Saturday, April 26, 2008

CATORCE/ Claro y Bajo (Pale and Short)


One of the first things I always notice after arriving in Chile is being looked at. This is especially obvious in enclosed spaces like the subway in Santiago. Every time I glance up, it seems, someone is looking at me. Or seems to be commenting about me to someone else. Or am I paranoid? I don’t think so. Most of the tourists in Chile are from Europe, Canada, or Australia, not the United States, so people ask if we’re German, or French (“French!” I think, “go ahead, think I’m French!”). I find myself noticing Michael’s pale eyes, his pale skin. At home I’m used to seeing him as darker than me, more olive-skinned, with more green and brown in his hazel eyes than my blue-green-gold mixture. But, in a world of black hair, very dark eyes, and pale-olive- to brown-skinned people—and especially now that Michael is white-haired—we are both very pale there. When I see another pale-skinned, fair-haired (rubio) or, especially, a pale-eyed person in Chile, I am invariably, automatically drawn to look. Because the pale human colors contrast so dramatically with the surrounding human coloration. And then I think, “That’s me, I’m looking at what I look like, and this is what happens when Chileans look at me.”

The range of color variation in physical appearance is pretty narrow among these 4th-graders (Lucy's first class of students) in Chile.
—Photo by Lucy Engle.


I’m used to fitting in, appearance-wise, or imagining I have control over when I fit in and when I don’t—by what I wear, for instance. In Chile, I don’t have a choice: I don’t fit in, I can’t hide, and I’m always looked at because of being in the “pale” category. Except, I noticed, on the last few days in Santiago—on the subway with Lucy—when I was aware of people not looking at me: I suspect middle-aged female paleness is trumped by young-adult female paleness, and they were looking at her instead.

In the late 1970s, when Michael was in library school, we lived in student housing in Kalamazoo, MI, with young families from all over the world, mostly Saudi Arabians and Iranis. A group of Middle Eastern kids asked me one day why our toddler Anna had such blonde hair when Michael’s and mine was darker. I told them our hair used to be Anna’s color, and they looked confused; they all had the same black hair as their parents. And when my sister Sig visited—she had very long, orangey-red hair—a group of Saudi kids couldn’t keep from touching it. They asked me, “What did she use to make it that color? henna?” I said, "No, it just grows that color." “But, what did she do to make it that color?” they asked again. My answer obviously didn’t make sense. On the other end of the color spectrum, a twelve-year-old Icelandic girl, Anna Rut, with yellow-blonde hair, used to come by and ask to take Anna Rose to the playground for an hour. I think she liked walking around the apartment complex hand in hand with a toddler who could have been her little sister.

Many Chilean women add blonde highlights, or red, to their naturally dark hair. This is an especially common choice for middle-aged women—President Michelle Bachelet is a visible example. So, we look a bit alike, Chilean middle-aged women and me, except for eye and skin color. Performers and models in ads also tend toward blonder hair. An even more extreme version, in another context, is the use of Caucasian coloration—and facial features—in Japanese animation characters (even in the films of Hiyao Miyazaki, a great director). What does it mean for a dark-haired, dark-eyed culture to adopt the appearance of northern people from European colonial cultures and the United States? Part of me feels uneasy, even though the “chosen” appearance is my own. I wonder if there’s a positive side to the phenomenon, an aspect of cultural globalization? Or, maybe there’s just an inherent magnetism, either attraction or repulsion, or both mixed up together, in every manifestation of difference.

Am I short or tall here? It depends.

The other thing I notice a lot in Chile is that I’m short. Why this awareness in a culture where I’m actually more in the middle height range? It doesn’t make logical sense. But I feel very aware of my small stature in Chile. The only explanation I can think of is Kate’s impression that, since short people are always looking up in relation to others, over time we begin to imagine that “looking up” is actually “looking straight across.” At home, I find that I’m regularly off in judging others’ heights, assuming they’re shorter than they are, maybe even shorter than me, when in fact they’re usually taller. Maybe I notice being short in Chile because I’m in denial about being short in my own, taller culture. In Chile, in this appearance category, I fit right in, I’m smack in the middle, and I belong without question.

—Jane

Saturday, April 19, 2008

TRECE/ Aves o Pájaros (Birds)

The river valley cut through rainforest burgeoning with ferny undergrowth, the silence punctuated by the musical prattle of the chucao, a smallish bird with a vertical tail, its trill part of the daily background noise.
—Sara Wheeler, Travels in a Thin Country

WARNING: If you are not an avid birdwatcher, you might want to skip to the link to special bird sounds in the last paragraph of the post.

We brought binoculars to Chile for the first time on this trip, along with Birds of Chile, by Alvaro Jaramillo, an excellent field guide. There’s nothing like starting from scratch, when even the most ordinary birds are new and exciting. We identified more than 45 bird species on the trip. Some highlights:

Black-crowned night-heron (huiaravo), in two locations, a group of juveniles asleep in a tree we happened to collapse under for a rest in the shade in the Jardín Botánico de la Universidad de Austral, right in Valdivia (they were so close, one shat and missed Michael’s face by inches), and an adult pair at dusk near the furthest western point of our travels into the Andes, toward Argentina, on the shore of Lago Maihue.

Endangered red-legged cormorant (lile), hundreds of them nesting on a series of haystack rocks just off the Pacific coast at Pilolcura, the end-of-the-dirt-road beach north of Niebla.

Black-necked swan (cisne de cuello negro), viewed from Lucy’s house on Río Valdivia, all along Río Cruces, and at the mouth of Lago Maihue. Their population dropped a few years ago due to pollution from a pulp plant up the river. Following a round of environmental protests, pulp production was restricted for a time, and the swans’ number have now increased dramatically. But we were told that the pulp mill has again been allowed to return to full production. In 2007, when Michelle Bachelet visited Valdivia and spoke near the Feria Fluvial, we saw protesters dressed in dramatic black swan costumes (reminiscent of Bjork’s swan dress at the Oscars), loudly advocating for more permanent protection for the swans, but it hasn’t happened yet. They are graceful and majestic birds, very beautiful to see along the rivers, so I hope they will have a chance to continue to thrive.

On the way back toward Niebla from Playa Pilolcura, we happened to stop in a grassy parking lot above another beach, Playa Misión, and within an hour saw: rufous-collared sparrow (chincol); long-tailed meadowlark (loica or lloica—the Mapuches tell a legend about this bird), a male-female pair, the male has a bright crimson breast; spectacled tyrant (run-run), a robin-sized black bird with white outer primaries, white eyes surrounded by startling, round, pale-lemon “spectacles” and a sharp yellow-white bill; and grassland yellow finch (chirihue), a large flock of them.

Where the mouth of the Río Calcurrupe spills out of Lago Maihue, we watched a long close-up of a ringed kingfisher (martín pescador), with startling orange breast; many black-necked swans; yellow-billed pintail (pato jergón grande); a snowy egret (garza chica); many more grassland finches; and—seen by Lucy and Eduardo—a flock of parakeets, either the austral (cachaña) or slender-billed (choroy).

There is only one common hummingbird in the Valdivia area, the green-backed firecrown (picaflor chico), and we did see one, feeding on slender, crimson four-o’clocks in a willow brake along the Río Cau Cau in the Botanical Garden. But unfortunately the mid-day light was so bright and blinding that I can only say we knew we had seen a hummingbird and what kind it must be, rather than that we “saw” it. I look forward to many better views.

Along the rivers of Valdivia, we saw the white-necked heron or cocoi (garza cuca—the largest of the Chilean herons, equivalent to our great blue heron but grayer), great egret (garza grande), snowy egret, white-winged coot (tagua chica), falcon or southern caracara (traro), black vulture (jote de cabeza negra), and great grebe (huala).

In towns and fields: Chilean mockingbird (tenca), roufous-tailed plant-cutter (rara), Patagonian sierra-finch (cometocino patagónico), black-chinned siskin (jilguero), rock dove (paloma—kernels of popcorn sold on the street are called palomitas), and Chilean pigeon (torcaza)—a beautiful purple dove.

On Pacific beaches: Peruvian pelican (pelícano), osprey (aguila de pescadora), dark-bellied cincloides (churrete), whimbrel (zarapita), blackish oystercatcher (pilpilén negro), South American tern (gaviotín sudamericano), and elegant tern (gaviotín elegante).

Jenny and Michael at Las Lanzas.

In Santiago: monk parakeet (cotorra), after meeting Eduardo’s mother Jenny and sister Carolina for coffee at Las Lanzas, a café in Plaza Ñuñoa. Jenny introduced us to the cortado, “striped” coffee, with a layer of espresso, a layer of heated milk, a layer of whipped cream—very tasty. We heard about Carolina’s cooking school classes and the family’s experience buying an apartment in Santiago for Sebastián, Carolina, and Alejandra. The conversation shifted from English to Spanish and back again.

Carolina at Las Lanzas.

When we walked back to Jenny’s new car, alongside the plaza, there was a luscious monk parakeet walking across the windshield wipers. As we exclaimed and wondered how to entice the bird off the car, a parking attendant strode up (they track parked cars and arrive for payment as you return), gently scooped up the bird in his hand, and offered us a close look before releasing it toward the trees. It was deep lime-green on the back, fading to warm yellow under the belly, with a bright yellow, curved beak—a richly tropical sight. We noticed, then, many parakeets chirping in the tall, sequoia-like alerce trees above. In Birds of Chile, Alvaro Jaramillo comments on the monk parakeet: “Cagebird escapee that is quickly colonizing Santiago. Builds large colonial stick nests, often in city parks.”

A bandurria.

Everywhere in and around Valdivia, including Lucy’s yard: the ever-present ibis (bandurria), southern lap-wing (queltehue o treile), chimango caracara (tiuque—a small, brown urban hawk that walks like a chicken), white-crested elaenia (fío-fío), southern house wren (chercán), austral thrush (zorzal), Chilean swallow (golondrina chilena), and tufted tit-tyrant (cachudito o torito).

We haven’t seen a condor (cóndor), but on this trip I did hear a story about them. Pedro, a friend of Lucy and Edo’s, described seeing condors for the first time, hiking at about 3,000 meters (about 10,000 feet) with his wife Evalina and father. They were unbelievably large, Pedro said, and were obviously drawn together to eat something dead on the mountainside. I asked how many. “Nineteen,” he said. “My father counted them. He is 70, grew up in Chile, and had never seen any condors before.”

At Parque Oncol: Michael and Lucy saw the beautiful black-throated huet-huet (hued-hued de sur). And we heard, all along our hike in the parque up to the viewpoint on Cerro Oncol, another haunting, mysterious bird sound in deep thickets of bamboo, without ever actually seeing the bird. We would wait and watch, over and over, but never saw it—very frustrating. And from that point on the trip, we continued to hear that mystery bird sound in virtually every other non-urban location. “There’s the mystery bird, again,” one of us would say, “damn.” You can hear this mystery bird sound yourself at the Parque Oncol website, as it’s one of the background sounds for the site: http://www.parqueoncol.cl/. Wait through the initial round of bird sound—chirps with a ticking sound behind—followed by the sound of running water … and then comes the mystery bird sound, a sharp whortle, repeated after a pause. We suspect this is the sound of the chucao tapaculo (chucao). Jaramillo describes the sound this way: “Unmistakeable, explosive song, accented at beginning, crr-CHU’Chu’ Chu’chu’chu, lasting nearly 1 s and repeated infrequently.” See what you think. The next bird song after the chucao is, I think, the sound of the black-throated huet-huet, which ends on a descending series. I hope to confirm these identifications at the Cornell Lab of Ornithology.

—Jane

Saturday, April 5, 2008

DOCE/ The Christmas Office Party, Chilean Style

The language institute where Lucy teaches English held an office Christmas party one evening, and we were invited. Since the three of us—Lucy, Jane, and I—had already eaten, we conspired to arrive at a later hour to miss the main part of the meal. When we did arrive a little after 9 o’clock, still early by Chilean standards, we were warmly greeted with hugs and kisses, from all of the fifteen or so staff members in attendance.

This is the standard Chilean greeting ritual: between two women and between women and men, every person stands and hugs and kisses the new arrivals one by one. This happens again upon departure. Male-to-male greetings vary from handshakes among acquaintances to hugs among extended family.

The party tables were laid out end to end in a long hallway on the first floor of the converted two-story house. The remains of the meal still occupied the table, mainly the bones and meat of a lamb, empty wine bottles, and leftover potatoes and salads in serving dishes.

The lamb had been raised by the boss for the occasion, butchered by the assistant jefe of the institute, and then roasted on a spit in the back yard of the institute building that afternoon, using the wood of a dead fruit tree from the yard cut earlier.

Inside, the fluorescent lighting lent a somewhat unfestive air to an otherwise lively gathering. There were three other English teachers besides Lucy, and the two nearest us were fluent and eager to practice their English with us. We in turn were eager to practice our Spanish with the Spanish-speaking teaching and administrative staff. As we talked, we were amply supplied with Chilean wine by the jefe. It seemed like he was getting us up to speed with the rest of the crowd.

The founder and current chief of the institute reminded me of Ricky Gervais in the British version of The Office. Talkative, lively, teasing, and a bit too chummy perhaps, but, unlike Gervais’s character, this guy is a passionate entrepreneur who saw a need and started his own successful business to fill it. When we asked about the origin of the institute, one of the staff pointed to the institute’s seal on the wall. Even though I've forgotten the details, I remember the pride in the jefe's voice as he explained each of the elements in the seal's iconography.

The evening rolled along until the penultimate activity, the giving of the gifts, following the amigo secreto (secret Santa) format. One of the staff pulled gifts from a large bag in the hallway beyond the head of the table and the recipient went to the head, opened the gift, posed for a photo with gift in hand, and then tried to guess the name of the giver.

The first few gifts were innocuous enough, but toward the end, things picked up a bit. The women received soft, feminine things: scented candles, body lotions, etc. The guys got macho gifts culminating in a carved wooden Mapuche joke figure, apparently a standard item in Chile, which, when manipulated properly, displayed a large erection. Not your typical office fare in the United States.

Near the end of the gift opening, the boss’s present to one of the young women was a rather large box with a picture of a DVD player on the outside. There were lots of oohs and aahs from the staff, while at the same time it was clear that the gift was not actually a DVD player. Inside the DVD box was a series of nested, ever-smaller boxes ending in a very small box containing a coffee cup with a photo of the boss on the side. The recipient didn’t know quite what to say, nor did anyone else. There was an awkward silence. Was their boss really this narcissistic? In a piece of fine comedic timing, the boss waited just long enough for the reaction and then, holding up the cup for everyone to see, he removed his photo which, it turned out, had been printed on a piece of paper and taped to the cup. Underneath, on the cup itself, was an attractive photo of the young woman. Everyone laughed with relief. The unfolding humor of the situation was a delicate mixture of embarrassment and familiarity.

The boss broke out the champagne de piña, poured over chirimoya ice cream. Bottoms up. After the champagne course, we excused ourselves along with some of the other staff, followed by the usual departure hugs and kisses. Lucy, our designated driver, took us home. We left with a inside view of a Chilean workplace that is rowdier, warmer, and more sexually explicit than our northern version.

—Michael

Saturday, March 29, 2008

ONCE/ Chistes y Errores (Jokes and Mistakes)

In Chile, I find myself making up corny jokes in Spanish, maybe because everything about the language is still fresh and surprising. So, for example, after watching cattle grazing on the ocean beaches north of Niebla:

“Porque la carne sabe más salteado en Chile que en los Estados Unidos? Porque en Chile las vacunas pasten en la playa.” (“Why does meat taste more salty in Chile than in the United States? Because in Chile the cattle graze on the beach.”)

The small cattle herd next to Huequecura, the cabañas on Lago Ranco, having their daily, late afternoon drink from the lake, sometimes followed by an hour-long stroll on the beach with the cowherd, his little grandson, and their dog. On the ocean beaches, it was also common to see cattle grazing on the beach, though mostly without anyone tending to them. Photo by Lucy Engle.

And noticing horse manure on a bridge named “Descarga” over the Río Calcurrupe just before it spills into Lago Ranco: “En la Puente Descarga, los caballos descargan.” (“On the Discharge Bridge, the horses discharge”—slightly funnier in Spanish than in English.)

Here are a couple of mistakes we made in Spanish (obviously there are many more we don’t know about, and polite Chileans have refrained from sharing): Michael went to the grocery store for a bit of beef to go into a soup I was making with zapallo y habas (winter squash and fresh fava beans), and he asked for “cuatro kilo de lomo.” Even in large grocery stores in Chile, meat is cut on the spot in the amount requested. So, Michael watched as the butcher pulled out a slab of beef and started stripping off the fat, then prepared to cut off a huge chunk, which cued Michael to quickly re-state the request as “un cuarto kilo”—a quarter of a kilo rather than four kilos! The butcher looked crestfallen but complied. This is a mistake compounded by the fact that Chileans regularly drop the final “s” from most words in spoken Spanish. So, “cuatro kilos,” the correct way to say “four kilos,” would still be pronounced kwa´tro ki´lo, with no “s” sound. It’s taken me a long time to begin to hear this not-quite-silent “s” in spoken Chilean. I say not quite silent because a tiny space is left for the unspoken “s.” An air “s,” a tiny breath. A fraction of the space a sound would take up if it were spoken. Silent letters in English, which take up no aural space at all, must be even more difficult to learn.

Tiny Café Hausmann to the left, here, of La Sombrería 'La Capital', a great hat store.

On our last visit to Café Hausmann in Valdivia for crudos, I ordered “tres por dos,” gesturing to Michael and then back to myself, intending to ask for three crudos for the two of us. I always try to add body language to reinforce my stumbling Spanish, and it fits in with the more expressive culture. The waitress, who was new to me, gestured back and repeated, “tres por dos,” nodding, so I thought I had done rather well. But when she returned again, after delivering the beers, and dropped a plate piled high with six crudos in the center of our table, I realized the misunderstanding. She heard “three for each of us,” reinforced by my gesture. I should have asked for “tres por todos,” “three, total,” with the gesture. I’d eaten two crudos at a sitting before but never three. We decided to eat the mistake this time, however, as it was our last chance to taste such excellent raw beef for a while.

—Jane

Saturday, March 22, 2008

DIEZ/ Escote y Cuerpos (Cleavage and Bodies)

Chileans tend toward the short and stocky, with small, flat butts, a bit of round belly in front, and little side bellies (what we call “love handles”) pushing out just above the hips—the Mapuche influence, perhaps. On my first visit, I thought they just carried their bellies softly, without tightening the stomach muscles as we are taught to do. But now I think rounded bellies are the Chilean standard.


Chilean women have large breasts for their height and weight. (Although, as Lucy says, “All women have bigger breasts that we do.”) And they display a lot of cleavage: daytime, nighttime, dressed up, dressed down, anytime. They carry their breasts proudly, without shame, as if they’re valuable jewels, which of course they are. It’s shocking to return to the United States in winter—where’s the cleavage that surrounded me? I feel deprived.

Also, in Chile, bodies, male AND female, are much more exposed on television, in ads, on book covers, in museum exhibitions. It’s easy to think of the United States as sex crazed and using sex to sell everything, which is true. But we remain a prudish culture at base, while many others, even a traditionally Catholic culture like Chile’s, display explicit visual body images much more calmly. We saw a photo of male genitals, for example, on the cover of a paperback standing up on a bookshelf in the Valdivia public library.

Mostly, I prefer this more relaxed attitude. At the same time, however, I was uncomfortable watching five violent Hollywood action movies on a daytime bus from Santiago to Valdivia with many young children on board. The sound was piped loudly throughout the bus, and the movies were not “edited for content.” One included a violent, drawn-out rape scene. I didn’t see any obvious discomfort among parents on the bus, although I’m also not sure I would know what that discomfort might look like.

At the Museo Chileno de Arte Precolombino in Santiago, we saw a very sexually explicit exhibit on Moche ceramics, “Morir para Gobernar: Sexo y Poder en la Sociedad Moche” (“To Die in order to Govern: Sex and Power in Moche Society”). The Moche lived in northern Peru from around the beginning of the common era to 750 or 800. They left behind elaborate ceramics showing men and women engaged in non-reproductive sex acts and body mutilation. This particular exhibit was based on one anthropologist’s attempt to make sense of the pottery. His take is that the Moche had to help their king—who was believed to be water/rain incarnate—return after death so the culture could continue to grow food effectively and survive in a very arid climate.

The people’s contribution toward his renewal involved two types of behavior: (1) non-reproductive sex—oral, anal, in all possible postures, carefully and explicitly represented in small ceramic water vessels and free-standing figures; and (2) body mutilation—decapitation, collection and drinking of the blood, and removing noses, ears, fingers, etc., from captives—to make them look more like skeletons and strengthen the culture’s identification with the dead. These practices were believed to facilitate the very difficult passage of the dead king from purgatory into heaven, from where he could begin to act powerfully again, aid the survivors he left behind, and be reborn as the new king.

Like all the special exhibits I’ve seen at the Precolombino, the pottery was presented in darkened rooms. I’ve assumed in the past this had to do with protecting fragile, ancient artifacts. However, in the case of the Moche ceramics, the darkened space also facilitated taking in their content. None of the other viewers spoke above a whisper while I was there, no one commented or snickered. The atmosphere invited quiet consideration.

What impressed me most about the Moche exhibit was not the ceramics themselves, which were stunning and strange and beautiful in muted terracotta colors, nor the theory, also fascinating, but the fact that such an explicit exhibition was shown so calmly and straightforwardly. No warnings about sexual explicitness or checking IDs at the door, no evangelicals protesting outside (though their presence in Chile is quite obvious), just the ceramics—“this is part of our history”—and one interpretation of their story. Just that.

Note: You can see some beautiful (and not sexually explicit) examples of Moche ceramics in a recent New York Times article, and in the accompanying slide show, at: http://www.nytimes.com/2008/03/05/arts/design/05amer.html?_r=1&oref=slogin

—Jane

Saturday, March 15, 2008

NUEVE/ Pebre (Chilean Salsa)

FOOD PORN WEEK ON THE BLOG

Q: What advice would you give to people who are looking to be happy?
A: For starters, learn how to cook.

—Charles Simic, Poet Laureate, interviewed in the New York Times Magazine

This was the year of pebre verde (green salsa) for me in Chile. I adore the traditional tomato-based salsa versions: finely chopped tomato, ají (the ubiquitous, pale-green Chilean pepper, called ají verde or just ají, which is similar to an Italian pepper but smaller and narrower, with a unique taste all its own), cilantro, and onion, with lots of lemon juice, a bit of olive oil, and salt; eaten before a meal, slopped up with the small, everyday Chilean yeast breads; or slathered on whatever else one might be eating at the time. And there are many different versions: at a Brazilian restaurant in Las Condes, mango- and piña-based pebres, for example. Every pebre adds freshness, a taste of living-in-the-present, to the meal.

A morning's haul from the Feria Fluvial and a favorite bakery, Mi Pueblita, in Valdivia.

But, this year, I fell in love with the ají verde–based pebre, sin tomates.

(1) At a seafood restaurant in the Mercado Central in Santiago: Chilean peppers, finely chopped, along with equally finely chopped onion and cilantro, flavored with lots of lemon juice, salt, and a little olive oil, and then slopped up with bread ahead of eel soup, caldio de cóngrio, the dish Pablo Neruda celebrated with an ode.

(2) At Café Hausmann, the minuscule German café where the Valdivian specialty, crudos, is king: a smashed layer of raw, deep-red, sweet, grass-fed beef on a thin piece of white yeast bread, topped with a bit of raw onion and, then, for Chileans, slathered with a healthy squeeze of fresh lemon juice (if one can say “slathered” about lemon juice), and a bit of salt. A dollop of their pepper pebre adds a delicious sharpness to the crudos. This is a pebre made of Chilean peppers, maybe a bit of onion, very pale green overall, with some salt, lemon juice, olive oil, and nothing else. No tomato, not even cilantro. A travesty, possibly, if you love the tomato-based pebre, but nevertheless delicious.

(3) At Eduardo’s aunt Kika’s in Barrio Ñuñoa in Santiago for lunch: chopped Chilean peppers, garlic (no onion), cilantro, lemon juice, salt. Yet another variation.

When I tried making versions of this pebre myself, on New Year’s, at Lucy’s, at our hostal on Pérez Rosales, it was initially, invariably, much too hot. The Chilean ají verde peppers vary in hotness but usually fall in the middle range, like Anaheims or New Mexican green chilies here, but they seemed to take on extra hotness initially in the pebre. However, after sitting for a time, the juices of the peppers are drawn out by the salt, and the taste softens and ripens to a delicious, sweeter, more gentle hotness. Fantastic and addictive. Here’s a recipe for the United States:

Pebre Verde

2 Anaheim peppers (or 1 Italian green pepper and 1 jalapeño), seeds removed
¼ to ½ of a large, sweet onion (or 2-3 cloves garlic instead)
½ to all the juice of a lemon
¼ to ½ c. chopped cilantro (optional)
1 T. olive oil
plenty of salt to taste

Slice the peppers as finely as possible. Then rotate the cut strips 90º and chop again, to make very fine dice. Do the same with the onion. The amount of onion is entirely dependent on your taste; I like to chop a pile about as big as the pile of peppers. Squeeze the lemon and add juice along with pulp. Add chopped cilantro, or not; both versions have their virtues. Add the olive oil and salt. The salt draws out the pepper juice, which is really the essential taste of pebre. Enjoy with chips or bread or on potatoes or omelets, or with any other food.

Note: The more traditional tomato-y pebre includes 1 medium or 2 small ripe tomatoes, very finely chopped, and about half as much pepper. It's a juicier pebre, and the cilantro is probably
not optional.

—Jane

OCHO/ Nuevas Comidas (New Foods)

Each new food we taste adds two weeks to our lives.
—Japanese saying

Damascos. The biggest, most perfect damascos (apricots) I’ve ever seen or eaten, from the Mercado Central in Santiago. I ate them for breakfast three days straight along with smashed avocado on fresh bread and coffee—is there a better breakfast? And between meals, apricots with perfect English walnuts from the same fruit stall. At home, I’ve eaten as many fresh apricots as I can manage. Some years, we get small, local apricots here at the Ithaca farmer’s market. But I’ve never had enough. So, even though the apricots I ate in Santiago don’t qualify as a “new” food for me, each one added weeks of color and satisfaction to my life.

Inside the Mercado Central in Santiago.

Lúcuma. One day in Santiago, our favorite fruit lady at the mercado had a box of fat, dark-brown fruit, about tangerine size, sitting out front. So I asked her what they were: fresh lúcuma. My first encounter with lúcuma was in the form of lúcuma helado (ice cream), a large scoop filling the center of a half-cantaloupe, the stunning dessert Eduardo’s mother, Jenny Cavalieri, served each of us in Curicó on our first visit to Chile in 2004 when we met Eduardo’s family. The maple-y taste of the ice cream combines energetically with that of cantaloupe. Lúcuma ice cream is often made with walnuts as well: lúcuma y nueces. And lúcuma is used to flavor the cream layer in tortas and kuchens.

But I had never seen the actual fruit before; we must have missed the window of lúcuma season on previous trips. So, I asked the fruit lady what they taste like. Without speaking, she chose one, held it under my nose for a sniff—a faintly tropical smell—then pulled it apart to reveal the startling pale, golden-orange flesh. The texture looked dry, stringy almost, like the inside of a squash, but obviously much softer since it pulled right apart. She gestured for me to take a bite. The taste is not sweet but not tart either, almost neutral on the sweetness scale. I thought of mild squash, but that seemed odd, and I wasn’t sure I liked it. But then I took another bite, and hints of vanilla washed in, and other mysterious fragrances I can’t yet name. Now I liked it very much and ate the rest.


Ojos. The blackest cerezas (cherries) I’ve ever seen, from the Feria Fluvial (riverside fish-fruit-vegetable market) in Valdivia. Even the darkest bing cherries I’ve eaten before were actually dark purple with flecks of lighter red-purple. These ojos are really almost black, another significant notch darker than bings. Ojos means “eyes,” and most Chilean eyes are very dark, so the name makes sense. They taste like the cherriest bing cherries ever, a more concentrated cherry taste, like a food some great chef might come up with, although in this case the chef is nature and horticulture working together.

Nectarines, smashed avocado on bread, and coffee for breakfast.

Durazno-plátanos. The words mean, literally, “peach-bananas,” but these are pale-colored nectarines. Very juicy and fragrant, with an added tropical banana flavor. I had previously eaten “only” duraznos (yellow peaches), exquisite nectarines (Chileans don’t have a separate word for nectarine), and conserveros (paler canning peaches, what we would call white peaches). What a delicious array!

Peruvian food. On the eve of Lucy and Eduardo’s first wedding anniversary, the four of us walked to a highly recommended Peruvian restaurant, La Calesa, in an elegant, pumpkin-colored building on General Lagos near downtown Valdivia.

La Calesa serves an excellent pisco sour, the classic Chilean drink: fresh lemon juice, pisco (Chilean brandy), and powdered sugar topped with whipped egg white. If you click on the upper photo to enlarge it, you can see to the left of the lawn chair a stunning, several-years'-old rosemary plant. Smell that?

The restaurant is small and by-reservation-only, and it has two season-dependent seating locations: indoor winter rooms with 15-foot tall ceilings and Peruvian appliquéd wall hangings, and the summer terrace and garden overlooking the river at sunset.


Of course, we sat outside, despite the cooling evening air and eventual darkness. A two- or three-year-old boy and a cat (both belonging to the owners, I imagine) roamed the garden and terrace during dinner. By the time our food arrived, the sun had set, and I couldn’t make out all the different mariscos in my spicy mixed seafood over rice, but they were delicious. Unfortunately, none of us knew to order the classic Peruvian dish, Ají de Gallina. But we did get a first taste of delicious Peruvian spice mixtures, and it will not be the last. I have already ordered a Peruvian cookbook; so far, what I’ve learned is that the base for their spice mixtures is the Peruvian ají—a yellow-orange pepper.

Iranian food. Lucy, Eduardo, Michael, and I were invited for dinner by a Bahá’í Iranian family. Both parents are teachers who met in the United States before moving to Chile, and they speak fluent Farsi, English, and Spanish. The housing development in Valdivia where they live is clean but visually boring. The inside of their small house, though, is decorated with colorful, delicate Iranian art and fabrics. Their two sons study guitar and piano with Eduardo. We ate a multicultural meal together: pilaf—rice with saffron and, from the bottom of the rice pot, darkly browned slices of potato; a spicy lamb and tomato main dish (topped with French fries—an adaptation to make Iranian food attractive to teenagers?); the typical Chilean tomato salad (peeled and sliced tomatoes, slices of onion, lots of lemon juice, salt); pebre verde (green Chilean pepper salsa); and for dessert a tray piled with slices of sandía (watermelon).

Muchos tipos de pescados y mariscos en el Mercado Central, en Santiago.

Pescada. The “ordinary” fish (pescado) Kika cooked for us, her favorite. Poached with peppers, onion, garlic, and served with Chilean tomato salad (minus the onion), pebre verde, Chilean rice, jugo durazno, and sandía for dessert.

Merquén pizza. In Barrio Belles Artes in Santiago, we found a small Italian-style pizza café, Verace, that serves a Chilean/Italian pizza with a very thin, chewy crust, a thin layer of mild tomato sauce, mozzarella cheese, and a sprinkling of merquén. Merquén (also merkén) has a slightly smoky taste, like chipotles, and I use it at home on anything with avocados, potatoes, or eggs. And I have now added pizza to that list.

I had assumed merquén was made from Chilean ají verde chiles, ripened to red, then dried, smoked, and crumbled. But in The Chilean Kitchen, Ruth Van Waerebeek-Gonzalez calls it a spice mixture from southern Chile made with ají cacho de cabra—maybe this is the larger, dark-red, dried chile I’ve seen in the mercados? Her recipe, adapted for what’s available in the United States: 4 T. dried oregano, 2 T. ground coriander, 1 T. cayenne pepper. I have doubts about so much oregano, though, since the Chilean merquén looks and smells essentially like smoked red pepper.

Wikipedia en español describes merquén as an ancient Mapuche spice (the word merquén comes from Mapudungun, “merken” with a flat-line accent over the n) made from dried and smoked ají cacho de cabra, semillas de cilantro (which we call coriander), sal (salt), y otros especias (unnamed additional flavors). Ha! And a site about the mercado in Temuco (northeast of Valdivia) shows a photo of the ají cacho de cabra chiles—they are the dark-red ones! “Cacho de cabra” means a little bit or horn of the goat. Ah!—why didn’t I bring some home? Next time.

—Jane

SIETE/ Siestas (Naps)

At my age sleep takes you when you least expect it and never when it should. I mean at midnight, when you’re in your bed, which is just when the damn thing disappears or plays hard to get, and leaves old people wide awake.
—Roberto Bolaño, The Savage Detectives

We read out loud from The Savage Detectives in Chile, and I recognized the wakeful nights Bolaño’s character Amadeo describes (in the quote above) but not the “sleep takes you when you least expect it” part. However, that was about to change.

I haven’t been a daytime napper since the 1980s, when I stayed home with young children, so I was amazed to find myself happily falling asleep most afternoons on the trip, even in strange positions and in other people’s spaces: upper body slouched across Lucy’s couch with legs awkwardly propped on a wooden stool; flat on the floor at the beach house; on the sand at various beaches; in bed at our hostal in Valdivia right over the busy, noisy dining room at mid-day; sprawled on a bed in a small, very warm apartment in Santiago; on Eduardo’s aunt Kika’s bed.

Michael and I happily asleep on the floor of Roger and Magdalena's beach house, above the Playa de los Amorados.
—Photo by Lucy Engle.


It didn’t seem to matter where. I would be up and fine and doing things and then, early-to-mid-afternoon, it was as if small weights suddenly appeared and attached themselves to my arms, legs, eyelids, jaw, pulling me toward the horizontal, and I would think, “Oh, a nap would be good.” If I closed my eyes, three minutes later, I’d be out. Maybe for only fifteen minutes. Maybe for two hours. Sometimes when I woke up, the weights would still be exerting a downward pull, so I just let myself sink right back in again. Maybe for a few minutes. Maybe for another hour.

I have several theories.

(1) We were in the culture of siestas. Others were doing the same thing at that time, or had in the past, whether I saw them or not. Stores close in Chile between 1:00 or 1:30 in the afternoon until 3:00 or 3:30 or later. What are people doing during that time? Eating lunch, meeting a friend, having sex, taking a nap? The opening-back-up time for stores seems to vary from day to day, maybe because the storekeeper took a longer nap that day?

(2) It is exhausting to struggle day after day with hearing and speaking a new language. Maybe there are people who just get more energized from the task, but I’m not one of them—I find it tiring. It’s helpful to just let the whole project fall away regularly.


A view of sleepy leaves out the window of our bedroom in the cabaña on Lago Maihue.

(3) We were on vacation for five weeks, the longest Michael and I have taken time away together in at least thirty years, or maybe ever. We slept ten hours a night despite paper-thin walls at the hostal in Valdivia AND took naps, during summer. Although we had come from winter, when it’s natural to sleep more hours. We both experienced a flood of dreams, many per night often. And the dreams seemed to be constructed primarily from fresh, immediate, day-before materials—where we’d been, what we’d seen, how it felt in that recent moment—without many biographical threads. Maybe one is already halfway asleep, living in another language on a long vacation far from home. It’s a relief to live for a time outside the U.S.-influenced view of the world. And, it’s also another kind of relief to step out of one’s personal life and anxieties and established patterns. In Chile I’m more extroverted and more focused on the here and now, so long-term worries can move to the back burner.

Sometimes after waking up from a short nap, I’d test this new nap ability. I’d think, “Wow, I just fell hard asleep. Can I do it again?” So, I’d deepen my breathing and let go. And, bam! I’d fall back in and wake up some time later. Sometimes I tested it three or four times in a row, for fun. And it just kept working. Now the question is whether it was solely a long-foreign-vacation phenomenon. Or has the doorway into sleep been nudged open a little wider after a month in the southern Chilean summer?

—Jane

Saturday, March 8, 2008

SEIS/ Views from a Santiago Apartment

I love the color of this building seen out our Avenida Mosqueto apartment window in Santiago de Chile. It's a summer morning in mid-December 2007, just before the solstice.

In the upper left of this photo you can see the green hut and the tile roof that appear in this next photo:

A little complex of roof and wall angles. There is a Chilean palm among the trees in the nearby Parque Forrestal. Childishly, I imagine living in the hut with that large stovepipe sticking up from the roof. Staying warm by a wood stove in the chilly winter. Note: no central heating in most Santiago buildings. Wood heat would be very lovely on a gray day.

Leaning out the window a bit and looking further to the right, I see the hills north of the city in the background. Nearer on the right is a little part of the roof of the Museo de Bellas Artes with an interesting ornamental object projecting from the top.

A little lower down and back to the left is this little apt:


Further left, facing northwest:

I love the Chilean palm tree shadow splashed on the red roof. I see various types of construction in this photo: the stone building on the left (a common type downtown), the mortared bricks in the nearer buildings, and the pale mauve brick apartment building on the right. Someone has added a nice penthouse porch to this building. Now look at the parallel curving shadows cast on the corrugated metal roof in the far lower right corner.

I believe that shadow is cast by one of these railings on this apartment building.

No need for a clothes dryer in the Santiago summer. The dry air quickly sucks the moisture out of your wet clothes. And you!

Oops. I was wrong about that shadow. It comes from the patio railing at the very bottom center. I can just see the corrugated metal roof at the lower left. How about that honker black chimney/flue thingy just beyond the patio wall! At the upper left I see a closer view of the penthouse porch I mentioned earlier. And I notice, if I click on the photo to enlarge it, that this building does appear to be brick.


I must have fallen asleep. It's late afternoon already and the sun is in the west. The city air is cooling down. Siesta is over. The streets are beginning to fill with walkers. The best time of a summer day in Santiago is just beginning. Time to head to a café for jugo de frambuesa!

—Michael

Saturday, March 1, 2008

CINCO/ Mimos y Malabaristas (Mimes and Jugglers)

Cada uno da lo que recibe
y luego recibe lo que da,
nada es más simple,
no hay otra norma:
nada se pierde,
todo se transforma.
(Each one gives that which he receives
and then receives that which he gives,
nothing is more simple,
it’s really okay,
nothing gets lost,
everything is changed.)

—Jorge Drexler, “Todo Se Transforma”

As Michael, Lucy, and I walked in Barrio Bellas Artes one warm evening in Santiago, suddenly many more people filled the street, all walking in the same direction. So we followed. There, in front of el Museo Nacional de Bellas Artes, two mimes were performing in the street, in the middle of six lanes of one-way traffic.

We had seen mimes before in Chile. They wear white face paint and dress in a Charlie Chaplin style. They tend to be smallish young men and are always very slender and fit. I haven’t yet seen a female mime. Some mimes remain silent; some “whistle” word-like sounds through a tiny kazoo inside their mouths, adding a tonal commentary to their performances.

A favorite mime performs in the early evening along one side of Santiago’s huge main square, la Plaza de Armas, where a block-long bench provides seating for spectators. He has a few props—a suitcase, cane, hat—but only resorts to them when the preferred prop—unsuspecting pedestrians who happen to walk onto the “stage”—isn’t available at the moment. He propositions young women, luring them away from their companions. He gets down on one knee to propose marriage. He mimics peoples’ mannerisms, gestures to the audience at the largeness of a woman’s rear end, and exaggerates a businessman’s determined stride. He even steals babies in strollers from their parents.

It’s tricky to photograph a mime, because getting close enough for a good picture means you risk becoming part of the show. So watch out! This is the mime in la Plaza de Armas, Santiago.

A mime aims his worst mockery at those who resist or ignore him. One evening we watched him engage a small, elderly woman walking slowly along the plaza with the help of two arm-gripping canes. First, he mimicked her slow, stilting walk. He might have stopped there. But she turned to scowl at him, and the movement lifted one of her crutches somewhat. So, he jerked in fear, as if she had threatened him. She rolled her eyes, and he scolded her for the threat. She continued to frown and press onward, trying to get past him. So, now, he moved way ahead and pretended to pull her along by an invisible rope, pausing to check his watch and tap a foot in frustration at her slow progress. She still continued to frown and, next, he joined her, walking alongside very chummily as if they were now close acquaintances. As she—finally!—passed beyond the stage, he gestured a grand goodbye, as if to an illustrious friend. “Wow,” I thought, “making fun of a handicapped, elderly woman in public, it doesn’t get a whole lot more transgressive than that.”

Michael and Lucy were recruited by this same mime:

On my 2005 visit to Santiago, Lucy and I walked out of the Paseo Estado and into the mime’s territory in the Plaza de Armas. One minute we were having a lively conversation with each other, anonymous in a crowd, and then suddenly there were no more people around us. Where did they all go? Uh oh. We were alone on a stage with a short, white-faced man, being watched by him and a lot of other people. I felt helpless. Was I being taken advantage of by the mime? Was it dangerous? I had to make a quick decision. (As Babar says, “Three seconds in which to act—and no gun!”) I decided to play along. I felt an attraction to give in to the show, to accept being made fun of. I don’t remember what happened next. I sorta passed out. When I woke up, the mime was releasing us to the sidelines. I felt a little foolish and a lot of relief. In retrospect, I see that working with defensiveness and resistance is the mime’s trade. He makes fun of you and, if you resist, he makes fun of your resistance. It’s useless to try to escape: I once saw him jump onto the back of a fast-moving bicycle in order to engage the rider: the mime engages everyone who enters his space.
—Michael


Children always sit in front at the mime shows, fascinated and laughing uncontrollably. The mime acts out what we are forbidden to do, and children love it. Sometimes, they get up and race toward the mime and then back to their watching parents, as if on a dare. They breathe a visible sigh of relief as they sit back down again, having survived proximity to a fire without getting burned. Sometimes they’re drawn more slowly toward the mime. A powerful, hypnotic magnet appears to pull them; they can’t resist it. He, in turn, receives them happily, uses them as assistants or in brief skits, and afterward turns them loose again. Whew!

The first time we saw a mime working in traffic was in Valdivia, alongside the main Plaza de la República, with the crowd gathered on either side of the street. We were astonished that such a thing is allowed. The mime stepped in front of cars to stop them and make the drivers wait, he pulled objects out of the back of a pick-up truck before dropping them back in, and he even hitched a ride for a few seconds on a truck bumper. Drivers looked as if they felt annoyed at being made to wait—the alternative was to risk running over the mime—but they tried to keep their cool, while the kids in the audience howled.

The two mimes working together in front of el Museo Nacional de Bellas Artes in Santiago went a significant notch further, though. Maybe it seemed this way, in part, because we were sitting on the museum steps and could look down across the full depth of the stage. They danced between lanes, keeping an eye on the traffic flow. I found myself imagining bullfighters. The mimes stretched out flat on the roadway at times, keeping cars waiting, making cars stop, start, stop, according to their whim, then stepping deftly aside to let one pass. When the red light at the next intersection halted traffic, the mimes would climb into the back seat of a car and gesture for the driver to get going, which of course he couldn’t do. They exited one car waving women’s lacy underwear, scolding the driver, even sniffing the underpants in an act of mock outrage. And all this in six lanes of active traffic.

When I stopped laughing, I realized with a shiver that mimes working in the street really are like bullfighters. They are small and slender and fit because they have to be in order to stay alive. We get to feel temporarily heroic with them, but from the safety of our seats.

That same evening, after the mimes ended and moved on, a payaso (clown) set up in front of the museum for a show of jokes and magic tricks. He also juggled and did something I don’t have a word for, even in English, a kind of slithering of three-to-six transparent “glass” balls (silicon or acrylic plastic?) of various sizes over and under one finger after another, which made them look magically, eerily alive. Then he balanced the clear balls on a series of body parts—knee, elbow, finger, ear—and finally on the top of his head. I thought of a line from Tomie dePaola’s The Clown of God, “… and now for the sun in the heavens!”

We watched a lithe, Asian-looking woman juggle flaming sticks at the intersection in front of cars stopped for each red light. In growing twilight, the juggling sticks circled high in the air like fireworks. She aimed to end each sequence just before the light turned green. Then another juggler, a male apprentice, took her place as she instructed and corrected his routine between red lights.

Other jugglers practiced with balls on a sidewalk next to the museo. One young man kept seven balls in the air, over and over, for maybe an hour of quick repetitions—mostly very successful. Then he teamed up with a young woman: First, the man stretched out horizontal on the pavement. Next, the woman—holding three juggling clubs—placed her pointed toes in his hands. Together he lifted and she jumped so that she now stood on and was held in the air by his vertical arms. From there, she began to juggle the clubs. The attempts didn’t always work—so many angles and positions needed to be just right—but when they did it was an impressive sight, a confabulation of dance/acrobatics/juggling.

We never found out why so many street performers were out that night, maybe something to do with Santiago a Mil, the month-long summer theater festival in the city. Even though it was a Sunday night, children of all ages stayed out late with their parents, enjoying this playful, art-filled evening. The arts are more visible in everyday Chilean life than here in the United States. Every Chilean seems to play music or sing or dance or paint or write or act. What a treat to happen upon art.

—Jane

Saturday, February 23, 2008

CUATRO/ Valdivia á Lago Maihue

More important than the ability to visit exotic locales is the effort simply to expose oneself to a variety of environments and cultures and then to take up the role of mediator, interpreter…. What matters, ultimately, is receptivity, subjection, the genuine attempt to connect with differentness.
—Aaron Sachs, The Humboldt Current

A/ Heading East

Valdivia from the bridge to Isla Teja.
NOTE: Click on photos to enlarge. Use back arrow to return to text.


I’m a slow traveler. I like to take the time to immerse myself in a place and pay attention to details. So, after a few days in Santiago, we settled into a hostal in Valdivia, our home base on this trip, for several weeks, and explored Pacific beaches, markets, rivers, libraries, a historical museum, the aboretum, our favorite bakery, and a book store. But I was also excited, anxious, and curious to return to the lake district, this time with Jane, Lucy, and Eduardo.

After much discussion and poring over maps, we headed east toward Lago Ranco and Lago Maihue. Our route describes a geological and cultural cross section of the narrow dimension of Chile.

Driving southeast out of Valdivia on highway 207 (the connecting highway to the Pan American, Ruta 5), we skirted the edge of a dramatically horizontal landscape, the valley of Río Angchilla that was inundated after the 1960 earthquake:

The 1960 Valdivia earthquake or Great Chilean Earthquake (in Spanish, Gran terremoto de Valdivia) of 22 May 1960 is the most powerful earthquake ever recorded, rating 9.5 on the moment magnitude scale…. Its resulting tsunami affected southern Chile, Hawaii, Japan, eastern New Zealand, south east Australia and the Aleutian Islands in Alaska….

At Corral, the main port of Valdivia, the water level rose 4 meters before it began to recede…. An eight-meter wave struck the Chilean coast, mainly between Concepción and Chiloe. Ten minutes later, another wave measuring 10 meters was reported.

Hundreds of people were already reported dead by the time the tsunami struck. Ships, like the El Canelo, that were at the mouth of Valdivia River sank after being moved 1.5 km backward and forward in the river. The mast of the Canelo is still visible from the road to Niebla.

A number of Spanish-colonial forts around Valdivia were completely destroyed. Soil subsidence also destroyed buildings, deepened local rivers, and created wetlands.
—Wikipedia.
“Great Chilean Earthquake.”

The valley floors around Valdivia sank up to twenty feet. The lowlands were rapidly filled by the inrushing ocean and the flooding rivers. Nearly forty years later, the wetlands still look oddly empty—no waterfowl are visible across the acres and acres of flat, reedy marshes.

Soon, or not so soon, depending on the timing of inevitable construction delays, the road ascends a series of low, steep, forested mountains. Most of the trees are laid out in rectangular patterns over a profoundly ungeometric landscape of plantations of imported Monterey pine (from California) and eucalyptus (from Australia). These trees have been selected for their rapid growth and planted by lumber and pulp companies, turning the mountains into a succession of tree farms. I find it disturbing to see the land farmed from ridge to valley in this way. The alien species growing in clear, straight, unnatural rows are totally unlike the rich tangles of native trees and undergrowth that we saw in rejuvenating forests in Parque Oncol, a forest preserve that is returning to a wild state.

Leaving the mountains, the highway snakes back down onto a flat, straight stretch of road, probably an old lakebed from the glacial era, and we turn north on Ruta 5, the transportation backbone of the country. From this spine, smaller roads branch off to the west or the east—the ribs connecting the cities, farms, forests, and orchards to markets and ultimately to Santiago. One of these ribs, a slim, paved, two-lane road, leads easily over a rich pastureland filled with cattle and on toward the restless Andes. After some time, over the tops of the pastures, we glimpse the snowy Andes in the distance.

We suddenly arrive at an edge above a left-to-right valley backed by a skyline of volcanic cones and a long ridge. Another volcano rises from the valley floor. The movement of the glaciers that melted away thousands of years ago carved all these valleys.

The grinding of these glaciers when they advanced across the land created steep-sided, U-shaped valleys and left deep lakes behind.

We descend the western wall of the valley toward the south for a swim in Lago Ranco at Coique. This lake, at this beach in particular, has rare transparent waters. Its clarity is only rivaled by Lake Superior among large lakes in the eastern U.S. The pale sand on the beach is coarse and hard. On both visits to Coique, we collected dark green, jewel-like stones at the shoreline: Anna thinks they are green jasper.

This is a photo from 2007, after Lucy and Eduardo's wedding, at Coique. If you click to make the photo larger, you might be able to see me at the edge of the water. I was rock picking when a little Chilean girl who was also gathering rocks came over. “¿Cómo se llama?” the girl piped, in musical Spanish. “Esperanza. ¿Y tú?” (I sometimes use Esperanza [Hope] as my name in Spanish with people who don't speak English.) “Laetitia,” she answered. Laetitia showed her collection of white quartz, I showed my handful of green jasper, and we walked together for a while along the shore: my first Spanish conversation with a child.
—Jane


Swimming in Lago Ranco on a sunny day is an extraordinary visual experience. The sunlit patterns on the lake bottom are brilliant—interlocking hexagonal forms undulating on the sand. I swam face down, absorbing as much of the changing pattern as possible, imprinting it in memory. The clear water and the sun patterns remind Jane of swimming in Ottertail Lake in Minnesota as a girl, learning to hold her breath for as long as possible in order to stay underwater where that beautiful light danced on the sandy bottom.

After reluctantly leaving Coique behind, we drove on to Futrono, stopping at a hilltop restaurant that afforded beautiful vistas across the lake.

—Photo by anonymous restaurant worker.

We ducked into the dining room to look at a menu. It was an expensive place in the German meat-and-potatoes style with seafood options and lots of wines. But we weren’t looking for a long sit-down meal, as we wanted to get to Llifén before dark. So it was on to Futrono. But on a Sunday afternoon, during siesta time, not much was open. Trolling the main drag, we did eventually locate a small café and order roast chicken and avocado sandwiches on big round buns. Our table was tiny and the whole place fairly grimy-looking. Most of the food for sale was candy, pop, and helados (ice cream popsicles), but we could see a cook back in the kitchen. A gangly, odd-looking young man got up from a card game with a young woman to serve us. He laid out the cheap silverware and water glasses and tiny bowl of pebre with the same polite care and attention that we would have expected at an expensive restaurant.


As we continued eastward on our way to Llifén, the afternoon sun illuminated a vertical, green, and rocky landscape. Just out of Futrono the road drops rapidly into a broad valley at the general level of the lake and moves inland into a side valley gouged out by a tongue of glacier, giving us a close look at the rocky front we first saw from the other side of the valley.

The volcanic bedrock slopes are extremely steep because of glacial erosion. Dark chunks of rock protrude from the ground. The road circles behind a volcanic cone, then crosses a bridge over Río Caunahue as the river emerges from a glaciated side valley. The bridge takes advantage of a very narrow canyon to span the river before the valley widens dramatically on its way toward the delta in Lanco Ranco. Beyond the bridge the road clings to the side of the slope heading into Llifén. The highway is squeezed between a towering, truncated volcanic core and the lake.

At the foot of the slope down to the lake is Playa Bonita, where we headquartered for two nights on the way east and another night on our way west again.

We stayed at a beachfront cabaña, Huequecura, right on the bay. We were hot and dry, and our first task was to swim again, beside massive pillows of dark-brown basalt that seem to flow into the water. The dark, smooth lava is frozen in time and space, as if someone hit a pause button in the middle of the event. The contact point between the lava and water creates a palpable tension: hit the play button and the action will resume, the hot lava hissing as it enters the cool lake water.

Swimming at this spot is exciting. The water here is just as clear as at Coique but a darker color, reflecting gray sand between the large rocks on the bottom.

Walking on the basalt after our swim, we discovered a dozen or so white orchid spikes growing right out of the rock—nearly the only vegetation there. It seemed like a surprising place for orchids or any tender plant life.

The floor of the bay is covered with smooth, rounded rocks, some as large as basketballs, that reminded us of the rocks in Old Woman Bay on the northeast shore of Superior—a magical spot from our earlier lake expedition to Ontario (but minus the fearsome grinding sound, thankfully). The curving bay and open lake extending east from the front of the cabaña add a strong counterpoint to the volcanic cliff looming behind.

We all practically cringed away from the wall of rock at first; it looked as if it might just fall down on top of us at any moment. We slept with the tall window onto the patio open all night, comforted by the rhythmic sound of the lake waves. It reassured us that the rock wall would not fall just yet, neither would the volcanoes erupt and spew forth hot lava, nor the lake water rise and inundate the cabaña. Still, during our stay at Huequecura, we watched news reports of a volcano erupting near Temuco, a few hours to the north.

Huequecura sits on a long narrow lot running down to the lake. The resort consists of four small, attached cabañas, a row of old fruit trees, and a large, well-equipped quincho (community kitchen/dining room) up the hill. Here we prepared our meals with the owner Silvia, a retired schoolteacher, for company. It was only January, not February, and the summer migration of Chileans to the lake district had not yet begun, so we were the only customers.

The main insect pest—the large horseflies called tábanos—provided some entertainment during the sunny hours of the day when we lazed on the patio between swims. They are gorgeous, fat, inch-long black flies with bright orange hairy strips on their sides but irritating as hell, landing repeatedly on arms, legs, hands, noses. Fortunately, they are also stupid and move slowly enough to be killed with a swift hand. Only when they congregate in numbers do they reach the pestilential level. We discovered that they much prefer dark colors. If you wish to avoid the tábano, wear light-colored clothing!

We took a day trip up the Río Caunahue, stopping wherever we saw something of interest. The road was gravel and the traffic very light. The valley floor was mainly pastureland. Here and there a few small eucalyptus plantations punctuated the view with their strange, elongated trunks and silvery leaves.

Some way up the valley we spotted a bibliomóvil coming toward us. This little white van is sponsored the foundation Eduardo works for, Fundación La Fuente. The bibliomóvil travels to isolated rural areas, delivering books. The driver doubles as storyteller and book reader in the small schools.

—Photo by Eduardo Rioseco.

Eduardo also takes a puppet show, sometimes along with his friend, neighbor, and fellow musician, Felipe, to these schools to entertain the children. One story they perform is a version of an old Mapuche tale, La Niña de la Calavera (The Skull Maiden), updated to La Niña de las Trenzas (The Girl with the Braids). We wanted to flag the van down and talk, figuring that the driver would know Eduardo. But Eduardo had stayed back in Llifén to practice guitar that day. And we were a little shy, so we just waved.

As we continued upstream the valley narrowed and the river split into two branches. We tried the road to the left across a long one-lane bridge. We stopped in the middle of the bridge. I hopped out to have a look around. The wind was blowing steadily and hard. Here it was, summertime, and the wind was cold. For a moment I imagined we were in Alaska where each spring, flooding from melting ice and snow races downhill, stripping vegetation, and leaving rocks and debris askew in the wide streambed. The place felt remote.

On the other side of the bridge, the road narrowed into a rutted mess. We backtracked to take the other fork. A little further on, a very small hand-painted sign advertised termas (hot springs) with an arrow pointing up a side road. We followed the track, not much more than a cowpath, really, up through fields to a group of unfinished cabañas where a few locals stood around talking. A small, wiry man led us up the hill to three cast-iron bathtubs sitting in a creeklet of steaming water. Nearby a primitive shed covered another small pool of hot water. Large flocks of geese with goslings, ducks with ducklings, and chickens with baby chicks all foraged freely. The grass had been nibbled so short, the whole area looked like a gigantic putting green. But we didn’t have bathing suits along, and I wasn’t in the mood to skinny dip for an audience. It was time to head back to Llifén.

B/ Onward to Lago Maihue

—Photo by Lucy Engle.

It seemed as if we could stay at Playa Bonita forever, listening to Eduardo practice guitar by the hour for his upcoming final exam at the university, but we decided to drive further east to Lago Maihue. The Río Calcurrupe links the two lakes, flowing down in a broad, smooth stream from Maihue into Ranco. It was clouding up as we turned off the pavement from the main street of Llifén onto the gravel road to Maihue. The route runs in a straight line up the valley parallel to the river, framed by steep ridges on either side.

—Photo by Lucy Engle.

Along the way, we stopped at bridges over side streams to look for birds in the bamboo-tangled undergrowth and admire cascading waterfalls of melted snow descending from the cirques near ridgeline.

Some kilometers along, we veered off the main road on a short side trip to Puerto Llolles, a collection of three or four homesteads located around the foot of Lago Maihue. Here is where a current appears in the water, and the lake narrows into the Río Calcurrupe. The foot of the lake is rich in waterfowl: black-necked swans, snowy egrets, kingfishers, pintail ducks. (We will have more to say about the rich birdlife of this area in an upcoming birding post.)

Across the river, a woman was hanging long, loose strands of raw wool to dry on a clothesline at a house under a striped bluff. She was the only person we saw in the hour or so we were there. We took a short walk up the sandy road that dead-ended at a ferry landing, a shortcut to the top of the lake or a route to the opposite shore, I never found out which.

The weather turned gray and showery as we returned to the main gravel road and rolled past broad, peaceful acres of cattle ranches. Many miles later, the road drops abruptly again into the valley of the Río Blanco. Just as we started the steep downhill plunge, two fully-loaded log trucks crept up the narrow road in their lowest gear. We waited, parked precariously on the edge of the road, thankful we hadn’t encountered them in the middle of the downhill grade. The road then makes a sweeping curve across the Río Blanco bridge and follows the valley south toward the lake. Here we again encountered the bibliomóvil. Eduardo was with us this time, so we all stopped and he introduced us to the warm, energetic driver, Emiliano, known to the schoolchildren as “Don Nano.” He recognized our car from passing us the day before up the Río Caunahue.

The road eventually climbs up the far side of the Río Blanco valley and then drops down again into the Lago Maihue basin. Lago Maihue is the last major lake beyond Lago Ranco before the border into Argentina; this area was the easternmost point of our journey. There are many stories in Chilean history about secret escapes and infiltrations over the narrow roads and trails and through the remote Andean passes. Eduardo told us about Pablo Neruda following the Río Curringue (a tributary of Río Blanco) to Argentina on horseback in 1949 to escape political repression during the presidency of Gabriel González Videla. We started telling ourselves a story, then, making it up as we drove along, about escaping into Argentina with a trunk full of pesos. We would start a new life there, we imagined, if only we could make it through the mountains, if our car would hold out, if the roads were passable…. Well short of the Argentine border, though, we were tired and hungry and stopped at a set of cabañas that Eduardo remembered from a previous visit with his traveling puppet theater.

The three or four modern, wooden cabañas stood below a small private school and were fronted by a lawn overlooking the lake. Here we could spend the night. The weather was very showery now, and dark clouds ran low in the sky as we arrived. I was glad for a dry place to stay, inside, with heat from a small wood stove and a kitchen to cook some dinner.

In the evening as it drew toward dusk, the rain clouds lifted slightly, and Jane and I walked eastward along the shoreline toward the head of the lake. The beach is gravelly and stony there, with isolated stretches of pale, rough sand. Small streams emerge from the trees and run out over the beach to the water. Here the rocks are sharp, as if freshly broken and recently washed down from the mountains. But the beach showed no signs of erosion from these vigorous streams, which suggested that the lake level was lower than usual.

A succession of parallel wave benches along the rocky beach also pointed to higher water levels in the recent past. Last winter was abnormally dry in Chile, due to La Niña: the presence of cooler than normal water temperatures in the eastern Pacific Ocean along the Chilean coast. I think the water level in Lago Maihue indicates how La Niña affected this area.

Lago Maihue is deep and glacially formed like the Great Lakes and the Finger Lakes. The underlying rock is volcanic. The feel of the place is intense and primitive like the experience of wildness on the long northwestern and northern shores of Lake Superior in Minnesota and Ontario. Superior, too, juxtaposes two geologies, the igneous rock of the mid-continental rift zone and the glacially formed lake.

The surrounding mountains at Maihue were partially veiled while we were there, which heightened the similarity to Superior, as did the palpable feeling of remoteness.

There is also this difference: agriculture thrives in the lake district and the faldas (foothills) of the Andes. During the nineteenth century, the valley bottoms were colonized by German immigrants, "sponsored by the Chilean government with aims of colonising the southern region. Though comprised only by an estimated 8,000, these Germans (some were Swiss) influenced the cultural composition of the southern provinces of Valdivia, Llanquihue and Osorno. They settled lands opened by the Chilean government in order to populate the region." (Wikipedia. “Demographics of Chile.”) Of course the region was already populated with Mapuches who presumably were pushed up the hillsides. Today, the indigenous Mapuches maintain the fields and pastures that climb the volcanic slopes and ridges while the flat land is dominated by large ranches. Agriculture is possible on the mountainsides in the lake district because of the rich volcanic soil (it is perhaps only some thousands of years old—the volcanism around Superior is 1.1 billion years old), and because it is eight degrees closer to the equator (40 degrees south vs. 48 degrees north latitude for the North Shore area).

The cultivation of the volcanic slopes is a remarkable sight in a region that gets a great deal of rain in a normal winter. The soil looks very deep, yet I saw no evidence of major soil erosion on the hillsides. The steeply inclined potato fields growing in dark purple-brown soil are a beautiful sight. It’s a landscape worked almost entirely by hand. Most of the wide footpaths that criss-cross from one level to another across the slopes are too rough and tumble to be accessible by motor vehicles.

All the recent geological activity—volcánes y termas, terremotos y maremotos (earthquakes and tsunamis), the glacial moraines and U-shaped glacial valleys—have produced a landscape with immensely more motion and intensity than the subdued glaciated areas of our home, the northeastern U.S. Here in New York state, there is erosion of the glacial remnants and active gorge cutting going on. There are some very active slopes on Six Mile Creek in our neighborhood. But the scale in Chile is immense. The incredible steepness and the youth of the Andean slopes are visible in the streambeds draining the Andes. They are choked with milky glacial debris, washed rock, stone, and gravel.

—Photo by Lucy Engle. You can maybe see Michael walking the beach.

The next morning we drove just a little further east to Playa Maqueo and walked the beach there. The beach fans out into Lago Maihue in a massive delta of rock and sand deposited by a stream that hardly seems up to the task. But it was the dry season of the year. The playa is also the site of a ferry landing. The small, one-car ferry was just loading up—one person raced up, parked, and climbed aboard—for the trip across to the indigenous villages at the head of the lake. Eduardo told us about a recent ferry disaster on Lago Maihue. About a year ago, the old ferry sank, killing all aboard, which prompted the purchase of the newer, sturdier-looking boat we saw. Like “The Death of the Edmund Fitzgerald” in Lake Superior, the story reminds us that these are deep, fearsome lakes.

After our walk, we drove the first stretch of the road beyond Maqueo that was very recently extended to a Mapuche village, Hueanihue. The road is still very raw, tentative, vulnerable, unstable, and cut into a very steep slope above the lake, like the last stretch of a Forest Service road high in the Oregon Cascades up the North Santiam River toward Gold Creek and Opal Creek, but ever so much more so. I dearly wanted to press on toward Hueanihue, but it wasn’t really possible. Eduardo needed to start back, the rain was intensifying, and the possibility of getting the borrowed car stuck up there all ruled against it. For now at any rate.

C/ Return to the West

Returning the way we came, we treated ourselves to a nice, long soak in the termas at Llifén while the rain showers continued outside. A cloth roof stretched over a frame high above the hot springs protected us from the rain and the occasional burst of sun. At this particular terma, they also serve meals, scheduled when you like. So, we decided to request a lunch after our soak. The meal was served at a very slow pace, in sync with our now languid state, in a second-floor dining room above the more expensive “private” soaking rooms.

The view from the dining room windows looks out across a pasture and gardens into the ragged mountains beyond.

We spent the night back at Huequecura again but with no more swims this time. The waves on the now-dark, writhing lake tore into the rocky shore. Eduardo had to head back to Santiago, so Lucy taxied him to a bus in Futrono and picked up more fresh food for us.

The next morning we continued our circumambulation of Lago Ranco. The road beyond Llifén is mostly unpaved. We encountered a few very steep stretches. Just past the Río Calcurrupe bridge, our Turistel guide counsels: “El camino asciende por un corta cuesta en el km 6, de difícil tránsito debido suelto; es mejor subirla en primera desde el comienzo y con decisión.” Roughly: “The road goes uphill at kilometer 6, difficult to surmount when it’s loose; it’s better to drive up it decisively and in first gear from the beginning.” Which proved to be good advice. We used the full width of the road and thankfully met no oncoming traffic at the crucial points in the ascent. There were a couple more of these short, steep, twisting, uphill stretches with loose gravel and impressive corrugations angling across the road surface. Working back and forth across the slope did the trick: a body memory from driving Ozark National Forest roads.

The clouds slowly lifted, and the weather improved as we went. We stopped to hike a mountain trail through a Mapuche agricultural area. To find the trailhead we drove down a side lane barely wide enough for our small sedan and parked at a Mapuche homestead. There was no charge for parking there, Lucy understood from the owners, but they hoped we might purchase some of their cheese on our return. The hike was, once again, very steep. The first part of the trail followed a community path that was rarely or never used by cars or trucks. Once when we missed a turn, the path took us out across the mountainside and just above a carefully hand-hoed field that fell away below us, forming a huge amphitheater: row after row of white-flowering potato plants curving around the slopes. Eventually, we reached a small collection of houses and a church no bigger than an Ozark chicken house. We had hoped to reach a series of small lakes, but amid the confusion of not-very-well-marked footpaths and finding shelter during rain showers, we saw only glowing green hillsides, simple Mapuche houses, cattle, sheep, and the Andes in the distance.

—Photo by Lucy Engle.

On our way back, a short, middle-aged-looking Mapuche woman appeared, carrying a sleeping baby in her arms and accompanied by a teenage girl. We let them pass with no clue that they would drop downhill at twice our speed. Lucy took off to try to keep up with them and discover their route, but they quickly passed out of our sight. It was a treacherous trail, rocky, muddy, and very steep. But they must have traveled up and down this route many times, hauling heavier loads than a baby, and could probably do it in the dark.

Back at the car, we purchased a round of rather pale, cow’s-milk cheese and continued around the lake. At one point, the pavement suddenly began again. I thought we were in for a smooth ride the rest of the way, but my hopes were dashed when, once past the village, the road reverted to its grizzly, gravelly self. There are advantages to the gravel, of course: it definitely keeps the tourist traffic down. Way down.

When we gained the south shore, the lake came into view again, and we drove parallel to a long volcanic peninsula, Illahuapi, that extends out into the lake. We stopped at a lookout point to eat lunch and admire the view.

Much of the south shore seems to be the province of private haciendas, with little crescent beaches and boats pulled up on the sand. It was sunny again. We hoped to swim once more, but we never found which unmarked side road led to the beach.

Just outside the town of Lago Ranco, the pavement reappeared. The lakefront in town has been recently developed to accommodate many swimmers and sunbathers with wide cement stairways, plenty of parking, and a small playground.

But the water there was murky, so we didn’t swim. We headed for home, following another lovely two-lane road back to Ruta 5, then north and on to Valdivia on highway 207 again.

Only on my bus ride in 2005 over the Andes from Santiago to Mendoza, Argentina, had I seen a geology as various and resplendent as on this trip. It is a highlight of my Chilean travels.


—Michael