Alms and the Monks: Luang Prabang

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The gong sounds at 5am and the monks rise and gather in the prayer hall and chant. As the sun comes up, they leave the temple and walk, barefoot, with alms bowls hanging from shoulder straps towards Sisavangvong Road.

Each of the city’s thirty-three temples disgorges its monks and novices and they converge on the main street and join the long line –a few hundred strong – of bright orange robes, shaved heads and alms bowls.

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The locals, and often Western travellers, kneel along the side of the road to await the procession, shoes slipped off respectfully. As each monk passes, he slides the lid from his alms bowl, wordlessly and without expression. A woman, making sure to keep her head below the monk’s as tradition demands, tosses in a ball of sticky rice and he slides the lid back on. The city is silent except for the padding of bare feet on the pavement and the scraping of the lids on the bowls.

Luang Prabang, with its fairytale name, is embraced by the mountains of northern Laos, and scored across by the broad Mekong River and the sinuous Nam Khan. It is the fourth largest city in Laos but that translates to the scale of a small town in Europe with half a dozen major streets and a population below 50,000.

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It is compact enough to see in a day, but absorbing enough to be worth staying for several. It is calmer even than Vientiane, but not so soporific. The main roads are lined with colonial buildings with porticos, balconies and shutters; the side streets with traditional wooden houses. Bougainvillea bushes explode over walls, palm trees stoop towards roofs.

The monks glide in and out of view. The smell of incense wafts from the temples. The gongs sound, the monks chant. There is a gentle thudding of drums, a clash of cymbals, a howling of lutes and plinky-plunk of xylophones.

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The swooping roofs of the temples are stacked three-deep and topped by horn-like finials formed into the shape of nagas*; the facades are gilded and intricately carved, and there are glass mosaics telling epic stories of birth and death, work and play, town and jungle, hunters and fishermen, elephants and tigers.

Luang Prabang is an established stop on the Banana Pancake Trail, and increasingly on the mainstream tourist trail, as well. But the Western interlopers have not taken over in the way that they have in Vang Vieng.

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There are agents all along on the main street, offering mahout training, bike tours and transport across the border to Thailand. But just a few steps away, there are buffalo sausages drying on racks, chickens scratching in the trash and street markets which make no concessions to tourists with raw fish laid out, right next to vegetables, on sheets on the road, smaller fish twitching in bowls of water and blood running down the street from the meat stall where every bit of the pig but the squeak is piled up for sale.

It is noticeable, though, that quite a few businesses are run by falang** as if they arrived, years ago, with a backpack and the idea of staying two or three nights but could never quite bring themselves to leave. It is that sort of place.

© Richard Senior 2016

*River serpent

**Loosely “Westerner(s)”. Cf. Thai farang and Khmer barang.

Slow Boat to Amsterdam: a Sailing Diary

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In the summer of 2012, I worked a passage from Stavanger to Amsterdam on the Dutch tall ship, Wylde Swan. I kept this diary, of sorts, with the idea of writing it up into a feature, which never happened: 

Thursday, 30th August

Arrive in Stavanger in the late afternoon. Blustery day. Call up the number and they come to collect me in the tender and take me out to the ship, which is moored off a small island. Dutch skipper, German mate, Danish engineer, German cook.

The Swan was originally a steamship, built in 1920, on a German flag. It was a herring boat, built for speed. A Dutch outfit bought the hulk in the Noughties and refitted it as a two-mast topsail schooner – biggest in the world, apparently.

More of the crew arrive in the evening, two Dutch, one British (but born in the Netherlands).

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Friday, 31st August

Bright and sunny in the morning. Not sailing until evening so get the tender into Stavanger, look round, take photos, get lunch.

Back to the ship. Three more crew aboard, one German, two Dutch.

Sail around 5pm.

I’m on the 1pm-8pm and 1am-6am watch, so I’m on straight away. Weigh anchor. Slip out of harbour. Stop alongside another ship for the last crew member (Norwegian) to jump aboard. Get a couple of stay sails up. South, south, south…

Can’t sleep. Read until midnight. Shaken awake at 12.30. Back to work.

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Saturday, 1st September

Still heading south. Up on the roof at 4am sweating a sail down, gathering and tying. Trimming and tidying; hauling ropes and cranking winches.

Sailing ships are incredibly noisy things: banging and clanking, creaking and groaning. The wind howls across the deck, slapping hard against the sails. It means I can shout and swear when I repeatedly make a mess of coiling a sheet, and nobody hears me.

The sun is coming up and I want to stay and watch it, but I want to sleep more. It comes easily this time.

Ship pitching heavily when my next watch starts at 1pm. A few of the crew are seasick. But it’s a dull watch. Not much to do. A couple of sails up, a tack, but mostly pootling along on the motor. Cloudy and cold but no rain.

I stare out to sea for hours. It sounds dull but it’s more peaceful than anything I can remember. No rushing, no deadlines, no shouty emails.

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Sunday, 2nd September 

The work always seems to be in the early morning watch. Strong wind across the deck. Ship heeled right over. Deck soaked. Hard to stay upright. A few involuntary sit-downs. Stretch the safety net across the leeward side so no one goes overboard. Stay sails back up. Exhausting first two hours then quiet after that. Quiet and cold.

Only me and the watch leader still standing. Everyone else on the watch is seasick. I can understand it. The ship rolls and pitches and suddenly the horizon rears up at a 30 degree angle. But thankfully I don’t get seasick.

We reach Danish waters around midnight, down the coastline, past the oilfields. Rigs lit up like Harrods at Christmas. The computer shows tankers all around us but none is in sight. The watch leader shows me how to fill in the log and I do it next time.

Still cloudy at lunchtime. The last watch put up the jibs and top sail. It looks more like a tall ship should now. No mainsail though. It takes 10 men to raise it. They call it “the Bastard“.

Two thirds of the way down the Danish coast by 2pm, heading for Germany. I belatedly hoist down the courtesy Norwegian flag. We forgot about it until now. Don’t suppose it matters.

There was talk of being in Amsterdam tonight but the skipper thinks lunchtime tomorrow at best. We take it for granted now that we can be anywhere in Europe in two hours, and anywhere in the world within the day (more or less). Everyone travelled like this until a couple of generations ago. It used to take a couple of months, I think, to get to Australia.

Another quiet afternoon. Ship porpoising gently. Cruising at around 6 knots. A cruise ship going north is about the only thing I see for an hour. Not even any gulls here. The mate has resorted to cleaning the ship. Must be bored.

And then it starts drizzling.

Slight change of course to break the monotony. Re-trim. Swing on the grinder. Make a mess of coiling the sheet again. How hard can it be for fuck’s sake?

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Monday, 3rd September

The 1-6 watch is hard. Just as you start to get properly to sleep, some bastard wakes you up and makes you crawl from your bunk and put waterproofs on.

We are in Dutch waters now, I think. Tracking 190 degrees. Cruising at 7 knots. Busy waters here. Tankers all along the horizon.

A quiet watch. Some trimming of sails, nothing too exciting. Music and tomfoolery on the quarter deck.

Dutch coast in sight at 10 30. Sun out too. The last watch has pulled the sails down. Just motoring all the way now: into Ijmuiden, through the locks and down the canal to Amsterdam. Due in early afternoon

Sunbathing on the half deck until my watch starts; sunbathing a while longer as well. Nothing much to do.

On the outskirts of Amsterdam we monkey out on the nets round the bowsprit and pack the sail. Six of us wrestle with the bloody thing to wrap it into a sausage, get it onto the bowsprit and tie a daisy chain round it. People on the bank whip out phones to photograph us and that feels good.

We arrive around 3pm, throw fenders over the side and moor up. Climb the rigging – like something out of a movie – to lower and tie up the topsails.

 Grab my bag, say goodbyes and wander towards Dam Square.

© Richard Senior 2016

Cycling the Shimanami Kaidō

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I set off too late from Hiroshima, then got the wrong train, and it was going on for lunchtime when I reached Onomichi. But I decided to skip lunch because I wanted to cycle at least some of the Shimanami Kaidō between the eight islands, from Honshu to Shikoku, across the suspension bridges over the Inland Sea.

I have since read about travellers planning and training for the ride for weeks and basing their trips to Japan around it, but I am too spontaneous, too chaotic for anything like that. I had found out about the Shimanami Kaidō by chance a day or two before when looking for something else in the guidebook.

It is a 70km (43 mile) route, end to end, and my guidebook reckoned it would take somewhere around eight hours to ride, which to me seemed too pessimistic. I reckoned four or five.

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The rent-a-bike point was hidden in a car park but I found it eventually and chose a cheap ‘mountain bike’ over a selection of old ladies’ shopping bikes. I revised my estimate to five or six hours when I saw it, dropped my daybag into the basket and rattled along the waterfront to the ferry across the Onomichi-suido Channel. I had picked up a map of the route but it was, in any case, marked with blue and white lines on the road. It would be hard to get lost.

If I wanted my deposit back, I would have to return the bike to Onomichi before 6pm, but the deposit was only ¥1000, or £5.89. (The hire cost was half that, which made it a cheap afternoon’s entertainment.) I saw when I skim-read the back of the map that I could drop off the bike at the end, or at points along the way, and take a bus back; and that was all I needed to know, for the moment.

The bike was too low-geared to go anywhere fast, but the route was flat – or at least so it seemed after the merciless hills of northern England – and the sun was hot and it was a perfect day for cycling. The route took me through a slice of Japan which you rarely see as a tourist, neither the sleepy towns of old wooden houses, nor the bustling cities of neon-lit skyscrapers, just workaday hamlets with a few houses and shops, a filling station, then nothing until a big-hammer factory, and nothing again for the next ten minutes.

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I tracked diagonally across Mukaishima Island and came out at the waterfront and followed its contours round towards the Innoshima suspension bridge. The blue and white lines led under the bridge and round a corner and then twisted back on themselves up a steep hill which spiralled to the cycle lane of the bridge suspended beneath the roadway.

Two hours in, I had worked across Innoshima Island and traversed the Ikushi Bridge, with orchids lining the approach road and big barges trundling underneath and the sun glinting off the water. I was on the fourth island of eight and seemed to be making good time.

There is apparently a temple worth seeing on Ikuchijima Island but I was too focussed to detour to it, and in any case I had been to Nikkō, Nara and Kyoto already on that trip and would not feel cheated if I never saw another temple. There were, as well, a few curiosities at the side of the road: an old bus in faded psychedelic paint in the style of Ken Kesey’s Furthur and a group of life-size dummies seated in a row as if they were waiting for a bus.

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It took me somewhere around an hour to get to the next bridge, 36 kilometres from Onomichi, a little over half way to Imabari. I had, it seemed, been wildly optimistic to think that I could finish the route in four hours but about right with the more conservative six. I was not sure why the guidebook thought you needed eight, but then the map said eight to ten and I have since read that some travellers spread the ride over a couple of days.

I could still, just about, have turned the bike round and headed back to Honshu before the rent-a-bike terminal closed, but I was enjoying myself too much for that. The other terminals, I saw when I read the back of the map properly, closed at 5pm. There was an outside chance that I could get all the way to Imabari on the edge of Shikoku and find the terminal in time, but it was no more than an outside chance.

There were three other terminals along the way, so there was no need to give up just yet. It was a lovely ride along the waterfront on Omishima Island and across the arched bridge to Hakatajima, where I caught up with a group of serious cyclists with sprayed-on lycra and bikes made from carbon fibre and fresh air and passed a couple of them; but there was too much face to be lost in being overtaken by a tourist in street clothes on a pig-iron mountain bike, so they clunked down a gear and streaked past me.

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I decided as I snaked through the national park to the west of Hakatajima Island to drop off the bike at the next terminal, just before the Hakata-Oshima suspension bridge, the last but one before Imabari. I only had 20km left to ride to the end of the route, and plenty of energy, but by then it was clearly too late to get there before 5pm.

I imagined the bus interchange to be a big building with helpful things like timetables and an information desk, but it was actually just a turning circle with a few wooden shelters. There was no one else around. In a few of the shelters, there were photocopied sheets with bus times on them but the destinations – naturally – were only in Japanese. The last bus going anywhere seemed to be at half-past five.

At somewhere around twenty-past, a bus pulled in but the driver denied that he was going to Onomichi.

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Of course I had no contingency plan and I thought I would be lucky even to find an English-speaker within reasonable walking distance, let alone a hotel or a taxi firm. If it came to it, I supposed I would just have to walk back to Honshu.

But then, at something to six, the bus turned up.

© Richard Senior 2016

Eating up Vietnam #4: Huế

 

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Mr Cu is an excellent photographer. The walls of his restaurant, the Mandarin Café, are crammed with his shots of the people and places of Vietnam. He is a sociable chap, speaks good English, and makes a point of chatting to his customers. He gives them all a postcard of one of his photographs.

I stayed next door, in the cheekily-named Google Hotel, and stumbled into the Mandarin Café each morning for coffee and a bowl of the city’s famous noodle soup, bún bò Huế.  It is made with beef shank and pigs’ trotters simmered with lemongrass, onion and shrimp paste, then flavoured with fish sauce, sugar and a wallop of chilli powder, poured over round noodles and sprinkled with herbs.

Huế was Vietnam’s imperial capital, until the last emperor abdicated at the end of the Second World War, and there are restaurants across town offering elaborate, expensive, banquets of dishes which they claim were traditionally served to the imperial family, all arranged into the shape of peacocks, elephants and such like. It is impressive enough, but not really what I was there for. The street food interested me a whole lot more.

On the banks of the Perfume River, in the shadow of Eiffel’s Trường Tiền Bridge, there is a bustling night market with food carts and picnic tables crowding the pavements. The grills smoke, the prawns sizzle, the vendors shout, the customers jostle, and the aromas fill the air. I ate banh khoai – happy pancakes – as I nosed round the stalls.

The batter is made with rice flour, a good pinch of turmeric, which turns it yellow, and sugar and carbonated water which help it to crisp up on the hotplate. It is stuffed, then, with prawns, pork belly, beansprouts, spring onion and shredded carrot and folded like an omelette.

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I happened upon a restaurant, the next day, a few blocks from the river, which looked run-down enough to be good and ordered nem lui, ground pork and pork skin mixed with garlic, sugar and fish sauce, shaped into sausages, skewered with lemon grass and grilled over charcoal.

It came with a pile of rice papers, lettuce leaves, herbs and cucumber slices and a deceptively complex dipping sauce made with hoisin and fish sauces, chopped pork liver, toasted peanuts and peanut butter. The idea is to force the meat off the skewer with your chopsticks, roll it and some of the leaves and vegetables in the rice paper, then dip it in the sauce.

I got so engrossed in poking about in the ruins of the imperial citadel that I forgot all about having lunch, but bánh bèo from a roadside stall kept me going until evening. These delicate steamed rice cakes are topped with a mixture of chopped prawns and crumbled dried shrimp, pork crackling and sliced spring onions and dressed with nuoc mam sauce, made with rice vinegar, fish sauce and sliced chillies.

Dinner, then, was cơm hến: a bowl of rice topped with tiny clams, sliced spring onion, julienned apple, crispy pillows of fried pig skin and a handful of herbs, served with a jug of clam broth to add to taste.

I had eaten well in Huế but could not help thinking, as I continued north, that I had only tried a small sample of its regional dishes. Never mind. There was Hanoi still to come.

© Richard Senior 2016

Subterranean Sightseeing: the Moscow Metro

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On the surface, the tourists troop round the Kremlin; they snap selfies in front of St Basil’s, explore GUM and the State History Museum, stroll through Alexander Gardens and stop to watch the changing of the guard; they tick off the Bolshoi and Maly theatres, the Tretyakov and New Tretyakov Galleries, Gorky Park and the Seven Sisters.

And two hundred feet below ground, there is a parallel Moscow with its own set of tourists, making their way between subterranean sights. Little groups of them huddle around guides, then disperse to kneel with SLR’s or stand smiling with smartphones at the end of poles, and bustle onto trains to get to the next big sight. Solo travellers make their own way round with Metro maps stuffed into guidebooks to mark the page.

The older stations, built under Stalin from the mid-thirties, were designed to impress with an extravagant blend of brass and bronze, marble and mosaics, stucco and chandeliers, as if the architects interpreted a little too literally the old Soviet promise to build ‘palaces for the people’. There are artistic flourishes in the smallest details, like a ventilation duct shaped around a bronze wheatsheaf with the openings seeming to be part of the sculpture, instead of the rectangular aperture topped with a grille you would see more or less anywhere else.

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When Stalin died, Khrushchev ordered a stop to his vanity projects and, by the late fifties, the Soviets started to build functional Metro stations to a standard design, like everybody else in the world. But most of the stations which a visitor is likely to pass through, and all of them on the Circle Line, could qualify as Must See sights.

Komsomolskaya has an opulent Baroque look with rows of limestone pillars, chandeliers and a stuccoed ceiling with mosaics of Russian heroes. It looks like it might have been designed for the Romanovs but was actually meant to celebrate the Komsomol, communist youth league.

There is an Art Nouveau look to Novoslobodskaya, which was built around a series of 32 stained-glass panels, rimmed with brass, slotted into Ural marble and illuminated from behind.

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Belorusskaya has floral motifs worked into the stucco of the ceiling, interspersed with mosaics of peasants and artisans in Belarussian costume. The walls are faced with pink and black marble with niches lit by bronze uplighters.

Chandeliers hang from the ceiling at Kievskaya. The arches cutting through to the platforms are edged with gold-coloured braiding. Between them are large mosaics of scenes from Ukrainian history.  

At Park Pobedy, by contrast, the side walls and ceiling are free of ornamentation. The visual impact comes from pleasing curves and highly-polished grey and red marble, reflecting in the chequerboard floor and directing attention to the paintings on the end walls of the defeat of Napoleon.

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Life-size bronze statues crouch either side of the arches which lead to the platforms at Ploshchad Revolyutsii. They represent soldiers, workers, peasants, sportsmen, hunters, parents and a border guard with an Alsatian dog who is supposed to bring luck if you stroke his nose (the dog’s, not the guard’s).

Elektrozavodskaya is named, as only a communist regime would think to do, after a lightbulb factory. Its ceiling is clustered with 318 inset lamps which – designedly – look like oversize household bulbs; its walls have gilded grilles and bas-reliefs.

Mayakovskaya is gloriously Art Deco. It won the Grand Prize at the 1939 World’s Fair in New York. The long central hall is lined with arches faced with stainless steel and pink rhodonite. Niches are scooped out of the vaulted ceiling, ringed with filament lights and filled with mosaics themed around ‘24-hours in the Soviet sky’.

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But the Moscow Metro is only incidentally a tourist attraction. It carries 9 million people across town every day, more than the New York Subway and London Underground together; more than any system outside Asia.

The trains average 25 mph, against 17 in New York, and come at around one minute intervals. Regular minutes, that is, not the infamous ‘Northern Line minutes’ with 240 seconds each.

It is free, it seems, of all of the Northern Line’s legendary inefficiencies*: the trains which somehow end up further away the closer they get, or which are announced but never arrive, or have one destination on the front but go to another, or just disappear into a tunnel and break down.

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What is more, a single journey costs the equivalent of 45p, or 63¢, instead of $3.00 (£2.10) in New York or the hilarious £4.90 ($6.95) in London, yet the system still turns a profit.

© Richard Senior 2016

*The Northern Line is a standing joke in London. I lived on it for years. I was usually standing but rarely joking.

Learning to Love Osaka

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Osaka, at first glance, is a hard city to love. It seems to be 140 square miles of concrete, sardine-packed with tower blocks and criss-crossed with flyovers.

But the cherry blossoms along the Ō-kawa River temper the brutality of the concrete. The river parts and flows either side of Nakanoshima island, where the first mile or so has been landscaped and turned into a public park. It is a tranquil spot, lovely to walk through with a gentle breeze blowing off the river, and as you gaze at the lawns and the trees and the rose gardens, you might not even notice that the island is hemmed in by soulless office blocks.

Beyond the park, there is a hint of what Osaka might have looked like before the War in the 1912 Central Public Hall with its red and grey brick, stained glass and cupolas and the 1904 Prefectural Library with its monumental steps and columns.

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The classical castle nearby was rebuilt in the twentieth century, but then so were most of the castles in Japan; if they were not burned down in the tumult of the Meiji Restoration, they were flattened in World War II. It is still impressive to see, and worth paying to go in for the museum with its samurai swords and suits of armour, screens and fans, woodcut prints and ancient scrolls, and the panoramic view from the top.

The Umeda Sky Building is the high-tech, modernist equivalent of the castle, designed, like it, to dominate its neighbourhood, to awe and intimidate, to exude power and wealth; and it has the best views in town. The lift scoots you almost to the top, then an elevator takes you through plate glass nothingness to the roof.

To the south and east, Osaka seems everlasting with office and apartment blocks fading to infinity. To the north, they are interrupted only by the broad expanse of the Yodo River, emptying out into the bay to the west.

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At night, a million squares and circles of light glow in the windows, yellow lights swirl at street level, red lights pulsate on the rooftops, neon hoardings shimmer in blues and reds and greens, and the spokes of the giant Ferris wheel out on the harbour glow orange if the next day is set to be sunny, green if cloudy and blue if it is going to rain.

Amerika-mura (American village) got its name from shops selling second-hand Levis and Zippos and trades on it with Uncle Sam and Statue of Liberty models bursting from shop fronts and local interpretations of American fast food.

The vintage shops and street style stores blast J-Pop from the doorways to deter over-25s and to try to encourage the sullen girls in clumpy shoes and over-the-knee socks and giggly boys with spiky yellow hair to look briefly away from their smartphones.

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A little to the east, the Shinsaibashi-Suji shopping arcade extends for a dozen blocks with all the world’s high street chains mixed up with noodle shops and pachinko* parlours, soundtracked one minute by J-Pop, the next by Vivaldi, and always  by the staff in the shops shouting irasshaimase! when customers enter and arigatou gozaimashita! when they leave.

Shoppers jostle down the street with three bags hanging off each arm, mothers propel push-chairs, teenagers snigger in unruly groups, tourists stop and whip out their selfie sticks and the crowd eddies round them. At the end of each block, a road cuts through and the honking cars surprise you.

The mall empties out by the Dōtonbori Canal, where there are monster neon adverts wrapped round the ends of the buildings. The oldest and best-known is the marathon runner, who has been advertising the Glico confectionary company since 1935.

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There is a crab restaurant round the corner which states its business with a massive 3D model of a spider crab above the door with claws that wave and eyeballs which extend in turn like pistons. Other restaurants along the street have taken up the theme and there are big puffer fish lanterns, an octopus, model gyoza dumplings, a giant hand holding nigiri-zushi and a life-size model cow.

There are bars and bowling alleys and amusement arcades. In the doorway of one, a salaryman, with his jacket off and sleeves rolled up, danced like your dad to the music from a game.

But just steps from all the sensory overload of Dōtonbori is a quiet corner with a temple dedicated to Fudo Myo-o, the deity of fury, where worshippers stop, pray and throw water over the diety’s statue, which is thick with moss from years of soakings.

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There are cobbled alleys lined by izakayas** with nothing but the traditional red paper lanterns to advertise themselves, no mechanical crabs, no illuminated puffer fish, no model cows. I ate very well in one of them, sitting at the bar watching the chef prepare the food and serve it to me on a long-handled peel like bakers use to take loaves from the oven.

Sake was once served in a small wooden box called a masu, but the practice fell out of fashion. Izakayas, though, sometimes put a glass inside the masu and let the sake overflow into it to show how generous their measures are. Here, the chef, who was also the barman, carried on pouring until first the glass and then the masu overflowed.

I had misjudged Osaka. The ugliness I saw at first was nothing like as all-pervasive as I feared. While it is no Kyoto, it has a sprinkling of traditional sights, and a whole lot more which could not be reduced to items on a list of Top Things to See…, but which is rewarding to see nonetheless. Above all, though, it has an infectious joie de vivre which I never saw matched as I travelled through Japan.

© Richard Senior 2016

*Japanese pinball

**Bars which sell food – loosely like Spanish tapas bars

Camel Train to the Sahara

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How are you, my friend?”

“I’m very good, thank you. And you?”

“Very good. Insh’Allah. First time on camel?”

“Yeah. I’ve ridden elephants, though.

“Camel is different.”

“Of course. No trunk, right?”

There is an art to getting on a camel. No one told me what it was. I got on like a drunk trying to scale a fence. The Bedouin, then, told the camel to get up and, in three distinct movements, it thrust its head forward, extended its back legs – tipping me forward as if in a roller-coaster going over the top – then brought its front legs up to meet them.

There was a group of us – British, French, Dutch, Austrian, Canadian, Korean and Japanese – gathered from hotels, hostels and riads around Marrakesh and driven 350 miles across country to the edge of the Sahara where the road stopped abruptly and the towns thinned out to villages, then hamlets and finally to nothing but an isolated hostel and sand. The camel train would take us the rest of the way.

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The camels were roped together in two groups of four with a Bedouin leading each group. I had the camel at the front of the train behind a Bedouin in an ankle-length thobe and turban, and jeans and Asics trainers. He hummed to himself as he ambled through the dunes, until his smartphone rang. He was a digital nomad.

The winds had stacked, shaped, sculpted, smoothed and polished the sand into hills and valleys, peaks and troughs, soaring anything up to five hundred feet, then plunging back to the desert floor, gently undulating, and soaring up again; the ridges were sharply creased, the slopes pristine.

It was all the same to the camels, who plodded along with deliberate steps, never slowing, never slipping, up sinuous inclines, along knife-edge trails across the dunes, and down slopes steep enough to worry me about going over the handlebars. They have a reputation for being foul-tempered things which spit and burp and growl, but then so do some of us. These camels had a relaxed air and beatific smiles. They seemed barely to notice, let alone to care about, the strangers on their backs.

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The sand glowed orange in the dying sun of the late afternoon; the shadows were long and dark. We stopped at the top of a dune and looked west and watched the sun slip below the horizon, then set off again in the twilight.

It was a lot more comfortable on the camel than I imagined it would be, but my thighs eventually began to protest at constantly stretching around the saddle bags and I was glad when we got to the camp.

The camels sank to their knees and I got off as clumsily as I had got on. The Bedouins unloaded the saddle bags and we dumped our stuff in the tents. They were a roughly rectangular shape, flat-roofed, waist-high, with a wooden frame covered with stitched woollen blankets.

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There was a big communal tent, too, with flickering lanterns, low tables, Berber rugs and a family of tabby cats. The Bedouins poured out mint tea, lit a crackling camp fire and cooked a simple but perfectly good tagine. The cats noisily begged us to share it and, as always, it worked with me: they got the chicken and I had the bread and potatoes.

I had packed an overnight bag and shorts and a t-shirt to sleep in, but I am not sure where I thought I was going to find water, nor whether I really envisaged stripping off and getting ready for bed in the dark and the cold of the desert. As it was, I just laid down fully-clothed and pulled a couple of Berber rugs over me.

The cats crept into the tent in the middle of the night, or at least I assume it was them: something around that size bolted out when I got up to go to the toilet, and I didn’t want to think about what else it might be.

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A wind had picked up by then and howled with a quiet determination. The sky was crammed with stars. The camels were sleeping with their necks stretched out across the sand in front of them. The last embers of the fire glowed weakly.

I was perhaps an hour, as the camel plods, from the nearest hamlet but it was easy to imagine that I was hundreds of miles in any direction from human habitation, further from the modern world and all its annoyances: far from endless TV shows about forgotten celebrities and amateur property developers, interspersed with excitable adverts for products which nobody needs, from constant finger-wagging and pettifogging rules, from unsmiling one-upmanship where fun ought to be, from lives too busy for living. It was just an illusion, though.

We were back on the camels in the bitter cold dawn, hooded and gloved, to welcome the sun back up.

© Richard Senior 2016

The Uros and the Uru-Sceptics

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The island was made from layers of totora reeds and looked like a giant hay bale. It was one of forty-four floating islands between the reed beds on Lake Titicaca. As I stepped ashore, it sank underfoot, forcing up a puddle of water. It flexed and wobbled like a plywood sheet laid over uneven ground. Yet a few families called it home.

The Uru people have lived life their own way for hundreds of years. They fled to the lake and built the floating islands when the Aymara arrived in Southern Peru; they anchored the islands to the bed of the lake and stood ready, if attacked, to weigh anchor and row them to safety.

The islands rotted from the bottom up but the Uros maintained them by adding more layers of reeds. They used the same reeds to build huts and watchtowers and the white lower part as a foodstuff: they say that it works as a painkiller and hangover cure and inures them to the cold. They fished with tethered cormorants, kept ibis for eggs and hunted birds with flintlock rifles.

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They took bundles of totora reeds to the mainland to barter and sell and, by now, you will have guessed what they made their boats from.

There are solar panels, nowadays, on some of the huts; the Uros have TVs and smartphones, and their own radio station. They have motorboats to get to the mainland, although they still build rowing boats from totora reeds – I was rowed round the islands in one. They earn money, now, by selling textiles and handicrafts to the tourists who visit the islands.

Otherwise, though, their lives seem largely unchanged in the half a millennium or so within which the Aymara where subjugated by the Incas, the Incas crushed by the Spanish, the Spanish driven out by Bolivarian rebels and independent Peru fought wars, in turn, with Colombia, Spain, Chile, Colombia again and Ecuador and went through military juntas, Maoist insurgencies and strong-armed economic reforms.

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Sceptics maintain that it is all a façade. They accuse the Uros of embellishing their history – if not making it up – to entertain the tourists. But wherever there are people living an alternative lifestyle, there are mainstream figures doing their best to discredit them.

With no written records until the Spanish arrived, neither the Uros nor the Uru-sceptics can prove their case; but researchers have at least established that the Uros are genetically different from other indigenous groups.

Their lifestyle, though, has been under threat since the 1980s, when the government restricted hunting and fishing on Lake Titicaca and started confiscating their eggs and birds. Then climate change caused the surface of the lake to rise dramatically and inundate the islands, and brought droughts which ravaged the tortora reeds.

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The Uros rebuilt their islands closer to the shore of the lake and many drifted off to live a regular life on the mainland; others have followed since. The sceptics – who obviously have too little going on in their own lives – claim that no one really lives on the floating islands anymore and that the Uros return to homes in Puno after the last tourist boat leaves.

It seems unlikely to me that they pack up their children, their birds and their cats every night and leave their televisions, solar panels and radio equipment unattended. But, whether fixed or transitory, the population of the islands has undoubtedly fallen and each generation seems a little less interested than the last in maintaining the traditional lifestyle. Tourism is now a major part of the lives of the Uros who remain on the islands, and may soon be their only reason for staying.

© Richard Senior 2016

Paterai Prison: the Best Bars in Tallinn

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The weeds were waist-high at the foot of the watchtower; the windows were smashed, the door rusted open.

The whitewash on the main building had weathered to beige and flaked away and exposed the crumbling brick beneath. Razor wire coiled haphazardly round the edge of the roof. Windows were missing panes of glass behind the bars; some had been bricked up and a few, in what must have been administrative rooms, seemed stuck open.

Paterai Sea Fortress is a sprawling sextant-shaped building arranged – as an estate agent would say – over four floors, including the basement. It was built as a cannon battery in 1840 on the orders of the Tsar to protect the shipping lanes to St Petersburg; later it was converted into barracks, and later still to a prison. But it was long ago abandoned and left to decay.

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The main wing curves around the waterfront and looks out across Tallinn Bay. Two smaller wings extend from the rear and meet at a point and enclose a courtyard with standard Soviet exercise blocks, three metre squared, surrounded by walls too high to see over, open at the top, but covered with mesh. A gangway for the guards runs between them.

I had read that it was possible to arrange guided tours but instead just turned up and walked in. I doubt that I was supposed to, but the gate was open and the security guard never looked up.

There was an eerie silence in corridors which once must have echoed with the slamming of doors, the jangle of keys, the clunk of locks; sobs and screams, jeers and shouts, the thumps and squeaks of scuffles, running feet and the sickening thuds of batons swung with abandon.

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The paint was bubbling from the walls, and each accretion from each regime was visible; the chequerboard floor tiles were half-hidden under dust. A ventilation duct had burst open and its panels hung limply from the ceiling.

The administrative rooms had the look of being ransacked, or cleared out in a hurry by ham-fisted soldiers.  Drawers left open, doors hanging off cupboards; chairs knocked over and never picked up, the contents of files strewn across desks and over the floor. Smashed typewriters, telephones and office bric-a-brac spilling out into the corridor.

The dusty shelves in what used to be the library were bare, except for a few rows of toppled booklets, stray pages from books and screwed up newspapers with the headlines of twenty-five years ago.

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A few of the cells still had skeletal bunks squeezed in rows under vaulted ceilings – it was thirty to a cell in Soviet times. The rest were hauntingly empty, expect, perhaps, for a solitary chair and paint which had peeled from the walls in strips and covered the floor like autumn leaves.

There was nothing to stop me nosing about wherever I liked and I wandered, as if at a gallery, down each of the long, empty corridors, stepping through gates which used to seal off each section, peering into rooms never knowing what I would find inside, with only natural light spilling through windows and into the corridor through open doors, and occasionally being plunged into total darkness and having to use the torch on my phone.

One room was filled with old chairs, spewing out stuffing, upside down bunks, collapsing cupboards, more Soviet newspapers, leg braces, and the remains of a notice with a heading in Russian which my phone translated, nonsensically, as “what to do if grab”.

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Another room had a sink in one corner, missing its taps and stained dark brown, and a squat toilet whose walls were papered with fading pictures torn from magazines of young women who might well be grandmothers now.

The tiles in one room of the old prison hospital were still gleaming white, but the grouting around them was filthy with age and neglect and the paint, as elsewhere, was peeling away in sheets and the damp was blackening the plaster beneath.

Operatory lights were still attached to the ceiling, angled at the frame of an operating table and a mottled dentist’s chair. There were big broken bottles, scattered syringes and a box marked ‘ТАБЛЕТКИ’ (pills), and cabinets and machines and tables and chairs which looked as if they belonged in a hospital bay; but there were, as well, discordant notes like a flat iron, a house brick and the rusting head of a pitchfork. It looked like conceptual art.

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It occurred to me, when I was at the far end of the corridor on the top floor, that the security guard would be likely at some point – I had no idea when – to lock the front door, shut the gate and go home for the day. It occurred to me, too, that no one knew I was inside.

Perhaps I might hear the door shut; and perhaps I might be able to run to an open window, or wrestle one open, and shout down to the security guard; but, then, this was the security guard who never noticed me going in.

I hurried a little after that, down to the claustrophobic basement where one room was filled with old bicycle wheels – surreal, but I was conditioned to the surreal by then – and out into the courtyard, where I waded through weeds to the exercise blocks, then quickly up, down and along the other wings.

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In a melancholy room lined with heating pipes, spotted with damp, and lit through a small, high window, there was a trapdoor in the floor and a rusted hole in the ceiling above it where a hook used to be. This, apparently, was where prisoners were hanged.

There was no way that I was going to risk spending the night among the ghosts of this bleak and silent monolith. I made for the exit and slipped out again. The security guard never looked up.

© Richard Senior 2016

Being on the Market in Busan

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It is an imposing modern building on the waterfront in Busan in the south-eastern corner of Korea. The sides are green plate glass; the roof is swooping steel and evokes a flock of gulls in flight. The ground floor is the main hall of the Jagalchi Fish Market, the biggest in South Korea. Above it are six floors of restaurants, below it a two-storey car park.

Casual visitors browse the stalls alongside the trade buyers; they choose their fish and take it upstairs to one of the restaurants, where the chef will gut it, skin it, slice it and send it back to them raw with half a dozen side dishes. This is hoe, South Korea’s answer to sashimi.

The market spills out into the surrounding streets and extends for several blocks. The first world slickness of the main building disappears outside, where the stalls have all the picturesque chaos of a traditional Asian street market.

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A man sits on an upturned crate, his face hidden behind a wide-brimmed hat, gutting and salting mackerel. Formidable ladies in visors and wellingtons squat at stalls under colourful umbrellas either side of the lanes. Behind them are haphazard piles of Styrofoam boxes, plastic bowls, carrier bags and filleting knives.

There are fish laid out on plastic sheets draped over planks balanced on buckets: grey mullet, red snapper, flounder, porgy, halibut, shark. There are octopus kept alive in bowls of percolating water; and baskets of fish heads; and every sort of seafood: shrimps, prawns, mussels, clams, sea cucumbers, abalones, sea snails, occasionally squirting jets of water at passers-by like kids with water pistols. There are stacks of jars with baby crabs fermented in chilli paste; and racks of dried squid; and bowls of seaweed, and bottles of chilli sauce.

Shoppers amble up and down the lanes, stopping to look a fish in the eye, peel back its gills, open its cavity, question the woman on the stall. Sometimes a scooter bullies its way noisily through the crowd.

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There are seafood restaurants, where the stalls peter out, with little rooms inside and big tanks outside, piled high with spider crabs and lobster, or a writhing mass of eels. It is rare to find English spoken or written and you are reduced to pointing and guessing, but whatever you get is bound to be fresh and will probably be cheap.

Jagalchi is not – yet – a tourist attraction on the scale of Tsukiji across the Sea of Japan in Tokyo, much as the tourist board tries to talk it up. It is just as rewarding; but no one important, as of yet, has endorsed it as a Must See sight, so it never appears on bucket lists and the tourists come in twos and threes instead of by the coachload. There is no need to restrict entry to certain times or hand out English language maps at the gates or post lists of things which the visitor should refrain from doing.

I was the only Westerner there and the only visitor with a camera. The rest were just trying to buy dinner, and I was trying not to be annoying.

© Richard Senior 2015