For anyone still moved by other times & places – a ramble on their role in the everyday
Regular readers (both of you) will know I’ve tried to explore something which would draw together all the eclectic strands of those things which capture my imagination. They extend into my domestic life: each time I made a house into a home, it was not a look I was seeking to achieve (as in our century’s ‘look’ that competes and seeks approval) but an atmosphere, something I could be transported by. It’s never been the time I am living in, and ideally I’d be able to hop between 1967, 1637, 1937, with maybe the odd bit of 1814, 897 and so on. Yes indeed, a carriage crash of design on the toll road.
I know this sounds a bit grand, but my mind is a library of such atmospheres – scenes in books or films are not recalled in words but are felt. (Sure, all this will sound like something from Pseud’s Corner.) Sometimes the particular quality of the light or turn of the weather will send me to some glowering seventeenth century landscape, cider apples in the air, beeswax wafting through an oak door, the crackle of wood on the hearth.
Heat from a baked pavement might invoke a TV memory of a US city I’ve never been – distilled polaroid gold, a coffee-diesel bath of warm air, an oscillating bassline catching sky-high sun in the glitter pulse of cars on distant freeway, going where?
Just a glazing of frost and a finch squeaking on a bit of yew and I’m indoors with Mrs Oldknow at Green Knowe, a tang of woodsmoke, butter sliding off a muffin, amber light on old stone. I’m going to call these motifs – I’m sure there’s an official term, but that will do for a short ramble.
In a way it’s like a dog surveying a scene, contemplating the unremarkable, then wagging its tail for no perceptible reason. So why try to analyse the pleasure, which like most academic thought ultimately leads to a definition that dulls the magic?
I’ll quote this scene from the TV series The Durrells where the prosaic Leslie, who likes shooting animals, is talking with his sister Margo and articulates his role as a matter-of-fact foil for his family:
Margo: “Why are you so worried about the play?”
Leslie: “You’re all so artistic. I see… ‘a tree’, you lot see…”
Margo: “Broccoli. Trees look like upside down broccoli.”
…which is a neat puncturing of the concept of the artistic soul, but what if Margo had said, “I can hear hounds, there’s a figure through the acorns – I can hear his heart pounding and smell the sweat of fear…” where would it have come from? The Ladybird Book of Charles II?
A few years back I thought my imagination grew from children’s literature, but I think I have read more of it as an adult. At 10 years old I was trying to read Tess of the D’Urbevilles for example (before it got taken away). Maybe I felt all grown up after I’d finished Margery Sharp’s Miss Bianca books and went straight for the dour, tragic Victorians.
The worlds presented in a lot of young adult novels are often chaotic and unformed (thinking, for example, of Alan Garner or Penelope Farmer). But they also invite things to happen, quests for belonging and reinvention, or simply, change – characters running to escape the banal and mundane, the once weird and now weirder world of grown-ups where some odd reason to judge, to smirk, deny or destroy is just beneath the skin.
Is there an audience of grown-ups out there still hungry for Ambrosia like Billy Liar, disenfranchised and disappointed, still hoping to find something more through the back of the wardrobe? Should we be embarrassed?
There are pleasurable motifs we carry with us and I think they’re essential to our sense of wellbeing, cinematic flashes of images and experiences internalised from reality or art. They can be used, if we want, to ‘create’ with our own filters applied.
And of course, there are unpleasurable motifs – things that stifle, doubt and procrastinate, and darker places.
From Mary Shelley to Richard Jefferies, from the cult series Survivors of the 1970s to 28 Days Later, The Handmaid’s Tale right up to The Walking Dead (oh yes, Fear the… as well) I’ve always been fascinated by post-apocalyptic visions.
But visiting dystopian futures on screen or in novel has lost that playfully gothic frisson of unsettlement. Science fiction is an outdated term because stock fantasies are a reality, weaving their way into our lives like mutating tendrils from John Wyndham’s pen. We peer into our near future with Black Mirror or Years and Years. But where once it was reassuring to return from these nightmares, we’re now putting the kettle on with predictability now dearly-departed and anything seems possible.
Did we choose our motifs at an impressionable age? Do we know where we found our fascinations? Are we more than the product of those who shared their imaginary worlds, those authors and screenwriters who showed us Herne the Hunter or that strange things happen when the wolves are running? I’d like to think we came into the world predisposed to the things that move us.
Is this ‘childish imagination’ a virtual reality overlay? Are we summoning these atmospheres from our personal motifs to challenge us (overcome our fears, the monsters under the bed) or enhance our reality, whether we want it simplified or decorated, or to realise ourselves and our possibilities, or just to feel some magic among the mundanity?
Somewhere I have the germ of an idea that this might be about noticing and recognising. In reading or watching a story we absorb what are, after all, other people’s experiences. If they strike a chord, as motifs they become part of our own consciousness.
This is part of the act of reading fiction, to download the working of another’s mind, though in film an actor can do the same with barely the flex of a facial muscle or the shift of an eyelash. In this shared consciousness, there are connections from our own experiences (those ‘oh, you feel like that too’ moments). To continue a theme, we might be Game of Thrones’ Three Eyed Raven (the one who can “perceive the past, present and future through visions and time travel with ease”).
I’m not for a moment suggesting there is anything supernatural here, just using the ‘visionary’ trope to explore how a response to external ‘art’ becomes an internal experience which is ‘not real’ – as in not first-hand experience – but it becomes part of us, hidden until we notice and recognise it again, like the lamp-post from Narnia outside a branch of Aldi.
These motifs serve to remind us that things have been and will be, which is affirming, whether from light or dark. And so we end of up with a form of faith, a belief in the power of the imagination.
It would be great to hear if others enjoy a bit of time travel in the course of the everyday, or get transported in unlikely places when a motif is triggered…
Photographs copyright WhistlesintheWind