Samut Songkhram is Sparkling

The first time I went to Samut Songkhram, I went by bus with my friend Joy. We planned to return by train, and so we dropped by the station to ask about the last departure of the day. The station master said, “I’m not telling.”

“Excuse me?” Clearly we had a translation problem. But he repeated himself. He really didn’t want us to leave town. Acting more as a self-appointed chamber of commerce than as a hustler, he proceeded to explain this was the time of year when a local species of firefly puts on a fantastic nightly show.

He recommended that we book rooms at one of the many canal-side “home stays” (bed and breakfasts), and hire a boatman to take us around after dark for a tour of the famous glittering insects. It didn’t happen that night—Joy and I both had reasons to get back to the city—but when someone at work asked if I wanted to join a group that was planning a visit to the fireflies, I remembered the station master’s advice and said yes.

These hing hoi, as they’re known in Thai, are not your American fireflies. They all hang out in trees, blinking in unison, as if they were Christmas lights. As our boat motored along the river, I remarked to my friends that perhaps the difference was due to cultural training—Americans being taught to value individualism, Thais preferring not to upset the social order.

They naturally treated my comments with the respect they deserved (zero). At dinner, I gave them another reason to roll their eyes. We had stopped at a nice riverside restaurant, where we ordered fish. When it looked to me as if we had picked clean the top half of the fish, I reached out to turn it over, as I had seen many Thai people do at restaurants.

Screams went up. Hands waved. Somebody patiently took me aside and enlightened me. When traveling by boat, I was told, it’s bad luck to flip a fish, for fear the same thing will happen to your vessel later. I believe this is a lesson that will stick. It has now been several days and I have not repeated the error.

Nakhonchaisri is Larger than Life

Wax museums are supposed to feel authentic, but the one we stopped at in Nakhonchaisri, a small city near Bangkok, goes beyond that. I actually asked directions of one of the figures. She didn’t look up from the paperwork that she is perpetually doing near the entrance.

“Wax” isn’t formally part of the museum’s name, because the creators have found that fiberglass does better in this climate. Another difference between the Thai Human Imagery Museum and the kind I’m used to from the States is the type of person portrayed there. On the first floor, 90% of the figures were monks. The Thais I accompanied knew every one of them.

It isn’t until reaching the second floor that a musician or a person from pop culture appears. Some of the figures are of people who never truly lived, but are as well known as if they had. Occupying a prime corner, for instance, are characters from a beloved Thai epic, Phra Abhaimani. This is another love triangle tale, complete with princes, princesses, demons, a giant, a hermit, and a half dragon half horse.

Phra Abhaimani is a younger story than Khun Chang Khun Phaen. It is attributed to one writer, Sunthorn Phu, rather than to the oral tradition. I was surprised to learn that some of the characters in it are foreigners. Sunthorn Phu was evidently commenting on how well Thais and Westerners get along. The story is taught in schools throughout Thailand, and so, as with the monks, my fellow travelers could identify all of the figures by name.

Suphanburi is Epic

When I’m on the road I like buying the newspaper for some local color—the more local, the more colorful. Thailand offers no shortage of rag sheets, tabloids, and tales of romance or true crime. My reading vocabulary, though, still has a ways to go before all that mystery and drama is accessible to me.

Instead I settle for the epics, stories that have been handed down for long enough that they’ve attracted the attention of a translator. Generally they contain material that’s not so different from the tabloids—it’s just older and thus that much more respectable. The light covering of dust on these epics obscures their naughty bits.

A story called Khun Chang Khun Phaen came my way. It interested me enough that I traced it to its source. Suphanburi is a province not far out of Bangkok, an easy day trip. Its other claim to fame, as far as I could gather, is a space needle-like thing in the center of the provincial capital, built when a favorite-son prime minister was in power, as a sort of monument to himself. On the outskirts of town sits a temple that has weathered several centuries since it was the center of the epic in question.

It was here that a novice monk called Phaen first laid eyes on a beautiful maiden named Wanthong who had come to the temple with offerings of one kind or another. Strictly speaking, if he’d been any kind of monk at all, he’d have kept his eyes lowered. But of course if he had, we wouldn’t have much of an epic.

We’re also told early on that Phaen wasn’t the only one interested in this young beauty. The rival, a layman, had also shown up at the temple on a dual errand. Partly he hoped to make merit, like Wanthong did, but mostly he wanted to show off his wealth yet again (as if the town needed to be reminded), this time in hopes that it would win the hand of Wanthong.

So with that love triangle set up in Chapter 1, we know we’re in for several nights of, say, romance and true crime.

What catches the Westerner off guard is just how bawdy the romance can get. Over the course of the tale we also learn a good deal about Buddhism, Thai geography, supernatural beliefs, and the complex role of women in Thailand.

It’s nice to study this tale on site because recently the temple has commissioned a series of gorgeous painted scenes. The nearly two dozen intricate renditions contain enough detail so that viewers will always find something from the many-chaptered story that they haven’t seen before, even after multiple visits. I spent about two hours. Despite some helpful bilingual captions, I just scratched the surface. No doubt I’ll be back.

Laos Isn’t Thailand

Despite a similar language, similar food, and a similar history, Laos reminded us every day that it wasn’t the country we’d come from. No traffic! No cell phones (well, hardly any)! No convenience stores!

I especially liked the small differences in the temple styles. In the north we saw mosaics on the temples walls that reminded me of primitive folk art. Roofs sprouted the classic little horns at the corners, like in Thailand, but sometimes also featured a kind of cock’s comb at the very top.

After dinner one night a few of us decided to check out the night life. We weren’t sure what we’d find, but we were pretty certain it wouldn’t be a trendy club or a rooftop bar of the kind on offer in Bangkok. Our young, hip Lao guide recommended a spot she said was the hottest in town. In fact she had brought along a special outfit, hoping to go there herself.

At the door we were frisked. Once inside, it took us a few minutes to adjust to the gloom. Suddenly the mirrored ball started turning, and the spotlights focused in on a row of elderly gentlemen in white shirts, slinging electric guitars. Louis Louis! Staying Alive! Light my Fire!

Surrounded by more funk and disco than I’ve heard since my last high school dance, we partied hardy till at least … 9:30, when it seemed like maybe the musicians were starting to think about their bedtimes.

Laos is Quaint

When we toured the former royal palace, I expected everything to feel royal. That is, I thought we’d see high ceilings and fancy curtains and staid-looking portraits in gilded frames.

Which we did. The place had a European feel—no surprise, considering that much of it was designed and built by the French.

On leaving, though, I noticed a little touch that threw me off. Everything else we saw had at least belonged in that setting, even though occasional shabbiness hinted that it had been some time since Laos had had either the means, or the motivation, to glorify its rulers. But the mat on the threshold of the main entry just didn’t fit. One doesn’t normally find such accessories in SE Asia in the first place, but especially not ones featuring four cute little doggie faces, and the English word, “Welcome” in one corner.

Laos is Quiet

At the temple on top of Pousi Hill in the center of Luang Prabang, a large crowd had gathered by our standards. For most of this first day in the country, we had had the wats to ourselves. Yet in spite of the mob, conversations were hushed, almost mumbled, as the sun set spectacularly behind the peaks on the opposite side of the Mekong River.

A steady breeze ruffled the trees as we followed the sun and headed down. Dusk had fallen by the time we reached the gate. The town felt as if it were yawning all at once.

I expected that when we stepped into the street, we would find empty sidewalks, and restaurants that had already finished serving. But instead we turned onto a sort of parade route, a narrow walkway lined with vendors of all ages and descriptions, mostly sitting on mats on the ground, surrounded by their wares, silently waiting next to a candle or a bare battery-powered light bulb.

It was off season, so the town wasn’t packed with visitors. Also, the early evening hour meant that peak shopping hours were still to come. Still, it seemed to me that there wasn’t an empty slot anywhere along the sidewalk or along the middle of the street to squeeze another salesperson. They were all entirely set up, their goods arranged in colorful, attractive patterns.

As we walked among them, I had the sense of being treated almost like visiting royalty, stepping slowly down a sort of red carpet of commerce. The most anyone said to us was, “Sabaidee.” The sounds I associate with markets in Thailand—boomboxes bumping, hawkers calling out “Good evening, sir,” TVs on in the background—were all absent.

Perpendicular to the market street, with its sarongs, t-shirts, hilltribe dolls, cotton pants, shoulder bags, wall hangings, and whatnot, was an alley. Its noises were a bit more familiar—lots of giggling and shouting among salespeople. Yet along the main drag, the merchants might just as easily have been worshiping or waiting to offer alms to monks. (Less than twelve hours later, we did just that along that same strip, surrounded by the same surreal silence). I wouldn’t have been surprised had some of the vendors suddenly prostrated themselves as we walked past.

Just to add to the general dreamlike quality of the scene, when we reached the end of the night market, and were waiting for everyone to be accounted for, I looked up at a handsome balcony attached to a colonial-era building. The sun had long since set, and the view from that balcony didn’t face anything especially scenic, so at first I was surprised to see three Westerners up there, apparently gesturing wildly toward some object in the distance. The longer I watched them, the more I could see that their gestures were really ritual bows, performed regularly and quickly, in time with a beat that I couldn’t hear. Then I figured it out—it was Friday night, the hour for the observant Jews of Luang Prabang to say “shabat shalom.”

Laos Through Thai Eyes

For a foreigner with no goals, surrounded by Thai friends, a recent package tour to Laos felt like the perfect trip: perfect pace, perfect itinerary, perfect price.

I’ve held off writing about it, maybe because I was afraid the magic might disappear if I put it down on paper. Our whirlwind tour, during a long weekend in May, took us from Vientiane to Luang Prabang and back again, via plane, boat, and minivan. The group included ten Thai work colleagues, a Lao guide, a Lao driver, and me.

Tourism Thai-style involves lots of photo opportunities. When we got back to the office and pooled all of our digital pictures, we had enough to nearly fill two CDs. Here are a few of the best (click them to enlarge them), along with some impressions film can’t capture.