Unsung culture: a reclamation

The headline above says “a reclamation,” by which I mean a reclaiming of bits of culture that have been acknowledged or acclaimed yet buried beneath indifference, ignorance or more accessible cultural detritus.

unsung |ˌənˈsəNG|not celebrated or praised; unacknowledged.

From food to film, I’m highlighting the forgotten, the forsaken and the downright dissed, retaining due respect to exceptional cultural finds.

These are the unsung. Some of them are the merely undersung — things that either had their day in the sun and were left for dead, or never got the plaudits they deserved.

Any culture buff worth his “House of Thrones” or “Game of Cards” knows where the good stuff is. So accept this as Quality Unsung Stuff 101, a nudge, some tips, a torch alighting on the unjustly obscure.

Film

Quick: Have you seen “Sweet Smell of Success” (1957), “At Close Range” (1986), “Naked” (1993), “The Dead Zone” (1983) or “Tangerine” (2015) ? If not, then you have some serious, very pleasurable, movie viewing in store.

But I’m not here to discuss those under-sung films, which are largely known and well-regarded. From a sea of ignored or lost titles, I’ve tapped three under-appreciated, fairly unseen movies, the minimalist masterworks “Locke” (2014), “Chop Shop” (2007) and “Wendy and Lucy” (2009).

 * “Locke” — A desperate everyman (the brilliantly intense Tom Hardy) is in the driver’s seat, literally, for the movie’s entire 85 minutes. Yes, he’s driving the whole time. The camera never leaves him as he negotiates by smart phone the personal tumults on the winding highway of life. It sounds grueling, squirmily static. It’s not. It’s gripping, utterly.

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* “Chop Shop” — A small-scale drama about an orphan boy in Queens who works for an auto chop shop and how he deals with suspicions that his teenage sister is dabbling in prostitution. The writer-director, minimalist maestro Ramin Bahrani, is, like the neo-realists before him, a steadfast humanist, and this fascinating slice of grubby life brims with heart — and heartache.

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* “Wendy and Lucy” —  A girl and her dog. There you have it in Kelly Reichardt’s grim but soulful tale of a homeless woman (Michelle Williams) and her faithful hound Lucy as they get by as best they can. Lucy gets lost. Drama unfurls. It’s sad, funny, and inexorably stirring. The dog, a natural, is something special. (See my full review here.)

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Pop Music

Alt-rock’s embarrassment of riches in the ‘90s — Nirvana, Smashing Pumpkins, Breeders, Soundgarden, Radiohead, PJ Harvey, Beck — birthed its share of one-hit/no-hit wonders, from Spin Doctors to Blind Melon.

Somewhere in between it all was Jellyfish, a Bay Area power-pop band that tossed the harmonic velcro hooks of the Beatles, Beach Boys, Queen, ELO, Supertramp, Cheap Trick and even, gulp, the Partridge Family into a bottle, shook it up and let it fizz all over the place. It was poppy, heady psychedelic bliss, both dreamy and driving. It sounded like Skittles.

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Jellyfish

On only two albums, “Bellybutton” and “Spilt Milk,” the woolly quartet confected soaring, careening, crashing four-part harmonies over surgical melodies and thwumping beats. The songs were so catchy and joyous that each one sounded like a hit from a bygone time. Band members looked like a Haight Street circus and their shows, like their music, were carnivalesque.

“Is Jellyfish the great lost band of the 90s?” a music site recently wondered. Decidedly, yes. The band was soon elbowed out by the grunge assault, eclipsed by angst, drugs and scratchy flannel — and some of the best music of the past 25 years.

An obvious Jellyfish forebear, Supertramp is hardly an unsung pop group. It sold millions of its 1979 album “Breakfast in America,” a masterpiece of jangly, sophisticated, hyper-harmonic rock that spawned four chart-topping hits like “The Logical Song” and “Take the Long Way Home.”

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Supertramp’s 1979 smash “Breakfast in America,” which seems all but forgotten.

But where’s that record now? FM radio and the general public seem to have forgotten it, paying excessive deference to the Billy Joels and Led Zeppelins. If not unsung, “Breakfast in America” is an example of the under-sung, a victim of cultural amnesia. Stream it sometime. The pop perfection you’ll hear is kind of overwhelming.

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Food

For food tourists and inveterate foodies, it’s by now hackneyed to actively consult career food adventurer Anthony Bourdain on where to go and what to eat when you get there. But that’s just what I did before a recent London trip. Watching one of his shows in which he prowls London for the tastiest, highest quality dishes, I took notes and underlined what he called his favorite plate — his “death row” meal — the Roast Bone Marrow and Parsley Salad at St. John in the East End.

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Though you can find it on many fine-dining menus — it was rather trendy a few years ago — bone marrow remains an unsung specialty that repels the squeamish and excites daredevil palates. At St. John the bone segments were hot, the oily, meaty marrow even hotter. There’s a special way to eat marrow, and the server painstakingly tells you how. With a thin scooper, you scrape out the marrow and, like brown and pink butter, spread it on crusty bread, top with chunky salt granules and parsley sprigs. Removing the marrow isn’t always easy. Eating the delicious protein is.

Japanese ramen, that soupy, slurpy noodle bowl, is a longtime favorite, but lately I’ve been almost exclusively forgoing the broth, opting for liquid-free ramen called mazeman, which still, despite growing popularity, hovers in the sphere of the unsung yummy. I rarely see people ordering it at my go-to ramen spot, safely sticking to the traditional hot soup.

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Without broth, ramen is like a bowl of zesty, hearty pasta, thick, seasoned noodles topped by a medley of meats, veggies and a shiny soft-boiled egg. You mix it all up and an umami tsunami emerges, dangling between chopsticks.

The dish is lionized in season two of the fine Netflix comedy “Master of None,” when Dev (Aziz Ansari) has it for the first time. After his second bite, he exclaims, “You know what? Fuck broth!” I must concur.

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Books

“Stoner” is a stunner. John Williams’ 1965 novel, tracing the wearied footsteps of professor William Stoner, was reissued in 2006, and, despite a surge of attention, remains, alas, relegated below the unsung heading.

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A shame, because the writing is surpassingly exquisite, the characters and place crackling with verisimilitude, the emotional dividends reverberant. Though Stoner is quite the sad sack, locked in an unsatisfying job, fissured marriage and the shackles of a deep existential malaise, the book is too splendid to be depressing.

Also unsung: Nicholson Baker’s ridiculously cerebral satire of the everyday “The Mezzanine” — something of a cult item — and Richard Yates’ devastating marital drama “Revolutionary Road, which, despite being a Leonardo DiCaprio film, seems woefully overlooked as literature.

And, as I’ve mentioned a few times here, seek out Eve Babitz, especially her zesty ’70s novels, freshly reissued, “Eve’s Hollywood” and “Sex and Rage.”

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Cities

It seems only elite travel scribes and savvy globe-trekkers talk much about the resplendence of Istanbul, one of my very top cities, a paradisiacal world of ancient mosques and prayer-swirling minarets, exotic eats, riotous bazaars, deep-dyed tradition, and some of the kindest people I’ve ever met.

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Straddling the best of Europe and Asia, Istanbul’s distinctly Middle Eastern tang and cobblestoney Old Europe patina is singular. It has seas and waterways and tall hills cluttered with colorful buildings, both old and breathtakingly modern. The whole city braids the new and the historic, and the result is the exhilarating essence of truly transporting travel.

If you can blot out the hypothetical perils and hypocritical politics, Jerusalem is a delirious fount of history and culture. Nudge aside the vexing fanaticism infesting the Old City — actually, spectacles of devotion, like a Christian pilgrim hauling a giant cross down the Via Dolorosa, are pretty enthralling — and suddenly you’re in a Disneyland of the devoted.

The Western Wall, Temple Mount, Mount of Olives, East Jerusalem — it’s all utmost fascination, even for this unyielding agnostic. Short bus rides away are Masada, the Dead Sea and Bethlehem. The volume of history, religion and culture is gobsmacking. I’m going back.

For unhinged nightlife, try suave, seaside Beirut, where taxis cram narrow, bar-riddled streets and well-attired revelers roar and carouse. During the seven nights I was there, I hit both bustling, elbow-jostling bars and cozy cafes. The partiers were friendly, the drinks strong and the troubled city’s old sobriquet, “Paris of the Middle East,” seemed fitting.

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TV

Many of you will think I’m nuts for this one, but I really do believe Chris Elliot’s wacko ’90s sitcom “Get a Life” was underrated, unloved, misunderstood and, of course, completely unsung. I also believe it was a giddy Dadaist exhibition of minor genius. All right — full-on genius.

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Elliot — balding, tubby, irretrievably nerdy and awkward (and weird as hell) — played Chris Peterson, a 30-year-old paperboy who lived above his parents’ house. He had a best friend, went on the occasional, entirely improbable date, took his first driver’s test, built a submarine in his bathtub and nurtured a mordant enmity with his best friend’s wife founded on hilarious fusillades of sarcasm.

The show, which didn’t last long on Fox (surprise!), operated on an alien wavelength that either annoyed or enraged viewers who didn’t get it. There was a dash of the Marx Brothers’ anarchic DNA in the show’s ambient absurdism. But mostly it was Elliot’s screwily non-sequitur sense of humor that shaped “Get a Life.” Charlie Kaufman (“Being John Malkovich,” etc.) was a contributing writer on the program, if that helps explain things.

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And because it was so good, it was naturally cancelled after 12 episodes, in 2000, only to mushroom into a cherished cult darling that reliably makes magazines’ “best TV shows ever” lists. Unsung? This one’s pretty sung.

 

Summer’s almost gone.Yes!

“Throughout August, with almost sadistic joy, I watch summer slowly die.” — musician-poet Henry Rollins

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Today, in the first week of August, my niece was rattling off why fall is her favorite season and she slipped into this refrain:

“No bugs! No bugs! No bugs!”

I almost applauded. Fall is my favorite season, too (winter’s a close second, or maybe they’re tied). I can’t do summer. I don’t do summer. August is the cruelest month — it spews volcanic heat, it seems to last an eternity — but when it arrives I count the days of summer’s final steamy breaths. September is around the bend. It won’t be long till I can slip on a jacket. The anticipation’s killing me.

In summer the heat’s too murderous, the days are too long and the pants too short. We know this. But some of us actually like this. Everyone chirps about how nice it is outside at a torrid 88 degrees. They start eating outdoors, drinking beer in blazing sunlight. I’m vampiric. There are outdoorsy people, then there’s me. I’m indoorsy. “Sun and fun” don’t compute. (One word: barbecues.) Like a possum, I’m a nocturnal creature. I crave the dark. Now, where’s the AC?

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Not a good look.

No one likes humidity, but that’s one of the joyous gifts of summertime. I have pretty curly hair that swells and swirls in the humid soup, until it shares attributes with the protagonist in “Eraserhead.” Humidity is the devil’s flatulence.

I’d rather shiver than sweat. I lived for years in Texas, where summer lasts 10 months out of the year and sweating is a way of life. It’s one of those places where when you sit outside at a bar you get soaked by misters. Sweat and mist. Bring a towel, slicker and umbrella.

I travel a lot but never during the summer — the rigged prices, the crowds, the heat exacerbated by global warming. (Those scourging heat waves in, of all places, London and Paris are a scandal.) Tropical “paradises” are off the table, though I hold dear my spring and fall trips to Vietnam, Thailand, Hong Kong and India, epicenters of perspiration. I was positively soaked-through the whole time during all of them. From India I flew to Nepal just to cool off near the Himalayas and breathe relatively fresher mountain air. In Thailand, I got sun poisoning. That’s a long, humiliating story, featuring one beach, eight hours and zero sunscreen. (The upshot: I could barely move my swollen legs and I had to drink two gallons of water a day.)

UnknownI thrive on fall and winter’s cooler temperatures and shorter light cycle. Long sleeves and jeans happily return. Kids go back to school. Arts seasons commence and prestige pictures fill movie screens. (The monstrous snowfall, you say? I can’t hear you.)

What about blameless spring, with its temperate climes and floral efflorescence? Careful, spring can get you too. That’s why it’s my second least favorite season, with all of its pesky augurs of summer: rising temperatures, plants and pollen, picnics, longer days, and, of course, those bugs, bugs, bugs.

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Coming soon.

When summer goes skedaddle, these things go with it: outdoor music festivals, flip-flops, exposed hairy legs, beach outings, tank-tops, camping, sunburn, restaurant patios, body odor, baseball, “The Emoji Movie,” hidden tattoos, small-town parades, parasails, Toyota Summer Sales Events, rattling, weeping window ACs, people named Jasmine and Tyler.

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Halloween in Sevilla.

Summer’s dragon’s fire will soon be extinguished by the crisp gusts of autumn. Turning leaves, shorter days, harvest moons, soup, fall TV, Halloween. Halloween is a big one. It’s way up there on my niece’s list of fall glories. (Since I travel so much in autumn, I’ve done Halloween in London, Paris, Beirut, Ho Chi Minh City, Kathmandu and Sevilla. Each city bumbles the American holiday. For now, it’s strictly amateur hour.)

And yet there are six calendar weeks left of the warm stuff, so maybe I’m getting ahead of myself. But I don’t think so. August is the last hurrah, the season’s dying gasp, and it’s here and, with sunglasses tucked away, we are ticking off the days, closely, carefully, ecstatically.

Picturing people, peripatetically

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Harajuku girl, Tokyo, Japan.

When I travel abroad, once or twice a year, I keep my digital point-and-shoot camera in my outer coat pocket or untangled in my messenger bag, always at the ready, grabbable, right there for the right shot.

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Beggar girl, Old Dehli, India.

I’m something of a shutterbug, a total amateur driven by the blameless enthusiasm of a self-taught neophyte, toting a picture-taking toy. But I learn fast, and one of the early lessons in my journeys was how dull so many of my photos were. They were dry, clichéd, postcardy, filled with stolid buildings and objects and places you’re supposed to photograph just because you’re there and you want indelible proof that you did indeed behold the Mount of Olives, Ghiberti’s bronze doors or the Hanoi Hilton.

They weren’t awful, but they were lifeless, generic. What they missed were people and faces — humanity. I almost always travel solo, and, anyway, I’m not a big fan of pictures of friends and family standing robotically in front of oceanfronts and monuments.

So I started seeking locals for my shots. The approach not only improved my photographs but also improved my travels. Suddenly I was paying more attention to the daily activities of people, their work, play, drudgery and joys. Observing residents in action literally put a face on a place and deepened the cultural experience.

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Religious man, Jaipur, India.

Sometimes I “sneak” photos of people engaged in everyday life — men bathing in the Ganges in Varanasi, India; a man selling prayer beads to a customer in Istanbul; a student bicycling in Beijing — yet as a general rule I approach subjects who have a striking face or are wearing an arresting outfit or are doing something vaguely exotic and ask permission to take their picture.

This requires a spot of nerve, especially for an introvert like me. But I’ve found that in many places, if you’re courteous, low-key and smiling, people are receptive, even eager.

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Girl, Istanbul, Turkey.

I’ve had great success in Asian nations, where residents display a friendly excitement and curiosity toward the dopey American who wants their photo. Children in developing countries are especially agreeable to having their picture taken, mugging, posing, snatching at the camera to see their image. (Though, with both young and old, you should be prepared to drop a couple of coins into outstretched hands when you’re through.)

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Buddhist monk, Angkor Wat, Cambodia.

This is a selection of portraits I’ve taken around the world. They are the simplest of snapshots done with basic consumer digital cameras, not phones. They are carefully framed, yet quickly shot. I take only one picture of my subjects as a matter of speed and courtesy. There are no re-dos.

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Old Delhi, India.

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New Delhi, India.

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Hanoi, Vietnam.

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Siem Reap, Cambodia.

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Boys, Istanbul.

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Kids and cow, New Delhi.

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Smoking woman, Istanbul.

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Udaipur, India.

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Praying man, Beirut, Lebanon.

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Udaipur, India.

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Istanbul.

Drinking and striving

A Cucumber Rickey? That’s a thing?

It is a thing, evidently, an alcoholic thing, a thing that tastes like a wonderful thing.

I recently discovered the Cucumber Rickey (yes, I now know the drink’s been around since Tutankhamun) at the Montreal bar La Distillerie, a packed, ultra-trendy but relievedly casual spot that specializes in inspired, palate-thrilling cocktails without the pretense and rigamarole of highfalutin mixology, and does so at gulpingly cheap prices. My Cucumber Rickey — Bombay Sapphire gin, a truckload of fresh cucumbers, lime juice, simple syrup, and orange and mandarin bitters — was $7.50 in U.S dollars. Another, please.

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Gin, cukes, paradise.

A poor specimen of  a cocktail connoisseur — a kicky gin and tonic does me fine — I’m still keenly curious about and eager to try new alcoholic concoctions. I regret I didn’t have time to sample more from La Distellirie’s festive menu, which boasts 27 specialty drinks, though I did try the toothsome Mohawk — Bombay Sapphire gin, peach purée, lemon juice, elderflower cordial, homemade jasmine tea syrup, soda water — a fragrant sweet and sour pleasure. (What in the hell is elderflower cordial?)

That menu is something else, a disarming, user-friendly catalog tailored to individual thirsts. For instance, if you’re in the mood for a “Herbal, Fresh, Refreshing” drink you can choose from four cocktails, including the ubiquitous Mojito, as well as my dear Cucumber Rickey and Mohawk.

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the Mohawk — sweet, sour, sublime

If you require a “Robust-Intense Powerful Concentrated” drink, select from the Mad Man, Rollercoaster and three others. A quartet of neon-tinged beverages with long French names are located in the “Accessible, Delicate, Light-Soft” category. And so on. There are six categories total.

La Distellirie has three locations in Montreal. I was at the smallest and most popular spot — got there early, beat the crush — in the city’s Latin Quarter (make that Quartier-Latin) on Rue Ontario East. Two doors down from La Distillerie is Pub Quartier-Latin, a ridiculously friendly, semi-dive bar, with a cheery staff, cheap drinks, heaping greasy food and reliable WiFi. I hung out there a lot, writing on my laptop and sipping passable gin and tonics.

My drinking preferences have evolved over time. Fifteen years ago I’d keep a 12-pack of Rolling Rock in my fridge and stock no distilled spirits. A few years later I always had cheap Yellowtail merlot on hand, but still no hard booze, which I drank almost entirely at bars (mostly, blush, vodka cranberries). My beer and wine period seems to have lasted forever, and my liquor sophistication remained downright uncivilized.

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Where zesty cocktails are found in Montreal’s Latin Quarter.

Until, at last, my brother introduced me to the nuanced grandeur of Scotch — the peat, smoke, vanilla, grass, fruit, even hay — all those swirling notes that begin in the nostrils and finish in a slightly seared gullet. He enlightened me by pouring The Glenlivet, Laphroaig and Talisker, single malts reserved for special occasions. (Our everyday Scotch is the smooth, blended, wholly unpretentious Dewar’s White Label.)

We sample gins for the best G&T’s, as we call them, and have graduated from Schweppes to Fever-Tree premium tonic. Our favorite gin to date: The Botanist. Least favorite: New Amsterdam. (Only later did we learn it was distilled in Modesto, Calif., explaining scads.) We quickly realized that Gordon’s London Dry beats out Bombay Sapphire in taste and price.

We make easy Scotch and sodas, the occasional Cape Cod, and try out new ryes and bourbons, Woodford Reserve being a standout.

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My brother’s dreaded Negroni.

As I said before, I’m a cocktail dilettante. My brother’s the aspiring mixologist, who, like a driven chef, derives myriad satisfactions from confecting a complex libation, step by step, following a strict recipe. He’s especially partial to Old Fashioneds and the bitter, face-scrunching Negroni, which offers a delightful finish of ear wax.

When done creating, he always clinks glasses and often smacks his lips after the first sip of success.

He’s particular about his brands and demands his ice cubes just so. This self-anointed beverage snob, a real liquid dandy, won’t drink at any bar that sprays its tonic from a push-button nozzle, or soda gun. That’s commitment.

I don’t care if they fire my tonic out of a gun. Yet I do crave quality, like the tasty bracers at La Distellerie, which take skill and a little heart. I make modest drinks as best I can — my G&Ts, when I slice up some fresh fruit, are really not bad — and I like to think I could pull off my own Mohawk or Cucumber Rickey. All that, even if I do pour my wine from a cardboard box.

 

Gross anatomy: the marvelously macabre Mütter Museum

Pathologies are my thing. Twisted limbs. Fleshy protrusions. Faces swathed in nappy hair, Chewbacca-like. Conjoined twins. Horns curling from foreheads. Extra heads — those are always fun.

I don’t revel in the maladies of others; I revel in the Other. People are fascinating. People are more fascinating with three legs.

This foible of mine, this adorable morbidity, came early on, delighting my parents, who stood back, weighed adoption strategies and ever so gingerly catered to my wiggier curiosities. For my eighth birthday I requested and received the illustrated book “Very Special People: The Struggles, Loves and Triumphs of Human Oddities.” Since then, many have believed I belong in this book.

These outré fascinations have grown to include death and the dead, and have led me to abnormal forays in my frequent travels. There I was at the Royal London Hospital, sleuthing with the grace and aptitude of Inspector Clouseau for the skeleton of Joseph Merrick, aka the Elephant Man. (Mission: failed.) At the Golders Green Crematorium in London I witnessed roaring ovens and jars of fresh ashes, some heartbreakingly labeled “baby.”

There was the blech-fest of the Meguro Parasitological Museum in Tokyo, where all squirm and squiggle of microbe-y monster were displayed in clear, fluid-filled cases, sometimes feasting on animal innards.

At the Museum of Forensic Medicine in Bangkok, medical students dissecting cadavers giggled when they saw me spying in the doorway, pointing my camera. I repaired upstairs to the musty exhibit of bottled fetuses, crumbling bones and full-length cadavers floating in dishwater liquid like humongous pickles.

My two noble efforts to see the freak show at Coney Island were thwarted by poor timing. Yanking on the bearded lady’s follicular abundance will have to wait.

Yet, for a constant traveler of my tastes and temperament, the Taj Mahal of the morbid has long been the famed Mütter Museum, a repository of anatomical horrors and shrine to primitive, rusty-tooled medicine in the College of Physicians of Philadelphia. It is where, at last, after years gazing at its web site, I recently visited. Disappointment was not in the cards.

Part edifying scientific journey, part powerful appetite suppressant, the Mütter is smack in Philly’s city center, a brisk walk from the Philadelphia Museum of Art. Inside, once through the deceptively donnish foyer, the museum is cool and musty, packed with old wood and glass cases revealing the historically pertinent — Florence Nightingale’s sewing kit — and the surgically slimy — a mammary tumor afloat in liquid, resembling a buttery dessert.

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Human skulls — some intact, some cracked or bullet-pocked — checker an entire wall, each tagged with the cause of death, be it hanging, suicide or disease. The brownish heads came to the Mütter from Central and Eastern Europe in 1874, a major acquisition for the medical institute, which boasts 62,000 visitors a year, many of them children on school field trips. (I want to go to their school.)

Founded in 1849 and named 10 years later for surgery professor Thomas Dent Mütter, the museum throws open in graphic, naturalistic detail the ranging possibilities of the human body, and the havoc that can befall it from within and without. Diseases, injuries, birth defects — it’s an elaborate temple to the slings and arrows of outrageous fortune.

Much of it is not pretty. This is a given. It can be ghastly, grisly, unimaginable. (The “wet specimens” section is home to a jar labeled “Moist Gangrene of the Hand.” In it sits a human hand rotted black, the skin tattered like a torn leather glove, bones poking from the wrist.)

But to merely recoil at the exhibits is to shut out a world of contemplation, and to allow an emotional reflex to override a rare opportunity for understanding.

Not that emotions wither in the objective, secular hothouse of science and medicine. We are human, after all. And the museum unpeels the tangible layers of our humanness, down to the bones in many cases.

Strolling the more than 3,500 square feet of tidy halls and floors, I experienced kaleidoscopic feelings, be it excitement or queasiness or, in the presence of deformed human fetuses, such as the child with “46 twists in the umbilical cord,” great sadness at life so cruelly muffled before it even whimpered.

The upward of 1,700 sticky specimens — a sliver of John Wilkes Booth’s thorax; a full skeleton encrusted in its owner’s ossified sinew and organs — and 20,000 objects — an archaic penile syringe, leech jar and bleeding bowl — demand gawkers to question our flesh-and-blood frailty and peer across the accepted borders of what constitutes normalcy.

Some guests will ponder God’s inscrutable will and the crap-shoot of birth; others might mull our fleshly finiteness, staring at them at every turn, and thank their lucky stars.

“The museum challenges visitors in a way that few American museums do,” says Dick Levinson, Mütter spokesman. “It’s impossible to visit here without confronting issues of sickness, mortality and human sexuality. We’re the museum young people love because we don’t preach, we don’t sugarcoat and we have no agenda except for allowing the voice of science to speak.”

That voice speaks loudly, but with fitting respect and as much dignity as a naked cadaver can possess. There’s humor in the macabre, as horror movies show, so a giggle of shock or a throwaway quip (“Hey, Tom, that skull has your cheekbones”) won’t ruffle the contemplative oxygen of the galleries. It eases the mood. Remember, school kids come here. By now, them bones and body parts understand the various responses of the living to the so forthrightly dead.

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Some of us get giddier than others at such places. I was most thrilled that the autopsy of the original Siamese twins, Chang and Eng Bunker, was performed at the Mütter in the 1870s, and that the museum kept some nifty souvenirs for display. I examined the plaster cast of the twins’ bound torsos and, below it, their connected liver, a chalky, scabby island bobbing in a pan of fluid.

That’s an island this world traveler and seeker of the strange calls one thing: paradise.