The Adventures of Maite and Kepa: Part 178

“That was… weird,” said Kepa, after Amalur had vanished. He still sat on the edge of the bed, wrapped in the sheet. Maite sat next to him, feeling sticky from her run and wanting nothing more than a shower. But she sensed that he needed to talk so she remained by his side.

The Adventures of Maite and Kepa is a weekly serial. While it is a work of fiction, it has elements from both my own experiences and stories I’ve heard from various people. The characters, while in some cases inspired by real people, aren’t directly modeled on anyone in particular. I expect there will be inconsistencies and factual errors. I don’t know where it is going, and I’ll probably forget where it’s been. Why am I doing this? To give me an excuse and a deadline for some creative writing and because I thought people might enjoy it. Gozatu!

“It was certainly unexpected,” she added. “But, I have to say that I feel almost infinitely better having some basic sense of how these zatiak and this magic work.”

“I’m just confused,” said Kepa as if he hadn’t really heard her. “If all of this is connected to Amalur, why didn’t Marina tell us? Why the secret? Are we, in the end, doing all of this for Amalur or are we doing it for Marina?”

“That’s a good question,” replied Maite as she stood. She stared out the window of their apartment. She could see Mount Urgell rising nearby, though the statue of Christ that adorned the top was hidden from her view. “And what about de Lancre? I’m starting to think there is more to him than just an overzealous inquisitor.”

Kepa nodded. “None of this makes sense. But I’m not sure how we get answers.”

“Amalur isn’t going to help us,” scoffed Maite. “All she does is speak in riddles.”

She sighed as she plopped down next to Kepa again. She poked him in the shoulder. “At least I know what you are.”

Kepa smiled. “And what is that exactly?”

With a mischievous smile, Maite lifted the sheet that covered Kepa and peaked underneath.

It was approaching late afternoon. Maite and Kepa were wandering the Parte Vieja, taking in the different sights and sounds. As was often the case, the old part of town was filled with tourists. Most looked out of place, either by how they dressed or their facial features. Once in a while Maite saw someone she suspected had Basque ancestry. She wondered if some of them might be related to those old sheepherders they had encountered in Bakersfield, the distant grandson or granddaughter of the men and women who she got to know in the boarding house. It seemed so long ago, and in some ways, it really was. More than a century in their lives. But, for her, it wasn’t even a year ago. She winced as the memory of Kepa being shot flashed through her mind. She shook her head and pointed to a side alley.

“Let’s get a drink,” she said. 

The pub was quiet, lying just slightly off the beaten path that the pintxo guides herded the tourists along. Maite went up to the bar and ordered a kalitxiki for herself and a zurito for Kepa. 

“What now?” asked Kepa as Maite returned with their drinks. 

“I think we involve Amalur as much as we can in this,” replied Maite. “You know how to summon her now. We can always pull her in whenever we want.”

“I suspect she might start ignoring us if we do it too much.”

“Perhaps, but she seems to have a vested interest in the zatiak. I think she will help as she can.”

“Why doesn’t she simply collect the zatiak herself?” mused Kepa. “Why have us chase through time to collect them? I’d think she would be so much more effective.”

Maite shrugged. “Maybe she can’t for some reason? Maybe she can’t enter the bubbles?”

“If she can’t enter the bubbles, how can we summon her from inside one?”

“Oh,” replied Maite, realizing the contradiction in what she had just suggested. “I guess I don’t know. Maybe we can’t.”

“This is all so frustrating,” said Kepa as he took a sip of his beer. “It’s so complicated. It really doesn’t make any sense.”

“For the moment, all we can do is push forward, keep looking for zatiak when we get the chance, and hope that with time we begin to understand what is going on. We know much more now than we did before, right?”

Kepa nodded. “That’s true.” He paused as he took another sip. “Should we tell Marina that we know about Amalur?”

Maite shook her head. “Not yet. I think we are better off keeping that to ourselves for now.”

Kepa nodded again as he finished his beer.

If you get this post via email, the return-to address goes no where, so please write blas@buber.net if you want to get in touch with me.

Basque Fact of the Week: Bilbo’s Iron Ring, a Defense that Failed

“The best-laid plans of mice and men…” Well, one can argue that Bilbo’s Iron Ring, meant to protect the city from the advancing forces of Franco, wasn’t even the best of plans. Fraught with poor and antiquated ideas, it was then sabotaged as the main designer switched sides. In the end, the Iron Ring did little to delay the advance or to protect the city.

Part of the fortifications that comprised Bilbo’s Iron Ring. Image found at Gogora.
  • The Iron Ring, or Cinturón de Hierro in Spanish and Bilboko Burdin Hesia in Basque, was developed by the Basque government during the Spanish Civil War. The network of tunnels and trenches was meant to be a defense against the incoming fascist forces. This network consisted of two rings that was supported by artillery. Construction began on October 8, 1936, with nearly 11,000 workers. The first fortifications were built in places around Bilbo including Urduliz, Artebacarra, Miravalles, Sodupe, Ciérvana, Lujua, and Lauquiniz. The total length of the network was some 80 kilometers, or about 50 miles.
  • However, the Iron Ring was plagued with challenges from the beginning. The idea of trench warfare, prevalent during the First World War, was already antiquated by the time the Spanish Civil War started. The whole network was poorly designed and didn’t leverage any natural defense points. It was easily spotted from the air. Further, the fortifications were designed to be manned and held by some 70,000 troops, but in the end only 30,000 were available.
  • Even more devastatingly, the engineer that designed the network, Alejandro Goicoechea, crossed lines in February 1937. Born in Elorrio in 1895, Goicoechea was a locomotive engineer before, and after, the war. He took with him plans for the Iron Ring that detailed its construction and the placement of all of those tunnels and trenches. To be fair, the fascist avian forces had already photographed the entire construction effort, so it isn’t clear that Goicoechea gave them much they didn’t already know. In any case, when the fascist forces did arrive, during the Battle of Bilbo, the fortifications fell within 2 days.
  • Goicoechea was actually the second engineer placed in charge of building the Iron Ring. Before him, there was Pablo Murga. But Murga, who was known to have sympathies with the fascist, had written detailed plans about the fortifications that were found with the detained consul of Austria-Hungary, Wilhelm Wakonigg. Murga was removed from the project and executed on November 19, 1936.
  • Today, you can walk along and explore some of the remnants of the fortifications. Archeologists are also trying to excavate the tunnels. Lately, police have had to deal with thieves that plunder artifacts from the Iron Ring.

Primary sources: Bilbao’s Iron Ring, Wikipedia; El Cinturón de Hierro by Imanol Villa, El Correo; Cinturón de Hierro de Bilbao, Wikipedia

The Adventures of Maite and Kepa: Part 177

Maite and Kepa sat there, staring dumbly at Amalur as she continued to morph between her three forms. Kepa couldn’t quite tell if they were three distinct personalities or just different variations of the same person. No, person wasn’t quite right. You didn’t call an ancient earth goddess a person. But, he wasn’t quite sure what to call her. Goddess was probably the best thing, now that he thought about it.

The Adventures of Maite and Kepa is a weekly serial. While it is a work of fiction, it has elements from both my own experiences and stories I’ve heard from various people. The characters, while in some cases inspired by real people, aren’t directly modeled on anyone in particular. I expect there will be inconsistencies and factual errors. I don’t know where it is going, and I’ll probably forget where it’s been. Why am I doing this? To give me an excuse and a deadline for some creative writing and because I thought people might enjoy it. Gozatu!

“Goddesses,” he began.

Amalur, appearing now as a composite of her three forms that some how both completely confused his brain but was perhaps the most beautiful thing he had ever seen, nodded her head down toward him, as if acknowledging him.

“Bai,” he stuttered before continuing. “What happens to the people when the bubbles burst?”

A flash of sadness seemed to ripple across Amalur’s face before it regained its stoic composure.

“They are simply gone,” she answered.

“Erased from existence?” asked Kepa horrified.

Amalur floated closer to him and touched his forehead. “Some still exist, here.”

“Like Latxe,” muttered Kepa, a tear welling in his eye.

Maite brushed aside the confused feelings of sympathy and jealousy she felt at the mention of Latxe’s name as she turned to Amalur. “Who is de Lancre? Who is he, really?”

Amalur feigned confusion. “What do you mean? He is de Lancre, of course.”

“Ez, ez,” replied Maite, shaking her head. “He isn’t just another man, there is something more there. What is it?”

Amalur sighed as her formed morphed into that of Ilargia, the goddess of the moon. “Something more?” her icy voice repeated, sending a chill down Maite’s spine. “Perhaps, or perhaps he is all the evil of humankind personified.”

Maite shook her head. “There is no good nor evil. Just humans making bad choices, or selfish choices.”

Eguzki’s radiance filled the room as she shifted form again. Maite had to turn away as the brightness grew with Eguzki’s smile. “Can that not be a definition of evil?”

Maite threw her hands up in frustration. “Fine, be all cryptic with your answers.” She folded her arms as she sat on the bed, pouting.

“What happens when we collect all of the zatiak?” asked Kepa.

“You cannot,” replied Amalur, this time, appearing in a new form, an elderly amuma with a sad visage. “After you count the stars in the sky, the blades of grass on the earth, and the grains of sand on the coast, there are still more zatiak.”

With that answer, Amalur faded and vanished from the room.

If you get this post via email, the return-to address goes no where, so please write blas@buber.net if you want to get in touch with me.

Basque Fact of the Week: Pedro de Axular, the Man and the Myth

There are some people that become larger than life, who take on new roles in the popular imagination because of their accomplishment and become legendary characters in their own right. Axular is one such person. A priest who served many years in the Lapurdi town of Sara, he became mythic, the protagonist of local legends. Most of the time, we lose the connection between the myth and reality, but in this case, we know a bit more…

Imaginary portrait of Axular, drawing by Jose Eizagirre in Aiestaran. Image from Wikipedia.
  • Pedro de Aguerre y Azpilicueta was born in 1556 in Urdax (Nafarroa) in the house for which he was known, Axular. Little is known about his early life. He likely attended school at the local monastery of San Salvador, founded in the ninth century. He later studied at the University of Salamanca. We don’t know what he studied but we know his knowledge was extensive, based on his writings.
  • He was ordained a subdeacon in Pamplona/Iruña in 1584 when he was 28 years old. After several years bouncing between different posts, he became the parish priest of the village of Sara in Lapurdi in 1600. Another priest disputed his appointment, arguing he deserved it more and that Axular was a foreigner but eventually, with the favor of Henry IV, King of France and Nafarroa, Axular was able to maintain the position.
  • He remained in Sara until his death in 1644 at the age of 88. He created an environment in which religious debate flourished and he was also involved in efforts to use the Basque language to reconvert Christians.
  • Perhaps his single greatest achievement is his work Gero (Later). Printed in Bordeaux the year before he died, Gero is considered one of the greatest literary works in Basque. Written in the dialect of Lapurdi, it is known throughout the Basque Country. The work, comprised of sixty chapters, advocates an ascetic lifestyle – abstaining from sensual pleasure – and emphasizes the harm in delaying one’s religious duties and obligations. Its title is inspired by the Basque proverb Gero dioenak bego dioWhoever says later, says leave it. Thus, Axular is really emphasizing the dangers in procrastination and being lazy in one’s duties.
  • Beyond its religious theme, Gero has been analyzed for its prose and reasoned arguments. He wrote Gero as if it were a sermon to his parishioners. Because of its impact, some consider Axular the Shakespeare of Euskara: a model of language that others should hold as a standard. Some elements that others have praised include his use of popular sayings to get the attention of the reader and his use of language to lighten what is a rather heavy topic.
  • Axular’s fame was such that he became part of the local stories, taking the place of other mythological figures. He thus became the protagonist in stories involving the devil Etsai, who though an erudite teacher also held some of his students in servitude.

Primary sources: Estornés Lasa, Bernardo. Axular, Pedro (1556-1644). Auñamendi Encyclopedia. Available at: https://aunamendi.eusko-ikaskuntza.eus/en/axular-pedro-1556-1644/ar-6754/; Gero, Wikipedia; Axular, Wikipedia

The Adventures of Maite and Kepa: Part 176

“It’s sort of like a cheat code,” mused Kepa as Amalur hovered above their bed expectantly. “You know, in video games, there are times where they right combination of moves opens up an Easter egg.”

The Adventures of Maite and Kepa is a weekly serial. While it is a work of fiction, it has elements from both my own experiences and stories I’ve heard from various people. The characters, while in some cases inspired by real people, aren’t directly modeled on anyone in particular. I expect there will be inconsistencies and factual errors. I don’t know where it is going, and I’ll probably forget where it’s been. Why am I doing this? To give me an excuse and a deadline for some creative writing and because I thought people might enjoy it. Gozatu!

Maite turned to look at him. “You think this is all some kind of game?”

Kepa shrugged. “Not a game, exactly, but maybe it’s all some kind of program, some kind of Matrix-like virtual world. And I inadvertantly tapped into some parallel world.”

“I’ve seen some scientists argue that we are living in a simulation,” mused Maite. “I personally never believed it.”

Garuna rumbled in the back of Maite’s head. “This is no simulation. Of that I am sure.”

Maite repeated the AI’s words outloud for Kepa’s benefit. “Garuna says this isn’t a simulation.”

“Ok,” replied Kepa, “but then what does this mean?” He waved his hand in the general direction of Amalur. “She’s here.”

“Has she said anything since you conjured her? Besides ‘agur’?” asked Maite.

Kepa shook his head. “To be honest, I really haven’t tried to engage her. She barely appeared before you got home.”

Maite nodded as she turned to look at the dazzling form of Eguzki, her beauty almost painful to look at. “Why are you here?”

“I was summoned,” replied the unearthly figure as it slowly morphed into Ilargi, a visage that was equally as beautiful but easier to behold. At times, Maite couldn’t tell if there were three distinct beings or if they were all three present all the time and the one she saw was a matter of how her eye focused. It reminded her of those optical illusions where you saw either a duck or a rabbit depending on how you focused on the image.

“And?” asked Kepa. “What happens now?”

“Why was I summoned?” asked Amalur.

“No reason,” responded Kepa. “I summoned you by accident.”

“Then I will go,” replied Amalur as she began to fade.

“Ez! Wait!” exclaimed Maite.

The floating vision wavered for a moment, almost flickering, before it again solidified. 

“Bai?” it asked.

Maite didn’t know what she should ask but she didn’t want Amalur to leave yet. 

“Are you magic?” she asked.

“What is magic?” asked Amalur in reply. “There is no magic. There is simply the manipulation of energy.”

“Energy?” Maite sat, pondering for a moment. “Do you mean the conversion of energy from one type to another?”

“Energy is energy. There is no difference. Just how it is manifested.”

Maite turned to Kepa. “In physics, there is a theorem that all energy is conserved, that if you lose one type you gain another. Maybe magic is way to change that balance?”

“To break conservation?” asked Kepa.

“Not exactly,” replied Maite. “Maybe it is to control the flow of energy, to overcome entropy.”

“I’m not following,” interjected Kepa, looking thoroughly confused.

“Energy is always conserved, but entropy is always increasing. This means that energy is converted into forms that are less useful, like through friction, that increases entropy. Maybe magic lets us control or even reverse that loss. Think about it like this. Maybe magic lets us take energy from the air around us and turn it into more useful forms.”

“Like light and electricity?” asked Kepa.

Maite nodded. “Maybe.” She looked up at Amalur who appeared to her now in her earthly mother form. She was smiling at Maite.

If you get this post via email, the return-to address goes no where, so please write blas@buber.net if you want to get in touch with me.

Basque Fact of the Week: Amalur, Mother Earth

Basque mythology can be a bit daunting to delve in to. The problem is that not much was written down and the bits we do have – much thanks to amazing ethnographers such as José Miguel de Barandiaran Ayerbe – are tangled threads of stories where characters and themes have merged and split many times, resulting in a mishmash of ideas. This is certainly the case with Amalur. Often conflated with Mari, she does seem to be a distinct entity in some stories. While both are Mother Earth figures, Amalur is the mother of the sun and the moon while Mari has Sugaar as her consort. We may never really know what prehistoric Basques really believed about the cosmos around them, but through the work of people like Barandiaran, we know more than we might have.

Amalur with her children Ilargi and Eguzki. Image originally from the book Mitologika. Una visión contemporánea de los seres mágicos de Euskadi
  • Amalur, Ama Lur, or Ama Lurra all literally mean “Mother Earth” in Basque. Legend has it that Amalur first created the moon, Ilargi, as a way of scaring away monsters that were harassing people. However, the monsters soon became used to the light of the moon and came back to bother people. They again pleaded with Amalur to help, so she created Eguzki, the sun. And this worked – the monsters stayed away, at least when the sun was out. But at night, the monsters again returned. Once more, the people pleaded for help and this time Amalur created the Eguzkilore, literally the “sun flower,” which people could pick and put on their doors to keep the monsters away at all times.
  • Thus, by helping out the humans that pleaded to her, Amalur is the mother of the sisters the sun and the moon, who each return to her each day as the other leaves.
  • Amalur is a giant vessel that contains the power of life, making it so plants and animals can exist. She also contains vast treasure, and people often delve deep into caves searching for that treasure, though without ever finding it. People would leave coins behind in caves as an offering to Amalur, in the hope that she might favor them.
  • Amalur and Mari are often confused in stories, making it hard to distinguish the two. They may simply be the same deity, the same mother goddess, or they may be distinct personifications of Mother Earth. Amalur as a name for this goddess is relatively new, perhaps coined by Nestor Basterretxea and Fernando Larrukert in their 1968 film Ama Lur. Whether they coined the name or not, it seems that their film made the name popular. What seems clear, however, is that the Basques of the Roman times worshipped a mother goddess. In Pamplona, there is an inscription on an alter with the words “MAtri Deae,” or Magna Mater, the Great Mother.
  • In some interpretations, Amalur, or the Earth, contains everything, is everything, while Mari, as the personification of the energies and the forces that circulate throughout the world and all living beings, is her soul, in some sense.
  • When the Romans came to the Iberian peninsula, their own goddess Cybele (“imported” from other cultures), also a mother goddess, might have been mixed with Mari/Amalur. Separating all of these different personas becomes quite challenging. Mari, in an incarnation closer to Amalur, has been described as dressed elegantly and carrying a golden palace in her hand. Cybele has been described similarly in other contexts.
  • You can visit some of the most important sites related to Mari/Amalur with this map as a guide.

Primary sources: Amalur, Wikipedia; Eguzkilore: The Flower that Protects the Basques, About Basque Country; La Mitología Vasco en la Actualidad, Luis Garagalza, KOBIE (Serie Antropología Cultural). Bilbao
Bizkaiko Foru Aldundia-Diputación Foral de Bizkaia N.° XII, pp. 135 a 148, año 2006/7.

A Basque Twist on a Classic Cocktail

A Basque Bamboo, photo by Lizzie Munro, found on Punch.

A random article I stumbled across describes a Basque twist on a classic cocktail. The Bamboo, created by German bartender Louis Eppinger possibly in the mid-1800s in San Francisco if not a bit later in Japan, consists of “equal measures of dry vermouth and dry sherry, plus a couple dashes of bitters.” Brooklyn’s Bar Vinazo has created a new version that adds a bit of Basque flavor. As Mary Anne Porto describes, the Basque Bamboo adds Basque cider to the mix. The co-owner of Bar Vinazo, Joe Campanale “describes it as a cross between the Martini-like classic and a spritz, and it shares the sensibilities of both: It inhabits the casual air of aperitivo, now with a light jacket.” Something to try out!

Basque Fact of the Week: The Feria of Santo Tómas

One of the biggest events to open the Christmas season in the Basque Country is the Feria of Santo Tómas, a rural market in the heart of the city. Originating in Gipuzkoa – more specifically Donostia – it has spread as a celebration throughout the Basque Country. Today, the Feria is a celebration of rural Basque traditions. People pull out their baserritarrak costumes – dressing as aitxitxa and amuma – and celebrate the baserri way of life. But the origins lie in the tradition of collecting rents on this day…

Some images from the Feria of Santo Tómas. From San Sebastián Turismoa. At least some of the images were taken by Javier Larrea.
  • In olden times, December 21 was chosen as the date that renters had to go and pay their land lords. Why December 21? Well, the religious calendar guided people’s lives and the feast day of Saint Thomas was both close to Christmas and to the end of the year (I guess one implies the other…) It was far enough ahead of Christmas itself that people could get back home in time for the holiday. It seemed like a good day to collect the year’s payment.
  • However, picking a specific date like this meant that a large number of people traveled to the cities to settle their accounts. This then led to opportunities to do some shopping, to buy goods and other things that were harder to find in their smaller outlying villages – things like nougats, trinkets and toys, and more exotic foods such as figs, pomegranates, and nuts. At the same time, the baserritarrak – the rural villagers – would bring their goods, primarily foodstuffs, to sell to the city dwellers. Out of this extra bustle came the Feria, the Fair, of Santo Tómas.
  • The oldest mention is that of Donostia, in the early 1800s. However, given the fact that Donostia burned and lost many of its records in 1813, it is fair to think that the Feria had been going on for some time by then.
  • The merchants of Donostia, seeing opportunity in the large number of visitors with money, took their wares to the street, assembling in the Plaza de la Constitución. Merchants began adding attractions to pull in prospective shoppers. Musicians and singers became part of the Fair. So did traditional athletes such as the harri-jasotzaileak, or stone-lifters.
  • In the mid 1900s, the Feria experienced an existential crisis of sorts. It had turned into almost a carnival, in which all kinds of things were sold, not just traditional products but all sorts of things, such as masks and costumes and the like. However, it was decided to keep the more traditional character and those types of non-Basque, non-rural products were banned. Today, stalls sell a range of products from fruits and vegetables, to farming tools, with exhibitions of birds, livestock, flowers, and plants added more recently.
  • Until the end of Franco’s regime, December 21 was one of two days on which it was allowed to present theater in the Basque language, the other being January 20, the Tamborrada.
  • Food is a big part of the Feria. Traditionally, those landowners would give cod to their renters while those renters gave the owners, in turn, capons – a type of male chicken. However, today the txistorra dominates the festival. Maybe in the old days it was accompanied by roasted chestnuts but today talo, a corn flatbread sort of like a Mexican tortilla, is served with the txistorra. The perfect drink to go with the txistorra is a glass of cider.
  • More recently, the Feria of Santo Tómas spread to other parts of the Basque Country. In particular, the Feria of Bilbo has become quite large and popular.

Primary sources: Sada Anguera, Javier María. Feria de Santo Tomás. Auñamendi Encyclopedia. Available at: https://aunamendi.eusko-ikaskuntza.eus/en/feria-de-santo-tomas/ar-154130/

Basque Fact of the Week: Txakolin, the Basque White Wine

One of the unique pleasures of the Basque Country is all of the wonderful tastes it has to offer. I’ve written about some of the unique drinks you can find only in the Basque Country. Txakolin, or txakoli as it is more commonly known, is perhaps the most well known, having found its way across the globe. We were even able to find it in our local liquor store here in Santa Fe! Our last stop in our visit to the Basque Country before getting on the plane was El Txakoli, where we toasted to an amazing trip! Here’s to the next one!

A glass of txakolin at the El Txakoli restaurant. Photo by Lisa Van De Graaff.
  • According to the Real Academia, txakolin is a “Light, somewhat sour wine that is made in the Basque Country, Cantabria and Chile.” It is a dry white wine that has a high acidity and low alcohol content.
  • Historically, it was called txakolin wine – it was Sabino Arana who proposed, roughly in 1895, to drop the n and call it txakoli. Though vineyards in the Basque Country are attested from Roman times, the first historical mention of txakolin dates to 1520.
  • There is one apocryphal anecdote about the origins of the name, as told to Basque ethnologist José Uría Irastorza by an old Txakolinero – someone who makes txakolin. Supposedly, when the winemaker was asked “How much wine have you made?” it was customary to respond: “Etxeko ain,” that is, just enough for home. From “etxeko ain” it became “etxekolain” and ended up being called “txakolin.”
  • The alcohol content of txakolin is only about 7%, about 2% too little to formally be called wine. However, the Estatuto de la Viña of 1970 made txakolin an exception, allowing the relatively weaker drink to be called wine.
  • There are essentially two variants of txakolin. Historically, txakolin wine was made from grapes that simply weren’t good enough for anything else. They may have been damaged by hail, for example, or just were of bad quality. This wine was despairingly compared to vinegar. However, modern txakolin is made from specific strains of grapes grown under specific climate and land conditions. It has even received a Denomination of Origin.
  • In past times – we are talking of the 1400s or even before – no other wine could be imported or sold in the province of Gipuzkoa until all of the txakolin wine had been consumed. This protected the local production from outside competition. However, the wine was considered so “thin and weak” and “raw” by the clergy that it was banned from being used in Catholic mass. Further, some Basques considered the txakolin wines so bad that in 1584 they petitioned to have the rule against importing other wines overturned, saying even the owners of the vineyards didn’t want to drink their own wine.
  • The most common varieties of grapes used in making txakolin are the Hondarrabi Zuri (between 85-90% of strains) and Hondarrabi Beltza (between 10-15%). In Bizkaia, Folle Blanche are also used. These strains are only found along the Basque coast and in Béarn, in France.
  • The grapes, once pressed, were given to animals for feed, but this had to be done relatively quickly so as to prevent fermentation and making the animals drunk.
  • Txakolin is a magnificent aperitif: its acidity stimulates the production of saliva and the secretion of gastric juices, preparing the body for better digestion. It also aids in the assimilation of proteins (meat, fish, etc.) thanks to its ionic acidity and its weak osmotic pressure.

Primary sources: Aguirre Sorondo, Antxon. Txakoli. Auñamendi Encyclopedia. Available at: https://aunamendi.eusko-ikaskuntza.eus/en/txakoli/ar-132636/; Txakoli, Wikipedia