{"id":3293,"date":"2011-07-13T12:30:45","date_gmt":"2011-07-13T19:30:45","guid":{"rendered":"http:\/\/janaremy.com\/?p=3293"},"modified":"2011-07-13T12:30:45","modified_gmt":"2011-07-13T19:30:45","slug":"a-garden-path-and-the-story-of-getting-lost-in-provence","status":"publish","type":"post","link":"https:\/\/www.janaremy.com\/pilgrimsteps\/2011\/07\/13\/a-garden-path-and-the-story-of-getting-lost-in-provence\/","title":{"rendered":"a garden path (and a story of getting lost in Provence)"},"content":{"rendered":"
\n
“A garden path,’ write the landscape architects Charles W. Moore, William J. Mitchell, and William Turnbull, ‘can become the thread of a plot, connecting moments and incidents into a narrative. The narrative structure might be a simple chain of events with a beginning, middle, and end. It might be embellished with diversions, digressions, and picaresque twists, be accompanied by parallel ways (subplots), or deceptively fork into blind alleys like the alternative scenarios explored in a detective novel.”
\n\u2014 Rebecca Solnit<\/a> (Wanderlust: A History of Walking<\/a>)<\/div>\n<\/blockquote>\n

That first night in Provence was one that continually unfolded…<\/p>\n

First, there was the dinner at the roadside restaurant that was reputed to have some ‘good’ food, but was one of the better meals <\/a>that I’ve had, the food served in a back garden surrounded by roses, the wine coming from the next vineyard (from “right over there<\/a>,” the waiter explained a gestured to the vines that were just beyond the terrace where we sat).<\/p>\n

Then there was the nighttime wander around the old walled city of Mazan. In the dark it was so beautiful–every corner more charming than the one before. I snapped a few<\/a> pics in the dark<\/a>, knowing that I didn’t have the right lens for the dark lighting, but wanting to capture the mood<\/a>, nonetheless.<\/p>\n

Then there was the getting lost on the way back to the chambre d’hotes<\/em> in the countryside<\/a>. I learned that it’s a lot tougher to fine one’s way on narrow Provence ‘streets’<\/a> in the dark. That led to coming upon a small village fair in St. Didier–a place that I didn’t even know existed until losing my way and landing there. It looked as though all of the locals were out–teenagers gathered in dark corners, smoking, and older folks clapping their hands to the somewhat hoky musical performances on a small stage. There was cotton candy and carnival games. And no one seemed to notice the American stranger in their midst…<\/p>\n

And, finally, there was A Cappella<\/em> farm (after many detours and meanderings). I decided that even though the night was more than spent, I would still keep my plan to swim in the pool behind the house<\/a> by starlight. It took forever to find my way down the stone garden steps<\/a> in the dark (and I will confess to saying more than a few swear words as I stumbled along the path and hoped that no critters would jump out at me in the dark), but it was well worth the fear and trouble.<\/p>\n

Because if one has the opportunity for a dip in the pool in the dark in Provence after a time of being lost and then being found, then one just has to take that chance when it comes–even if it’s a bit cold and dark and spidery along the pathway…<\/p>\n","protected":false},"excerpt":{"rendered":"

“A garden path,’ write the landscape architects Charles W. Moore, William J. Mitchell, and William Turnbull, ‘can become the thread of a plot, connecting moments and incidents into a narrative. The narrative structure might be a simple chain of events with a beginning, middle, and end. 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