Only tenuously related to the Yes album of the same name, widely considered the most navel-gazingly pretentious prog rock album ever recorded. (No, I will not attempt to relate the Shastric scriptures to Mayan prophecy. Maybe another time.) The Roger Dean cover, however, is awesome:
The other week I was back in Yucatan. It’s been six years. Not much has changed. A lone wind turbine has sprouted over Quintana Roo Highway 308 south of Cancún, and a dozen new all-inclusive resorts have elbowed out another few hundred thousand acres of coastal swamp, though you’d hardly know it from the road except for the twenty-foot white concrete faux-Mayan monoliths marking the entrances surrounded by landscaped agave and coconut palm. The real ruins are all still there, the big ones a little more harried maybe what with the approaching end of the world, the less impressive sharing the sun-baked empty stretches between hotels with more recent ruins, failed tourist traps abandoned a year or a decade ago, their pale dirt parking lots filling with trash like alluvial silt from the underground rivers.
The coastal reef, second largest in the world after the Great Barrier Reef, hasn’t recovered–it’s still all bleached and apocalyptic, like the ash-caked girders of a collapsed skyscraper a hundred miles long, an aqua-tinted desert broken only by occasional tiny, mind-blowingly colorful fish flitting in and out of gray-blue darknesses. If anything, it’s getting worse.
Still, the apocalypse feels just as far away (and just as close) as anywhere else I’ve been. Even Detroit. Even though the entire Yucatan Peninsula is so low-lying and flat it will likely be underwater as soon as Micronesia and Manhattan, and it’ll look even more like the Yes cover than it already does.
By the way, for those of you who haven’t seen it, a recently discovered Mayan mural at the Xultún site in northern Guatemala includes explicit references to dates after December 21, 2012. So the world isn’t ending. Which means we’re going to have to live with what we do to it.
But I’m not here to preach about the end. I’ve done that enough. I’m here to share a bit of the beauty before it’s gone.
These are not the pictures I would have taken of Tulum in 2006. Maybe the difference says something about the person I’ve become in the years between. Because the place hasn’t changed. Salt wind and time have done what they can, at least for now. And all of Antarctica would have to melt before the Gulf will make it up those cliffs. Who knows, maybe that’s part of why they built it here.
One of three offeratory altars on the cliff below the Templo del Viento–not unlike another shrine I found years ago, ten miles to the north. The coastal Maya had a lot to thank the sea god for, not least the reef, which made a natural breakwater for hundreds of miles along the shore, allowing easy trade between cities.
Masked face, Templo de las Pinturas, southwest corner. One of the last Mayan structures built before the conquest and the best preserved at Tulum. This is the building with the seven-fingered red handprints I so lamented not having photographed last time. But you’ve seen those.
I’d love to know who this mask depicts—Itzamna? Don’t have the research at hand, unfortunately.
East face of the Castillo, the large central pyramid, the side that faces the cliffs. The architectural style at Tulum is unique…of course that’s true of every Maya site, and Tulum benefited from trade with both the Mexica (the Aztecs) and the Toltec-influenced Maya of Chíchen Itzá…but the skewed lines of the temples here are different from either. There are no right angles anywhere, hardly even any straight lines. It’s like something out of…Dr. Seuss, crossed with Lovecraft. It’s awesome. The first time I was here I didn’t appreciate it—after the mathematical, acoustical perfection of the Castillo at Chíchen Itzá, it seemed sloppy, a sign of a civilization in decline. This time, after gawking at those beautiful masks for awhile, then at the Templo del Dios Descendente,
I realized it could be something else: a sign of a civilization passing its peak, developing into decadence, developing a higher (wierder) aesthetics. This curve…it echoes the sea, obviously. All of Tulum is about the sea, really: the location atop the cliffs like a lighthouse, the protected beach below, the temples to the morning star. The sea was their livelihood, their garden, their connection to the outside world.
The curve of the Castillo wall distills that to one calligraphic gesture, a sweep of a brush.