Frida Kahlo in Paris

André Breton lured Frida to be in a Surrealist show, but she found herself misled, miserable and mad as hell — until Mary Reynolds stepped in.

An exhibition at the Art Institute of Chicago covers Frida’s turbulent time in Paris in 1939.

Paris was supposed to be her big moment. But when Frida Kahlo landed in the so-called City of Light in 1939, all she found was a hospital bed, missing paintings, and a bunch of filthy Surrealists who couldn’t get their act together.

Thanks to an interesting  lecture by Alivé Piliado Santana, curatorial associate at the National Museum of Mexican Art (where we check out the Day of the Dead ofrendas every year) and Tamar Kharatishvili, research fellow in modern art at the Art Institute of Chicago, I’ve come away with a far deeper — and far juicier — understanding of this chapter of Frida’s life I didn’t previously know about.

“They are so damn ‘intellectual’ and rotten that I can’t stand them anymore .... I [would] rather sit on the floor in the market of Toluca and sell tortillas, than have anything to do with those ‘artistic’ bitches of Paris.”

— Frida Kahlo, writing about the Surrealists in a letter to her lover, Nikolas Muray

Wild child Frida in 1938

Here’s what I learned about the messy, maddening and frankly fascinating story of Frida’s Parisian misadventure, the forgotten women of Surrealism, and how a kindred spirit named Mary Reynolds helped turn Frida’s time in Paris into something meaningful. 

André Breton, leader of the Surrealists and organizer of the 1939 Mexique exhibition — though “organizer” might be generous, considering Frida arrived to find no gallery, no show, and her paintings stuck in customs.

Frida’s Disastrous Arrival in Paris

It all began with an invitation that felt like a breakthrough. André Breton — the self-appointed “pope of Surrealism” — had reached across the Atlantic with a tantalizing offer. Frida Kahlo’s paintings, he declared, belonged on the world stage. He wanted her to come to Paris for a major exhibition he was organizing called Mexique.

Frida was excited for a chance to showcase her work in the artistic capital of the world, among the greats. It felt like a turning point — a chance to step out from her hubby Diego Rivera’s shadow and claim her place in the international art scene.

But somewhere along the way, wires got crossed. Frida thought Mexique would be a solo show. 

It wasn’t.

Self-Portrait With Monkey, painted by Frida Kahlo, posing with one of her pets, in 1938 right before she left for Paris.

Frida prepared for the journey with cautious excitement. Before she left, photographer Nikolas Muray, with whom she was having a passionate affair, captured her in a series of now-iconic portraits: defiant, radiant and ready for her European closeup. 

She could never have predicted how quickly things would unravel.

The troubles began before she even set foot in Paris. Her paintings, packed carefully for the voyage, were held up in customs. Instead of gliding smoothly into galleries, they sat in bureaucratic limbo, tangled in red tape. But there was still hope. Surely, Breton — the grand architect of the Surrealist movement — would have everything else ready.

He didn’t.

Frida arrived in Paris only to find chaos. There wasn’t even a gallery chosen for her show. No opening date on the calendar. No buzz of anticipation. Breton had made grand promises — but had done nothing to deliver on them.

A portrait of Frida taken by Nikolas Muray before she left for Paris

A Hospital Stay

On top of the professional humiliation, Frida’s health collapsed. She hadn’t arrived in perfect shape to begin with — just before leaving Mexico, she had undergone spinal surgery to try to ease the constant pain from an earlier accident. The long journey, the cold Paris winter, the stress of a botched exhibition, and the miserable conditions she found herself in were a brutal combination.

Part of her fury stemmed from Breton’s own visit to Mexico, where she and Diego had opened their home (now the Diego Rivera and Frida Kahlo House-Studio Museum) to him and his wife — only to find that in Paris, Breton offered no such hospitality in return.

Almost as soon as she arrived, Frida developed a raging kidney infection, with a spiking fever that landed her in the hospital. She was exhausted, furious and rapidly losing faith in the promises that had brought her to Paris in the first place. 

She pinned her illness squarely on the Surrealists’ squalor, convinced that their slovenly habits had done her in.

When she was discharged, still weak and recovering, she faced the grim reality of her accommodations: a dingy hotel, damp and depressing, in a city that felt far from the glamorous art capital she had imagined.

The final page of one of Frida’s letters to Muray. She didn’t exactly fall for Paris: “to hell with everything concerning Breton and all this lousy place,” she wrote, sick of the Surrealists and ready to go home.

She didn’t hold back. In a letter to Muray, she unloaded: “They are so damn ‘intellectual’ and rotten that I can’t stand them anymore .... I [would] rather sit on the floor in the market of Toluca and sell tortillas, than have anything to do with those ‘artistic’ bitches of Paris.” She thought the Surrealists were puffed up with self-importance yet utterly useless when it came to helping her. Only Marcel Duchamp, she noted acidly, “has his feet on the earth.” The rest, in her eyes, were pompous windbags throwing parties while her paintings languished in customs and her health deteriorated. And at the center of this mess, of course, was Breton himself, whose grand promises had led her straight into disaster.

What was meant to be her grand European debut had turned into a perfect storm of illness, neglect and bitter disappointment. She was stranded in Paris, her art trapped in customs, her patience wearing thin — and the Surrealists, led by Breton, had left her to flounder.

A photo booth pic of Mary Reynolds

Enter Mary Reynolds: An Unexpected Friendship

Just when Frida might have written off Paris entirely, in stepped Mary Reynolds — artist, bookmaker and all-around lifeline.

Unlike the aloof Surrealist men swanning around Paris, Reynolds opened her doors and, more importantly, her heart. Frida, still recovering from illness and spiraling frustration, moved out of her bleak hotel and into Reynolds’ home at 14 rue Hallé.

It wasn’t just a change of address — it was a change of atmosphere. Where Breton had offered chaos, Reynolds offered comfort. Her house in the southern part of Paris was a hub of creativity, conversation and, during the darkening shadow of World War II, quiet resistance.

Mary Reynolds with her partner, Marcel Duchamp

Mary Reynolds: The Unsung Hero of Surrealism

Reynolds deserves far more credit than she usually gets. A fiercely independent artist herself, Reynolds was a master of bookbinding — her works were collected by her partner, Marcel Duchamp (the guy who turned a urinal into modern art’s most notorious statement and further shocked audiences with Nude Descending a Staircase, No. 2), along with other avant-garde heavyweights of the time.

Reynolds took bookbinding to a whole new, surreal level: She used objects on the covers like kid gloves for Free Hands (Les Mains Libres), a thermometer in A Harsh Winter (Un Rude Hiver), and a teacup handle in Saint Glinglin — a nod to a scene where a character smashes plates with a golf club.

Reynolds was a genius when it came to bookbinding. Here’s the striking cover of Les mains libres (Free Hands) by Paul Éluard, with glove-like cutouts.

Her house was a living, breathing collage of Surrealist art and ideas. Duchamp, Alexander Calder and countless others had left their fingerprints — and actual works — all over her walls. 

For Frida, Reynolds’ home was proof some Surrealists weren’t all talk and no action. Here was a woman making her own art, supporting her peers, and backing it all up with real-world bravery.

A delightful drawing of Mary Reynolds and her cats by Alexander Calder, the American modern sculptor best known for his mobiles

Kahlo and Reynolds: Finding Solidarity

The connection between Frida and Reynolds was electric. Both women were navigating the male-dominated art world on their own terms, refusing to be footnotes in movements led by men.

Their bond also feels emblematic of something bigger: a reminder that amid all the philosophical posturing of Surrealism, real solidarity happened where women supported each other, shared ideas, and, frankly, kept the whole thing afloat.

In Frida’s letters, you can almost feel the tone shift once she moves into Reynolds’ home. It’s not quite relief — her Parisian experience remained fraught — but there’s a spark of light. Reynolds gave Frida what Breton could not: genuine human connection in a city that had otherwise let her down. She stayed at Reynolds from February 22 to March 25, 1939.

The Wounded Deer from 1946, painted after yet another failed surgery, this haunting self-portrait shows Frida as a deer riddled with arrows, calm-eyed in the face of relentless pain.

Frida and Surrealism: A Love-Hate Relationship

Here’s the irony: While the Surrealists were practically falling over themselves to claim Frida Kahlo as one of their own, Frida herself wanted nothing to do with the label.

Breton had famously declared her work “a ribbon around a bomb” — which, to be fair, is a great line. But Frida saw things differently. She didn’t consider herself a Surrealist at all. “I never painted dreams,” she once said. “I painted my own reality.”

Frida’s work, raw and visceral, didn’t need the Surrealist manifesto to explain it. Where the Surrealists dabbled in subconscious symbolism and found objects, Frida’s paintings were autobiographical to their core — her pain, her identity, her relationships all laid bare.

Self-Portrait With Cropped Hair from 1940. Freshly divorced, Frida depicts herself as wearing one of Diego’s suits, scissors in hand, her hair in clumps on the floor.

The Surrealists saw her as exotic, a muse from afar who fit their aesthetic fantasies. But Frida wasn’t interested in playing that role. She wasn’t a curiosity or a symbol — she was an artist, plain and simple. Her use of indigenous Mexican motifs, her explorations of physical and emotional suffering — these weren’t Surrealist exercises; they were her lived truth.

Still, despite her reluctance, Frida’s art undeniably aligned with many Surrealist themes. Dreams and reality intertwining, the use of found materials, the exploration of identity — it was all there, just coming from a much grittier, more personal place. 

And she did, after all, agree to be a part of a Surrealist show in Paris. Which, by the way, finally came together. It ran at the Galerie Renou et Colle from March 10 to 25, 1939. Frida’s take on her fellow Mexican artists that Breton chose to showcase with her work? In one of her letters to Muray, she described them as “all of this junk.”

Photographer Nikolas Muray and Frida Kahlo had a passionate affair, and he was her confidante during her bad experience in Paris.

Nikolas Muray: The Confidant Behind the Letters

Long before Paris turned into a disaster, Frida had another anchor: Nikolas Muray. Photographer, Olympic fencer (yes, really) and one of her many lovers, Muray was one of the few people Frida trusted enough to confide in during her Paris ordeal.

Her letters to him are the sharpest, funniest and most brutally honest accounts we have of her time in France. She wrote to Muray not just to update him, but to release steam — to unload her frustrations about the Surrealists, the filth of the city, her failing health, and her utter disappointment in Breton’s empty promises.

The Tree of Hope, Remain Strong, painted in 1946 after spinal surgery. This double self-portrait splits her in two: One body lies wounded on a hospital gurney, while the other sits upright, dressed and defiant, clutching a back brace.

What Happened After: A Brief, Blazing Connection

For all the depth and warmth of their connection in Paris, Frida and Reynolds’ friendship seems to have been brief. After that whirlwind winter of 1939, there’s no evidence they kept up correspondence. Aside from one endearing letter where Reynolds talks about how empty the house felt without Frida, there aren’t any further exchanges that we know of.

Life pulled the two women in different directions. Frida returned to Mexico, her health still fragile but her art beginning to gain traction. 

Reynolds, meanwhile, risked her life in the French Resistance. Her Paris home, once a haven for artists and thinkers, became a literal refuge for those fleeing Nazi persecution. She didn’t leave Paris until 1942, escaping across the Pyrenées on foot and finding a flight to New York. But she never stopped fighting for what mattered.

Their paths never formally crossed again, at least not that we can prove. But their legacies continued to intertwine, quietly and profoundly, through the art they made and the communities they helped build. 

The Frame, an oil painting on tin with a vibrant folk art border, from 1938. Frida’s Paris show wasn’t a total disaster — the Louvre bought this piece for their colletion.

A Happy Ending to Frida’s Time in Paris

In spite of it all, Frida’s Paris disaster managed to end on a high note. Against the odds, her work finally made it onto the walls of a gallery — and not just any gallery. By the end of the show, the Louvre itself (yes, the Louvre) purchased one of her paintings, The Frame, making Frida the first 20th century Mexican artist in the museum’s holdings. Today (when not loaned out to travel), this emblematic self-portrait is part of the Musée National d’Art Moderne’s collection at the Centre Pompidou in Paris. 

DID YOU KNOW? The Pompidou has a branch in Málaga, Spain?

Even more surprising, amid the wreckage of her Surrealist experience, Frida forged real friendships with a few kindred spirits. Man Ray, Duchamp and some others proved to be exceptions to the pompous crowd she had loathed. Some Surrealists were pas mal, after all. –Wally

Licking Legends: The UK’s Myths and Legends Stamps

The stories behind the UK’s magical new stamps are sure to enchant you: the Loch Ness Monster, Beowulf and Grendel, Cornish piskies, selkies and more.

Eight stamps. Eight legends. A whole world of magic compressed into miniature artwork — and honestly? I’ve never wanted to send more mail in my life.

Each one of these beautifully illustrated postage stamps from the Royal Mail is a tiny portal into the legends that have haunted the British Isles for centuries. They’re wild and eerie. I was hooked.

This 2025 Myths and Legends series was brought to life by British illustrator Adam Simpson, whose crisp, almost woodcut-like style feels like it could adorn a high-end gallery wall — or illustrate a children’s book. 

It’s perfect for a set of stamps that spans the heroic, the heartbreaking and the downright horrid. The collection draws from English, Scottish, Welsh and Irish folklore, and features not just the obvious icons (yes, Nessie makes an appearance) but some deeper, darker cuts too. Why hello, Grindylow.

Each stamp is a love letter to the past, a celebration of story, and a reminder that folklore isn’t dead — it’s just waiting for the right delivery system. Consider this your guided tour through the tales behind the stamps, complete with monsters, magic, betrayal … and brine.

Beowulf and Grendel

Hero vs. horror in the original monster story

Long before superheroes wore capes, they wore chainmail and boasted a mead hall’s worth of swagger. Beowulf is the OG epic hero — the kind of guy who crosses the sea just to fight your monsters for you. His most famous foe? A grotesque creature named Grendel, who spent his nights tearing warriors limb from limb at the hall of Heorot. The king, Hrothgar, was helpless. Enter Beowulf.

This story comes from the Old English poem Beowulf, thought to have been composed between the 8th and 11th centuries, set in Scandinavia but recorded in a single surviving manuscript from Anglo-Saxon England (now safely stored at the British Library). It’s the oldest known epic in English literature — and it doesn’t pull punches. Beowulf doesn’t just defeat Grendel; he rips his arm clean off and hangs it like a trophy. Brutal. Poetic. Metal.

Grendel himself is one of literature’s great monsters — described as a descendant of Cain, that fratricidal son of Adam and Eve, shunned by God, and tormented by the joy he hears in Hrothgar’s hall. He’s more than beast; he’s a symbol of alienation and rage, a product of exile and pain. Some later interpretations even paint him as a tragic figure. Not that Beowulf cared.

Simpson’s stamp captures the legendary fight with clean lines and mythic energy: Beowulf wrestles the monstrous figure of Grendel in a composition that feels part medieval tapestry, part comic book panel. It’s dynamic, dramatic — and faithful to the grit of the tale.

This is the legend that launched a thousand English Lit classes, inspired everything from The Lord of the Rings to The Witcher, and proved that even a millennium ago, people loved a good monster fight.

Blodeuwedd

The flower bride who became an owl

Once upon a time in the mythic heart of Wales, a woman was conjured — not born, but created. The magicians Math and Gwydion, meddling in mortal matters (as wizards are wont to do), wove her from the blossoms of oak, broom and meadowsweet. Her name was Blodeuwedd, meaning Flower Face, and she was made for one purpose: to be the wife of a man cursed never to marry a woman of earthly origin.

You can probably guess how well that turned out.

This tale comes from the Mabinogion, a collection of Welsh medieval stories first written down in the 12th and 13th centuries but based on oral traditions that are far older. It’s one of the most bewitching episodes in the Fourth Branch, a saga steeped in magic, betrayal and transformation.

Though crafted to be the perfect bride, Blodeuwedd had her own ideas. She fell in love with another man, Gronw Pebr, and together they plotted to kill her husband, Lleu Llaw Gyffes. The murder attempt failed, and the consequences were swift and strange (this is myth, after all): Gronw was killed with a spear through a standing stone, and Blodeuwedd was transformed into an owl — a creature of the night, cursed to never show her face in daylight again.

Her story is tragic and richly symbolic. Depending on your lens, Blodeuwedd is either a femme fatale born of male hubris or a wild spirit trapped by expectation who seized a sliver of freedom. Either way, she’s unforgettable.

Simpson’s stamp channels the tale’s eerie beauty with a stylized woman caught mid-transformation — petals swirling into feathers as she takes her owl form. It’s the kind of image that lingers, much like the legend itself.

The Loch Ness Monster (Nessie)

The queen of cryptids surfaces again

You can’t talk about UK folklore without invoking Nessie, the shadowy shape that launched a thousand blurry photos and conspiracy theories. She’s the most famous resident of Loch Ness, a deep, cold freshwater lake tucked into the Scottish Highlands — and she’s been allegedly living there since at least the 6th century.

The earliest written mention comes from The Life of St. Columba, penned in the 7th century by Adomnán. According to the account, the saint encountered a “water beast” in the River Ness and performed a miracle to save a man from its jaws. And just like that, Nessie swam her way into the margins of history.

But her modern fame really took off in the 1930s, after a couple driving near the loch claimed to see a massive creature cross the road and slip into the water. Headlines dubbed it a “monster,” and the tabloids never looked back. Since then, Nessie’s been spotted, debunked, photographed, hoaxed and even hunted with sonar. (Spoiler: She remains elusive.)

While scientists say the sightings are likely otters, logs or wishful thinking, the legend endures. Nessie is more than just a maybe-dinosaur. She’s a symbol of mystery, of nature keeping secrets, of something just out of reach. And let’s face it: Everyone wants her to be real.

In Simpson’s stamp, Nessie arches out of stylized waters, distant and dreamlike, framed by curling waves and Highland mist. There’s no need to explain her. She just is.

She’s proof that sometimes, the most powerful legends are the ones we can’t quite catch.

Cornish Piskies

Mischief, mayhem and magic in miniature

If you ever find yourself turned around on a familiar path in the southwest of England, don’t blame your GPS — blame the piskies. These pint-sized pranksters from Cornish folklore are legendary for leading travelers astray, stealing shiny things, and generally causing low-level chaos with high-level charm.

Piskies (sometimes spelled pixies) have been part of Cornish oral tradition for centuries, possibly even tied to pre-Christian beliefs in nature spirits or ancestral ghosts. They’re native to the moors, tors and coastal cliffs of Cornwall, often dressed in ragged green and red, with pointy ears and a love of laughter at your expense.

But unlike fairies who might hex you or goblins who’ll rob you blind, piskies are mostly harmless. Annoying? Yes. Dangerous? Rarely. They’ve been known to braid horses’ manes, move your keys, and lure people into marshes with giggles and flickering lights. The only remedy if you’ve been “piskie-led”? Turn your coat inside out. That supposedly confuses them (and maybe earns you their grudging respect).

In Victorian times, Cornish tourism latched onto piskies as whimsical local mascots — think of them as the original chaotic neutral brand ambassadors. But in older tellings, they’re wild, weird, and deeply tied to the landscape.

Simpson’s stamp captures that dual nature perfectly. The piskies glide through a moonlit glade, wide-eyed and impish, carrying the evidence of their mischief-making: a lost key, a frayed rope. There’s joy here, but also a touch of the uncanny.

In a world that often takes itself far too seriously, the piskies remind us that a little chaos can be good for the soul.

Fionn mac Cumhaill

The Irish giant whose legend spans countries

Fionn mac Cumhaill (pronounced roughly like  “Finn mac Cool”) is Ireland’s answer to Hercules, with a bit of that trickster Hermes thrown in. A warrior, leader, poet and occasional giant, depending on who’s telling it, Fionn is the towering figure at the heart of the Fenian Cycle of Irish mythology, a body of tales passed down orally for centuries before being written in Middle Irish texts around the 12th century.

He’s best known as the leader of the Fianna, a band of noble warrior-hunters who roamed Ireland getting into gloriously poetic trouble. But the story that often gets the spotlight — especially on tourist brochures — is the one where Fionn creates the Giant’s Causeway, that eerie, hexagonal rock formation on the northern coast of Ireland. According to legend, Fionn built it as a bridge to Scotland so he could fight a rival giant, Benandonner.

The punchline? When he saw how massive Benandonner really was, Fionn panicked. His wife, Oonagh, disguised him as a baby in a cradle. When Benandonner saw the size of the baby, he assumed the father must be terrifying and fled back to Scotland, tearing up the bridge behind him. One of those mythic traditions where wit — and a good partner — wins the day.

Fionn also gained prophetic wisdom by burning his thumb on the Salmon of Knowledge, which, yes, is exactly what it sounds like. (It has a role in the tradition of Mabon, the Wiccan holiday celebrating the Autumnal Equinox.) From that day on, sucking his thumb gave Fionn bursts of insight — a sort of mythic precursor to Google, if Google required seafood and pain.

Simpson’s stamp goes bold: Fionn stands enormous against the rising Causeway, cloak billowing, face stoic. The stones stretch beneath him in their perfect geometric strangeness, while his gigantic foe stands silhouetted across the way.

Fionn mac Cumhaill is the kind of figure who straddles legend and landscape — literally — and he still looms large today.

Black Shuck

The devil dog that stalks the coast

If you ever find yourself walking alone through the misty lanes of East Anglia — especially near a windswept churchyard — and feel the prickle of something behind you … it might be Black Shuck. Described as a massive, ghostly black dog with glowing red (or sometimes green) eyes, Shuck is one of the U.K.’s most enduring pieces of spectral folklore. He’s part omen, part legend, and all menace.

The name “Shuck” is believed to come from the Old English scucca, meaning “demon” or “fiend.” Reports of this supernatural hound go back centuries, but his most infamous appearance took place on August 4, 1577, during a thunderstorm that ripped through the churches of Bungay and Blythburgh in Suffolk. According to terrified witnesses, the beast burst into the churches during the storm, killing or injuring several people before vanishing in a flash of fire. To this day, scorch marks on the church doors in Blythburgh are said to be Shuck’s claw marks.

But like many creatures of folklore, Shuck’s meaning has shifted over time. In some tales, he’s a harbinger of death, like the Grim Reaper with paws. In others, he’s a protective spirit, quietly walking beside lone travelers to keep them safe. 

Simpson’s stamp leans into the fearsome version: a shaggy, howling beast with glowing eyes, set against a backdrop of a castle in a thunderstorm. It’s the kind of image that makes you instinctively glance over your shoulder. 

Whether he’s a ghost, a guardian or something in between, Black Shuck reminds us that the line between safety and terror can be as thin as a shadow in the mist.

Grindylow

The creature in the water who waits for misbehaving children

The Grindylow isn’t interested in riddles or redemption. This creature — slimy, long-fingered and lurking just beneath the surface — is the reason your grandmother told you not to go too close to the pond. Native to the folklore of Yorkshire and Lancashire, the Grindylow is a water-dwelling bogeyman whose sole hobby appears to be grabbing children by the ankle and dragging them to a watery doom.

Pleasant, right?

The tale likely began as a cautionary myth, passed through generations in England’s misty north as a way to keep kids away from dangerous pools, marshes and millponds. But the Grindylow isn’t just a PSA in monster form; it’s a creature of genuine nightmare fuel. Often described as having green skin, long, spindly arms and razor teeth, the Grindylow hides in shallow waters, waiting for a ripple, a footstep or a foolish dare.

While it rarely ventures beyond regional lore, the Grindylow got a boost in popular imagination thanks to fantasy literature and modern media — most notably showing up as a minor monster in Harry Potter and the Goblet of Fire, where it menaces underwater champions during the Triwizard Tournament. But the original version? Far less CGI-friendly, and far more chilling.

Simpson’s stamp leans into the fearsome. You see the Grindylow emerging from the water — alarmingly sharp claws and teeth just waiting to tear into its next victim. There’s no question what will happen next if you take one more step closer to the edge.

More obscure than Nessie and more vicious than the piskies, the Grindylow doesn’t want your attention. It wants your ankles.

Selkie

The seal who loved and left

The selkie’s story is one of yearning: for freedom, for the sea and for a life that can never fully belong to land. These shape-shifting beings come from Orkney and Shetland folklore, where the wind howls and the sea sings. Selkies are seals in the water — but when they come ashore, they shed their sleek skins and become beautiful humans, often just long enough to fall in love, or be taken.

And that’s where the heartbreak begins.

The most common version of the tale? A fisherman (or crofter, or lonely islander) spies a selkie woman dancing on the shore in her human form. He steals her seal skin so she can’t return to the sea, and convinces her — sometimes gently, sometimes not — to become his wife. They live together, raise children, and for a time, there’s a strange sort of peace. But the selkie always gazes longingly at the waves. And when she finds her hidden seal skin at last, she returns to the ocean without a backward glance.

Other versions flip the roles — selkie men seduce mortal women, especially those with “the yearning,” and disappear when the tide calls. Regardless of who leaves, the ending is rarely happy. Selkie stories are salt-soaked with longing, freedom and loss. They’re metaphors for desire, captivity and returning to one’s true self — even if it hurts.

These tales date back centuries, passed down orally in Scotland’s far northern islands and coastal fishing communities. And while they’ve inspired everything from poetry to films (The Secret of Roan Inish and Song of the Sea, for instance), the root myth remains as fluid and mysterious as the tide itself.

Simpson’s stamp is pure melancholy magic: a selkie woman caught mid-transformation, cloak of seal skin slipping from her shoulders, hair trailing like seaweed. The horizon behind her is misted, the waves beckoning. You can almost hear them whispering her name.

The selkie doesn’t roar or bite. She simply leaves — and that’s what makes her legend linger.

Stamped, Sealed, Enchanted

The Royal Mail’s Myths and Legends series doesn’t just celebrate folklore; it resurrects it. These aren’t dusty old tales tucked away in textbooks — they’re living, breathing stories full of monsters, mischief, heartbreak and heroism. And thanks to artist Adam Simpson’s stunning illustrations, they feel both timeless and vividly alive.

From the brute strength of Beowulf to the quiet sorrow of the selkie, each stamp invites you to pause and dive deeper. To trace the origins. To hear the whispers of ancient moors, haunted coastlines and flower-strewn spells. They remind us that storytelling is a kind of magic.

So yes, I’ll be collecting these. But more importantly, I’ll be sharing their stories — because folklore, like a good letter, was meant to be passed on. –Wally

How to Celebrate Beltane: A Wiccan Ritual, Traditions and the Magic of May Day

Discover the history, symbolism and traditions of this joyful May Day sabbat: a Beltane ritual, flower crowns, Maypoles, fire festivals and wild Fae magic. 

The last breath of spring lingers in the air, thick with the scent of the first blooming flowers and fresh-cut grass. The world is humming — bees drowsily drift between blossoms, the sun lingers a little longer each day, and the Earth is alive with a feverish energy. By nightfall, bonfires will blaze, ribbons will wind around the Maypole, and laughter will ripple through the warm evening air. This is Beltane, the fire festival of passion, fertility and abundance.

Celebrated on May 1, Beltane is the great turning of the wheel that marks the transition from spring to summer. The name comes from the Celtic god Bel, meaning “Bright One,” and tene, meaning “fire” — a fitting name for this exuberant festival. As one of the most joyous (and sensual) of the Wiccan sabbats, Beltane calls for revelry, creativity and connection.

The History and Traditions of Beltane

Beltane is one of the four great Celtic fire festivals, alongside Samhain, Imbolc and Lughnasadh. It marks the transition from spring to summer, when the world bursts into life, and the veil between realms grows thin. 

For the ancient Celts, Beltane was a time of protection, purification and fertility. Great bonfires were lit, and livestock were driven between twin fires to ensure their health and prosperity for the coming season. These fires were believed to hold magical properties, warding off disease and evil spirits. People also leaped over the flames — sometimes for luck, love or fertility, and sometimes as a form of personal purification.

But Beltane’s most infamous tradition was the greenwood marriage. On this night, couples would disappear into the woods to celebrate the fertility of the land in a very literal way. These unions weren’t necessarily permanent marriages — some lasted only for the night, while others could become long-term partnerships. Children conceived during Beltane were sometimes referred to as “merry-begots”, and the festival itself was deeply tied to the idea of sacred union — both between human lovers and between the Earth and the Sun.

Beltane and the Rise of Christianity

Like many pre-Christian festivals, Beltane’s fiery revelry and fertility rites didn’t sit well with the Church. While Christianity was often willing to absorb and adapt certain pagan customs — like turning Yule into Christmas or Ostara into Easter — Beltane’s more uninhibited celebrations were harder to sanitize.

The festival’s bonfires, rituals and open expressions of sexuality were seen as dangerously pagan. The idea of couples disappearing into the woods for greenwood marriages clashed with Christian notions of monogamy and morality. By the Middle Ages, efforts were made to suppress Beltane practices, often by demonizing the festival as a time of witchcraft and devilry.

However, May Day traditions proved too beloved to fully erase. The Church allowed some aspects to remain, especially the Maypole dance, which was reframed as a community event rather than a fertility ritual. Meanwhile, Beltane’s bonfires persisted in rural areas, particularly in Scotland and Ireland, though they were often rebranded as local saint celebrations.

The Protestant Reformation, however, took a harsher stance. Many Beltane traditions, including fire-jumping and fertility rites, were outlawed, and in some cases, participating in these customs was enough to get someone accused of witchcraft. The association between Beltane and witches was strong — even in the 17th century, Scottish minister Robert Kirk wrote about the “Fairy Faith,” warning that Beltane was a time when spirits and witches roamed freely.

Despite centuries of suppression, Beltane never truly died. In the modern era, the festival has experienced a revival among Wiccans, Pagans and folklorists, who have reclaimed its joyful, fiery essence. Today, Beltane is once again celebrated with bonfires, dancing and rituals — a testament to the resilience of ancient traditions.

Myths and Folklore of Beltane

Beltane’s fires burn in honor of Bel, the bright and shining god of light, often associated with Belenus, a solar deity worshiped across Celtic Europe. He was seen as a protector, guiding the transition from the gentle warmth of spring to the full power of summer. In some traditions, Bel’s fire was said to purify, bless and invigorate all who passed through it — hence the ancient tradition of driving cattle between Beltane bonfires for protection.

But Beltane isn’t just a time of fire — it’s also a time of Fae magic. Like Samhain, Beltane is a night when the veil between worlds is thin, making it easier for spirits and fair folk to slip through. Unlike Samhain, when ghosts and ancestors visit, Beltane belongs to the Fae. These aren’t your delicate, winged flower fairies; Beltane’s fae are wild, mischievous and often dangerous.

According to folklore, Beltane night is a time when:

• The Sidhe (fairy folk) roam freely, seeking offerings and sometimes playing tricks on unsuspecting mortals.

• Travelers may stumble into fairy rings and be spirited away for what seems like hours — but when they return, years have passed.

• Leaving offerings of milk, honey or bread outside your door will appease the Fae and ensure they don’t cause trouble in your home.

Many old stories warn against speaking to or making deals with the Fae on Beltane, but others claim it’s the perfect night to seek their blessings — if you know how to ask. Whether you honor them with gifts or steer clear of their mischief, there’s no denying that Beltane is a night of wild, untamed magic.

Traditions of Beltane

Beltane is a festival of fire, fertility and revelry, celebrating the height of spring and the turning of the wheel toward summer. It’s a time to embrace passion, creativity and abundance — whether that’s through dancing, feasting or lighting sacred fires.

1. Jumping the Fire

Fire is at the heart of Beltane. In ancient times, cattle were driven between two great bonfires to protect them from illness and misfortune. People also leaped over the flames to bring luck, fertility or courage into their lives. Today, you can honor this tradition by lighting a candle, writing an intention and carefully passing it over the flame for a symbolic blessing. Or, heck, test your luck and jump over a bonfire. Just make sure it’s a small one, please. 

2. The Maypole Dance

One of Beltane’s most iconic traditions, the Maypole dance is a celebration of energy and unity. Ribbons are woven around the pole, symbolizing the intertwining of masculine and feminine energies, though today it represents all forms of connection and creativity. If you don’t have access to a Maypole, you can braid ribbons into your hair, create a ribbon wreath, or tie ribbons to a tree as a personal tribute to the tradition.

3. Flower Crowns and Greenery

Beltane is bursting with life, love and fertility, making flowers an essential part of the celebration. Wearing a flower crown or weaving garlands honors the season’s energy, especially with hawthorn, marigolds and lilacs — traditional Beltane blooms.

4. Handfasting (Pagan Weddings)

Beltane has long been associated with sacred unions and handfastings, a form of marriage where couples’ hands are tied together with ribbon to symbolize their bond. In old traditions, these unions often lasted “a year and a day” before becoming permanent. Whether you’re renewing vows, celebrating love or simply embracing deeper connections, this is the perfect time to honor relationships.

5. Offerings to the Fae

Since Beltane is a time when the Fae walk among us, many leave offerings to stay in their good graces. Traditional gifts include milk, honey, fresh bread or mead, left outside overnight. If you’re wary of the Fae’s mischief, keeping iron or salt by your door is said to deter them.

6. Late-Night Walks and Wild Magic

Some Beltane traditions are a little more mysterious and playful. In ancient times, young couples would disappear into the woods for a night of “greenwood marriage” (ahem), returning at sunrise with flower-strewn hair and dewy skin. Others would walk barefoot in the grass at dawn, believing the morning dew held magical properties for beauty and good fortune.

Symbols of Beltane

Beltane is a festival rich in fire, fertility and wild energy, and its symbols reflect the passion and abundance of the season. Each one carries deep meaning, whether for protection, celebration or invoking the magic of May.

1. Fire

At its core, Beltane is a fire festival. The flames represent purification, passion and transformation, clearing away stagnation and ushering in the full force of summer’s energy. Whether it’s a bonfire, candle or even the sun itself, fire is the most powerful symbol of this sabbat.

2. The Maypole

A towering pole wrapped in colorful ribbons, the Maypole symbolizes union, connection and the dance of life. The interwoven ribbons represent the intertwining of energies — historically seen as masculine and feminine but now recognized as a celebration of all forms of harmony and creativity.

3. Flowers and Greenery

Beltane is a time of full bloom, and flower crowns, garlands and fresh-cut blossoms embody the beauty and fertility of the earth.

• Hawthorn (the “May tree”) is sacred to Beltane, representing protection and love.

• Lilacs and marigolds bring joy and blessings.

• Oak leaves and ivy symbolize strength and endurance.

4. The Fae

Beltane is one of the two times of the year when the veil between worlds is thin, making the Fae and spirits of the land more active. Many leave offerings of milk, honey and bread to honor them, while others take precautions to avoid their mischief.

5. The Green Man and the Goddess

The union of earth and sky, god and goddess, life and fertility is a central theme of Beltane. The Green Man, a leafy-faced figure found in old carvings and myths, represents the wild, untamed energy of nature. His counterpart, often depicted as the May Queen or a flower goddess, embodies fertility, beauty and the earth’s abundant gifts.

6. Ribbons and Knots

Weaving, braiding and tying knots are common Beltane practices, symbolizing the intertwining of forces, whether in relationships, creativity or personal power. Many use ribbons in Maypoles, hair braids, handfasting ceremonies or small intention charms to honor the magic of the day.

7. The Color Red

Red is the color of passion, fire and vitality, making it the perfect hue for Beltane. Wearing red, lighting red candles, or using red flowers invokes the bold energy of the season, fueling creativity, love and courage.

A Simple Beltane Ritual

This ritual honors Beltane’s fire, passion and fertility — whether that means love, creativity or personal growth. You’ll invoke the energy of the season with fire, flowers and a rhyming chant to set your intentions ablaze.

You’ll need:

• A red or orange candle (or a small fire, if safe)

• A ribbon (any color that calls to you)

• A flower or sprig of greenery (hawthorn, lilac or oak if possible)

• A small bowl of honey or milk as an offering

The Ritual

1.Set the scene: Find a quiet place, indoors or outside. Cast a magic circle if you want. Light the candle and take a deep breath, imagining yourself surrounded by the warmth of a Beltane bonfire.

2. Call the fire’s blessing: Hold your hands over the flame (at a safe distance) and say:

Fire bright, passion’s light,
Burn away the dark of night.
Bless this time, this turning wheel,
With love and joy I dance and feel.

3. Tie your intention into the ribbon: Hold the ribbon in your hands and focus on your desire for love, creativity, fertility or abundance. Tie a knot for each wish, saying:

Bound in fire, sealed in light,
My wish takes root, my path burns bright.

4. Offer the flower and honey: Lay the flower beside your candle and leave the honey or milk as an offering to the spirits of the land or the Fae.

5. Let the fire carry your intention: Pass the ribbon briefly over the flame or simply hold it close, infusing it with Beltane’s energy. Keep the ribbon on your altar, tied to your wrist or beneath your pillow to let your wish grow.

6. Close with gratitude: Blow out the candle and whisper a final blessing:

Beltane’s fire, warm and bright,
Guide my heart through day and night.

Feasting for Beltane

Beltane is a festival of abundance, passion and pleasure, making feasting an essential part of the celebration. Foods that are sweet, fiery and full of life embody the spirit of this sabbat, honoring both the earth’s bounty and the traditions of the past.

Traditional Beltane Foods

Honey Cakes and Mead: Honey is sacred to Beltane, representing fertility and sweetness. Bake honey cakes, oatcakes or shortbread, or sip on mead to honor the old ways.

Dairy and Fresh Cream: In Celtic traditions, milk was often offered to the spirits of the land for fertility and protection. Enjoy cheeses, whipped cream or even a glass of milk as a nod to the past.

Seasonal Fruit and Herbs: Spring’s fresh berries, cherries, citrus and edible flowers are perfect for Beltane. Try strawberries dipped in honey or a salad with basil, mint and violets for a fresh, magical touch.

Spiced and Fire-Infused Dishes: Beltane is a fire festival, so foods with a bit of heat — like spiced nuts, hot honey or roasted peppers — connect to the day’s energy.

Bannocks and Oat Breads: Traditionally baked on Beltane morning, these simple, rustic breads are symbols of prosperity. Serve with butter and honey for a warm, grounding feast.

Beltane Punch: Mix fruit juices, a splash of something bubbly (like sparkling water or champagne), and fresh herbs for a refreshing, celebratory drink.

A Simple Beltane Honey Cake Recipe

This easy honey cake is perfect for Beltane feasting. 

You’ll need:

• 1½ cups flour

• ½ cup honey

• ½ cup butter (softened)

• 1 egg

• ½ teaspoon cinnamon

• ½ teaspoon nutmeg

• ½ teaspoon baking soda

• ½ cup milk

Instructions:

1. Preheat the oven to 350°F (175°C).

2. In a bowl, mix the butter and honey until creamy.

3. Add the egg, then stir in cinnamon, nutmeg and baking soda.

4. Alternately add flour and milk, mixing well.

5. Pour into a greased pan and bake for 25-30 minutes, or until golden.

Serve warm with butter, honey or fresh fruit — and don’t forget to leave a small piece as an offering for the Fae!

Crafting for Beltane

Beltane is associated with creativity, making it the perfect time for hands-on magic. Whether you’re weaving flower crowns, braiding ribbons or crafting charms, these simple projects help infuse your celebration with personal intention and seasonal energy.

Make a Flower Crown

Beltane is a time of full bloom, and wearing a flower crown connects you to the beauty and abundance of nature.

You’ll need:

• Fresh or dried flowers (hawthorn, lilac, marigold or whatever calls to you)

• Flexible floral wire or a grapevine base

• Green floral tape or twine

How to make it:

1. Shape the wire or vine into a circle that fits your head.

2. Use floral tape or twine to attach flowers, weaving them into the base.

3. Wear your crown during Beltane rituals or celebrations — or leave it as an offering for the Fae. 

Create a Beltane Fire Charm

This simple charm invokes passion, protection and transformation, perfect for Beltane’s fire energy.

You’ll need:

• A small red or orange pouch or piece of fabric

• Dried herbs (cinnamon for passion, rosemary for protection, thyme for courage)

• A small stone (carnelian, garnet or sunstone)

How to make it:

1. Place the herbs and stone inside the pouch.

2. Hold it over a candle flame (briefly and safely) and say:

Fire bright, bless this charm,
Bring me passion, love and warmth.

3. Keep it on your altar or carry it for fiery inspiration.

Decorate a Beltane Tree

In ancient traditions, Beltane trees were adorned with ribbons, flowers and charms to honor nature’s energy.

How to do it:

1. Tie ribbons, bells or small trinkets to a tree in your yard or local park.

2. Whisper a wish or blessing as you tie each ribbon.

3. Leave an offering of honey, milk or bread for the spirits of the land.

Celebrating Beltane: Fire, Passion and Magic

Beltane is a festival of fire, passion and abundance — a time to revel in the warmth of the season, dance with wild joy, and set intentions that burn as brightly as the bonfires of old. Whether you’re jumping the flames, weaving ribbons, feasting on honey cakes, or whispering wishes to the Fae, this sabbat invites you to embrace life’s pleasures and celebrate the magic of May.

So light a candle, sip something sweet, and let Beltane’s fire ignite your dreams, desires and creativity. The wheel is turning, the Earth is alive, and the night is filled with wild magic. –Wally

The Isabella Stewart Gardner Museum: A Breathtaking Artistic Oasis in Boston

A Venetian-style palazzo — the scene of an infamous unsolved art heist — houses eclectic art and lush seasonal gardens. 

The courtyard of the Isabella Stewart Gardner Museum was designed to evoke the ambiance of a 15th century Venetian palace.

I was flicking through Instagram (something I do way too often), and my finger stopped mid-scroll on a stunning palazzo. “Italy?” I thought. “Maybe India?” 

Nope. It was the Isabella Stewart Gardner Museum — in Boston, of all places.

Boston?! I’d be there the next day for work. It felt like fate.

“Isabella Stewart Gardner’s will specified that nothing could be moved, ensuring her vision stayed exactly as she intended.”

Gorgeous tilework in the Spanish Cloister — nearly 2,000 tiles from 17th century Mexico, that is

The Isabella Stewart Gardner Museum: A Hidden Gem in the Heart of Boston

Boston has its usual suspects when it comes to tourist spots: Fenway Park, the Freedom Trail, Faneuil Hall. But have you heard of the Isabella Stewart Gardner Museum?

It’s not usually the first stop on a Boston itinerary, but it absolutely should be. Tucked into the city’s Fenway neighborhood, this museum feels like a secret treasure waiting to be discovered. And, believe me, it’s worth it — from its jaw-dropping architecture to its captivating art (and even its unsolved mystery).

The Veronese Room is named for the grand painting on its ceiling, The Coronation of Hebe, attributed to Paolo Veronese and his studio, painted in the 1580s.

The Tapestry Room features 10 Flemish tapestries.

Isabella Stewart Gardner was a rule-breaker, a collector and someone who knew how to make an impression.

Take her grand parties: She once attended a symphony in a white headband that simply said, “Oh, you Red Sox” in bold letters. She was as bold as her taste, building her museum as a Venetian-style palazzo (originally called Fenway Court) right in Boston and filling it with treasures from around the world.

“Years ago I decided that the greatest need in our country was art,” she once said. “So, I determined to make it my life’s work if I could.” 

Mission accomplished. 

In the Chinese Loggia, Stewart Gardner placed a statue of the Madonna and child opposite a Buddhist stele to spark contemplation about shared spiritual themes.

Walking through the museum feels like wandering through the home of someone fabulously wealthy and wildly eclectic. You’ll spot everything from a Rembrandt self-portrait to Japanese lacquered boxes, all lovingly placed as Isabella herself arranged them over a century ago.

A Roman mosaic floor featuring the head of Medusa that was crafted between 117 and 138 CE takes center stage in the courtyard.

The Infamous Art Heist: Mystery in 81 Minutes

The Gardner Museum holds the title for the greatest unsolved art heist in history. The story is something straight out of Hollywood.

It all began in the early hours of March 18, 1990. Two men dressed as Boston police officers buzzed at the museum’s doors, claiming they were responding to a disturbance. The night guards, unsuspecting, let them in.

Big mistake.

“The Gardner Museum holds the title for the greatest unsolved art heist in history.

On March 18, 1990, two men dressed as Boston police officers strolled out of the museum with over $500 million worth of art.”

The “officers” handcuffed the guards, duct-taped their mouths, and left them in the basement. Over the next 81 minutes, they raided the galleries, carefully cutting 13 priceless works from their frames. They strolled out with art worth over $500 million, including:

• Rembrandt’s Storm on the Sea of Galilee (his only seascape)

• Vermeer’s The Concert, valued at $250 million

• Manet’s Chez Tortoni

• A Chinese gu (ancient ceremonial vessel)

• A bronze eagle finial from a Napoleonic flag

When the guards were finally freed, the thieves — and the art — were long gone.

To this day, the empty frames hang in their original spots as a silent reminder of the loss. The museum still offers a $10 million reward for information, but the case remains cold.

Intrigued? Check out the Netflix docuseries This Is a Robbery, which dives deep into the mystery of the stolen masterpieces.

A portrait of Isabella Stewart Gardner by John Singer Sargeant depicts the remarkable woman as a pagan goddess.

Isabella Stewart Gardner: The Original It Girl

Born in 1840, Isabella wasn’t your typical socialite. After her son Jackie died young, followed by miscarriage in her 20s, she fell into depression — until her doctor prescribed travel. That single recommendation changed her life.

Isabella and her husband, Jack, explored the world, visiting Egypt, Italy and Japan. Along the way, she discovered a passion for art, collecting everything from tapestries to ancient manuscripts.

Back in Boston, she became known for her unconventional style. She defied the strict social norms of the time, pairing pearls with turbans at baseball games and opening her home to artists, writers and musicians.

The Blue Room at the Isabella Stewart Gardner Museum offers an intimate glimpse into Isabella’s personal world, showcasing her close connections with contemporary artists and intellectuals.

A lion attacking a man forms the base of a column in the North Cloister, from 12th century Tuscany.

The works in the Tapestry Room came from Brussels, Belgium and were created in the mid-16th century.

Her museum was her life’s crowning achievement, built in 1903 to house her collection and inspire the public. Even in death, she had the last word: Her will specified that nothing could be moved, ensuring her vision stayed exactly as she intended.

A view of the modern wing

The Museum Today: Tradition Meets Modernity

In 2012, the museum unveiled its sleek new Renzo Piano-designed wing, adding modern flair while preserving Isabella’s original palazzo. The various rooms include: the Dutch Room, Rafael Room, Tapestry Room, Titian Room, Veronese Room and Gothic Room. 

Wandering from room to room feels less like visiting a museum and more like stepping into Isabella’s home — because, in a way, you are. Each space is curated exactly as she intended, as if she’s just stepped out, leaving you to explore her private collection of treasures from around the world.

The new space hosts concerts, lectures and temporary exhibits, creating a dynamic blend of old and new.

The courtyard itself might be the most beautiful work of art here. This statue is believed to represent Persephone, the goddess of spring who became queen of the underworld.

And while the art is breathtaking, don’t overlook the ever-changing courtyard. Seasonal displays like orchids, hydrangeas and chrysanthemums transform the space into a living masterpiece.

Grab a bite at Café G in the new wing of the museum.

Café G

Upon arriving at the Isabella Stewart Gardner Museum, I was famished and made a beeline for Café G, the museum’s onsite eatery. The sleek, glass-enclosed space was designed by Renzo Piano, offering serene views of the surrounding gardens — a tranquil setting to relax before delving into the museum’s treasures.

The menu features dishes that highlight seasonal, local and organic ingredients. 

The Raphael Room features Italian Renaissance art.

A Museum Like No Other  

Whether you’re an art lover, a history buff or just someone looking for a little magic in Boston, the Isabella Stewart Gardner Museum is a must-see. It’s a time capsule, a mystery and a testament to one woman’s indomitable spirit. –Wally

At the end of the Long Gallery in the Chapel hangs a High Gothic stained glass window titled Scenes From the Lives of Saint Nicasius and Saint Eutropia, crafted around 1205 for the Soissons Cathedral in France.

The Deets: Plan Your Visit

Hours:

• Wednesday to Monday: 11 a.m. to 5 p.m. 

• Thursdays: 11 a.m. to 9 p.m. 

• Closed: Tuesdays, Thanksgiving, Christmas and New Year’s Day

Admission:

• Adults: $20

• Seniors (65+): $18

• Students with ID: $13

• Free: Members, children under 18, and anyone named Isabella (yes, really!)

Isabella Stewart Gardner Museum

25 Evans Way
Boston, Massachusetts
USA

What Is an eSIM?

Lost without service? Here’s an explanation of what eSIMs are — and how they’re changing the game for travelers. 

Your bags are packed, your itinerary is set, and you’re ready to explore. But the moment you step off the plane, your phone flashes a dreaded message: No Service.

You scramble to connect to airport WiFi (if it’s even available), fumble with a local SIM card you bought at a kiosk, and pray you remember your hotel’s address before getting into a taxi. Meanwhile, your friends and family have no idea where you are. Sound familiar?

“ESIMs eliminate roaming charges, simplify setup, and ensure you’re never stranded without service.

Because the only thing you should be worrying about on your trip is where to explore next.”

For years, travelers have been caught in this all-too-common nightmare — disconnected, disoriented and sometimes downright lost. But thanks to eSIM technology, staying connected abroad is no longer a hassle.

What Is an eSIM?

An eSIM (embedded SIM) is a digital SIM card built directly into your phone. Unlike traditional SIM cards, eSIMs don’t require swapping out tiny plastic chips. Instead, you can activate a data plan by scanning a QR code — no waiting, no extra hardware.

And eSIMs are quickly becoming the standard. The number of eSIM-enabled devices is expected to grow from 1.2 billion in 2021 to 3.4 billion by 2025, according to a study by Juniper Research. That’s a 180% increase.

How Do eSIMs Work?

Setting up an eSIM is incredibly simple:

1. Make sure your phone is compatible. 

2. Purchase an eSIM plan from a provider online.

3. Receive a QR code via email.

4. Scan the code with your phone’s camera.

5. Boom — you’re connected!

With an eSIM, you can store multiple data plans on a single device, meaning you can switch between providers with just a few taps. Many travelers keep their home number active while using an eSIM for data abroad — no more expensive roaming fees.

Why Travelers Are Ditching Traditional SIMs for eSIMs

1. Instant Connectivity

Gone see those frantic airport searches for a SIM card vendor. You can activate your eSIM before you even take off.

2. No More Roaming Nightmares

International roaming fees can be brutal. A 2023 study by WhistleOut found that some U.S. carriers charge up to $10 per day for international data, while pay-as-you-go rates can skyrocket to $2.05 per MB (that’s $2,050 for 1 GB!). ESIMs offer flat-rate, prepaid data plans that can save travelers hundreds of dollars per trip.

3. Eco-Friendly and Hassle-Free

ESIMs eliminate the need for plastic SIM cards, packaging and shipping, making them a greener choice. Plus, no more losing or damaging those tiny chips.

4. Dual SIM Capability

Need to keep your regular number active for calls and texts? No problem. Many eSIM-compatible phones let you use your primary number for calls while using an eSIM for data abroad.

5. Hotspot and Data Sharing

Some eSIM plans even allow tethering, so you can share your data with a laptop or travel companion — perfect for digital nomads or group travelers.

What to Know Before Using an eSIM

While eSIMs are a game-changer, they aren’t perfect for everyone. Here are a few things to keep in mind before making the switch:

1. Your phone must be compatible. 

Not all phones support eSIMs. As of now, only newer models from Apple, Samsung, Google and a few other brands work with eSIMs. If you’re unsure, check your phone’s settings or the provider’s compatibility list before purchasing.

2. You need WiFi for setup.  

To install an eSIM, you must be connected to WiFi. This means you should set it up before leaving home or from a hotel with stable internet. Forget to do it? You might struggle to get online when you land.

3. You don’t get a phone number on data-only plans. 

Most travel eSIMs are data-only, meaning they don’t provide a phone number for calls or texts. If you need to make calls, you’ll have to use WhatsApp, FaceTime or Google Voice instead.

4. Data sharing isn’t available everywhere. 

Not all eSIM plans allow hotspot sharing. If you plan to connect your laptop or share data with a travel partner, check whether your plan supports it — especially if you’re traveling in a remote area.

5. Coverage can vary. 

ESIMs rely on local networks, meaning signal strength and speeds depend on where you are. If you’re in a rural or mountainous area, you might experience weaker coverage — just like with a regular SIM card.

6. Switching providers may take a few steps. 

While eSIMs make it easier to change carriers, some phones require a manual reset when switching networks. If you’re juggling multiple providers, this could cause minor delays.

FAQs About eSIMs for Travelers

What exactly is an eSIM?

If you have a newer phone (like an iPhone XR or later, Google Pixel 3 or later, or a recent Samsung Galaxy model), the eSIM technology is already built into your device. You don’t need any extra hardware — just activate an eSIM plan by scanning a QR code or entering details manually, and your phone connects to a local network.

Since it’s embedded in your device, an eSIM can’t be lost, stolen or damaged like a traditional SIM card.

Why would I need an eSIM?

If you travel internationally, an eSIM lets you stay connected without expensive roaming fees or the hassle of swapping physical SIM cards. With an eSIM, you can activate a local or global data plan before your trip and have internet access the moment you land.

Does an eSIM replace an international data plan?

An eSIM is an international data plan, but instead of using your home carrier’s potentially expensive roaming package, it connects to local networks at a better rate. Unlike traditional international data plans that require carrier contracts, eSIMs are prepaid and flexible.

Can I use an eSIM and my regular SIM at the same time?

Yes. Most eSIM-compatible phones have dual SIM functionality, meaning you can keep your regular SIM active for calls and texts while using an eSIM for data. This is great for people who need to receive calls on their primary number while using a local data plan abroad.

Do eSIMs work in every country?

ESIM providers offer coverage in most major travel destinations, but coverage quality varies depending on local networks. Always check if your destination supports eSIMs before purchasing a plan.

What happens if I lose my phone while using an eSIM?

If you lose your phone, your eSIM is tied to that device and cannot be removed or swapped like a physical SIM card. However, you can still access your account from another device to transfer your eSIM, depending on your provider’s policy.

Can I share my eSIM data with other devices?

Some eSIMs allow hotspot sharing, while others restrict tethering. If you plan to use your phone’s hotspot for a laptop or another device, make sure your eSIM provider supports this feature in your destination.

Are eSIMs secure?

Yup. ESIMs cannot be physically stolen or removed, making them more secure than traditional SIM cards. However, like any digital service, it’s important to use strong passwords and enable remote tracking features on your phone in case of loss or theft.

How do I switch back to my regular SIM after my trip?

It’s easy! Simply go into your phone’s SIM settings and switch back to your primary SIM. If you don’t plan to use your eSIM again, you can delete it from your device.

Say Hello to Holafly: A Seamless eSIM Solution

While there are several eSIM providers out there, Holafly has made a name for itself by offering a frictionless, traveler-friendly experience. They’ve got:

• ESIMs for 190+ destinations worldwide

• Instant email delivery — no waiting or physical shipping

• 24/7 support via WhatsApp, chat or email

• Flat-rate pricing — no surprise fees or roaming charges

• Data sharing supported in 30+ destinations

With over 1 million travelers already using Holafly, the company is helping make international connectivity effortless.

ESIMs: The Future of Travel Connectivity

ESIMs eliminate roaming charges, simplify setup, and ensure you’re never stranded without service.

If you’re ready to ditch the SIM-swapping stress, check out Holafly and get an exclusive 5% discount. Use the code: NOTSOINNOCENTS

This works whether or not you’re a new customer — and it’s valid for top-ups, too.

Because the only thing you should be worrying about on your trip is where to explore next. –Wally

Chapultepec Castle’s National History Museum in Mexico City

Perched atop the Hill of the Grasshopper, Chapultepec Castle is the only royal residence in North America. From its imperial past to the revolutionary murals inside, here’s why this must-visit landmark in Chapultepec Park is worth the climb.

Alegoría de la Revolución (Allegory of the Revolution) by Eduardo Solares Gutiérrez, 1933

They say the third time’s a charm, and on our latest (and yes, third) trip to Mexico City, Wally and I finally made it to the Castillo de Chapultepec (Chapultepec Castle). 

Perched atop the summit of Cerro del Chapulín (Hill of the Grasshopper) in the first section of the vast Bosque de Chapultepec (Chapultepec Forest), this historic site and local landmark is the only castle in North America to have served as a royal residence. It was home to Emperor Maximilian I and Empress Charlotte, the ill-fated rulers of the short-lived Second Mexican Empire — but more on that later. 

“Perched atop the summit of the Hill of the Grasshopper, this historic site is the only castle in North America to have served as a royal residence. ”

Chapultepec itself is one of the oldest and largest public parks in Latin America. Dating back to the pre-Hispanic era and officially designated as a public space in the 16th century, the park underwent major renovations in 1910 to commemorate Mexico’s independence centennial. Today, it spans approximately 2,100 acres — more than twice the size of New York City’s Central Park, one of the largest urban parks in the world. 

Detail of the right half of the mural La Dictadura y La Represión (Dictatorship and Repression) by Juan O'Gorman — a visual commentary on the transgressions of President Díaz

On our previous visit, we spent hours exploring the first floor of the incredible Museo Nacional de Antropología (National Museum of Anthropology), captivated by its collection of pre-Hispanic artifacts from civilizations like the Aztecs and Maya. 

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MORE: Explore the Museum of Anthropology’s collections on Animal Pottery and Death Cults of Ancient Mexico

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The park is divided into four sections, from historic landmarks to vast green spaces. It’s home to nine major museums covering a wide range of subjects, along with monuments, gardens and countless other fascinating sights. And so far, we’ve barely scratched the surface of Section One. 

Its name comes from the Nahuatl word chapoltepēc, meaning “Hill of the Grasshopper.” But why a grasshopper? The area may have once been full of them, but in Mesoamerican cultures, the insect also symbolized prosperity and good fortune. 

Sarao en un jardin de Chapultepec (Festive Gathering in a Garden at Chapultepec) is a handpainted biombo, or folding screen, from around 1780-1790. It depicts a sarao, a lively social gathering featuring music and dancing that played a key role in courtly and aristocratic life.

Visiting Chapultepec Castle

For this trip, we once again stayed in Colonia Condesa, a charming neighborhood that borders Chapultepec. After breakfast, we set off toward the castle, and about 25 minutes later, we were following one of the pathways leading into the park. Since it was still early morning, the vendors were just beginning to set up. 

Wally and I stopped by the Old Guard House, a brick building situated at the base of the hill, to verify our tickets with an attendant, which Wally had purchased online the night before. 

You’ll know you’ve arrived at the right place when you see the Old Guard House, located at the base of the entrance leading to Chapultepec Castle.

Note: If you’re carrying bottled water or snacks like we were, be sure to pay for a locker as well. We didn’t realize that food and drink were prohibited inside the castle grounds — and were told at the security checkpoint that we needed to finish or rent a locker to store them.

The morning we visited, we got the full experience — a busload of kids arrived at the same time we did, their chaperones struggling to keep them from running and yelling as they excitedly scattered across the path ahead of us. Fortunately, we managed to get ahead of the group and for the most part avoided them once we reached the top. 

We hurried past the schoolchildren walking up the hill — and mostly avoided them while exploring the castle.

As we continued our ascent to the top, where the castle is located, we passed a bronze statue of José María Morelos y Pavón, created by Spanish sculptor Ángel Tarrach. Morelos, a Catholic priest and revolutionary leader during Mexico’s War of Independence, was ultimately captured by the Spanish army, tried by the Inquisition, and executed by firing squad for treason. Despite his fate, he’s remembered as a champion of the people — a brilliant military strategist and a tireless advocate for a more just society. 

A bronze statue of José María Morelos y Pavón, a priest and revolutionary leader, by Ángel Tarrac

Since there’s nowhere to buy tickets at the top of the hill, it’s essential to get them online or at the guard house before making the climb. The security checkpoint at the base of the hill won’t ask for them, but the attendants at the castle gate will. If you forget, you’ll have to trek all the way back down — and trust me, that steep uphill climb is tough enough the first time, especially if you’re still acclimating to Mexico City’s altitude. After all, Chapultepec Castle is located at a height of 7,628 feet (2,325 meters) above sea level. 

Two structures stand atop the Hill of the Grasshopper: to the east, Chapultepec Castle — also known as the Alcázar (Royal Palace) — and to the west, the Museo Nacional de Historia (National Museum of History). Housed in the same building that once served as the military academy, the museum explores nearly 500 years of Mexico’s complex history that are displayed chronologically from the 15th to the 21st century. 

Fun fact: The castle exterior was used as the Capulet mansion in Baz Luhrmann’s Romeo + Juliet from 1996, starring Leonardo DiCaprio and Claire Danes. 

The façade of the castle that houses the National History Museum

A Brief History of Chapultepec Castle

Construction of what would become the castillo began in 1785 during the Spanish colonial period. Originally intended as a retreat for Spanish officials, the project was closely associated with Bernardo de Gálvez, the viceroy of New Spain, who governed the territory on behalf of the Spanish crown from 1785 to 1786. 

Before his term as viceroy, Gálvez served as the governor of Spanish Louisiana, where he played a pivotal role in the American Revolution. He led military campaigns that supported General George Washington’s troops, capturing Pensacola, the capital of British West Florida, and effectively removing British influence from the region. His legacy lives on in the place names such as Galveston, Texas, and Galvez Street in New Orleans, Louisiana.

Unfortunately, Gálvez’s service was brief. Before  he could complete the project, he died from yellow fever — known in Mexico as vomito negro because internal bleeding turned the victim’s vomit black. The estate went unfinished. By 1806, the municipal government had taken ownership of the structures, and in 1833, they were converted into the Colegio Militar, a military academy that trained young officers for the Mexican Army.

Today, the grounds are remembered as the site of the Battle of Chapultepec, a pivotal conflict of the Mexican-American War fought on September 12 and 13, 1847. The U.S. was victorious, capturing Chapultepec Castle and paving the way for the fall of Mexico City. 

It was here that six young cadets, ages 13 to 19 — known as Los Niños Héroes (The Boy Heroes) — lost their lives defending the military academy against American forces in one of the war’s final battles.

The war officially ended in 1848 with the Treaty of Guadalupe Hidalgo, a humiliating agreement that forced Mexico to cede over half its territory to the United States. 

Vista de la Plaza Mayor de la Ciudad de México (View of the Zócalo of Mexico City) by Cristóbal de Villapando, 1695

Exploring the National History Museum 

As Wally and I stepped through the entrance of the museum, we were awestruck by the double staircase that rose before us. Covering the domed ceiling high above is La Intervención Norteamericana (The North American Intervention), a mural by Gabriel Flores. It depicts Juan Escutia, one of the six Niños Héroes who died defending the academy from invading U.S. forces. According to legend, Escutia leapt to his death from the academy, plunging over the steep rock face of the Hill of the Grasshopper, wrapped in the Mexican flag to prevent it and himself from falling into enemy hands.

The front staircase features the mural Alegoría de la Revolución (Allegory of the Revolution) by Eduardo Solares from 1934.

There’s another large-scale mural on the staircase, Alegoría de la Revolución (Allegory of the Revolution) painted by Eduardo Solares. This powerful piece depicts a moment from the revolution that overthrew the dictatorial regime of Porfirio Díaz. 

Cute décor idea: a tzompantli — a rack used by the Aztecs to display the skewered skulls of human sacrifices and prisoners of war

The Conquest of the Americas

We passed display cases featuring armor worn by the conquistadors and their horses, along with a small 16th century wooden sculpture of the Virgin of Valvanera. According to legend, this likeness is a “true portrait” of the Virgin Mary, carved by Saint Luke and brought to Spain by the disciples of Saint Peter.

Sacrificio de Españoles por Mexicas (Sacrifice of Spaniards by Mexicas) by Adrian Unzeta, 1898

While these were fascinating, the installation that stopped us in our tracks was a tzompantli — a rack used by the Aztecs to display the skewered skulls of human sacrifices and prisoners of war. Discovered in 1994 at Tecoaque, an archaeological site in central Mexico whose name translates to “the Place Where They Ate Them” in Nahuatl, this tzompantli is believed to have been built by the Acolhua, allies of the Aztecs. It held the skulls of a defeated Spanish-led convoy captured in 1520 — comprising conquistadors and their indigenous allies, who were ritually sacrificed and quite possibly eaten. 

This image, #1 De Español y Indio, Mestizo o Cholo (From Spaniard and Indian, Mestizo or Cholo), depicts the highest-class of the caste hierarchy imposed by the Spanish colonists.

The depiction of the lowest caste in #16 De Coyote, Mestizo y Mulata: Ahí te estás (From Coyote, Mestizo and Mulatto: There You Are) reflects the prejudices of the Spanish invaders.

The Pecking Order of New Spain

In a nearby room, a series of 18th century casta (caste) paintings hung on the wall. 

These 16 scenes depicted the colonial social hierarchy of New Spain, a system imposed by the Spanish government to classify individuals based on ancestry and racial mixing. At the top were Spaniards, both those born in Spain (peninsulares) and those born in the Americas (criollos). Below them were mestizos, people of mixed Spanish and indigenous heritage, and other mixed-race groups, followed by indigenous people and those of African descent. Though rigid in theory, this system allowed some social mobility through wealth,  marriage or official status changes. 

Juan O'Gorman was invited by Antonio Arriaga Ochoa, the director of the National Museum of History, to complete the project that had initially been commissioned by his friend, Diego Rivera, who had died three years earlier in 1957.

The STRUGGLE WAS REAL: MEXICO’S WAR of INDEPENDENCE

The Salón de Independencia (Hall of Independence) features the Retablo de la Independencia (Independence Altarpiece), a monumental mural painted by architect and muralist Juan O’Gorman between 1960 and 1961.  

The mural is divided into four sections, each representing a different stage of the Mexican independence movement. At the center stands the white-haired figure of Miguel Hidalgo y Costilla, dressed in clerical robes and brandishing a torch in his left hand. During Mexico's fight for independence, he took a banner depicting the Virgin of Guadalupe from the Sanctuary of Jesús Nazareno de Atotonilco, using it as the flag for his insurgent army. Look for the flag in the case below the mural. Hidalgo’s call to arms, known as the Grito de Dolores (Cry of Dolores), ignited the fight against Spanish colonial rule.

Nearby, José María Morelos is depicted gripping a sword, with a white bandana tied around his head. Morelos was a key leader in the movement, organizing insurgent forces to abolish slavery and the casta system.

Among other figures, Josefa Ortiz de Domínguez appears wearing a green dress and a purple rebozo (shawl), seated on a white horse and surrounded by indigenous victims of exploitation, hunger and death.

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MORE: The Controversial Murals at the Palacio de Bellas Arte

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The western terrace, or Patio de Juan de la Barrera, was named in honor of one of the young Mexican cadets who died during the Battle of Chapultepec fighting in the Mexican-American War.

Pergola Terrace, or Patio de Juan Barradas

Wally and I stepped out of the building and into the sunlight-drenched western terrace. A gurgling fountain stood before us and an expansive pergola stretched out to the right, offering shade and views of the park’s artificial lake and city beyond. 

At the back of the garden stands La Madre Patria, Agradecida a sus Hijos Caídos (The Motherland, Grateful to Its Fallen Children), a classical monument commemorating the Niños Héroes. Designed by architect Luis MacGregor Cevallos and sculpted by French-trained Mexican artist Ignacio Asúnsolo, it was inaugurated in 1924.

Asúnsolo finished the monument to the Niños Héroes in a mere three months, fulfilling President Álvaro Obregón’s request to have it completed and inaugurated before the end of his term.

The top of the pylon-shaped memorial features a solemn veiled matron, an eagle at her side, its wings spread protectively. Encircling them is a coiled, feathered serpent, a creature from pre-Hispanic mythology that symbolizes the deity Questzacoatl and reflects the national coat of arms. Below, four muscular figures of young native warriors clad in loincloths represent a different aspect of sacrifice and struggle, each facing a different direction: Supreme Sacrifice (east), Desperation in Defense (north), Unequal Fight (south) and The Epic (west).

The mural Sufragio efectivo, no reelección (Effective Suffrage, No Reelection) by Juan O’Gorman is named for the rallying cry of President Francisco I. Madero against the long dictatorship of Porfirio Díaz.

Fall of the Feudal Empire

When we stepped back inside from the terrace, we entered a room to the right, where a series of murals by Juan O’Gorman covered the walls. These paintings depict a turbulent chapter in Mexico’s history — the fall of the Porfirian dictatorship and the revolution that followed.

(Incidentally, O’Gorman wasn’t just a painter — he was also an architect. He designed strikingly modern homes for Frida and Diego, which pissed off the neighbors.)

One of the most striking murals, Sufragio efectivo, no reelección (Effective Suffrage, No Reelection), dominates one of the walls. Part of O’Gorman’s Retablo de la Revolución (Altarpiece of the Revolution), it captures a pivotal moment in the Mexican Revolution: the Marcha de Lealtad (March of Loyalty). At the center, Francisco Madero rides on horseback, wearing the presidential sash across his chest. The mural portrays his journey from Chapultepec Castle to the National Palace on the morning of February 9, 1913, escorted by students of the Military College. This march would mark the beginning of the Decena Trágica (Ten Tragic Days), a coup that would ultimately cost Madero his life.

Madero had risen to power in the wake of the Mexican Revolution, which erupted in 1910 against the long rule of President Porfirio Díaz. Although Díaz modernized Mexico and maintained a period of stability known as the “Pax Porfiriana,” his policies overwhelmingly favored the wealthy and foreign investors while leaving much of the population — especially indigenous communities — trapped in near-servitude. His ousting paved the way for Madero’s election as president, ushering in hopes of democracy and social justice.

But Madero’s time in power was short-lived.

The Decena Trágica was a violent siege that led to his downfall. What began as an armed revolt quickly turned into a bloody standoff in Mexico City, with intense fighting around the National Palace and the Ciudadela armory. In a devastating betrayal, Madero’s own army chief, Victoriano Huerta, turned against him. Forced to resign on February 18, 1913, Madero and Vice President José María Pino Suárez were executed just days later, on February 22, under Huerta’s orders. Their deaths threw Mexico into further chaos, deepening the revolution that would reshape the nation.

Looking into the gift shop in a central courtyard of this wing of the castle

Cannonball Run to the Gift Shop

The museum shop is located on the ground floor at the center of the Patio de Cañones (Patio of Cannons), so named for the cannons that can be found in the courtyard of the museum. The space is anchored by a sculpture by David Camorlinga dedicated to Emiliano Zapata, a key figure in the Mexican Revolution, known for championing land reform and peasant rights under the rallying cry, “Tierra y Libertad” (Land and Liberty).

The somewhat cartoonish bronze statue of revolutionary leader Emilano Zapata by David Camorlinga can be found in the Courtyard of Canons near the gift shop. The artwork captures Zapata’s defining features, including his iconic walrus mustache and broad-brimmed charro hat.

When we visited, a team was renovating the mural Batalla de Zacatecas (Battle of Zacatecas) by Ángel Bolivar from 1965. 

During our visit, the whimsical and informative temporary exhibit Juárez/Max, Reflejo de dos vidas (Reflection of Two Lives) featured dioramas that told the story of the second Mexican empire, as well as the arrival and establishment of the republic, complete with cute felt Day of the Dead-style dollies of President Benito Juárez, First Lady Margarita Maza, Maximilian von Habsburg, and his wife Princess Charlotte of Belgium.  

An ornate door in the Salón de Malaquitas

Green With Envy: Salón de Malaquitas 

This richly decorated room takes its name from its impressive malaquita (malachite) and gilt metal doors, fountains and vases. They’re actually composed of carefully fitted slivers of malachite that combine to create the illusion of a seamless surface. 

The malachite objets d’art came from Russia, purchased by Díaz from a collection shown at the first World’s Fair in 1851.

These pieces were fabricated at the Imperial Peterhof Lapidary Factory and sent by Tsar Nicholas I to showcase the artistic achievements of Russia at the first World’s Fair in London in 1851. Later, they were purchased by Díaz for the Palacio Nacional before ultimately being installed here. The vibrant green color, with their undulating bands of contrasting hues, come from naturally occurring copper carbonate deposits.

The Salón de Virreyes at Chapultepec Castle displays portraits of all 62 viceroys of New Spain. Among them is Antonio Sebastián Álvarez de Toledo y Salazar, the 18th viceroy, who served from 1664 to 1673.

Salón de Virreyes, the Hall of the Viceroys

Rounding out the museum is the Salón de Virreyes (Hall of the Viceroys), a gallery showcasing every viceroy who ruled New Spain from 1535 to 1821. It’s fascinating to see how attire and hairstyles evolved over the centuries — but the portrait that stood out most to me was of Bernardo de Gálvez, who governed from 1785 until his early death in November the next year. Created in 1796 by two friars using the sgraffito technique — derived from the Italian graffiare, meaning “to scratch” — this piece feels strikingly modern. While Gálvez’s face, hands and hat are painted, his uniform and prancing horse emerge from an intricate web of white spirals, loops and squiggly lines revealed by the “scratching” or removal of the top layer of paint. 

The surprisingly modern equestrian portrait of Bernardo de Gálvez, the 49th Viceroy of New Spain, was painted in 1796 by two friars: Jerónimo and Pablo de Jesús. 

This room was a fitting close to the National Museum of History as the castle’s buildings sprang forth from viceroyalty and evolved into a spectacular showcase of Mexico City’s past.

With the museum’s murals, artifacts and revolutionary history behind us, we stepped out into the sunlight once more. But Chapultepec Castle wasn’t done with us yet — next, it was on to the imperial side, where Maximilian and Charlotte once reigned in opulence. –Duke

Museo Nacional de Historia Castillo de Chapultepec

Primera Sección del Bosque de Chapultepec 
San Miguel Chapultepec, C.P. 11580
Delegación Miguel Hidalgo
Mexico City
Mexico

 

Controversial Takes on Ham and the Curse of Canaan

A biblical tale of nudity, curses and divine justice, the story of Noah’s son and the curse on Canaan raises more questions than answers. What really happened in that tent?

Ham saw his father naked and told his brothers, who rushed to cover up Noah.

The story of Ham isn’t as well known as, say, the Creation or the Garden of Eden. But it’s a head-scratcher of a tale, where nudity, curses and the perplexities of divine justice intertwine in a way that only the Old Testament can deliver.

It begins in Genesis 9:20-27 with Noah, one of the few survivors of the Flood. Having planted a vineyard, he’s now enjoying a well-deserved drink after the harrowing events of the deluge. But this is no ordinary drink — he gets the first recorded hangover in history. Noah, in his post-apocalyptic revelry, indulges a bit too much and ends up sprawled naked in his tent. (Who hasn’t been there?) And this is when things take a bizarre turn.

“This isn’t the first or last time someone inadvertently witnessed a family member in an undressed state.

But in the world of the Old Testament, this act carries deep dishonor and disgrace.”

Noah survived the Flood, planted a vineyard, made wine, got wasted — and goes down in history as having the first recorded hangover.

RELATED: The Flood was a tale borrowed from another culture — and other controversial takes on Noah’s Ark and the Flood

Enter Ham, Noah’s middle child. He stumbles upon his father in this compromising position and unwittingly does something that’ll echo through the generations: He sees Noah naked. 

Ham stumbles upon his father naked — and all hell breaks loose.

The Indignity of Seeing Your Father Naked

Now, you might wonder, what’s the big deal? After all, this isn’t the first or last time someone inadvertently witnessed a family member in an undressed state. But in the world of the Old Testament, this act carries deep dishonor and disgrace.

The shame of nudity in this context isn’t just about physical exposure; it’s about a loss of dignity, a stripping away of the patriarch’s honor. Noah, as the father and leader, is supposed to be a figure of authority, respect and, perhaps most crucially, control. Seeing him naked, vulnerable and unconscious is a direct affront to this image. In the ancient world, where familial honor was paramount, this was akin to a serious breach of respect.

But Ham doesn’t just see his father naked — he goes and tells his brothers, Shem and Japheth, about it. Shem and Japheth respond by carefully covering their father, walking backward with a garment to ensure they don’t see his nakedness. This act of discretion starkly contrasts Ham’s behavior, which some interpretations suggest wasn’t an innocent blunder but perhaps a deliberate act of mockery or dishonor.

Good boys that they are, Shem and Japheth bring a sheet to cover their indecent father.

When Noah wakes up and discovers what Ham has done — or rather, what he’s seen — he doesn’t curse Ham directly but instead curses Ham’s son, Canaan: “Cursed be Canaan; the lowest of slaves will he be to his brothers” (Genesis 9:25). 

Did Ham do more than just see his father passed out and naked?

Castration or Another Violation 

Some scholars, like David M. Goldenberg, have explored the possibility that Ham’s offense was far graver than a mere glimpse of his father’s nakedness. Ancient Jewish interpretations suggest that Ham may have castrated Noah or even violated him, which would explain the severity of Noah’s reaction. Though these interpretations are speculative and highly debated, they attempt to rationalize why Noah’s curse was so intense.

Poor innocent Canaan didn’t do anything wrong — but ends up cursed.

Was this story written later to explain the subjugation of the Canaanites?

Cursing the Canaanites

But why did the curse fall on Canaan, Ham’s son? One theory, as suggested by scholars like Bernard Levinson, is that this curse was a later editorial choice, designed to provide a backstory for the subjugation of the Canaanites by the Israelites. By cursing Canaan, the text offers a divine justification for Israel’s later actions against these people, weaving the story into the sociopolitical realities of the time.

Noah curses Canaan and his descendants.

The Naked Truth?

This story has been the subject of numerous interpretations, many of them controversial. Throughout history, it’s been used to justify various social hierarchies and even slavery, though these takes are now widely criticized. The notion of cursing an entire lineage for the actions of one man is as perplexing as it is unsettling, and it’s one of those biblical moments that leaves us with more questions than answers.

The tale of Ham and the curse of Canaan is a cautionary tale about the weight of family honor, the repercussions of indiscretion, and the enduring power of curses. It’s a story that reminds us that even the most righteous among us, like Noah, are far from perfect — and that sometimes, the consequences of our actions can ripple through generations in ways we might never expect. –Wally

The Other Art Fair: Where Emerging Artists Take the Spotlight

Forget the gallery gatekeepers. The Other Art Fair puts power back in the hands of artists. 

Chicago is no stranger to art fairs. On one end, you have the Glenwood Avenue Arts Fest, a laidback neighborhood event where amateur artists and community creatives put their work out into the world. At the other end, there’s the Old Town Art Fair, where fine artists showcase classic styles in painting and photography, all with an air of prestige.

And then, right in that sweet spot in the middle, you’ve got the Other Art Fair — a vibrant, avant-garde showcase where emerging artists take bold creative swings, and the weird and the wonderful find a home.

In addition to Chicago, the Other Art Fair shows in Los Angeles, Brooklyn, Dallas, London, and Melbourne and Sydney, Australia.  

Why Is It Called the Other Art Fair?

It’s all in the name. The Other Art Fair was designed to be, well, other — a counterpoint to the traditional art world, where established galleries and curators act as gatekeepers, deciding which artists get exposure and which ones don’t.

Founder Ryan Stanier saw this firsthand. “The concept was born from a realization of the disparity between a London audience eager to discover the next big thing and talented artists struggling to gain recognition,” he told Fad Magazine. 

Stanier wanted an alternative to a lot of conventional art fairs featuring artists represented by galleries. But the Other Art Fair removes those barriers. Here, artists apply directly, and if accepted, showcase and sell their work themselves — no gallery middleman needed.

But don’t mistake accessibility for a free-for-all.

How Do Artists Get Selected?

While the Other Art Fair prides itself on openness, not just anyone can exhibit. Every artist goes through a curated selection process to ensure that the work on display is fresh, compelling and high-quality.

A committee of art experts reviews applications, evaluating artists based on originality, technical skill and artistic voice. The goal isn’t to enforce a particular style — quite the opposite. The fair thrives on diversity, pulling together artists who push boundaries and bring something new to the table.

For emerging artists, this is a game-changer. Many traditional fairs require gallery representation, but here, artists get to engage with buyers directly, tell their own stories, and make sales on their own terms.

The Vibe of the Other Art Fair

This isn’t your standard art fest. The Other Art Fair is a true experience. Every event is curated with immersive installations, interactive elements and a venue that sets the tone.

In Chicago, that means Artifact Events, a restored industrial space in Ravenswood that screams “effortlessly cool.” The exposed brick, the high ceilings, the perfect blend of grit and polish — it all adds to the magic.

“We’re challenging convention, breaking rules and bringing everyone along for the ride,” the Other Art Fair organizers declare on their website. “Here, art is for everyone.”

Who’s Showing?

The fair features a mix of painters, sculptors, photographers and mixed-media artists, all selected through that rigorous application process.

Yes, some artists don’t make the cut. But the goal isn’t exclusivity — it’s quality. Walking through the fair, you won’t feel like you’re seeing the same rehashed styles you’ve experienced a dozen times before. The fair is about discovery, surprise and bold creative voices.

Beyond the Booths

Sure, the art is the main event, but the Other Art Fair also features live performances, interactive installations, maybe even a pop-up tattoo parlor (it’s happened before).

The courtyard at Artifact Events has food and drink stands, making it easy to grab a refreshment and process all the wild creativity around you. 

There’s also a cool bar upstairs, where you can have a booze-fueled discussion of your favorite pieces.

Planning Your Visit to the Other Art Fair

Dates and Venue: The fair is scheduled for March 27 to 30, 2025, at Artifact Events, located in the Ravenswood neighborhood at 4325 North Ravenswood Avenue. 

Tickets: Opening night tickets are $40 to $45; other dates are $20 to $25. Keep an eye on their website for updates.

Transportation: There’s quite a bit of free street parking along Ravenswood Avenue. Public transit is a great option too, with the Montrose Brown Line, Ravenswood Metra station, and bus lines including the #9 Ashland, all nearby. 

Accessibility: The venue is fully accessible, featuring wide entrance doors, elevators to every level and ADA-compliant restrooms. Service dogs are welcome, and staff at the welcome desk will be available to assist as needed.

Tips for Visitors

Plan ahead. Review the list of participating artists and special installations before you go. That way, you can prioritize what excites you most.

Don’t be shy — talk to the artists. They want to talk about their work. Ask questions, learn about their process, and maybe even take home a piece that means something to you.

Set a budget. The fair includes everything from affordable finds to higher-end collector pieces. Know your spending limit — and stay open to falling in love with something unexpected.

Respect the art. Unless an artist explicitly invites you to touch a piece, assume it’s hands-off. No one wants to be that person.

Ask before taking photos. Some artists are cool with pictures, some aren’t. Always get permission before snapping away.

Take in more than just the art. See what performances and workshops are on. And grab a cocktail at the stylish bar or a bite at the food court. 

There’s No Other Fair Like It

If you’re the kind of person who prefers an art fair with an edge, where discovery is the point, then the Other Art Fair is your scene.

I went in 2024, and I have to say: It’s probably the coolest art fair I’ve been to.

You can feel the Other Art Fair’s mission at every turn. It’s truly a showcase of edgy, unexpected and boundary-pushing creativity. 

Whether you’re a serious collector or just someone who appreciates creative expression, there’s something thrilling about stepping into a space where anything feels possible. –Wally

How to Celebrate Ostara: Wiccan Rituals, Traditions and the Magic of the Spring Equinox

This Wiccan holiday marks the balance of light and dark, where renewal, fertility and abundance flourish as the earth awakens to spring.

The earth hums with energy as daylight and darkness meet in perfect harmony. Budding flowers stretch toward the sun, animals stir from hibernation, and the air carries the promise of growth. All around, nature beckons us to awaken, just as the wheel of the year tips toward the season of light and abundance.

This is Ostara, the spring equinox, celebrated between March 20 to 23. Named for the mysterious goddess Eostre, Ostara is a festival of fertility, renewal, and planting both literal and metaphorical seeds. With its themes of balance and rebirth, this sabbat bridges the cold stillness of winter with the full bloom of summer ahead. Its mirror opposite on the wheel of the year is Mabon, the fall equinox and it follows Imbolc, which celebrates the first sprouts of spring in the frozen earth. 

But while Ostara is deeply connected to Wiccan and pagan traditions, its origins are layered and mysterious. Let’s dive into its history, symbols and ways to celebrate this vibrant time of renewal.

The Meaning and Myth of Ostara

Ostara is widely believed to derive its name from the Anglo-Saxon goddess Eostre (also spelled Ostara). But here’s where it gets controversial: The primary historical source for Eostre’s existence comes from Bede, an 8th century monk, who wrote that her festival was celebrated in “Eosturmonath” (April). According to Bede, pagan feasts in her honor were eventually replaced by Christian celebrations of Easter.

And yet, no other historical records corroborate Bede’s account. Was Eostre a real goddess — or a poetic invention? Modern scholars debate this fiercely. While there’s no definitive proof of Eostre’s worship, her association with dawn, fertility and renewal fits neatly into broader pagan traditions. It’s possible that she embodies older, more universal myths tied to fertility goddesses like Freyja, Demeter and Persephone.

Regardless of historical certainty, modern Wiccans and pagans embrace Eostre as a symbol of spring’s arrival. Her imagery — rabbits, eggs and flowers — feels timeless, resonating deeply with the themes of balance, growth and new life celebrated at Ostara. Even Christians have co-opted these symbols in modern celebrations of Easter, including the Easter Bunny himself.

Ostara Traditions Through Time

Ostara’s modern observance blends ancient seasonal rituals with contemporary creativity. These traditions connect us to nature’s rhythms and honor the balance of light and dark.

Eggs and Hares: Eggs and rabbits didn’t start with Easter — these fertility symbols were likely part of pre-Christian spring rituals. Eggs symbolize potential and the rebirth of life, while hares, sacred to Eostre (according to legend), represent abundance and connection to the divine.

A fun surprise? Ancient pagan stories suggest the hare was seen as a lunar creature, tied to moon cycles and magical energy. Some even believed hares laid eggs — an idea that later inspired whimsical springtime myths.

Equinox Celebrations: The spring equinox, when day and night are perfectly balanced, was observed by many ancient cultures. The Druids celebrated Alban Eilir, the “Light of the Earth,” and decorated eggs to honor fertility. And ancient Greeks marked Persephone’s return from the Underworld, signaling the earth’s rebirth.

Seasonal Planting: Spring has always been a time to sow seeds — both in the earth and in life. Farmers honored this time with blessings for fertile fields, while modern pagans plant both gardens and intentions, infusing the act with magic.

Symbols of Ostara

Ostara is filled with rich imagery that captures the essence of spring’s renewal. These symbols are perfect for decorating altars, crafting or inspiring seasonal rituals.

Eggs: Eggs represent fertility, creation and the promise of new beginnings. Try decorating them with symbols like spirals, suns or runes for added magical energy.

Hares: Hares, sacred to Eostre, symbolize vitality and fertility. Including figurines or images of hares on your altar connects you to the season’s abundant energy.

Seeds and Flowers: Seeds carry the potential for growth, while spring flowers like daffodils, tulips and crocuses embody renewal and beauty.

The Colors of Spring: Green for growth, yellow for sunlight, and pastel tones reflect the gentle awakening of the earth.

Ostara Ritual: A Spell for Balance and Growth

At Ostara, Wiccans can align with the equinox’s energy by casting a spell to invite balance, harmony, and the promise of new growth into their lives.

What you’ll need (it’s OK to improvise if you have to):

• Two candles (one white, one green)

• A bowl of soil or seeds

• A small dish of water

• A flower or sprig of fresh herbs

• A bell or chime

Step 1: Prepare the space. 

Set your altar or sacred space with the candles, bowl of soil and dish of water. Dim the lights and play soft music to create a peaceful atmosphere. Cast a magic circle if you wish.

Step 2: Light the candles. 

Light the white candle, symbolizing light and renewal, and the green candle, representing growth and fertility. Focus on the balance they create together. Say:

Light and dark, in harmony they meet,
Balance returns, the cycle complete.

Step 3: Plant your intention. 

Hold the bowl of soil or seeds in your hands. Visualize your intentions for the coming season: goals, projects or qualities you wish to grow. Speak your intentions aloud as you sprinkle the seeds into the soil. Say:

Seeds of potential, planted with care,
Grow with the season, strong and fair.
Earth below and sun above,
Balance returns, life and love.

These seeds I sow with hope anew,
Blessed by spring, they shall come true.

Step 4: Bless with water. 

Dip your fingers into the water and sprinkle it over the soil, blessing it with the promise of nourishment. Say:

By water’s flow and earth’s embrace,
Growth and balance fill this space.

Step 5: Seal the spell. 

Ring the bell or chime to signal the spell’s completion. Thank the elements and Eostre for their guidance. Extinguish the candles and keep the bowl of seeds in a sunny spot, tending to it as your intentions grow.

Ostara Feasts

Celebrate Ostara with a feast that honors spring’s abundance and the promise of growth.

Fresh Greens: Nothing says spring like bright, fresh salads, featuring ingredients like spinach, arugula and edible flowers.

Egg-Centric Dishes: Quiches, deviled eggs or frittatas bring fertility and renewal to the table.

Seeded Breads: Baking bread with seeds, like sunflower or poppy, represents planting and abundance.

Spring Sweets: Consider desserts infused with honey, lavender or lemon for a refreshing touch.

Ostara Crafts

Ostara is the perfect time to channel your creativity and celebrate the themes of renewal and balance through hands-on projects. These crafts connect you to the energy of spring while incorporating natural, sustainable materials and a dash of magic.

Naturally Dyed Eggs

Decorating eggs is one of Ostara’s most beloved traditions, symbolizing fertility and the promise of new life. Skip the chemical dyes and craft vibrant, all-natural colors from items in your kitchen.

What you’ll need:

• Eggs (white eggs will give you the brightest results)

• Large pots for boiling

• Ingredients for natural dyes (see below)

• White vinegar

Natural Dye Ingredients and Colors:

Red: Beetroot, pomegranate juice or hibiscus tea

Yellow: Turmeric or onion skins

Blue: Red cabbage leaves

Green: Spinach or parsley

Orange: Paprika or more onion skins

How to make the dyes:

1. Place your chosen ingredient in a pot with 2–3 cups of water. The more material you use, the richer the color.

2. Add 1–2 tablespoons of white vinegar to the pot to help set the dye.

3. Bring the mixture to a boil, then simmer for 20–30 minutes. Strain the liquid into a bowl and let it cool.

4. Submerge hard-boiled eggs in the cooled dye for at least 30 minutes—or leave them overnight in the fridge for deeper colors.

Pro tip: Wrap leaves, flowers or herbs around the eggs before dyeing and secure them with nylon stockings for a beautiful stenciled effect.

DIY Herb-Infused Ostara Candles

Candles are central to Ostara rituals, representing the growing sunlight and the goddess Eostre’s energy. Craft your own herb-infused candles to bring the scents and symbols of spring into your home.

What you’ll need:

• Soy wax flakes or beeswax

• Candle wicks

• Small glass jars or tins

• Dried herbs (lavender, rosemary, chamomile or mint work well)

• Essential oils

• A double boiler or heat-safe bowl over a pot of boiling water

How to make them:

1. Melt the wax in a double boiler, stirring gently until fully liquified.

2. Sprinkle a small amount of dried herbs into the bottom of your jars or tins.

3. Attach the wick to the center of the jar using a bit of melted wax or wick stickers.

4. Once the wax has melted, add a few drops of essential oil for extra fragrance. 

5. Carefully pour the wax into the jar, covering the herbs, and let it set.

6. Trim the wick to about ¼ inch before lighting.

Pro tip: Use herbs that align with your intentions: rosemary for protection, lavender for peace or chamomile for balance.

Springtime Mobile

A spring-themed mobile adds a touch of whimsy and Ostara magic to your space. Use natural materials to represent the elements and the energy of renewal.

What you’ll need:

• A sturdy branch or piece of driftwood

• Twine or fishing line

• Seasonal items: feathers, flowers, leaves, small crystals, seashells and charms

• Scissors

How to make it:

1. Clean and dry your branch or driftwood.

2. Tie lengths of twine or fishing line to the branch.

3. Attach your chosen items to the dangling twine. Feathers can symbolize air, flowers represent earth, and crystals amplify energy.

4. Hang the branch horizontally in a window, above your altar, or in a garden to honor the balance and beauty of spring.

Pro tip: Use biodegradable materials if you plan to hang the mobile outdoors.

Painted Terracotta Pots

Ostara is a season for planting, so why not decorate your garden pots with symbols of growth and renewal?

What you’ll need:

• Terracotta pots

• Acrylic or outdoor paint

• Paintbrushes

• Stencils or masking tape for patterns

How to make them:

1. Clean and dry the pots to ensure paint adheres properly.

2. Use stencils or masking tape to create patterns or designs. Think spirals for growth, sun symbols for light, or runes for magical intentions.

3. Paint the pots, letting each layer dry before adding the next.

4. Seal the design with a clear outdoor sealant if the pots will be exposed to the elements.

Pro tip: Use these pots to plant seeds during your Ostara ritual and watch your intentions grow alongside the seedlings.

Wildflower Seed Bombs

Seed bombs are a fun and eco-friendly craft that lets you spread the beauty of Ostara wherever you go. They’re great for attracting pollinators and adding bursts of color to bare patches of earth.

What you’ll need:

• Wildflower seeds (native species are best)

• Compost or potting soil

• Powdered clay (available at garden centers)

• Water

How to make them:

1. Mix 2 parts compost, 1 part powdered clay, and your wildflower seeds in a bowl.

2. Slowly add water, mixing until the mixture holds together like dough.

3. Roll the mixture into small balls (about the size of a marble).

4. Let the seed bombs dry for 24–48 hours.

5. Scatter them in your garden, along trails, or in unused spaces to spread beauty and life.

Pro tip: Include a mix of flowers that bloom at different times to extend the season’s vibrancy.

Crafting at Ostara is a way to honor the energy of spring, connect with nature, and bring magic into your life. Whether you’re dyeing eggs with kitchen magic, crafting candles or scattering seed bombs, these projects celebrate the season’s themes of balance, fertility and renewal.

Embracing the Magic of Ostara

Ostara is an invitation to align with the rhythms of nature, balance your life, and plant the seeds of your dreams. Whether through rituals, crafting, feasting or simply soaking in the spring air, this sacred celebration connects us to the cycles of life, death and rebirth.

May your Ostara be filled with harmony, hope, and the vibrant energy of spring. Blessed be. –Wally

Navigating the World With Confidence: Your Guide to SafetyWing Nomad Insurance

FAQs about Nomad Essential and Nomad Complete: What’s covered? How do I file a claim? Which plan is right for me?

Imagine this: You’re trekking through the lush landscapes of Bali, your laptop safely tucked away after a morning of remote work. The sun is setting, painting the sky with hues of orange and pink. Suddenly, you trip over an unseen root, and before you know it, you’re nursing a fractured wrist miles away from home. Or perhaps you’re exploring the bustling streets of Barcelona, and your backpack — with your essential gadgets — is nowhere to be found. As a digital nomad, freelancer or avid traveler, these scenarios can be part and parcel of the adventurous life you’ve chosen. 

But with adventure comes unpredictability, and that’s where SafetyWing Nomad insurance steps in, ensuring you’re covered, no matter where the journey takes you.

Frequently Asked Questions about SafetyWing Nomad Insurance

What is SafetyWing Nomad insurance?

SafetyWing's Nomad insurance is a comprehensive insurance solution tailored for individuals who live and work remotely across the globe. It offers two distinct plans: Essential and Complete, designed to cater to varying needs of travelers, digital nomads, and remote workers. Whether you're seeking coverage for unexpected medical emergencies or a full-fledged health insurance plan with added travel protections, SafetyWing has got you covered.

What’s the difference between the Nomad Essential and Nomad Complete plans?

• Essential Plan: This plan focuses on travel medical insurance, covering treatment for new and unexpected medical issues while you're traveling. It includes hospital stays, surgeries, medications, emergency evacuations, and even lost luggage. However, it doesn't cover routine check-ups, pre-existing conditions, maternity care, or cancer treatment. It's ideal for those seeking coverage primarily for unforeseen incidents during their travels.

• Complete Plan: Building upon the Essential Plan, the Complete Plan offers full health insurance with additional travel protections. It covers routine medical care, wellness therapies, mental health support, and cancer treatment. Additionally, it provides coverage for burglary, canceled accommodations, and delayed luggage. This plan is perfect for long-term travelers or digital nomads seeking comprehensive health coverage alongside travel insurance.

Can I purchase Nomad insurance if I’m already abroad?

Absolutely! SafetyWing allows you to sign up for Nomad insurance before you depart or at any point during your travels or while living abroad. There's no need to be in your home country to purchase a policy. 

Does Nomad insurance cover COVID-related expenses?

Yes, medical treatment for COVID-19 is covered under both the Essential and Complete plans, provided the virus was contracted after your policy start date. Routine testing or preventive measures are not covered unless deemed medically necessary due to symptoms. 

Are there any age restrictions for the plans?

The Essential plan is available for individuals up to 69 years old. The Complete Plan, however, is available for individuals up to 64 years old. Premiums vary based on age brackets.

How does home country coverage work?

• Essential Plan: After being abroad for 90 days, you retain medical coverage for 30 days when you visit your home country (15 days if your home country is the U.S.). This is designed to provide short-term coverage during brief visits back home.

• Complete Plan: This plan offers full coverage in your country of residence without any time limitations, making it suitable for those who split their time between multiple countries or frequently return home.

What add-ons are available to customize my coverage?

SafetyWing offers several add-ons to enhance your coverage:

• Adventure Sports: Extends coverage to include high-risk activities such as scuba diving, skydiving, white-water rafting, and more.

• Electronics Theft: Provides reimbursement for stolen electronics, ensuring your gadgets are protected.

• U.S. Coverage: For non-residents, this add-on includes coverage for trips to the United States.

How do I file a claim if something goes wrong?

Filing a claim with SafetyWing is straightforward:

1. Report the incident. Notify SafetyWing as soon as possible about the incident.

2. Gather documentation. Collect all relevant documents, such as medical reports, receipts, police reports (in case of theft), and any other supporting evidence.

3. Submit the claim. Log in to your SafetyWing account and fill out the claim form, attaching all necessary documents.

SafetyWing aims to process claims efficiently, ensuring you receive reimbursement promptly. 

What are pre-existing conditions, and are they covered?

A pre-existing condition refers to any illness or injury that you have been diagnosed with or received treatment for before your SafetyWing policy start date. Unfortunately, both the Essential and Complete plans do not cover pre-existing conditions. It's crucial to review the policy details to understand the specifics of this exclusion. 

How do I choose between the Nomad Essential and Nomad Complete plans?

Think of it this way:

• Nomad Essential is great if you want solid travel medical coverage for unexpected illnesses, injuries, or hospital visits while abroad. It’s ideal if you’re generally healthy and don’t need coverage for routine checkups or ongoing medical care.

• Nomad Complete is for nomads who want full health insurance, including preventative care, mental health support, and trip protections like lost luggage, trip cancellations, and liability coverage. If you plan to be abroad long-term or need a safety net beyond medical emergencies, this plan makes more sense.

Still unsure? Ask yourself: Do I need routine doctor visits, dental care or mental health support? If yes, go for Nomad Complete. If not, Nomad Essential will likely be enough.

Coverage	Nomad Essential	Nomad Complete
Medical Emergencies	✅ Yes	✅ Yes
COVID Coverage	✅ Yes	✅ Yes
Emergency Dental	🚫 No	✅ Yes
Trip Cancellation / Interruption	🚫 No	✅ Yes
Trip Delay	🚫 No	✅ Yes
Lost / Stolen Luggage	🚫 No	✅ Yes
Electronics Theft	🚫 No	✅ Yes
Natural Disaster / Political Evacuation	🚫 No	✅ Yes
Personal Liability	🚫 No	✅ Yes
Routine Checkups	🚫 No	✅ Yes
Mental Health Support	🚫 No	✅ Yes
Pre-Existing Conditions	🚫 No	🚫 No
Home Country Coverage	✅ Limited (30 days after 90 days abroad, 15 days for U.S.)	✅ Full Coverage
Adventure Sports	🔹 Available as add-on	🔹 Available as add-on
U.S. Coverage	🔹 Available as add-on	🔹 Available as add-on

Ready to Travel Smarter?

Nomad life is unpredictable — that’s part of the fun. But having the right coverage means you can focus on adventure instead of worrying about hospital bills, stolen gear or canceled flights. –Wally

Insurance that covers you wherever you go.

See how much Nomad Insurance Essential costs:

Age range0-39 years old40-49 years old50-59 years old60-69 years old

Including travel in the US

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Coverage that includes travel to the US and US territories. Not applicable to US citizens.

Specific travel dates

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When you choose set travel dates instead of a subscription, you pay for the whole trip upfront. Minimum 5 days, maximum 364 days.

Start date

End date

$

56.28

/ 4 weeks (28 days)

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