Discussions Kola took part in

Hi fellow traveler,

I was wondering where the 'Gare du Nord' stop is when you arrive on the 39 bus from Montparnasse, and whether the 'Gare du Nord Dunkerque' stop in front of the station is served by this bus? From what I've read, there's no stop there on the return trip, which seems odd to me.

Thanks a lot!

Hi, I need your advice. I’m heading to Drancy in the Paris region this Friday, on Auguste Blanqui Street—apparently it’s next to a police station. I’d like to get from there to the Musée Grévin, but I’m not sure how: should I take the bus, RER, tram, or metro? If a kind soul could point me in the right direction and explain what type of transport ticket I need, I’d really appreciate it. I’m new to getting around Paris—I’m from the north and not used to it. Thanks in advance!

Here you can post off-topic photos, chat, have fun, ask questions, talk tech... Hope you'll like this theme! 🙂

The contest is here

I’m reporting to VF that my message count dropped from around 5,160 to 5,090 over the last three days.

Is there now an issue with the message count, an unintended disappearance, or some kind of pruning?

I’m asking because I haven’t received any info about this.

If I close my eyes and think of the Sultanate of Oman, I first smell a light scent of incense, feel the warmth of a sunbeam on my skin, before sand slips through my fingers. I taste the sweetness of a date, a real candy, then the flavor of coffee with a hint of cardamom and rosewater... I hear the desert wind whistling in my ears, the distant call of a muezzin, then the murmur of water. I open my eyes to see smiles, welcoming gestures, a turquoise sea, rocks ranging from ochre to purple, deep wadis where torrents burst forth, orange dunes, white sandy beaches where tiny crabs scurry at full speed. I see incredible oases emerging between arid mountains. I see abandoned villages that I’d dream were full of life, imposing fortresses overlooking valleys, and lively souks where offers are delicate and negotiation is a mutual courtesy.

All that, and so much more.

This is what I tried to capture in my illustrated travel journal, which I’ll fill in here and there with photos. I drew this journal “cold,” after my return (actually, I made it this summer, while our trip was last winter). It’s a pretty special format—I bought it in Japan without really knowing what I’d do with it. Well, it found its purpose! Below is a photo of this accordion-style journal: here, it’s only partially open, because when fully unfolded, it’s 5 meters long!



For drawing enthusiasts: The accordion format is both a constraint (each sheet is 9 cm x 27 cm) and a freedom (you can create a fresco). The paper is also a bit special: it doesn’t allow for fine lines, but it takes ink well (liner pen). However, everything has to be done almost in one go (with a very light pencil sketch) because it erases poorly. It absorbs too much water for coloring with markers or watercolors (unless you avoid soaking it), but it works well with oil pastels and their use with a brush and solvent. Since it’s yellowish, it allowed me to create contrasts even with white pastel.

On the right, the "welcome marker"—those dates offered everywhere as a sign of hospitality. On the left, a tribute to those stunning doors worn by time, admired all over the old quarters, including the abandoned ones.



Oman is one of the world’s largest producers of frankincense resin. Incense burners are everywhere, from the simplest clay ones to the most precious handcrafted silver ones...

Hospitality will often lead you to accept a small coffee, an "Omani coffee," very light, subtly flavored with cardamom, maybe a touch of saffron, and occasionally rosewater. Here, I’ve depicted a man in the common everyday attire of Omanis: the dishdasha, mostly white (during the week and daytime; colors are more common in the evening or on Fridays and Saturdays). While you’ll see some men dressed in Western clothes, they’re very few. The white dishdasha is truly the shared attire of all men. The dishdasha, which has no hood, is distinguished by a small pom-pom attached to the collar, the furakha, which is soaked in perfume. And believe me, Omanis go overboard with it! "It smells like the pom-pom" is an expression that’s now part of our shared language, my husband and I. Another must of men’s attire is the kuma, a small round head covering, usually white with brightly colored patterns. The keffiyeh is also worn (but without the cord called an agal in Arab countries), and it’s mostly worn by those with roots in the desert, from what I understood. And what about the women, you might ask? Some are veiled, some in full black (but not a burka—more like a chador + abaya), due to the influence of Saudi Arabia and the United Arab Emirates, whereas the traditional outfit used to be a layering of very colorful dresses. Most of the women we saw wore neutral clothing, a plain veil over their hair, but with their faces uncovered. We also saw many saris and colorful veils—don’t forget that 40% of the population consists of Indian, Nepalese, and Bangladeshi immigrants, who work a lot in tourism, hospitality, restaurants, services, and construction. Just to clarify, as a tourist, there’s no pressure to wear a veil, and never any disapproving looks. Of course, you’ll save the mini shorts, plunging necklines, bare shoulders, and midriffs for the hotel terrace—but I’d say that’s the same for men and women, and with the sun being strong, it’s better for your skin too. Here’s the introduction! In the next post, I’ll tell you about my itinerary, and we can dive in!

Good evening to all you photographers and photo enthusiasts on VF,

This is the place to exchange, debate, chat, philosophize, nitpick, ramble, bicker, and congratulate each other on this month’s theme: "The Street as a Livelihood."

Just a reminder that the photos expected in the contest thread should depict street scenes showing people using the street as a place to earn a living—whether it’s legal work, informal jobs, illegal activities, or begging. In the discussion thread, feel free to be much more open-ended.

We just got back from ten days in Tanzania. We were lucky enough to be guided by Gishaman. Always in a great mood, a good driver, and an excellent guide. Thanks to him, we not only saw the Big Five in one day but also loads of other animals. He works for the local agency Blit Safaris, which provided excellent support throughout our trip. Highly recommended!

Hello everyone on this forum! I know in advance that what I'm about to say here won't please everyone, but honesty is a virtue, isn't it? Here's the thing: for many years now, I've noticed a habit in French-speaking posts of using abbreviations left and right, as if to show that we're "in the know." Let me explain with a few examples: - - In discussions about Peru, I see "Aguas" for "Aguas Calientes." And if it's Mexico, well, it'll be "Aguas" for "Aguascalientes"! - - For Guatemala, "travelers" will say "Guaté." Come on, saying "Guatemalas" would maybe be the undeniable sign that you know nothing about the country??? - - Back from Indonesia, many will talk about how familiar they've become with the country's language: "bahasa." Of course, everyone will know what you're talking about, but it still gets on my nerves because the language (one of the many languages) of Indonesia is "bahasa Indonesia." "Bahasa" actually means "language," and you'll find this word of Indian origin ‘Bhāṣā’ (it's Sanskrit originally) outside Indonesia too: in Thailand, for example, any language will be "phasa" as in "phasa thai" (official Thai), "phasa isan" (what's spoken in northeastern Thailand), "phasa angkrit" = English, etc. Am I an incorrigible nitpicker? Maybe. But I'd also find it ridiculous if a foreigner came and told me they visited "Monte" during their trip to France, when it was actually Monte Carlo. I read a lot in English and don't think I've encountered such a habit among English speakers.

hello to all travelers with their eyes wide open to the desert...

I’ve always wondered what I was "doing" on this earth. And why my father, who died a few months after I was born—a former youngest French resistance fighter—joined the First Saharan Motorized Company in Atar and spent the rest of his life repairing army engines in Algeria, Mauritania, Senegal, Mali (which didn’t exist under that name back then), Morocco, and finally Algeria, where my mother was born and raised. (Believe me, it’s not "cool" being the child of a soldier in a country occupied by France, and even less so the child of a "pied-noir.") Of course, I never got an answer: the dead don’t talk, and the army doesn’t either. But here’s the thing—I had photos... So naturally, one day I hit the road. I wanted to see, to understand. It’s thanks to VF that I was able to do a little research on crossing the Morocco-Mauritania border, and I’m grateful to its members, just as I’m grateful to all those who welcomed me on the road for 14 years. For the past few weeks, I’ve been wondering if I should talk about this or not... It turns out the Mauritanians changed my life by asking for my help... And that started as early as February 2012... (Did I owe them something? No answer to that question.) Ah, the irony—they saw me coming. But when you’re handed sick children and begged to do something, what would you have done? I’d worked in a hospital, so I knew a bit about the rules to follow. I didn’t hesitate. And well, over all these years, I met doctors, surgeons, and together we organized care, evacuations of children, training for surgeons—even trying to stop children from having to travel outside their country. It was never easy. I’d like to thank those who supported us, as well as *La Chaîne de l’Espoir*, *La Fondation Face au Monde*, and everyone who built bridges between our two countries. Unfortunately, despite the constant efforts of Mauritanian doctors and surgeons, some children couldn’t be helped in time. Today, I want to talk about four siblings—orphans of their mother—suffering from congenital glaucoma causing irreversible blindness. Their case was entrusted to me in 2020, just weeks before the big lockdown. We couldn’t do anything for them then, but when their father asked me for a gift, I rushed to my computer and wrote a story. Through a tale, the children take a great journey, explore their country, and fulfill a dream. I never thought this book would be published—it was, in 2023. This book pays tribute to Mauritania. It’s a message for those who know nothing about the hardships of life there, carrying both the harshness and beauty of an immense desert where you can travel by 4x4, bike, on foot, or by camel in complete safety. It bears witness to the kindness of Mauritanians toward travelers. As a woman traveling alone in my vehicle—a now-rusted old Mercedes that no longer runs—I had the most beautiful encounters of my life there (I’ve seen other parts of the world...). The blind children of Choum, Atar, Nouadhibou, and Nouakchott will forever be in my heart. Volunteer readers transcribed the book into a free audio version for the visually impaired. It’s available in sound libraries in France, the *Fondation Valentin Haüy*, and the Swiss Romande library. I made my last trip to Mauritania in my old 4x4 to distribute the book everywhere, especially to its heroes and the school for the visually impaired in Nouakchott. After that, I thought it was time to close the chapter because I no longer have the means or the strength to travel. My publishers chose this title for it: *The Blue Eyes of the Desert*. This publication helped a mission of Swiss volunteer ophthalmologists come to operate on glaucomas in Mauritania. I’m thrilled because they come back every year! This adventure is ending, yes—everything must come to an end—but ultimately, it was born here, on the VF site!! So yes, I had to say it: THANK YOU!!!!!

Hello,

I’m looking for your help planning a 3-week road trip from mid-September to early October starting in Montréal.

We’d like to explore part of Québec and the Gaspésie, and we’re intentionally starting with the Gaspésie because if we leave it for the end (early October), the weather might be less favorable and a lot of places will already be closed. I’ve also read that the fall colors are more beautiful in the Mauricie and Laurentides regions toward the end of our trip (early October).

Here’s the itinerary we’ve come up with:

Montréal (arrival and departure airport) -> Québec City -> Charlevoix -> Crossing the St. Lawrence River from St-Siméon to Rivière-du-Loup -> Rimouski and Parc du Bic -> Gaspésie along the coast (Matapedia, Percé, Bonaventure Island, Gaspé, Forillon Park) -> Crossing the St. Lawrence River from Matane to Baie-Comeau -> Tadoussac to Lac Saint-Jean via the route along the Saguenay River -> Return to Montréal via La Tuque, crossing the Laurentides and Mauricie Park

This is our first time in Canada, so don’t hesitate to be critical (I won’t take it badly ;)), if the route seems too ambitious (we know there’ll be a lot of driving!) or if it’s better to skip some stops that aren’t must-sees.

Thanks so much for your help.

Wednesday, April 1st

Hazaribagh I’ve got a meet-up with Adam Iman, a guide and painter. He picks me up from the hotel at 10 AM. Another traveler from Bangalore is supposed to join us, but while we wait for him to arrive, Adam takes me to see the paintings his mother and sister created at Hazaribagh station. The town became famous thanks to these murals, which can also be found in several surrounding villages. This art form has earned recognition and is now protected, a sign of its cultural importance. Once the visit is over, we go to pick up the other traveler and then head to our first village: Belwara, where Sohrai art is practiced. At the entrance, a sign proudly announces that we’re entering an artists’ village, where this art is created by women organized into micro-enterprises. Some even offer workshops for those who’d like to learn this tradition.



Sohrai art is tied to the harvest season, from October to mid-November. The motifs, in natural colors, celebrate fertility and abundance. The artists use pigments from the earth: red oxides, ochre, white kaolin, and black manganese. On the walls, you’ll see animals, fish, birds—all symbols of life and prosperity. As I look closer at the murals, I start to realize that each motif tells a story. Large animals like cows or bulls often take center stage. Their bodies are filled with intricate, almost hypnotic patterns. They symbolize wealth and prosperity for the household, as well as the deep respect for cattle, which are essential to daily life. On some facades, elephants stand out—massive and decorated with the same precision. They evoke quiet strength and protection. But it’s when I stop in front of one of the houses that I really take the time to look. The wall, a soft ochre, is entirely covered in murals. Two large animals stretch out on either side of the door, their elongated bodies fitting the length of the wall. Their silhouettes are filled with geometric patterns and incredibly fine curved lines, as if every space was patiently filled. Around them, stylized plants, flowers, and small decorative elements fill every gap. The door, dark and worn, becomes almost the silent center of the composition, framed by these living, protective forms. To the right, a more colorful motif catches the eye—a flower or a stylized lamp—like a touch of light on the earth. The whole thing gives an impression of perfect balance, between the rigor of the patterns and the freedom of the gesture.



Elsewhere, birds and freer forms bring movement. Peacocks, recognizable by their stylized silhouettes, embody beauty and vitality, while fish symbolize water, fertility, and the continuity of life.

On some paintings, the scenes become almost narrative: you can make out figures, everyday gestures, like a memory of the village inscribed in the walls. The decorative frames around the doors aren’t left to chance either—they symbolically protect the house, like a boundary between the inside and the outside world.







During the Sohrai festival, cattle are led into the jungle in the morning. Meanwhile, the women finish the *aripans*—these floor paintings—and continue the wall murals. Around noon, the animals return to the village, and the bulls’ horns are anointed with oil and vermilion in a gesture of gratitude, amid the vibrant colors adorning the houses. We visit several artists, including Parvat Devi, a well-known woman who has received many awards. Her arms are adorned with intriguing tattoos, which I’ll talk about in more detail later.



On another wall, the style changes completely. Here, no massive animals—just birds occupying the space, light and graceful, as if caught in mid-movement. Two silhouettes face each other, their long necks arched almost like mirrors, while their outstretched wings seem to vibrate with the patterns that compose them.



The design is more graphic, almost airy. The lines are smoother, more fluid, as if drawn in one confident stroke. The birds’ bodies aren’t solid—they’re filled with repetitive motifs like scales, stylized feathers, and spirals, giving a sense of continuous movement. Around them, everything comes to life: flowers burst open, arabesques swirl, and even the simplest shapes seem alive. What strikes me here is the sense of lightness. Where the large animals evoked stability and grounding, these birds bring something freer, almost joyful. They seem to embody movement, the circulation of life, like a breath flowing through the village.



The colors remain the same—deep reds, intense blacks, and chalky white—but the rhythm is different. Faster, more spontaneous. As if each wall had its own personality, while still speaking the same language.

That’s probably why I’m so moved. I’d heard about these paintings from my friend Raja, and last year, I saw an exhibition in a village near my home. That first encounter made me want to come here. But seeing them in person is a whole different experience. These paintings are unique. This ancient art is passed down from mother to daughter, or mother-in-law to daughter-in-law, in a quiet, deeply living continuity. At first glance, it might seem almost childlike in its simplicity and pared-down forms. And yet, everything is thought out, balanced, mastered. Nothing is left to chance.



That apparent simplicity, combined with such rich symbolism, touches me deeply. There’s something sincere and essential in these walls—and that’s what moves me.

March 2nd — Departure by bus from Latour at 6:50 AM. The journey isn’t direct: we pass through Elne then Corneilla. In Perpignan, I switch to a BlablaBus heading to Barcelona’s northern bus station. Before reaching Le Perthus, French police stop us to check IDs. Several people aren’t in order, but after about fifteen minutes, we’re on our way again. We’re checked again at La Jonquera: this time, the wait lasts almost forty-five minutes while police identify those in violation and wait for a vehicle to pick them up. The driver then tries to make up for lost time; we finally arrive at our destination half an hour late.

I quickly head to the Arc de Triomphe metro station, located 200 meters away: you have to cross the bridge along the bus parking lot, then walk through a large garden; the station is on the right before the garden entrance. The trip to the airport isn’t direct: I have to change at Tomasso and take the line to the airport, where I arrive at 1 PM.

At the Emirates counter, I learn my flight was just canceled due to the war in Iran; they offer me another flight for the next day. I have to wait at the airport until 7 PM before being taken to a hotel; the next morning, I’ll take a flight to Vienna (with an 8-hour layover), then an Air India flight to Delhi, and finally a flight to Kolkata. I agree: I don’t know Vienna, so it’ll be an unexpected discovery.

At 7 PM, a small group is taken to the hotel, 35 minutes from the airport, where we’re served a light dinner upon arrival.

March 3rd — A taxi picks me up at 6:30 AM; the flight to Vienna takes off at 9:30 AM and arrives at noon. I’m free until 7 PM; the metro is direct to the city center. The weather is pleasant and not too cold, luckily, since my clothes are light.

When I exit the metro, I spot the St. Stephen’s Cathedral tower in the distance and approach it: the roof, made of glazed tiles, is remarkable.



Entry is free, and the interior, a mix of Gothic and Baroque styles in the center, is stunning.



Not far from there is St. Anne’s Church



, also Baroque, adorned with beautiful frescoes



—a music concert adds an enchanting atmosphere to the visit. I continue my walk at random through the pedestrian streets lined with magnificent buildings: I’m charmed by the city.







Before heading back to the airport, I stop at a lovely tea salon. My flight will eventually leave with a delay.

Wednesday, March 4th — Delhi and a little luggage scare We arrive in Delhi shortly after noon. Immigration is quick, and good news: my bag was checked through from Barcelona to Kolkata. I head to the connecting terminal and arrive half an hour before boarding: the flight goes smoothly. Upon arrival, the luggage comes out quickly… except mine. After filing a report, I’m told my bag is in Delhi—I have to retrieve it before taking another flight. I didn’t know (or had forgotten): with the delays, I wouldn’t have had time to pick it up and make the connection.

I take a taxi to the Ichamati Hotel. The welcome is warm, and the room is clean but very small. Without my bag, I feel a bit lost—I have nothing to change into.

Tonight, I’m dining with Raja and his friends at a beautiful restaurant, an old colonial house turned into a hotel.





We’re happy to see each other and have a comforting evening together.

Preamble

June 2024. While hiking with my brother on the GR 36 Tour du Morvan, I catch sight now and then of strange rectangular markers fixed to tree trunks. Against a bright orange background, a deep black Greek tau topped with a white dove. My first encounter with the Assisi Way. The Way of St. Francis: a pilgrimage route linking Vézelay in Burgundy to Assisi in Italy, covering nearly 1,800 km. It felt like an obvious next step—I immediately knew I’d take it on, attempt the adventure solo.



In the months that followed, I talked about my project to everyone—family, friends, my partner. An avalanche of comments, more or less the same but varying depending on each person’s character and life experiences. But deep down, it all boiled down to one legitimate question: why?

And the answers? Hesitant, awkward, partial, even confused. I quickly realized they weren’t so easy to find. It was as if my project seemed more like a whim, a kind of intimate caprice, rather than a well-thought-out plan. Of course, I knew the reasons that pushed me to leave—you always have to give some. Loved ones need to understand to feel reassured, and that’s understandable. But I fear that when I list them, they’ll sound like the same old checklist anyone embarking on this kind of journey might give. Of all the reasons I could mention, I’ll highlight just one here: the call of the road, the solo adventure that brings a powerful sense of freedom. A bit like Monsieur Seguin’s goat, who from her comfortable pen gazes longingly at the unconstrained horizon of the mountain. But if I’m being honest, I think I didn’t really know what I was looking for—or, more importantly, what I’d find. Deep down, when I reflect on it, one word keeps coming up that explains nothing and everything at once: desire.

Now well past sixty, I know that when I ask myself who I am or where I’m going, two things bring me fully back to myself: hiking and writing. And my intention was also to anchor this adventure through words, day by day. Writing down my feelings, emotions, discoveries, and reflections each evening. The famous travel journal that grounds the daily experience in reality. When I discovered the app "Polarstep," which was initially just meant to keep my loved ones updated and reassured, inform them of my progress, and maintain a connection, I found an opportunity to do it a little differently than usual. No retrospective notes polished up after returning, but spontaneous writing—recounting everything that crossed my mind during the day and publishing it immediately. A journey lived in real time.

This text is the exact transcription of my daily writings. Rereading them, I didn’t change a thing—just corrected a few mistakes and tweaked some awkward phrasing here and there. Short texts, fitting the format imposed by this kind of app. Writing as if addressing others.

Now, all that was left was to walk. April 18, 2026 – Vézelay.

Summer 2022 left me with a sense of unfinished business, so here I am back in Swedish Lapland for summer 2024, ready to attempt the Sarek crossing again—and this time, tackle part of the Kungsleden too.

After much hesitation, my partner Jean Marie and I decided to start with the Kungsleden, which is, from what we’ve read, stunning but very busy (and it really is!!), and finish with the wilder option: SAREK! This park is known as Europe’s last true wilderness—sounds like a dream, right?! The downside of this plan is that there’s no way to resupply in Sarek, and the Kungsleden isn’t exactly set up for long-distance trekking either, so we’ll have to carry a lot of food for the first part of the trip with Sarek in mind. Oh well, we’re motivated!

Our plan is to start in Abisko (the classic route), head to Vakkotavare (also classic, but with some variations to avoid the official trail and the crowds), then continue the Kungsleden from Saltoluokta. Before reaching Aktse, we’ll set off on an east-to-west crossing of Sarek (weather-dependent, since aside from the Skarja hut in the center of the park, there’s no shelter if conditions turn bad). At least we’ll be on the right side of the park to climb Skierfe and enjoy the jaw-dropping view of Rappaladen if we have to bail on Sarek.

All in all, that’s 17 days of trekking, including 1 rest day and 1 buffer day for weather delays.

So if you’re interested, I invite you to follow our fully packed backpacks!

08/03 - Abisko – 5km before Abiskojaure Some info (guides we used for prep, SFT map, sending food to Saltoluokta) 08/04 – 5km before Abiskojaure - on the east shore of Lake Alisjavri 08/05 – East shore of Lake Alisjavri – just before Tjaktja 08/06 – Just before Tjaktja – above the Salka hut via Nallo 08/07 - Salka – just past Singi + side trip to Djalson Lake 08/08 - Singi – Teusajaure 08/09 - Teusajaure - Vakkotavare (end of the first section of the Kungsleden) 08/10 – rest day in Saltoluokta + round trip to the Sámi village of Pietjaure 08/11 – Saltoluokta – Sitojaure 08/12 - Sitojaure - Skierfe - Sarek or no Sarek? 08/13 – Skierfe – somewhere above Rapadalen 08/14 – Somewhere above Rapadalen – above the Skarki hut 08/15 – Above the Skarki hut - Skarja 08/16 – Camping at Skarja 08/17 – Ruohtesvagge 08/18 – Ruohtesvagge - Padjelantaleden 08/19 – Padjelantaleden - Ritsem – End of the trek 08/20–24 - End of the trip (Lullea - Stockholm) And of course, the recap

Hi there!

I’m inviting you on a stroll through my drawings—a completely subjective, far from exhaustive, and totally personal take, since it’s based on my own sketches. I put this travel journal together after returning in late 2024, mostly using felt-tip pens and pencils, with a few collages thrown in. I worked from our personal photos.

Let’s start with the shotengai...



Our first "wow" moment came as we stepped out of the subway in Asakusa, the Tokyo neighborhood where we’d booked our hotel for our first five nights. Exhausted after our long flight, we finally arrived and took an exit that led straight into a shotengai—one of those covered shopping streets that pop up in city centers and flourished between the 1950s and 1980s.

It was an instant aesthetic shock, like a close encounter of the third kind between the modern city, a typical Asian market with its street stalls, the vintage vibe of the arcade, the sheer abundance of goods, and the bustling crowd—a mix of tourists, pilgrims (thanks to nearby Senso-ji Temple), and locals (it’s a very working-class area). In the end, it set the tone for a feeling we’d experience throughout the trip. Wherever we went, shotengai turned out to be fantastic spots for finding little restaurants, shops, or even fresh produce. Some are like real mazes, like in Kyoto, where we spent ages trying to relocate a restaurant we’d loved ;-)

In Kanazawa, the Omicho Market: And in Kyoto, Nishiki Market:

To be continued...

I left my heart’s country eight days ago and returned to my adopted one—or was it the other way around? Scotland-Morvan, Morvan-Scotland, I’m not quite sure anymore.

After a quarter without dragging my slippers around here, even though I’d loudly declared I had no interest left in this site, here I am again!

My imagination never stays fallow for long. Just enough time for my inner land to rest. It gets overgrown with fresh nettles, the kind you can pick without getting stung. Then, it’s time to till the fragrant earth and let the story grow.

I hesitated over where to set this story. Maybe the Highlands, maybe the Hebrides, maybe the Orkney Islands, maybe the Shetland Islands. All of Scotland is myth—easy to embroider. But in the end, no. I’d almost be too afraid to bare my soul.

The story will take place at home. Simple, practical.

1)

This morning, I was up well before dawn, feeling a bit grumpy, but nothing a bowl of coffee won’t fix. I love my bowl, and no one dares take it. It’s porcelain, edged with intertwined blue flowers. On the bottom, it says "Revol." The factory has existed long before the Revolution. It was my great-grandmother’s bowl. She drank roasted barley from it during the war, then her Leroux chicory.

Last year, a little guy dropped it. My bowl broke into three pieces. A black anger vibrated deep inside me. The little boy was so upset, on the verge of tears. How could I scold him!

I picked up the three pieces and took Little Boy in my arms. His hair smelled of the light, sweet sweat of toddlers. A gentle hug that healed—his budding sorrow and my anger—everything vanished, and time carried on.

Today, my bowl is even prettier. Man fixed it using the traditional kintsugi technique, except he didn’t use gold powder or lacquer but superglue, and he delicately painted the cracks with woad blue. And my bowl is even more beautiful now.

I’m lingering, I can tell—it’s just that a story wraps itself in life, and life can’t be told in the snap of a finger. Life is long. Like in architecture, you start with a rough sketch, called a "sous-cul" (the initial pencil drawing), then you make a tracing, which is the work itself, the one you later carefully roll up in a wooden tube. Life is like that: you erase, you start over, you use the nub of the pencil until it’s tiny, but you keep going—dreaming, loving.

"Living is a full-time occupation, a unique adventure. Always a surprise and a wonder, which sometimes turns into astonishment. And, from time to time, happiness."*

Alright, enough digressing—this introduction is definitely too long. Tomorrow, I’ll get to the heart of the matter. (I hate that expression; it feels like I’m cutting into someone’s skin.)

*Jean d’Ormesson

2)

Hi there, I’ve been traveling for 18 years now, at least 6 months a year, and as the years go by, I actually enjoy coming back to France more and more—a feeling I struggled with at first. I mean, we always think the grass is greener elsewhere. But in the end, I find meaning in that saying about how there’s no place like home. I still love traveling just as much, but now my trips are shorter, and I enjoy spending more time in our beautiful country, even though I don’t hesitate to criticize it. How about you? How do you handle coming back from your travels?

Hi everyone!

This theme has probably been done before... but not recently, at least 😉 Doors—open, closed, of houses, castles... even if only the threshold remains. Since I’m not home, I don’t have access to my photos right now, and regarding the rules, I’ll let you refer to one of the previous contests.

Photos can be posted until Thursday the 23rd at 11:59 PM (Paris time). Voting will take place from the 24th to the 30th of October, and the results will be announced on the 31st during the day.

See you soon! 🙂

Hi, I started a thread about Afghanistan.

Out of 4 pages, more than half had nothing to do with the country/topic. The mods closed the thread—why not ban off-topic members and clean it up instead? Instead of closing a thread that had 2 REALLY interesting videos! Because in my thread, there will be more videos to come...

If you close it as soon as a few members go off-topic, letting some former prostitute who’s never set foot in the country tell a guy who spent 10 days there what’s true or not about Afghanistan...

If all the anti-Taliban folks tell you *Le Figaro* or others do a better job than this YouTuber... LOL Journalists often haven’t even been there—they just copy each other or write articles via ChatGPT... *Le Figaro*, for example, gets millions in subsidies to churn out garbage... And now this young guy deserves to be silenced?

Reopen the thread and clean it up! Thanks

Hello everyone,

I’m not really a regular contributor to VoyageForum, but every time Kate and I travel, she encourages me to write a travel journal and publish it. And I must admit, it’s a very enjoyable intellectual exercise, though not always easy. As a VF contributor whose journals I’ve read once said, this retrospective work not only helps preserve memories but also provides a fruitful moment of introspection by bringing back emotions and feelings.

Kate and I spent a week in Istanbul. For her, who had already visited, it was a return; for me, it was a discovery.

As we’ve now made a habit of, I write the texts, and she posts her photos. We hope this illustrated story, crafted together, will revive beautiful sensations for those who know the city and inspire others to discover it. Here we go!