But superstition, like belief, must die,
And what remains when disbelief has gone?
Grass, weedy pavement, brambles, buttress, sky,
A shape less recognisable each week,
A purpose more obscure.
Philip Larkin, Church Going (1954)
Grass, weedy pavement, brambles, buttress, sky
Given that Christianity seemed to be – in the sense of being a kind of shared societal glue – on its way out in the 1950s, and was undermined further by the social revolutions of the 1960s and 70s, it’s surprising in a way that churches are still standing at all. But what Larkin, for all of his humanist cynicism didn’t foresee, is what seems the obvious fate of churches in the 21st century: they won’t be allowed to peacefully moulder into dust and neglect like the menhirs and cairns of previous eras – they get sold instead.
At the time of writing, the Church of Scotland has seventeen churches for sale, among other kinds of properties and plots of land. The same thing isn’t happening with Catholic churches, Mosques, Synagogues or Mormon temples or whatever it is that Scientologists have – not because of anything inherently superior about those religions or the quality of their followers’ faith, but because, at the time when these churches were built – mostly in the 19th century, but some even earlier – the Church of Scotland was something you had to opt out of, not something you had to join. And therefore, in a way – although not of course a legally binding way – the Church of Scotland is selling off something which belongs to the people of Scotland.
The idea that money is more important to the Church of Scotland than the buildings that were at the centre of the spiritual and social lives of generations of people (and also, the place that God lived, I guess) seems grotesque, but there it is. It’s just bricks (or stone) and mortar, after all; or that, presumably is the logic, because God doesn’t actually live in a stone building but in either heaven or the hearts of believers etc, etc. And yet, if it’s just a building, how come people can only vandalise houses or schools or barns, but they can “desecrate” churches? “De-consecration” – what the church does in order to render its buildings saleable – is just a non-inflammatory way of saying desecration. De-consecrating the church doesn’t affect the material of the building, but it does remove its purpose – but what it can’t do is remove its history. So if you buy a church, what is it that are you actually buying? In a book I liked as a teenager, Terry Brooks’s Magic Kingdom For Sale – Sold! (1986), a depressed lawyer called Ben Holiday buys what turns out to be something like Narnia or Middle Earth, from a catalogue (nowadays it would be from a website). If Mr Holiday bought a church, he wouldn’t be mystically transported to an otherworldly realm, but he would – and the buyers of these buildings do – become the owner of a place where thousands of people were, in a meaningful way, transported to a place where, whatever the privations and terrors of their daily lives might be, things made some sort of black-and-white sense. Somewhere that virtue was rewarded with eternal paradise, vice was punished with eternal damnation and the person in the pulpit had the correct answers to whatever questions life was throwing at you. You don’t have to believe in any of that to realise that it was (and to some extent I suppose still is) important.
Like, I’m sure, many convinced lifelong atheists (and I’m a very un-spiritual one at that), I love churches. The architecture, the fixtures and fittings, the solemn atmosphere. The idea of building on top of (Native American) Indian burial grounds was enough to fuel horror fiction and urban legend for a century; will turning churches into houses, flats and offices do something similar? Probably not; although some of the churches for sale do indeed still have graveyards attached, the churches themselves, whether used or not, are utterly familiar to the local people. Like the Indian burial grounds, they have, for these people, always been there, but unlike them, they have always been visible, and have far more mundane connotations. They aren’t, or weren’t just the places people got married or had funeral services, they are places where, very recently, a few times a year you trooped along with your primary school classmates to hear about the less commercial, less fun aspects of Easter or Christmas and to sing a few hymns. In short, even now churches aren’t, or are rarely “other” in the way that (to non-indigenous settlers and their descendants) Indian burial grounds are. But, after generations will they still be familiar in that way, or will they become just funny-shaped houses? Who knows, but it’s sad to think so.
However much one does or doesn’t believe in the mythology that put them there, churches, just as local landmarks, bear the weight of memory, just as schools, war memorials, statues and monuments do. Although a valuable and significant thing, it’s a personal, private and unknowable kind of value; nostalgia, in its original, Greek meaning of ‘homecoming pain’ can be evoked in all of its intense complexity by almost anything, and in your own private iconography a road sign or piece of weed-strewn wasteland is likely to be as potent as, or even more potent than the more obvious celestial symbolism of the heaven-pointed steeple and arched windows. But the fact remains that the hopes, beliefs, dreams, grief and pain of generations was directed towards the church like lightning towards the weather vane that surmounts it; there is a kind of power just in that.
So what should be done with churches? You can’t keep everything forever, after all, and the Church of Scotland is, strange though it is to say it, a business. The people used to belong to it; it never belonged to the people and its churches are not public property in anything but the spiritual sense. But perhaps they should be: granted, they only reflect one strand of what is now a multicultural (and what was always a multi-faith) nation, but it’s a strand that informs attitudes and ways of life that contribute, both negatively and positively to the character of the country and its culture to this day. And although I don’t personally believe in the idea that buildings and land absorb a kind of psychic residue that manifests itself in the ghosts, hauntings and folklore beloved of digital TV channels, I feel like they should.
Those fundamental life events; christenings, marriages, funerals, wars, disasters – all of those lost people and all of that vanished emotion, should have some kind of monument or repository – and what better place than a church? Still; maintaining empty buildings purely for the sake of their history is an expensive, ethically dubious business and hardly an indicator of cultural good health. Finding new uses for these kinds of buildings that somehow respects their history is no easy task either. Personally, I’d like the government to buy them and use them to display the large percentage of publicly owned art that is currently languishing in the storerooms of galleries and museums, fulfilling in some ways at least, the National Galleries of Scotland’s strategic plan: “we will make the national collection accessible to all and inspire curiosity across the world. We want to connect with our audiences and with each other in new, collaborative and involving ways.” It would be appropriate in a way; human beings create art as god is supposed to have created people after all, and people with or without gods make art; it expresses many of the same fundamental impulses and emotions as religion. But it’s hardly an idea that’s likely to capture the public imagination, except in the negative sense that ambitious government spending on the arts – not that there has been much of that – always invites manufactured outrage. Ah well, it’s probably best to just make them into flats.
* I realise the double meaning was already implied in the title of Larkin’s poem, but why not render it completely unsubtle with a comma?
ceramic sculpture of a Moon Goddess and her rabbit partner, Mexico, c.700 AD
Imagine a culture so centred on wealth, property and power that it becomes scared of sex and frets endlessly about what it sees as the misuses of sex. A culture that identifies breeding so closely with with money, wealth and status, and women so closely with breeding and therefore with sex that, when looking to replace traditional symbols of birth and regeneration it rejects sex and even nature and, in the end makes the embodiment of motherhood a virgin and the embodiment of rebirth a dead man. Unhealthy, you might think; misanthropic even – and yet here we are.
But when that culture loses its religious imperative, what should be waiting? Those old symbols of fertility; rabbits and eggs. But whereas Christianity in its pure form found it hard to assimilate these symbols, preferring instead to just impose its own festival of rebirth on top of the pagan one, capitalism, despite being in so many ways compatible with the Judeo-Christian tradition, is essentially uninterested in spiritual matters. So even though it’s mostly pretty okay with Christianity, which creates its own consumer-friendly occasions, it proves to be equally okay with paganism too, as long as it can sell us the pagan symbols back in a lucrative way.
Easter is, after all, a mess to begin with; its name is pagan (Ēostre or Ôstara, Goddess of the spring) and its Christian traditions, even when embodied in the tragic idea of a man being killed by being nailed to a cross was never entrenched enough to suppress the essentially celebratory, even frivolous feeling that spring traditionally brings. Okay, so Christ ascending to heaven is pretty celebratory without being frivolous; but as, in the UK at least, represented by a hot cross bun, with its cross on the top to represent the crucifix and even – to play up the morbid factor that is so central to Christianity – its spices that are supposed allude to the embalming of Christ’s dead body, it’s hardly solemn: it’s a bun.
On the other hand, birth, since the dawn of time and to the present day, is not just a simple cause for rejoicing and in that the Christian tradition, though it tries to remove the aspects that seem most central to birth to us: women, labour (the word presumably wasn’t chosen accidentally) and procreation, probably tells us more about the seriousness and jeopardy of childbirth than the Easter bunny does.
The patron (matron?) saint of childbirth is no help; St Margaret in herself has nothing to do with birth (although she was presumably born), but becomes its saint through the symbolic act of bursting out of the dragon who ate her – a strange analogy but one that reflects the hazardous nature of childbirth in medieval times, when mortality rates were high, not just for babies but for their mothers. Rabbits may represent – in ancient cultures across the world, from Europe to Mexico and beyond – fecundity, but it’s an animal idea of fertility for its own sake that has nothing to do with the practical or emotional aspects of producing new human beings.
St Margaret, “reborn” after being eaten by a dragonJan Van Eyck’s Eve (c.1432) from the Ghent Altarpiece
Pregnancy in Western art was a rarity until fairly recently; and even now, the puritanical ideas inherited from Victorian Christianity mean that the apparently pregnant Eve of Jan Van Eyck’s Ghent Altarpiece (completed in 1432) is a subject of debate: Eve pregnant with humankind makes sense, and the 15th century was certainly more in touch with the realities of human life than the 19th and early 20th century men who codified the canon of Western art history – but maybe she is simply the medieval/gothic ideal of femininity as seen in illuminated manuscripts and carvings; small shoulders, small breasts, big hips and stomach – given an unusually realistic treatment.
Gustav Klimt – Hope I (1903)
As the nineteenth century gave way to the 20th, Gustav Klimt was able to bring the beauty and wonder of pregnancy and birth to art with Hope I, his beautiful female figure of hope and renewal glowing against a background of death and peril, but it’s only really when women begin painting that that the symbolic and magical aspects of motherhood are reconciled with the more sombre, earthly spirituality that Christianity preferred to represent in a dying man and with the fundamental animal nature of humankind, without that being a negative thing. A painting like Paula Modersohn-Becker’s Reclining Mother and Child II (1907) shows all of the human aspects that were embodied in the contorted Christian images of the Virgin Mary, crucifixion and Christ’s rebirth: human beings that are fragile, loving, vulnerable and dependent on each other, but also the things that were missing; biology and the bonds it creates. The magic of Klimt, but not represented in a titillating way, and depicted in concrete rather than symbolic terms.
Paula Modersohn-Becker – Reclining Mother & Child II (1906)
For the generation after Paula Modersohn-Becker, everything was seen through the fragmenting prism of World War One, and so Otto Dix, more cynical, less intimately involved, shows us the physical discomfort of pregnancy minus its magic. Dix, despite his famous claim, “I’m not that obsessed with making representations of ugliness. Everything I’ve seen is beautiful.” took a definite pride in shocking viewers with his art; as he also said; “All art is exorcism. I paint dreams and visions too; the dreams and visions of my time. Painting is the effort to produce order; order in yourself. There is much chaos in me, much chaos in our time.” By the time Dix painted these pictures he was a father himself, but although his paintings of his family reveal a more tender, if just as incisive, aspect to his art, here he paints as a pitiless observer, knowing that his work was challenging and confrontational to the generally conservative audience of his time; a time when, like ours, forces of intolerance and conservatism were closing in on the freedom embodied in art this truthful.
But despite his clinical eye and devotion to the ‘new objectivity’ (“The Neue Sachlichkeit – I invented it“) Dix’s truth is a dramatic, heightened kind, designed to penetrate the complacency of his era. Meanwhile, his pupil, Gussy Hippold-Ahnert tackled the same subject and almost certainly even the same model with a realism that is at first less striking but also far less dramatizing. Gussy was of course a woman and is not showing us, as Dix seems to be, a faceless being representing the eternal, but rarely remarked on hardship involved in the joyous business of continuing the species. Instead, Hippold-Ahnert shows us a woman who happens to be pregnant; both paintings are realistic, both are objective and, as with the symbolic sacrifice of Christ and the eternally recurring bunny, both display different aspects of the truth.
My favourite bunny in art: detail from Piero di Cosimo’s Venus, Mars & Cupid (1505)
To start with, this was mostly about books, and I think it will end that way too. But it begins with a not terribly controversial statement; hero worship is not good. And the greatest figures in the fight for human rights or human progress of one kind or another – Martin Luther King, Jr, Emmeline Pankhurst, Gandhi – without wishing to in any way diminish their achievements – would not have achieved them alone. Rosa Parks is a genuine heroine, but if she had been the only person who believed it was wrong for African-American people to be forced to give up seats for white people, the practice would still be happening. These individuals are crucial because they are catalysts for and agents of change – but the change itself happens because people – movements of people – demand it.
a bunch of lonesome and very quarrelsome heroes
This is obviously very elementary and news to nobody, but it’s still worth remembering in times like these, when people seem to be drawn to somewhat messianic figures (or to elevate people who have no such pretensions themselves to quasi-messianic status). One of the problems with messiahs is that when they don’t fulfil the hopes of their followers, their various failures or defeats (of whatever kind) take on a cataclysmic significance beyond the usual, human kind of setback and re-evaluation. It’s only natural to feel discouraged if your political or spiritual dreams and hopes are shattered, but it’s also important to remember that the views and opinions that you were drawn to and which you agree with are yours too. They are likely to be shared by millions of people and the fact that they are also apparently not shared by a greater number in no way invalidates them or renders them pointless.
The history of human progress is, mostly, the history of people fighting against entrenched conservative views in order to improve the lives of all people, including, incidentally, the lives of those people they are fighting against. This obviously isn’t the case in ultimately ideological revolutions like those in France or Russia, which quickly abandoned their theoretically egalitarian positions in order to remove undesirable elements altogether, or the Nazi revolution in Germany, which never pretended to be inclusive in the first place. Hopelessness, whether cynical or Kierkegaard-ishly defiant, is a natural response, but the biggest successes of human rights movements – from the abolition of slavery to the enfranchisement of women to the end of apartheid in South Africa to the legalisation of abortion or gay marriage – have often taken place during eras which retrospectively do not seem especially enlightened; if you believe in something, there is hope.
Rome is a place, but this is mostly about people
But when change is largely driven by mass opinion or pressure – and when we know that it is – why is it the individual; Rameses II, Julius Caesar, Genghis Khan, Napoleon, Garibaldi, Lenin, Hitler, the Dalai Lama, Queens, Kings, political leaders – that looms so large in the way we see events historically? Anywhere from three to six million people died in the “Napoleonic Wars” – Napoleon wasn’t one of them, his armies didn’t even win them; but they are, to posterity, his wars. The short answer is I think because as individuals, it is individuals we identify with. We have a sense of other peoples’ lives, we live among other people (sounds a bit Invasion of the Bodysnatchers), but we only know our own life, and we only see the world through the window of our own perceptions.
Sara Shamma self portrait
The artist Sara Shamma – who, significantly has undertaken many humanitarian art projects, but has also done much of her most profound work in self-portraiture – said “I think understanding a human being is like understanding the whole of humanity, and the whole universe” and the more I’ve thought about that statement the more true it seems. If we truly understand any human being, it is first, foremost and perhaps only, ourselves. And, unless you are a psychopath, in which case you have my condolences, you will recognise the traits you have – perhaps every trait you have – in other people, people who may seem otherwise almost entirely different from you. When you look at the classifications humankind has made for itself – good/bad, deadly sins, cardinal virtues – these are things we know to exist because, in varying degrees, we feel them in ourselves, and therefore recognise them in others. Even that most valued human tool, objectivity, is a human tool, just as logic, which certainly seems to explain to our understanding the way the world works, is a human idea and also an ideal. Interestingly but perhaps significantly, unlike nature, mathematics or gravity, human behaviour itself routinely defies logic. When we say – to whatever extent – we understand the universe, what I think we mean is that we understand our own conception of it. It’s easy to talk about the universe being boundless, but not limitless, or limitless, or connected to other universes as part of a multiverse (though not easy to talk about intelligently, for me), but regardless of what is ‘out there’, what we are actually talking about is all ‘in here’, in our own brain; the universe that you talk about and think about is whatever you think it is, however you perceive it. If what you believe dictates the way you live your life it may as well be, to all intents and purposes ‘the truth’. For Stephen Hawking there were black holes in space/time, and whether or not there actually are, for a creationist there probably aren’t.
This is not to say that there are no actual solid facts about (for example) the nature of the universe; but nonetheless to even prove – to us personally while alive – that anything at all continues to exist after our own death is impossible. We can of course see that it goes on after other people’s deaths, but then I can say with what I believe to be complete conviction that there is no God and that human beings are just (well I wouldn’t say “just”) a kind of sentient hourglass with the added fun that you never know how much sand it holds to start with – but that doesn’t change the fact that a whole range of Gods have made and continue to make a decisive difference to the lives of other people and therefore to the world.
self-empowerment
But whereas that might sound like the background for some kind of Ayn Rand-ish radical individualism, I think the opposite is true; because if any of what I have written is correct, the key part is that it applies equally to everyone. The phrase ‘we’re all in the same boat’ is being bandied about a lot lately for pandemic-related reasons, and it’s only vaguely true as regards that particular situation. We aren’t in the same boat, or even necessarily in the same kind of body exactly, but what we do all share – if broadly – is the same kind of brain. We are all individuals, and If we are conscious, we are probably self conscious. And given that we live our – as far as we can safely tell – single earthly life as an individual human being, the idea that any of us is powerless during that lifetime is nonsense. When asked to name someone who has made a difference to the world, the first person you think of should be yourself. There would be no world as you know it without you in it, and that is not a small thing; by existing, you are changing the world. Whether for better or worse, only you can say.
Having faith in other people (or even just getting along with them) makes both your and their lives better, but the belief that one particular individual outside of yourself may be the solution to the world’s (or the country’s, etc) ills is worse than feeling powerless yourself; not only because it can reinforce that sense of powerlessness, but because it’s blatantly untrue and (I hate to use this completely devalued word, but never mind) elitist. And it reduces every issue, however complex, to a finite, succeed-or-fail one, which is rarely how the world works. The idea of the hero as saviour probably has about as much validity as the idea of the lone villain as the cause of whatever ills need to be cured. Hero-worship is both logical (because we see the world from the viewpoint of “I”) and also an oddly counter-intuitive ideal to have created, since in reality as we know it, the lone individual may be us, but is largely not how we live or how things work. We have structured our societies, whether on the smaller level of family or tribe, or the larger ones like political parties or nations, in terms of groups of people. But I suppose it is the same humanity that makes us aware of and empathetic to the feelings of others that makes us want to reduce ideas to their black and white, bad vs good essentials and then dress those ideas up in human clothes.
childhood favourites
And so, to books! Reading fiction and watching films and TV, it’s amazing how the larger-than-life (but also simpler and therefore ironically smaller-than-life) hero/ine vs villain, protagonist vs antagonist and – most hackneyed of all (a speciality of genre fiction since such a thing existed, and the preserve or religion and mythology before that) – the ‘chosen one’ vs ‘dark lord’ narrative continues to be employed by writers and enjoyed by generations of people (myself included*), long past the age that one becomes aware of the formulaic simplification of it.
*for people of my generation, the mention of a ‘dark lord’ immediately conjures up Star Wars and Darth Vader/The Emperor, though the ‘chosen one’ theme is thankfully underplayed in the original trilogy. George Lucas doesn’t get much credit for the prequels, but making the chosen one becomethe dark lord is an interesting twist, even if Lucifer got there first.
Whatever its origins, it seems that people do want these kinds of figures in their lives and will settle for celebrities, athletes, even politicians in lieu of the real thing. Hitler was aware of it and cast himself in the lead heroic role, ironically becoming, to posterity, the antithesis of the character he adopted; Lenin, who by any logical reading of The Communist Manifesto should have been immune to the lure of hero worship, also cast himself in the lead role, as did most of his successors to the present day (and really; to enthusiastically read Marx and then approve a monumental statue of oneself displays, at best, a lack of self-awareness). The Judeo-Christian god with his demand, not only to be acknowledged as the creator of everything, but also to be actually worshipped by his creations, even in his Christian, fallible, just-like-us human form, is something of a special case, but clearly these are primordial waters to be paddling in.
Still, entertainment-wise, it took a kind of humbling to get even to the stage we’re at. Heroes were once demi-gods; Gilgamesh had many adventures, overcame many enemies, but when trying to conquer death found that he could not even conquer sleep. Fallible yes, but hardly someone to identify with. And Cain killed Abel, David killed Goliath, Hercules succeeded in his twelve tasks but was eventually poisoned by the blood of a hydra, Sun Wukong the Monkey King attained immortality by mistake while drunk, Beowulf was mortally wounded in his last battle against a dragon. Cúchulainn transformed into a monstrous creature and single-handedly defeated the armies of Queen Medb. King Arthur and/or the Fisher King sleep still, to be awoken when the need for them is finally great enough. These are heroes we still recognise today and would accept in the context of a blockbuster movie or doorstop-like fantasy novel, but less so in say, a soap opera or (hopefully) on Question Time. I knew some (but not all) of these stories when I was a child, but all of them would have made sense to me because, despite the differences between the settings and the societies that produced them and that which produced me, they are not really so vastly different from most of my favourite childhood stories.
Partly that’s because some of those were those ancient stories. But even when not reading infantilised versions of the Greek myths (I loved the Ladybird book Famous Legends Vol. 1 with its versions of Theseus and the Minotaur and Perseus and Andromeda*) it was noticeable that, although there still were heroes of the unambiguous superhuman type (in comics most obviously; like um, Superman), in most of the books I read, the hero who conquers all through his or her (usually his) all-round superiority was rarely the lone, or even the main protagonist. I don’t know if it’s a consequence of Christianity (or just of literacy?) but presumably at some point people decided they preferred to identify with a hero rather than to venerate them. Perhaps stories became private rather than public when people began to read for themselves, rather than listening to stories as passed down by bards or whatever? Someone will know.
.*I remember being disappointed by the Clash of the Titans film version of Medusa, too monstrous, less human, somehow undermining the horror
not the original set of Narnia books I had; never quite as good without Pauline Baynes’s cover art
The first real stories that I remember (this would initially be hearing rather than reading) are probably The Hobbit, The Lion, The Witch and The Wardrobe, Charlie and the Chocolate Factory – all of which have children or quasi-children as the main characters. Narnia is a special case in that there is a ‘chosen one’ – Aslan the lion – but mostly he isn’t the main focus of the narrative, Far more shadowy, there are books that I never went back to and read by myself, like Pippi Longstocking and my memory of those tends to be a few images rather than an actual story. As a very little kid I know I liked The Very Hungry Caterpillar and its ilk (also, vastly less well known, The Hungry Thing by Jan Slepian and Ann Seidler in which, as I recall, some rice would be nice said a baby sucking ice). Later, I loved Tintin and Asterix and Peanuts and Garfield as well as the usual UK comics; Beano, Dandy, Oor Wullie, The Broons, Victor and Warlord etc. The first fiction not reliant on pictures that I remember reading for myself (probably around the Beano era) would be the Narnia series (which I already knew), Richmal Crompton’s William books and, then Biggles (already by then an antique of a very different era), some Enid Blyton (I liked the less-famous Five Find-Outers best), Lloyd Alexander’s Chronicles of Prydain, and Willard Price’s Adventure series. Mostly these were all a bit old fashioned for the 80s now that I look at them, but I tended then as now to accumulate second hand books.
Lloyd Alexander’s Chronicles of Prydain; perfect marriage of author and cover art (Brian Fround and Ken Thompson)Biggles Flies Undone! Very old even when I was young, I bought this book from a jumble sale when I was 8 or 9
There was also a small group of classics that I had that must have been condensed and re-written for kids – a little brick-like paperback of Moby-Dick (Christmas present) and old hardbacks of Robinson Crusoe, Treasure Island and Kidnapped with illustrations by Broons/Oor Wullie genius Dudley D. Watkins (bought at ‘bring and buy’ sales at Primary School). Watkins’s versions of Crusoe, Long John Silver etc are still the ones I see in my head. More up to date, I also had a particular fondness for Robert Westall (The Machine Gunners, The Scarecrows, The Watch House etc) and the somewhat trashy Race Against Time adventure series by JJ Fortune; a very 80s concoction in which a young boy from New York called Stephen, is picked up by his (this was the initial appeal) Indiana Jones-like Uncle Richard and, unbeknownst to his parents, hauled off around the world for various implausible adventures. I liked these books so much (especially the first two that I read, The Search for Mad Jack’s Crown – bought via the Chip Book Club which our school took part in, and Duel For The Samurai Sword) that I actually, for the first and last time in my life, joined a fan club. I still have the letter somewhere, warning me as a “RAT adventurer” to be prepared to be whisked away myself. Didn’t happen yet though. And then there were gamebooks (a LOT of them), which have a special place here because they fundamentally shift the focus of the narrative back to the direct hero-conquers-all themes of ancient mythology, while also recasting the reader themselves as that hero.
80s Hollywood blockbuster design comes to childrens’ fiction
There were also books I wouldn’t necessarily have chosen but was given at Christmas etc, books by people like Leon Garfield (adventures set in a vividly grotty evocation of 18thand early 19thcentury London), the aforementioned Moby-Dick, a comic strip version of The Mutiny on the Bounty, a Dracula annual. Also authors who I read and loved one book by, but never got around to reading more of; Anne Pilling’s Henry’s Leg, Jan Mark (Thunder and Lightnings; there’s a moving article about this beautifully subtle book here), Robert Leeson (The Third Class Genie). And there were also things we had to read at school, which mostly didn’t make a huge impression and are just evocative titles to me now – The Boy with the Bronze Axe by Kathleen Fidler and The Kelpie’s Pearls by Molly Hunter, Ian Serralliers’s The Silver Sword, Children on the Oregon Trail by Anna Rutgers van der Loeff and The Diddakoi by Rumer Godden. What did I do as a kid apart from reading?
Anyway; that’s a lot of books. And in the vast majority of them, the conclusion of the plot relies on the main character, or main character and sidekick or team to take some kind of decisive action to solve whatever problem they have. Heroism as the ancient Greeks would have understood it may largely have vanished, but even without superhuman strength or vastly superior cunning (even the fantasy novels mentioned like Lloyd Alexander’s which do still have the chosen one/dark lord idea at their heart, tend to have a fallible, doubt-filled human type of hero rather than a demigod) there is still the idea that individual character is what matters.
it’s hard to remember a time I didn’t know these stories
And this makes sense – something like the ‘battle of five armies’ towards the end of The Hobbit is dull enough with the inclusion of characters that the reader has come to care about. A battle between armies of nameless ciphers (think the ‘Napoleonic Wars’ sans Napoleon) would be hard to get too involved in (cue image of generals with their model battlefields moving blocks of troops about, with little or no danger to themselves). Which is fair enough; after all, being in a battle may feel impersonal, but reading about one can’t be, if the reader is to feel any kind of drama. And maybe this is the key point – reading is – albeit at one remove – a one-on-one activity. Stephen King likens it to telepathy between the writer and reader and that is the case – they think it, we read it and it transfers from their minds to ours. And since reading is something that people seem to think children have to be made to do, often against their will, children’s authors in particular are understandably keen to engage the reader by making them identify with one character or another. I don’t think it’s a coincidence that the most successful writers for children from CS Lewis to Enid Blyton to JK Rowling (to name just notable British ones) have tended to make children the protagonists of their books and surround their main characters with a variety of girls and boys of varying personality types. And children’s books about children are (I find) far easier to re-read as an adult than children’s books about adults are. As an adult, even JJ Fortune’s “Stephen” rings more or less true as a mostly bored tweenager of the 80s, while his Uncle Richard seems both ridiculous and vaguely creepy. “Grown up” heroes like Biggles, very vivid when encountered as a child, seem hopelessly two-dimensional as an adult; what do they DO all day, when not flying planes and shooting at the enemy?
the unasked-for Christmas present that began a few years of obsessive game-playing
I mentioned gamebooks above and they – essentially single-player role playing games, often inspired by Dungeons and Dragons – deserve special mention, partly just because in the 80s, there were so many of them. There were series’ I followed and was a completist about (up to a point) – first and best being Puffin’s Fighting Fantasy (which, when I finally lost interest consisted of around 30 books), there was its spin-off Steve Jackson’s Sorcery (four books), Joe Dever and Gary Chalk’s Lone Wolf (seven or eight books), Grey Star (four books), Grailquest (I think I lost interest around vol 5 or 6), then series’ I quite liked but didn’t follow religiously – Way of the Tiger (six books), Golden Dragon (six books), Cretan Chronicles (three books) and series’ I dipped into if I came across them: Choose Your Own Adventure (essentially the first gamebook series, but they mostly weren’t in the swords & sorcery genre and felt like they were aimed at a younger readership), Demonspawn (by JH Brennan, the author of Grailquest, but much, much more difficult), Falcon (time travel) and Sagard the Barbarian (four books; the selling point being that they were by D&D co-creator Gary Gygax. They were a bit clunky compared to the UK books). Sudden memory; even before encountering my first Fighting Fantasy book, which was Steve Jackson’s Citadel of Chaos, actually the second in the series, I had bought (the Chip club again), Edward Packard’s Exploration Infinity, which was one of the Choose Your Own Adventure series, repackaged for the UK I guess, or maybe a separate book that was later absorbed into the CYOA series? Either way, there’s a particular dreamlike atmosphere that gives me a pang of complicated melancholy nostalgia when I think of the book now.
lots of books; one hero
Putting a real person – the reader – at the centre of the action ironically dispenses with the need for “character” at all, and even in books like the Lone Wolf and, Grailquest series where YOU are a specific person (Lone Wolf in the former, Pip in the latter), there is very little sense of (or point in) character building. You are the hero, this is what you need to do, and that’s all you need to know. In many cases, the protagonists of the heroic fantasy novels I devoured in my early teens – when I was drawn to any fat book with foil lettering and a landscape on the cover (the standard fantasy novel look in the 80s) – were not much more rounded than their lightly sketched gamebook counterparts. These books often achieved their epic length through plot only; the truly complex epic fantasy novel is a rare thing.
Thanks, presumably, to Tolkien, these plots generally revolved around main characters who were rarely heroes in the ancient mould (though Conan and his imitators were), but were mainly inexperienced, rural quasi-children, thrust into adventures they initially had no knowledge of (Terry Brooks’s Shannara series being the classic Tolkien-lite example). But even when, as in Stephen Donaldson’s also very Tolkien-influenced Chronicles of Thomas Covenant, the hero was a cynical, modern human being, or in Michael Moorcock’s deliberately anti-Tolkienesque Eternal Champion series, where s/he was a series of interlinked beings inhabiting the same role within different dimensions of the multiverse, the ‘chosen one’ vs some kind of implacable ‘dark lord’-ish enemy theme remained pretty constant. But this underlying core or skeleton is only most explicit in self consciously fantastical fiction; whether or not there’s an actual dark lord or a quest, in most fiction of any kind there’s a ‘chosen one’, even if they have only been chosen by the author as the focus of the story she or he wants to tell. Holden Caulfield and Sylvia Plath’s Esther Greenwood have this in common with Bilbo Baggins, Conan the Barbarian and William Brown. But really, what’s the alternative to books about people anyway? Even novels in which people (or surrogate people like Richard Adams’s rabbits or William Horwood’s moles) are not the main focus (or are half of the focus, like Alan Moore’s peculiar Voice of the Fire, where Northampton is essentially the ‘hero’) rely on us engaging with the writer as a writer, a human voice that becomes a kind of stand-in for a character.
classic 80s fantasy cover design
But books are not life; one of the things that unites the most undemanding pulp novelette and the greatest works of literature is that they are to some extent – like human beings – discrete, enclosed worlds; they have their beginning, middle and end. And yet, however much all of our experience relies on our perception of these key moments, that’s not necessarily how the world feels. Even complicated books are simple in that they reveal – just by seeing their length before we read them – the sense of design that is hidden from us or absent in our own lives. Even something seemingly random or illogical (the giant helmet that falls from nowhere, crushing Conrad to death in Horace Walpole’s proto-gothic novel The Castle of Otranto (1764) for example) is deliberate; recognisably something dreamlike, from the human imagination, rather than truly random as the world can be.
What we call history (“things that have happened”) usually can’t quite manage the neatness of even the most bizarre or surreal fiction. There have been genuine, almost superhuman hero/antihero/demigod figures, but how often – even when we can see their entirety – do their lives have the satisfying shape of a story? Granted, Caesar, stabbed twenty three times by his peers in the Senate chamber, has the cause-and-effect narrative of myth; but it’s an ambiguous story where the hero is the villain, depending on your point of view. Whatever one’s point of view in TheLord of the Rings or Harry Potter, to have sympathy with someone referred to (or calling themselves) a ‘dark lord’ is to consciously choose to be on the side of ‘bad’, in a way that defending a republic as a republic, or an empire as an empire isn’t.
Or take Genghis Khan – ‘he’ conquered (the temptation is to also write ‘conquered’, but where do you stop with that?) – obviously not alone, but as sole leader – as much of the world as anyone has. And then, he remained successful, had issues with his succession and died in his mid 60s, in uncertain, rather than dramatic or tragic circumstances. The heroes of the Greek myths often have surprisingly downbeat endings (which I didn’t know about from the children’s versions I read) but they are usually significant in some way, and stem from the behaviour of the hero himself. Napoleon, old at 51, dying of stomach cancer or poisoning, a broken man, is not exactly a classic punishment from the Gods for hubris, or an end that anyone would have seen coming, let alone would have written for him. As ‘chosen ones’ go, Jesus is a pretty definitive example, and whether accepted as history or as fiction, he has an ending which, appropriately for god-made-man, manages to fit with both the stuff of myth (rises from the dead and ascends to heaven) but is also mundane in a way we can easily recognise; he isn’t defeated by the Antichrist or by some supreme force of supernatural evil, but essentially killed by a committee, on the orders of someone acting against their own better judgement. More than anything else in the New Testament, that has the ring of truth to it. A significant detail too for those who want to stress the factual basis of the gospels is that the name of the murderer himself* unlike the nemeses of the ancient heroes, wasn’t even recorded.
* I guess either the guy nailing him to the cross, or the soldier spearing him in the side (much later named as Longinus, presumably for narrative purposes)
And if Jesus’s nemesis was disappointingly mundane, when on occasion, the universe does throw up something approximating a “dark lord” it doesn’t counter them with ‘chosen ones’ to defeat them either, as one might hope or expect. Living still in the shadow of WW2, Hitler’s messy and furtive end, beleaguered and already beaten, in suicide, somehow isn’t good enough and there are a variety of rival theories about what ‘really’ happened, all of which more pleasingly fit with the kind of fiction we all grow up with. Mussolini was strung up by an angry faceless mob and his corpse was defiled. Hirohito, meanwhile, survived defeat as his troops were not supposed to do, and presided over Japan’s post-war boom to become one of the world’s longest reigning monarchs. The moral of the story is there is rarely a moral to the story. For proof of that, did the ‘heroes’ fare much better? The victors of Yalta lived on to die of a haemorrhage just months later on the eve of the unveiling of the UN (FDR), to be voted out of office, dying twenty years later a divisive figure with an ambiguous legacy (Churchill) and to become himself one of the great villains of the century with a reputation rivalling Hitler’s (Stalin).
Entertainment programs us to view history as the adventures of a series of important ‘main characters’ and how they shaped the world. It’s perhaps as good a ‘way in’ as any – like Frodo taking the ring to Mordor when no human can, or Biggles (almost) single-handedly defeating the Luftwaffe, it makes a kind of sense to us. But the distorted version of history it gives us is something to consider; think of your life and that of (name any current world leader or influential figure; apologies if you are one). If the people of the future are reading about that person, what will that tell them about your life? And what is ‘history’ telling you about really? Things that happened, yes, but prioritised by who, and for what purpose? This is an argument for reading more history, and not less I think. Other people may be the protagonists in books, but in our own history we have to take that role.
Artists (and historians too, in a different way) share their humanity with us, and there are great artists – you’ll have your own ideas, but William Shakespeare, Sue Townsend, Albrecht Dürer, Mickalene Thomas, Steven Spielberg and James Baldwin seems like a random but fair enough selection – who somehow have the capacity or empathy to give us insights into human being other than (and very different from) themselves, but somehow created entirely from their own minds and their own perceptions of the world. But just like them, however aware we are of everyone else and of existence in all its variety, we can only be ourselves, and, however many boxes we seem to fit into, we can only experience the world through our own single consciousness. If there’s a chosen one, it’s you. If there’s a dark lady or a dark lord, it’s also you.
“Time, time, time, see what’s become of me…” When The Bangles covered Simon & Garfunkel’s A Hazy Shade of Winter in 1987, the song was 21 years and one month old, now The Bangles’ version (from the underrated – according to me – movie of Bret Easton Ellis’ Less Than Zero) is 30 years and one month old; time flies, another year draws to an end etc etc etc. It took until the early 90s for 60s nostalgia to really take hold and, true to form 30 years on from the 1980s, 80s nostalgia is everywhere; in music, in fashion, (especially) in film and television. Even the tired, terrifying old tropes of the cold war are back; excellent stuff.
It’s approximately 90 years since HP Lovecraft wrote, “The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is the fear of the unknown.” (in the essay Supernatural Horror in Literature (1926-7)), and it’s got to be something like 25 years or so since I first read those words (in the HP Lovecraft Omnibus Vol 2, Dagon and other Macabre Tales, Grafton Books, 1985, p.423 ). So what about it?
Lovecraft might well be right about fear; but more pertinent to my intro is that perhaps the oldest emotion preserved in literature – at least (major, major caveat, based on my ignorance) in the literature of Europe – is nostalgia, and the feeling that things were better in the past. (see also here for an excellent & thoughtful look at nostalgia) The literature of the ancient Greeks makes clear that the age of heroes already lay in the distant past; the pride and arrogance of Imperial Rome was tempered – formally, at least – by the belief that it was a pale imitation of the Republic which the Empire supplanted. The earliest literature in (old) English makes it clear that the inhabitants of what was one day to become England were a) not entirely sure of what had come before, but b) knew that it was in many ways ‘better’ and certainly more impressive than the present day of the 8th century:
“The work of the Giants, the stonesmiths,/ mouldereth…
And the wielders and wrights?/Earthgrip holds them – gone, long gone”
The Ruin, (Translated by Michael Alexander, The Earliest English Poems, Penguin Classics (3rd edition, 1991, p. 2)
Even closer to home (for me), the earliest literature of Scotland, the Goddodin of the poet Aneirin, dating from anywhere from the 7th to 10th century and originally, it is presumed, written – or at least passed down – in the ancient British language now called Old Welsh (which it is of course, but it is also, geographically, old English and old Scots, since it seems to have been spoken in a far wider area than modern Wales). The Goddodin is a series of elegies mourning the loss of the warriors of eponymous ancient kingdom (which spread roughly over what are now the modern Scottish regions of Lothian and Borders) in battle, and with them the heroic culture of the era.*
To say that nostalgia as opposed to fear may be mankind’s oldest emotion is problematic, both logically (chicken/egg innit), and because for all of its obviously dominant ingredients – sadness/regret and happiness – a large component of nostalgia can be fear, and, specifically, Lovecraft’s ‘fear of the unknown’ (in this case the always unknowable future). This is problematic for many reasons; in the examples noted above, the glamour (not intended to have its old, magical meaning, but actually that is probably even more appropriate) attached to the past is partly because it can’t come again. If the people of ”now” are as noble, heroic etc as the people of “then”, then somehow the past – and the ancestors, a vital component of the values of most non-Christian and pre-Christian cultures – is not receiving its due reverence.
*this theme even crops up in a very similar form in the Fortinbras subplot of Shakespeare’s Hamlet, preserved at one remove from the earliest known version of the story, Saxo Grammaticus’ elemental/mythological 13th century version from his Gesta Danorum. But even this is assumed to be derived from an earlier, lost source, probably Icelandic.
Although it seems almost incomprehensible to someone of my generation, there seems to be a similar, ‘don’t disrespect the ancestors’ unease nowadays in the unwillingness in some circles to condemn wholesale the expansion/existence of the British Empire. And really, it’s not complicated – it is entirely possible to be impressed by and/or grateful for the innovations of the Victorian era – flushing toilets, railways and whatnot – while seeing the culture and times for what they were; repressive, oppressive, misogynistic, racist, ignorant. It shouldn’t be difficult, because it’s happened before, more or less. Christianity made it easy for previous ages to condemn the pagan empires of Rome, Greece, Egypt and co (and indeed the ancient Arabic civilisations) without abandoning the inventions and innovations of those civilisations. Indeed, even at the height of Christian belief in Europe, interest in the cultures of the pagan empires remained high, even if Christian scholars felt the need to inflict a version of their own value system onto their researches. There’s no reason that people now shouldn’t be able to do the same with the ages we have left behind, or are hopefully in the process of leaving behind. Yes, good things come from bad, but not because of the bad, but because (most) human beings are extraordinary.
In 2017 there seemed to be – as I suppose there always must be – an ever-increasing number of warring nostalgias and counter-nostalgias, the latest being for the Russian Revolution in 1917 – a violent event, with vast and oppressive consequences and therefore definitely negative, but like most revolutions, born of aspirations and ideals which are hard to dismiss. In fact, Dickens’ famous opening to A Tale Of Two Cities seems uncannily prophetic, because Dickens – as he explicitly realised – could see that human nature and human actions remain fairly constant:
“It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way – in short, the period was so far like the present period, that some of its noisiest authorities insisted on its being received, for good or for evil, in the superlative degree of comparison only”
I think it’s probably true that it’s always the best of times, for somebody, in some respect, it’s certainly always the worst of times for others; which sounds complacent or at least fatalistic, but only if one doesn’t try in some way to improve things. This kind of impersonal nostalgia – for ‘better’ times – is, necessarily selective. (in fact, all nostalgia is, because perception is selective – hmm, it seems like this just started copying the thing about realism I wrote recently, but bear with me) and relies to a large degree on ignorance and/or self-deception in order to be nostalgia at all.
History isn’t a subject, history is everything; people, peoples, cultures, societies, but, necessarily “history” as taught, or absorbed through popular culture, filters and simplifies, to the point where some people in Britain still talk nostalgically about ‘Victorian values’ without (usually) intending any reference to the exploitation and subjugation of untold millions of people, child prostitution and child labour, the life expectancy of the average Victorian person etc etc etc. And, as always, history is more complex than its popular image. The era may be symbolised for British people by the building of railways or the expansion of the Empire, or by Jack the Ripper, or Queen Victoria being unamused, or by the establishment’s treatment of Oscar Wilde; but it was also the era that produced and shaped Jack the Ripper, Queen Victoria and of course, Wilde himself, as well as the whole decadent movement. Interestingly, Sigmund Freud was only two years younger than Wilde; an apparently value-free but perhaps significant observation…
This kind of complexity is what makes history more interesting than it’s sometimes given credit for; the Scottish Enlightenment was a wonderful, positive, outward-looking movement, but it coexisted in Scotland with a joyless, moralising and oppressive Calvinist culture. Time and nostalgia have a way of homogenising peoples and cultures. The popular idea of ancient Rome is probably one of conquest, grandeur and decadence, but what is the popular idea, if there is one, of ‘an ancient Roman’? Someone, probably a man, probably from Italy, in a toga or armour; quite likely an emperor, a soldier or a gladiator, rather than say, a merchant, clerk or farmer. Even within this fairly narrow image, a complex figure like the emperor Elagabalus (Syrian, teenage, possibly transgender) defeats the obvious school textbook perceptions of ‘Romanness’ (as, perhaps, it did for the Romans themselves). Even in our own time, the fact that older generations from the 60s/70s to the present could lament the passing of times when ‘men were men & women were women’ etc is – to say the least – extremely disingenuous – presumably what they mean is a time when non-‘manly’ men could be openly discriminated against and/or abused and women could be expected to be quiet and submissive.* Similarly, throughout my life I have heard people – and not exclusively right-wing people – talk about the economic success that Hitler brought to Germany; but you don’t have to be the chairperson of a financial think tank to see that a programme of accelerated militarism that requires war in order to function isn’t really a viable economic model for anyone who doesn’t also espouse the ideology of Nazism. But a strange kind of nostalgia dictates that if it wasn’t for all those pesky Nazi faults he could have been a great leader. He couldn’t, though, because he was a real person, he did the things he did and therefore he wasn’t a great leader.
*throughout this article I have been referring to ‘people’ and ‘humankind’ in what is intended to be an inclusive kind of way, referring to people of all races, genders or indeed lack of gender. I admit I have probably referred to gender in a binary sense, partly no doubt through laziness. However, I do have a tendency to not use the term ‘cis’, unless necessary – for me personally, the word ‘women’ includes trans women and the word men includes trans men. I don’t intend any offence by this, but I also don’t really mind if anyone is offended. I think it’s a shame that something as basic (if not simple) as a person’s gender should be a matter of opinion, but so it seems to be. My own view is that the contents of someone’s underwear is none of my business unless they explicitly make it so.
As I’ve said at least one too many times, history is complex, but nostalgia, despite being impossible to sum up in a single word other than itself* has a simplifying quality. Nostalgia is safety – political reactionaries always look to the past for ideas of stability – but that is only because the past itself is stable, in the sense of being unchangeable. As we see daily, though, although (until the invention of the time machine) it is unchangeable, history, through endless re-interpretations and re-evaluations and new points of view, isn’t really ‘stable’ at all – and I think it’s fair to assume that (as Dickens implied) every ‘golden age’ masks a dark age. And although it mainly seems otherwise, people are, by and large, fairly positive, they want to look back with fondness, even if it’s a melancholy fondness. There’s a quote from the great Scottish singer/songwriter Alex Harvey that strips away the soft-focus effect that the distorting lens of nostalgia imposes on history:
“Nobody ever won a war. A hundred thousand dead at Waterloo. No glory in that. Nobody needs that.” (quoted in Charles Shaar Murray’s Shots From The Hip, Penguin Books, 1991, p.71)
This is, I think, indisputably true; but evidently I am wrong – people are entirely capable of being nostalgic about almost any negative event. ‘The Blitz Spirit’ is remembered fondly in Britain because the blitz ended years ago and all of its bombs already fell and lots of people survived it. It’s hard to make a film about the past without an element of nostalgia, especially when the film is played out as a thriller or adventure of some kind. But even leaving aside war movies and the old fashioned western film, there is and has been in recent(ish) times a whole sub-genre of ‘elegiac’ Western movies which, by and large, focus on the dying days of the ‘old west’ while barely acknowledging the genocide and horror that is the historical backdrop of the period. In a way, that’s fair enough – those stories are not about that subject – but when there are not only no (or very few) films about that subject, and it is barely even acknowledged by ‘official’ narratives of taught history, it’s a stark and telling omission.
*though interestingly, its original Greek meaning ‘homecoming pain’ is more specific than the word itself has come to be in English, and most of the European languages tend to use variations of the word ‘nostalgia’ rather than having their own word with the same meaning)
It’s my personal feeling that nothing good is produced by adversity; which is not to deny that people are amazing, resourceful, resilient and inspiring; they are. When I said before that every golden age masks a dark age, it’s probably true too that every dark age is shot through with some elements of positivity, although I won’t scrutinise that statement too closely. Countries which were colonised by the British Empire (or indeed any empire) manage to grow and assert and define their own cultures; but we can never know what was lost. I love blues music (and indeed the whole phenomenon of western popular music which mostly grew from it), but again; we can never know what would have been, had these energies not been re-directed by a couple of hundred years of slavery and exploitation. Individuals achieve almost superhuman feats of bravery and resourcefulness etc when facing adversity; escaping from abusers, kidnappers etc. But no-one in their right mind would – I hope – recommend that all young people undergo these kinds of ordeals in order to fully achieve their potential. I don’t think it’s particularly useful for individuals (although governments and institutions are a different thing) to feel guilty about the deeds of the people of the past (or proud of the achievements of the past, really), I also see no need to pretend that, because India has a big railway network, the British Empire did something positive by oppressing the country’s people and culture and stealing its resources. Nothing good came of the British in India. India survived anyway, just as people survive catastrophes everywhere and achieve amazing things in doing so.
Lou Reed and Rachel in 1977 (Mick Rock)
So much for impersonal nostalgia – the personal kind is in many ways very similar, if less destructive. I’ve always been a nostalgic person; both for things I don’t remember, or that were long before ‘my time’ (you name it; silent movies, the 1960s, the Weimar Republic, Hong Kong cinema of the 70s, the Northern Renaissance, the Scottish Enlightenment, 80s teen movies) and, more naturally perhaps, within own experiences. One of the things that initially made me write this was a reference in Anthony DeCurtis’ biography Lou Reed – A Life (John Murray, 2017)* to Reed’s 70s partner/muse Rachel, a fascinating figure who seems to have vanished into history. In googling her I discovered various sites about vanishing/vanished aspects of New York and, because old photographs are endlessly fascinating, somehow segued from that to the vanished Jewish East End of London and the vanished and vanishing everything of everywhere. But as irretrievable as Jewish East London of the 60s and the underbelly of 70s New York are, one’s own childhood is equally as irretrievable, not that one wants to retrieve it, exactly.
* An excellent book, but one which illustrates some of my points; while Lou Reed spent most of his adult life complaining about his conservative 1950s childhood, DeCurtis himself has a more rose-tinted view of the period, saying “In stark contrast to the identity politics of today, assimilation was the order of the day…and none of Reed’s friends, Jewish or not, recall incidents of anti-Semitism or bias” (p.14) – fair enough, except that he also says, ‘Richard Mishkin was a fraternity brother of Allan Hyman’s in Sigma Alpha Mu, a so-called Jewish fraternity because at the time Jews were not permitted in many other fraternities.” (p.36)
Most of the polaroids etc that make up the ever-browsable Internet K-hole appear to be American, but any child of the 80s will recognise the texture and aura of the era we grew up in. When George Orwell wrote (I think in The Lion and the Unicorn, but I might be wrong; I’ll check) – “What have you in common with the child of five whose photograph your mother keeps on the mantelpiece? Nothing, except that you happen to be the same person” he was putting his finger on one of the strange paradoxes of culture, heritage and nostalgia. The memories I have of the 80s are made up of a distorted, child’s-eye view of events and culture which is truly mine, plus things I know now that I didn’t then, other peoples’ memories, TV, films. The most potent sources of nostalgia seem to be – as the makers of shows like Stranger Things and Dark, and films like Super 8 and (too many to list) are very aware – the things you didn’t notice that you had noticed, the most ephemeral details; jingles from adverts, fonts, packaging, slang.
And this is right, I think. The fleetingness of things remembered has nothing to do with their power as memories. I have no idea what the first horror film I saw was, but I do know that a scene on some TV show where skinheads (or possibly a single skinhead) glued a man’s hands to the wall of a lift/elevator scared me as a child and stayed with me for a long time; maybe because I used to see skinheads around on the streets (you had to watch the colour of the laces in their Doc Martens to see if they were ‘bad’ skinheads or not – though they were probably kids too, I now realise). I also know now (but didn’t then) that these were the second wave of skinheads, which is why I also saw Oi! written on various walls around the town; at the time I don’t think I ever made the connection. Again, when one thinks of the impact of very small occurrences it shows how impossible a really objective view of history is. I no longer bear any high school grudges, but without really thinking about it, many small and/or random sneers and insults from my youth have stayed with me in vivid detail, along with the people and places involved. Similarly (but nicer) I will eternally feel grateful to two beautiful black girls in Camden in (I think) 1990 or 91 who made remarks to me which, even at the time were, at best ‘not politically correct’ but which pleased me immensely; it is among the very few teenage memories that boosted rather than eroded my confidence; a tiny thing, barely even an ‘incident’, but a big deal to a painfully shy adolescent. What to make of such a minor, slightly embarrassing (especially at the time; I can still vividly remember – although it was not a rarity – my whole face burning when I blushed. People often remarked on the redness of my blushes. I remember – not even slightly nostalgically – being compared to a tomato, being told I looked like I would ‘burst’ etc) episode? Nothing, except that real nostalgia, unlike the nostalgia industry (“it was the 70s; Buckaroo!”, to quote Alan Partridge) is particular, not general. The Camden episode may include references to youth, gender, race etc, but it has nothing to do with those factors really, and I doubt if the two girls remembered it even days later. These are not the kinds of details which are worthy of a biographer’s attention; but they define my youth every bit as much as the music I listened to, the sweets I remember that no longer exist, or the clothes I wore.
To me, 80s nostalgia has less to do with “the 80s” in the sense it that it appears in TV shows and films as it does a litany of gloomy-sounding things: the urban decay of 60s and 70s council estates, indoor markets, army stores, arcades, brutalist churches that harmonised with the concrete towers that the fire brigade used for practise. This is a kind of eeriness as nostalgia; reflected in my liking for empty streets and art that represents empty streets: Algernon Newton, Maurice Utrillo, Takanori Oguiss , the photography of Masataka Nakano and taken to its extreme, Giorgio de Chirico, where the emptiness isn’t empty so much as it is pregnant , reminding me always of – nostalgia again – the ruined city of Charn in CS Lewis’ The Magician’s Nephew (by far my favourite Narnia book) – which made a huge impression on me as a child – and may be where my liking for such things (including ‘urbex’ photography, like that of Andre Govia, and of course, The Ruin, quoted way back in the first paragraph) comes from.
The Red Tower by Giorgio de ChiricoStreet scene by Takanori Oguiss
“The passing of time and all of its crimes, is making me sad again” – sadly, one of those crimes is that when I first heard that line (from Rubber Ring by The Smiths) in 1989 or thereabouts, Morrissey seemed to be on the side of the downtrodden and marginalised, whereas now he seems to be one of that increasing number of people who pretends that the mainstream of British culture is itself somehow being marginalised; which is patently ridiculous. And nostalgic, of course. And there’s a whole culture industry with its own cultural shorthand, to bolster the standardised view of any given period; especially now, when a decade can be summed up by a b-list cultural commentator or celebrity who clearly isn’t old enough to remember some of what they are talking about, saying “‘e were mad, weren’t ‘e?” about some figurehead of the era. Not so great of course, when said figurehead turns out to be Jimmy Savile or Rolf Harris, at which point even nostalgia, like history, has to be revised. But, as endlessly mentioned above, the beauty of all nostalgia is that it’s selective. The 70s that Morrissey seems to feel nostalgic (in the true, mixed feelings sense) about (witness the whole of Viva Hate, which I love) wasn’t ‘better’ than nowadays, but the writer of its songs was young then. He isn’t now. There are younger people who are also nostalgic about the 70s, or the 80s, because they see the partial versions of the era(s) preserved by those who were there then, or who pretend to have been. The people who mourned the loss of the blitz spirit mourned it because a) they were younger then, and b) they survived it, and told people about its spirit. The people who are nostalgic for the Empire will (hopefully) never have to deal with being in charge of a mass of powerless, subject people whose resources they are stealing (or be the subject of the same), but they can enjoy the things it brought to all of our lives; the wealth of the Empire which, like the mythical ages of Greece and Rome, and the giants that the Anglo-Saxon poet pondered over only exist now as the faded, distorted memory of a faded, distorted memory. Like the 70s, like the 80s, like 2017, like yesterday, they are wonderful and terrible because they can never come again.
The idea that money is more important to the Church of Scotland than the buildings that were at the centre of the spiritual and social lives of generations of people (and also, the place that God lived, I guess) seems grotesque, but there it is. It’s just bricks (or stone) and mortar, after all; or that, presumably is the logic, because God doesn’t actually live in a stone building but in either heaven or the hearts of believers etc, etc. And yet, if it’s just a building, how come people can only vandalise houses or schools or barns, but they can “desecrate” churches? “De-consecration” – what the church does in order to render its buildings saleable – is just a non-inflammatory way of saying desecration. De-consecrating the church doesn’t affect the material of the building, but it does remove its purpose – but what it can’t do is remove its history. So if you buy a church, what is it that are you actually buying? In a book I liked as a teenager, Terry Brooks’s Magic Kingdom For Sale – Sold! (1986), a depressed lawyer called Ben Holiday buys what turns out to be something like Narnia or Middle Earth, from a catalogue (nowadays it would be from a website). If Mr Holiday bought a church, he wouldn’t be mystically transported to an otherworldly realm, but he would – and the buyers of these buildings do – become the owner of a place where thousands of people were, in a meaningful way, transported to a place where, whatever the privations and terrors of their daily lives might be, things made some sort of black-and-white sense. Somewhere that virtue was rewarded with eternal paradise, vice was punished with eternal damnation and the person in the pulpit had the correct answers to whatever questions life was throwing at you. You don’t have to believe in any of that to realise that it was (and to some extent I suppose still is) important.
Like, I’m sure, many convinced lifelong atheists (and I’m a very un-spiritual one at that), I love churches. The architecture, the fixtures and fittings, the solemn atmosphere. The idea of building on top of (Native American) Indian burial grounds was enough to fuel horror fiction and urban legend for a century; will turning churches into houses, flats and offices do something similar? Probably not; although some of the churches for sale do indeed still have graveyards attached, the churches themselves, whether used or not, are utterly familiar to the local people. Like the Indian burial grounds, they have, for these people, always been there, but unlike them, they have always been visible, and have far more mundane connotations. They aren’t, or weren’t just the places people got married or had funeral services, they are places where, very recently, a few times a year you trooped along with your primary school classmates to hear about the less commercial, less fun aspects of Easter or Christmas and to sing a few hymns. In short, even now churches aren’t, or are rarely “other” in the way that (to non-indigenous settlers and their descendants) Indian burial grounds are. But, after generations will they still be familiar in that way, or will they become just funny-shaped houses? Who knows, but it’s sad to think so.
It’s approximately 90 years since HP Lovecraft wrote, “The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is the fear of the unknown.” (in the essay Supernatural Horror in Literature (1926-7)), and it’s got to be something like 25 years or so since I first read those words (in the HP Lovecraft Omnibus Vol 2, Dagon and other Macabre Tales, Grafton Books, 1985, p.423 ). So what about it?
This kind of complexity is what makes history more interesting than it’s sometimes given credit for; the Scottish Enlightenment was a wonderful, positive, outward-looking movement, but it coexisted in Scotland with a joyless, moralising and oppressive Calvinist culture. Time and nostalgia have a way of homogenising peoples and cultures. The popular idea of ancient Rome is probably one of conquest, grandeur and decadence, but what is the popular idea, if there is one, of ‘an ancient Roman’? Someone, probably a man, probably from Italy, in a toga or armour; quite likely an emperor, a soldier or a gladiator, rather than say, a merchant, clerk or farmer. Even within this fairly narrow image, a complex figure like the emperor Elagabalus (Syrian, teenage, possibly transgender) defeats the obvious school textbook perceptions of ‘Romanness’ (as, perhaps, it did for the Romans themselves). Even in our own time, the fact that older generations from the 60s/70s to the present could lament the passing of times when ‘men were men & women were women’ etc is – to say the least – extremely disingenuous – presumably what they mean is a time when non-‘manly’ men could be openly discriminated against and/or abused and women could be expected to be quiet and submissive.* Similarly, throughout my life I have heard people – and not exclusively right-wing people – talk about the economic success that Hitler brought to Germany; but you don’t have to be the chairperson of a financial think tank to see that a programme of accelerated militarism that requires war in order to function isn’t really a viable economic model for anyone who doesn’t also espouse the ideology of Nazism. But a strange kind of nostalgia dictates that if it wasn’t for all those pesky Nazi faults he could have been a great leader. He couldn’t, though, because he was a real person, he did the things he did and therefore he wasn’t a great leader.
And this is right, I think. The fleetingness of things remembered has nothing to do with their power as memories. I have no idea what the first horror film I saw was, but I do know that a scene on some TV show where skinheads (or possibly a single skinhead) glued a man’s hands to the wall of a lift/elevator scared me as a child and stayed with me for a long time; maybe because I used to see skinheads around on the streets (you had to watch the colour of the laces in their Doc Martens to see if they were ‘bad’ skinheads or not – though they were probably kids too, I now realise). I also know now (but didn’t then) that these were the 
