostar---. I counted no heads as my group departed the terminals --no medieval towers passed my windows, and no fields of sunflowers made me gasp.



This was the year I didn’t take an ACIS trip to Europe. This was the first year I skipped since 1993. I won’t let the opportunity pass again. I am already planning my trip for 2003.

copyright 2003

European Travel Vinettes 1995-1997 copyright

European Travel Vinettes




1995 Venice

Somehow our courier timed our arrival perfectly...as we arrived on the ferry in the Grand Canal, every church bell began to chime in our noon welcome; the ringing crescendoed as we drew nearer and nearer. We began to see the magnificent architecture of the churches...our pulses raced. The students and I ran to the side of the ferry. And there, as the twelfth chime rang, we saw Piazza San Marco, the Doge Palace and the Cathedral of San Marco in all its glory...Venice in all of its glory... and we were here!



1996 Rome:



Our courier, Debbie, made special arrangements to take me to the English Cemetery in Rome, the burial place of John Keats and Percy Shelley. Keats had always been my favorite poet, and now that I was an English teacher, I had longed to see this landmark. To my surprise, though, the cemetery was a transcendent place, cloistered behind a stone wall and nestled in the shadow of The Cestius pyramid. Debbie and I were the only visitors at that time; we discovered that we shared the same love of literature and art...and the visit became special to both us. The oleander was in full bloom and the sun was brilliantly shining. As we wandered thoughtfully we noticed that one of the tombs was protected by a weeping angel---the sight of her was tragic, yet comforting....then as we approached the corner of the cemetery where Keats is buried, I felt that the glistening light of the sun took on a special ambiance. The poetry of Keats filled my mind at that moment...and I felt the comfort of eternity in this special place.



1996 Capri:



We found our way to a cliffside cafe overlooking the Mediterranean Sea...the sea was not dotted with sails, but punctuated by a single clipper alone in crystalline blue...the hillside homes stood out from the rocks, yet were a part of it: the flowering vines embroidered the dwellings in a coat of comfort and they belonged as a part of the landscape...I thought, “I could live here---I’m home!”





1996 London

“Mr. Robert! Mr. Robert!” The two senior girls shouted. “We saw it! I can’t believe we saw it!” “Oh my god,” they said, “ we saw John Keats’s house in Hampstead...you gave us our free time and while everyone else went shopping, we took a bus and found our way to Hampstead Heath...everything you taught us last semester came back to us; now we know why you love Keats’s writing so much...it came alive!”



1997 Eze, France

The chilly morning in Eze, just outside of Nice, was a journey back in time...we meandered through the cobblestone streets and glanced into the many shops carved into the hillside....stopping only for mist-filled vistas into the French Rivera of the past...a gardener trimming rose bushes...a maid carrying linens to a backdoor... the path of adventure led us onto a side street occupied only by locals who smiled and gestured us into a shop for a cup of cappuccino...we were warmed in the fellowship of smiles and good company.



Back in Nice, the sun broke through as we gathered on the beachside pavilion of our hotel...our journey was coming to a close...we had one last day in the sun.