Barcelona, home of Antoni Gaudi. Flagship of modern architecture. City by the beach. All of this, technically, is true, but it omits the many pieces of grit and grime that define the distinct personality of this Catalan city, pieces that were immediately evident in one short walk to Park Güell from the nearest underground metro station.
Even in this part of the city, where millions of foreign travelers tread every year, Barcelona doesn’t try to clean up its shabby exterior to attract outsiders. Broken windows have been boarded up but show no sign of plans for further repair; they’re already covered with years of graffiti, styled curse words in Catalan and Spanish in brilliant reds and greens. The cobblestoned sidewalks are worn with age and dangerously uneven; some sections have been carelessly filled in with misshapen chunks of concrete. Though the roads were still wet from nighttime street cleaners, back alleys and street corners still stank of urine. Apparently, Barcelona doesn’t care. It likes itself the way it is, and it wouldn’t mind being an unknown European city nobody bothered to visit. So why do people keep coming?
We started the climb to the top of the hill where Park Güell sits, overlooking the city. As if hearing our audible panting, elevators appeared in the middle of the hilly street to whisk us up. We glided past a scarf-laden woman who couldn’t be any younger than 85 making her way down the hill via the stairs. With each step she winced, paused one or two seconds, then grabbed onto the rail with both hands and continued her descent. Why weren’t there elevators for the ride down, I wondered?
When we finally reached the top, I could see nothing but metal stairs and what looked like several piles of packed dirt, which I quickly realized was the foundation for the park’s dirt pathways above me. At the top of the stairs, paths led in several different directions, all promising sweeping views of the city below. We chose a route sparsely landscaped with tear-shaped green cactus plants. Their threatening thorns were ripped off in places, and the green surfaces were mutilated with crude etchings and Sharpie markings of initials and declarations in Catalan, Spanish, French, Basque, and languages I didn’t even recognize.
Several musicians had taken up residence along the spiral dirt path to the top of the park. A twentysomething dark-haired man with a goatee and a serene expression furrowed his brow as he concentrated his energy on the marimba on his lap, tapping up, down, back and forth on sections of the bowl-shaped metal instrument to produce a gong-like contemplative melody. Nearer the top, a stringy, leather-skinned man with a scraggly gray beard and several teeth missing attempted a rendition of “Moon River”, but more spit and Spanish curse words came out of the trumpet bell than did musical notes.
As I tiptoed warily up narrow, rough-hewn stone steps to the circular top of Park Güell without the aide of a railing, I knew the view would stun me. Before I turned around to look, I stood facing the other way, staring at the mutilated cacti and the bearded trumpeter and thinking the view couldn’t give me a better glimpse of Barcelona than did my trip to the top.
Even in this part of the city, where millions of foreign travelers tread every year, Barcelona doesn’t try to clean up its shabby exterior to attract outsiders. Broken windows have been boarded up but show no sign of plans for further repair; they’re already covered with years of graffiti, styled curse words in Catalan and Spanish in brilliant reds and greens. The cobblestoned sidewalks are worn with age and dangerously uneven; some sections have been carelessly filled in with misshapen chunks of concrete. Though the roads were still wet from nighttime street cleaners, back alleys and street corners still stank of urine. Apparently, Barcelona doesn’t care. It likes itself the way it is, and it wouldn’t mind being an unknown European city nobody bothered to visit. So why do people keep coming?
We started the climb to the top of the hill where Park Güell sits, overlooking the city. As if hearing our audible panting, elevators appeared in the middle of the hilly street to whisk us up. We glided past a scarf-laden woman who couldn’t be any younger than 85 making her way down the hill via the stairs. With each step she winced, paused one or two seconds, then grabbed onto the rail with both hands and continued her descent. Why weren’t there elevators for the ride down, I wondered?
When we finally reached the top, I could see nothing but metal stairs and what looked like several piles of packed dirt, which I quickly realized was the foundation for the park’s dirt pathways above me. At the top of the stairs, paths led in several different directions, all promising sweeping views of the city below. We chose a route sparsely landscaped with tear-shaped green cactus plants. Their threatening thorns were ripped off in places, and the green surfaces were mutilated with crude etchings and Sharpie markings of initials and declarations in Catalan, Spanish, French, Basque, and languages I didn’t even recognize.
Several musicians had taken up residence along the spiral dirt path to the top of the park. A twentysomething dark-haired man with a goatee and a serene expression furrowed his brow as he concentrated his energy on the marimba on his lap, tapping up, down, back and forth on sections of the bowl-shaped metal instrument to produce a gong-like contemplative melody. Nearer the top, a stringy, leather-skinned man with a scraggly gray beard and several teeth missing attempted a rendition of “Moon River”, but more spit and Spanish curse words came out of the trumpet bell than did musical notes.
As I tiptoed warily up narrow, rough-hewn stone steps to the circular top of Park Güell without the aide of a railing, I knew the view would stun me. Before I turned around to look, I stood facing the other way, staring at the mutilated cacti and the bearded trumpeter and thinking the view couldn’t give me a better glimpse of Barcelona than did my trip to the top.
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