An American Abroad

El Museo del Mar

I’ve always been interested in sailing, boats, and life at sea, even though I have very little experience with any of it. Part of this interest comes from my wanderlusting soul, but there’s a geekier element to it too: I like the stuff of sailing. Compasses, sextants, radios, engines, radar displays, and the whole host of related instruments speak to my gearhead side.

I found a lot of that kind of stuff at El Museo del Mar, Old San Juan’s Museum of the Sea. It’s a one-room affair, tucked in amid a row of shops on Calle San Francisco. It’s somewhat misnamed, being a museum of ships and boats rather than of the sea itself.

There were many antique compasses on display. These have a special place in my personal iconography. My one and only tattoo (so far) is a compass rose. I got it in China after I’d lived there a year. It symbolizes a new direction in my life, the plotting of a new course.

These next two instruments were manufactured by the Chelsea Clock Company. I used to live in Chelsea, Massachusetts where they were made. The firm was founded under a different name in the 1880s and has operated under its current name since 1897. In the early 20th century, it made maritime clocks for the US government and automobile clocks for Rolls Royce.

The photo immediately below is a radio room clock. A plaque on the wall by the display reads as follows:

The sinking of the Titanic resulted in the Radio Act of 1912 that required 24-hour radio watches. The disaster also led to clocks in the newer radio rooms featuring three-minute periods marked in red. Those three minutes provided a silent period when only emergency radio messages could be transmitted.

In the US Government specifications for the Chelsea clock, it notes ‘the dial has accurate 4 second marks in red around the outside edge, over which the sweep seconds hand passes, enabling the radio operator to accurately transmit the 4-second alarm signal provided by the International Telecommunication Convention and the International Conference on Safety of Life at Sea.’

The combination barometer/thermometer below is unusual for its curved bulb.

The model ships were awesome — and I use that word in its original sense. The level of detail, patience, and skill their construction requires is astonishing.

And building a ship inside a bottle is an extravagant demonstration of genius.

There’s a display dedicated to the Titanic. I didn’t see much connection to Puerto Rico there, but I understand how the exhibit could be a crowd-pleaser.

Though I haven’t sailed since I was a kid, I would someday like to learn celestial navigation. That might be my own ship-in-a-bottle endeavor: something to do purely for the satisfaction of mastering it that has no tangible benefit whatsoever. Maybe I could learn to use a sextant like this.

I learned something about the gizmo in the photo below. I’d always assumed it was something like a throttle, whereby the captain or the helmsman on the bridge could directly adjust the speed and direction of the ship’s propellers. Not so.

This is actually an engine order telegraph, or Chadburn, after the Liverpool company that originally manufactured units like it. It’s a communications device, not a throttle. When the handle on it is moved, a bell rings in the engine room and causes a dial there to move to indicate the speed and direction ordered by the bridge.

The most unexpected feature of the museum was its display of life belts, which is certified by the Guinness Book of World Records as the largest such collection in the world. Well, it has to be somewhere, so why not in San Juan?

The San Juan Community Library

I hadn’t lived in Puerto Rico very long before I asked someone where the nearest public library was. I was met with a puzzled look. Well, there are libraries in universities, I was told. There’s the Puerto Rico National Library, which contains the island’s archives and some specialty collections. But for whatever reason, the idea of a public lending library never really took off here. I found this odd, because my sense is that Puerto Ricans show far more interest in literature and poetry than their stateside cousins.

But while there isn’t a grand public library of the size I’d expect in a city of 300,000, there is The San Juan Community Library. It’s located in a nondescript (OK, ugly) building on the outskirts of the city–almost in Guaynabo–but that made sense. A library in Old San Juan or somewhere downtown wouldn’t be near to the people who’d be likely to use it.

On the Saturday of my visit, Alice, a 77 year old retired teacher originally from Washington State, was the only person working there. She welcomed me and immediately asked me to sign the visitor log. “They want to know how many people come here,” she explained. “It affects our funding. There are so many cutbacks coming, and …” She sighed in a well-what-can-you-do way and gave me a smile.

After recording my visit, I walked through the stacks. The books are housed in one good-sized room and organized by section.

There’s a kids’ area, a young adult stack, a Puerto Rican authors corner, and so on. Books are available in English and Spanish and all the signs in the library are written in both languages.

The library has WiFi and loans out movies on DVD. In total, it has more than 29,000 items to lend. It also has a schedule of community events, including a regular chess camp, book sales, and classes in art, music, yoga, and languages.

I paid $25 for an individual one-year membership, received my library card, and went prowling through the stacks.

When I checked out, I was pleased to see Alice date-stamp the tag in the book I borrowed. I hadn’t seen one of those in years. There was something very personal and homey about it, a more intimate experience than scanning your books into a bar code reader. The whole experience — the modest scale of the library, the organized shelving with occasional pockets of clutter, the rubber stamps, and Alice herself — took me back to my youth. I remember spending scores hours in libraries like that.

It was drizzling a little when I left, but I grabbed this photo on the way out.

From the outside, it’s not much to look at, but inside the atmosphere is cheery, warm, and welcoming. I have to return the book I checked out within two weeks — so I’ll be back soon.

Small Art on Calle Cerra

Not all the artwork on Calle Cerra is of mammoth proportions. There are numerous smaller works too, ranging from signs and door decorations up to murals painted on single story houses and walls.

This little guy is standing right next to the gate that led me to Calle Cerra in the first place.

He shows up again here.

I liked this sign. Psycho Deli, qu’est-ce que c’est?

My mother taught me that unless your last name is Windsor, you have no business having big stone lions out in front of your house. But I think a small metal lion on a security gate would be OK with her.

The twisted street signs of Calle Cerra have become a much-photographed icon of Santurce. I’ve seen pictures of this in various publications. Which way is up and what the hell does it matter?

These portraits are by Boomone787, also known as Xavier Muñoz. He also painted some of the portraits on Calle Loíza, which I blogged about when I first moved to Puerto Rico.

I thought this was interesting: it seems to be a mural depicting a house that the owners would like to live in painted on the front wall of the house they actually live in.

I applaud the sentiment here: “Fight for an education that teaches us to think and not for an education that teaches us to obey.”

This one is just the right size: modestly proportioned so it doesn’t overwhelm the house it’s in front of.

Someone’s a big Spike Lee fan.

The painting below is by Shetrock, who has done a number of murals in the area. I think the piece below that is as well, though I don’t see his tag on it.

These next two are photos of Watusi, a small bar whose patrons sit in plastic chairs out on the sidewalk, chat with each other, and watch the world go by. The art here is once again by Boomone787.

While this isn’t artwork in the usual sense of it, the patio of this Mexican restaurant seemed so well designed and inviting that I had to photograph it.

Big Art on Calle Cerra

On March 29 of this year, a friend messaged me at 8:00 in the evening to say she was locked in at the Santurce Air BnB she’d rented. Literally locked in. She’d misunderstood her host’s key instructions and now found herself unable to open the gate that would allow her to leave. She needed rescuing and gave me the address: 809 Calle Cerra, Santurce.

Using Google Maps, I navigated through the Maria-darkened streets of San Juan. I thought I knew Santurce, but I’d never been to this part before. The apartment was at the top of a flight of outdoor stairs that was accessed from the sidewalk via a red gate to the right of the building. I retrieved the key from a lockbox and released Ang from her Air BnB incarceration. We had a good laugh about it.

I caught only a glimpse of the neighborhood that night. What I could make out looked to be one-third slum, one-third hip, one third light industrial/commercial. I mentally bookmarked it as a place to return to someday. And so four months to the day after I rescued Ang, I returned to check out the neighborhood by daylight. I was delighted to find the largest repository of street art I’ve seen in San Juan.

Some of the murals covered entire sides of buildings. They were clearly not the work of casual taggers.

The one below was done by NM Salgar.

This painting was the most intricate of any I saw. And it’s big; the photo here only shows half of it. I can’t imagine the amount of time it must have taken to work in all those little color dots. It was done by Shetrock, one of the most prolific and talented of the Calle Cerra artists.

I’m not wild about this particular piece, but I admire the ambition behind it.

This tree-shaded mural shows Puerto Rican baseball legend Roberto Clemente wearing his Santurce Cangrejeros uniform. Clemente was the first Latin American/Caribbean player to be enshrined in the National Baseball Hall of Fame. The size of this mural is a reflection of how big baseball is here.

Below is surely one of the most beautiful hardware stores to be found anywhere.

I’m not certain, but I think the sign in the photo below is part of the artwork. San Expedito (Saint Expeditus) is one of the sketchier Roman Catholic saints. According to the entry on him in Wikipedia,

Expeditus was a Roman centurion in Armenia who became a Christian and was beheaded during the Diocletian Persecution in AD 303. The day he decided to become a Christian, the Devil took the form of a crow … and told him to defer his conversion until the next day. Expeditus stamped on the bird and killed it, declaring, ‘I’ll be a Christian today!’

Many stories circulated about the origin of the cultus of Expeditus. … A case containing the relics of a saint, who was formerly buried in the Denfert-Rochereau catacombs of Paris, was delivered at a convent in the city. The senders had written expédit on the case, to ensure fast delivery of the remains. The nuns assumed that “Expédit” was the name of a martyr, and prayed for his intercession. When their prayers were answered, veneration spread rapidly through France and on to other Roman Catholic countries.

Perhaps the sign is a commentary of some sort about the artwork? Who knows? Well, Shetrock probably does.

The magic of the big bunny is that the artist has imagined a three-dimensional chrome rabbit and painted it showing a contorted reflection of a street scene. It’s a painting of a sculpture that both shows the subject and mirrors the environs.

This Lichtensteinesque comic strip enlargement was four stories tall and hard to photograph. The industrial fan at the woman’s lips will give an idea of its scale.

Three Spanish ships sailing away and leaving a trail of broken, anguished bodies it their wake? I detect allegory in this one.

But if there’s allegory in this mural, it’s lost on me. It’s whimsical and fantastical, but I keep trying without success to divine some larger meaning.

This must be the coolest bus stop in Santurce. I didn’t even notice the old man sitting there until I’d taken a couple photos of him.

This last one was one of my favorites. It’s the only mural I saw that was part of an industrial plant. The artist used the idea that this is a tank of some sort to maximum advantage. Don’t lose hope: the water angel boy is coming.

The Pulse Nightclub Massacre Memorial in San Juan, Puerto Rico

During a chance meeting with a survivor of the Pulse nightclub massacre of 2016, I learned that there was a monument to the victims here in San Juan. That made sense, since a 23 of the 49 people slain that night were Puerto Rican. I’ve been involved in the struggle for LGBT rights since the 1970s, so my curiosity was piqued. I set out to find it.

The memorial is located near the entrance to the Sixto Escobar Stadium in San Juan’s Third Millennium Park, not too far from Old San Juan.

The monument consists of seven right angle trapezoids covered with different colored tiles. There’s a small plaque in the center which says it was erected by the City of San Juan, Carmen Yulín Cruz, Mayor. Off to one side is a much bigger plaque that lists names of the people who died. The Puerto Ricans are listed prominently, while the other victims are listed in smaller print at the bottom. A translation of it reads:

Let this tribute to life reinforce our commitment to fight hatred – the product of homophobia – with love, product of respect. Our motto reverberates in all hearts: love is love, is love, is love …

To each side of the monument stand four boxes, on top of which are little containers of artificial flowers. Some of them have a rubber wristband around them commemorating the massacre. I don’t think these boxes and the flowers are a permanent part of the monument. At least I hope not. The boxes are made of painted wood and won’t last long.

The memorial is the first and only public monument in Puerto Rico that commemorates LGBT people. I was glad to find it. However, the monument itself is somewhat underwhelming. The abstraction of the plain, small geometric shapes doesn’t convey much to me. The different colors are no doubt a nod to the rainbow flag and the idea of diversity, but the overall effect lacks the profound emotional resonance that I’d expect of a memorial to the the deaths of 23 Puerto Ricans. To put that number in perspective, if the same percentage of people in the States had been killed relative to the overall population, 2,250 people would have lost their lives.

I also found the location of the memorial puzzling. Sixto Escobar Stadium is a decaying and partially-disused athletic complex that as far as I know has no particular relationship to either the gay and lesbian community or the Puerto Rican government.

The monument isn’t located in an area where people are likely to notice it. During the time it took me to take ten photos of it, I saw no other people pass by, even a crowded nearby beach, Playa El Escambrón, is just a few hundred meters away.

These observations aside, the most significant aspect of the monument is that it exists at all. Full props to Mayor Carmen Yulín Cruz and the municipal government for erecting it. And though I found the overall design and siting disappointing, the memorial had its intended effect on me. I found myself thinking of the massacre, of the victims and their families, and of the vigil in Toledo, Ohio that Lori Seubert and I attended for the victims. The photo below shows us afterward. It also reminded me of the many people who’ve been persecuted–and even killed–simply because of who they love.

There should be more monuments to the Pulse victims and to the other mass shootings that now happen with such depressing frequency. Horrific as it is, the past should not be forgotten.

El Batey: The Rolling Stones’ Bar of Choice in San Juan

There’s no neon sign outside of El Batey. No neon signs inside either. And praise be, no TV. The windows have bars, not glass. The floor is uneven and rank. The place is open late til 3:00 or 6:00 or whenever. The bartenders will play Iggy Pop on the sound system on request. It’s a punky-junky dive bar located on a less-touristed street of Old San Juan.

I loved it. I could see myself going there night after night, quietly killing off brain cells with cheap rum as I sat at the bar reading and thinking deep thoughts.

It gave me a strange feeling, and the rest of that night I didn’t say much, but merely sat there and drank, trying to decide if I was getting older and wiser, or just plain old.
― Hunter S. Thompson, The Rum Diary

There’s a lot of legend attached to the place. The Rolling Stones drank there when they were on the island. Some claim it was Hunter S. Thomson’s watering hole when he lived in San Juan, the place he’d go to gather the experiences he would later thinly fictionalize in The Rum Diary. Maybe. In any event, it’s the kind of place where you COULD have seen him back in the day.

The word “louche” doesn’t even begin to describe it. Inside, the walls appeared to be sweating. (No, I hadn’t dropped acid.) Scribbled signatures covered the smudged wall space like a net of black words, an effect that felt strangely cozy, but also kind of insane. The floor looked sticky from spilled drinks. The fragrance, a musty eau-de-ashtray combined with damp, ancient stone. In the dim, amber light our fellow customers all looked a little unwashed. You immediately got the message: this was not a frozen cocktail with umbrella kind of place.
― Laura Albritton, Uncommon Caribbean

It’s not a place for the rule-bound or the asthmatic. Despite a citywide smoking ban in restaurants and bars, people puff away in El Batey as if it were 1966. And the bathrooms are not for the squeamish or the dainty.

A notice scrawled on the men’s room door reminds people that access is limited to “1 (one) @ a time!”

The bar pulls off the trick of being simultaneously homey and deeply alien. Palimpsests of graffiti cover every square inch of every wall and part of the the high ceilings. How drunk would you have to be to stand on someone’s shoulders or climb a rickety ladder to write on the fifteen foot high ceilings? The writing is so multilayered as to defy reading and much of it seems to be in the Drunkish language, contributing to the strangeness of the place. But knowing that 50 years worth of earlier patrons appreciated the place enough to leave their mark makes the place seem intimate and human.

There are only two actual signs in El Batey. One reminds you of where you are. And the other reminds you that the president is a wanker — as if you might forget either of those things.

Business cards and other ephemera make up the lamp shades that surround the dim lights above the bar. A couple of clamp lamps light the corners of the other rooms. It’s dark, the vibe is chill, and the promise is anything goes.

And over in the corner, an old jukebox awaits quarters, hoping that someone will play “Paint It Black.”

Old God sure was in a good mood when he made this place.
― Hunter S. Thompson, The Rum Diary

(Some of the photos in this post were taken by Josh Trumm)

Three Days Back in Puerto Rico

The sun was setting when I returned to San Juan. Hard to tell, but I suspect the people aboard the 737 with me were native Puerto Ricans. This was no tourist flight; this was people going home. Loud and extended clapping and cheering broke out when rubber touched tarmac, more so than on my other arrivals here.

The airport looked as it had when I first arrived here in August. By the time I picked up my bag, it was near dark. A taxi whisked me away. As we left the airport grounds, I began to register the post-Maria environment.

Unlit apartment blocks were silhouetted grey and dead across the bay. Many street lights and traffic signals were still standing, but without electricity they were just aspects of a civilization that had, for the time being, vanished. The driver slowed to a crawl at each intersection and warily scanned for cars. Gloom intensified as we got to the central city. Some shops on the main drags had generator power, but the side streets lay in total darkness. I could see nothing down those roads past the first fifteen feet. No one was outside. Ruined palms and piles of debris were caught in our headlights.

As we approached Hato Rey, electric lights shone from occasional apartment towers. My building was one of the random lit-up minority.

There was water damage in the elevator. Windows and balcony doors had blown in on the upper floors, followed by torrents of wind-driven rain. In some cases, the water spread through living rooms, out the doors, into the landings, and down the elevator shafts. The lift cables squawked for want of lubrication as I ascended.

I unlocked my front door and flicked on the lights. Apart from a faint musty smell, everything was as I’d left it. Actually, everything was neater. I had piled up all the living room furniture in the dining room and the hallway to protect against a balcony door breach. Folks who’d used the apartment while I was off-island had moved the furniture back and arranged my scattered stuff with military precision.

After taking stock of my living quarters, I walked two blocks to the supermarket. At sidewalk level, the city smelled like wet cardboard with notes of diesel and sewage. I stepped over power lines lying sinister on the sidewalk and ducked under coax cables drooping from utility poles.

The supermarket was calmer than it had been 51 days earlier when I was there while Maria was bearing down on the island and people were panic-buying. But there was no water to be had. Many of the frozen food shelves were empty. There was a prominent makeshift display of overpriced D batteries. Though the cash registers and the card readers were functioning, the cashier wrote down my purchase total and the transaction number in a dog-eared notebook.

After a fitful night, I woke up Wednesday morning and enjoyed a hot shower. As the water cascaded over my body, I realized that this ordinary personal hygiene ritual is now a distant memory to most of my neighbors. I felt something akin to guilt as the soapy water swirled down the drain.

My truck started right up. “I’m an old Toyota,” it said, a slight note of indignation creeping into its exhaust. “What’d you expect?”

The commute to work took longer than usual. Everyone seemed to be driving dazed, ten miles an hour slower than before the storm. The intersections were jammed. Is it my turn? Is it my turn? Cars inched through. Despite the care people were taking, I saw the aftermath of two accidents. It’s easy to get distracted driving here. Power poles loomed over the highway, canted at 45-degree angles and dangling wires. Light poles that had snapped but not completely broken looked like bad sculpture. Guardrails had been crushed by falling trees whose branches or trunks protruded horizontally into the roadway.

Trees. Images of tortured, mangled, ruined trees stay with me. This is a tropical island with lush vegetation and thick forests. But hundreds of thousands of trees have been denuded, stripped of leaves, amputated of limbs, uprooted from the soil.

There were piles of debris everywhere. Tree parts, aluminum siding, sodden mattresses, garbage, wire, sheetrock, rugs, glass, toys, furniture, rotting food, window frames, masonry, all piled high and waiting for someone to come scoop it up. It’s likely those piles will be untouched months hence.

The office seemed normal except for the thrum of generators that kept the power up. Coworkers swapped refugee tales, gossiped about absent friends, and shared tips on how to identify the symptoms of leptospirosis. “You’ve got two days to get treatment,” a Puerto Rican native said, “or you’re dead.” Water was running at a trickle, so it was flush with a friend in the bathrooms.

The next morning was wash, rinse, repeat. I went into work. I went out for lunch and waited in line ten minutes to use an ATM, fifteen for gas. When I returned, we started hearing that San Juan was again without power. I drove home, plugged the fridge into my one generator-powered outlet, and cooked spaghetti on a hotplate. It wasn’t as hot as it had been when Hurricane Irma had knocked power out for six days. I padded carefully around my still-unfamiliar apartment, using muscle memory and LED flashlights to avoid collisions with the inanimate.

By Friday I left for work already thinking with Maria brain: keep the truck gassed up, have at least $100 in my wallet, steer clear of water dripping from rooftops. There was a dead horse on a berm in Vega Alta, laying on its side with a death grin and unblinking reflective eyes. Hit by a car? Dead of one of the diseases spreading here? Or just broken-hearted? I tried not to see it as a portent.

Santurce Graffiti, Murals, Tags, and Unauthorized Public Art

The Santurce dictrict of San Juan can fairly be described as an aspiring arts mecca. Not that many years ago, many Puerto Ricans considered it a dangerous drug- and crime-infested place rather than a neighborhood to be proud of. Though there are still grim and blighted parts of Santurce, other areas have exploded with vibrant colors, new businesses, and young Puerto Ricans looking for a place to live. The neighborhood’s revival is another testament to the power of public art to change both the perception and the reality of an urban locale.

There’s a lot of street art in Santurce. And many of these works can be found on and around my favorite street, Calle Loíza.

Some of the most striking works depict human heads and figures.

The tagging is exuberant and precisely rendered.

Murals are common and certainly add life to otherwise derelict buildings. Click here to see what the building in the two photographs below looked like just a few years ago. Quite a turnaround, no?

The wall in the photo below, though, shows that far more subtle compositions can be even more effective at setting the mood of a streetscape.

All of these photos were taken on and around Calle Loíza, which runs parallel to the beach just two blocks north. But there are equally wonderful works of public art in other parts of Santurce. And eventually I will get around to photographing them.

The Santurce Culinary & Art Festival

Some writers call Santurce “the Brooklyn of San Juan.” And there is a hip, entrepreneurial, artistic spirit to this barrio. As the New York Times cooed recently, you can walk down the man drag and find new restaurants “led by inventive chefs who prize local ingredients.” There are dance clubs, boutiques and vintage clothing shops, a gay bar, bakeries, an upscale tattoo and body piercing shop, and colorful graffiti everywhere.

It seems like the perfect setting for a culinary and art festival.

Unfortunately, the actual event didn’t quite live up to its potential. There weren’t very many exhibitors — and there was a certain sameness about those who did show up. Attendance was probably in the high hundreds, but not much more. Still, the vibe was festive and relaxed.

I heard a strong cover of Bob Marley’s “Redemption Song” as I approached Calle Loíza. Though Kingston is two islands and 700 miles west of San Juan, no one was complaining about the Caribbean cultural mash-up. The song set my mood for the day. And it was coming from this boutique/cafe, where the bartender mixes a mean mojito.

The first festival-goer I met was jauntily dressed and seemed to be enjoying all the people who came up and talked with him.

He wasn’t the only one who was literally at street-level. Two of the artists from the hipster tattoo parlor were making chalk art on the sidewalk.

Older folks lugged lawn chairs out in front of the pumps at the local filling station and sat there talking, drinking, and people watching. Hanging out like that is pretty common here and, to my mind, nicely obliterates the ordinary commercial grimness of gas stations.

Alcohol, rather than food, seemed to be the vice of choice at the festival. Bar tents outnumbered food tents by about three to one.

The spirit of the festival seemed to be to be captured by this bumpersticker. I think Bob Marley would approve.

It wasn’t only people on the street who were enjoying the relaxed mood of the day. You can just see the bare feet of a man sacked out in a hammock on his Calle Loíza balcony.

While he took a siesta, other people took advantage of the festival being closed to cars and promenaded down the street, seeing and hoping to be seen.

Others used the occasion to walk the dog.

After a couple hours of walking around, I craved someplace peaceful to sit and relax. I walked over to a Dominican chinchorro (i.e., a hole-in-the-wall bar) just off Calle Loíza and bought a Medalla beer from Mercedes, the beautiful old woman who runs the place. I took a seat out on the sidewalk in a plastic lawn chair, watched the world go by, and did my best to chat up one of the Dominican guys who’s a regular at the place.

Santurce’s not Brooklyn, but it’s not trying to be. It’s more like a laboratory where many mostly-younger Puerto Ricans are trying to build something new in a barrio that used to be known for drugs, crime, and blight. Not everyone approves of the changes that are happening here.

My take, though, is that even if the festival wasn’t a roaring success, the people of Santurce are succeeding at building something more enduring and important.

Hato Rey: My New Neighborhood

Tomorrow I celebrate three weeks in Puerto Rico and nine days in my new home in the San Juan neighborhood of Hato Rey. It’s a neighborhood of vertical living and working. I live in a cluster of apartment buildings between 12 and 16 stories tall. At street level, large shade trees provide relief from the tropical August heat. At my level, the eleventh floor of a building on Calle Honduras, gentle breezes blow from the balcony to my kitchen. I get home from work, get some cross-ventilation going, and cook myself dinner.

In the morning, the skies are light blue with puffs of seaside clouds. This is what I see out my window.

Downstairs, out through the lobby, and just a short block away down Calle Mejico is a city park one small block square. There are basketball courts and a swingset for the kids–but at the center of the park is a pavilion with shelves of books free for the taking.

I’ve seen Libros Libres (Free Books) in several parts of San Juan. It’s a mystery to me who sets them up, who tends them, and who frequents them. But I’m glad they exist. I’ve helped myself to one book so far, a hardboiled detective novel by Ross Macdonald. I plan to crack it next weekend.

Though most of Hato Rey is office towers and apartment buildings, there is an old human-scale district just north of where I live. There, the houses are made of wood and breeze block and are, at most, two and a half stories tall. The streets have letter and number names, not the Latin American nation names that the streets have where I live. It’s not a well-heeled locale, but it has a jaunty feel to it that the concrete towers of Hato Rey lack.

The only institutions in this part of Hato Rey are housefront churches of the evangelical Protestant variety and this place, which is called a chinchorro in Puerto Rican Spanish.

Chinchorros are tiny hole-in-the-wall bars–literally, in this case. Customers get their drinks through the window and then sit on ratty old plastic lawn chairs right in the street or on the sidewalk. They are loose, boisterous, fun places.

Darkness comes earlier here than it does in America. From my kitchen window, I look down onto a deserted parking area.

Tomorrow I will get up early again and explore more. Because right now, there is nowhere I would rather be.