Nicholas
Reid reflects in essay form on general matters and ideas related to
literature, history, popular culture and the arts, or just life in general. You are free to agree
or disagree with him.
NOT SEEING THE THING ITSELF
I am standing at Housestead Roman
Fort (Vercovicium) on Hadrian’s Wall, where the civilised Roman Empire
attempted to put a barrier between itself and those wild barbarians up north. I
want to remember this moment, so I get my wife to take a shot of me trying unsuccessfully
to look nonchalant and cool as I lean against a Roman wall and survey the
countryside.
But what is going on inside my
head?
I am trying to remember all the
words to W.H.Auden’s “Roman Wall Blues” (“Over
the heather the cold wind blows. / I’ve lice in my tunic and a cold in my nose”
etc.). And I’m reliving bits of Rosemary Sutcliff’s Eagle of the Ninth, set in Romanised Britain, which I read years
ago to some of my older kids when they were young teenagers.
Blast! It’s happened again.
I’m not looking at the thing
itself.
I’m not looking at what is in
front of me.
I’m filled with the literary
associations.
I’m filtering everything through
the medium of somebody else’s imagination.
I’m just an echo box.
It’s like when I walk along
Takapuna Beach and hear bits of Bruce Mason’s End of the Golden Weather being
declaimed in my head. It’s like driving into Wellington and immediately
striking up with Baxter’s “radio masts,
huge harps of the wind’s grief”.
“No problem,” you think,
reflecting that all of these are perfectly respectable cultural referents.
But it gets worse.
I am snapping photos of the
canals of Amsterdam, and trying to think of Spinoza, Descartes in exile, Rembrandt
and other such highbrow stuff.
But what is my head really
playing?
I hate to tell you, but it’s Max
Bygraves dolefully and monotonously singing “Tulips from Amsterdam”, which I
never liked in the first place.
I’m driven down to Flanders for
an Anzac Day ceremony. I look over the gentle rolling farmlands and have the
common thought that it is hard to connect it all with the shell-shattered
mudfields of old war photographs.
And do I think of some uplifting
and thoughtful bit of Sassoon, Owen, Rosenberg?
Nope.
Instead I think of John McCrae’s
bloody awful “recruiting poster” of a poem “In Flanders Fields” (“take up our quarrel with the foe” etc.).
I mean, you’d think my stupid
brain’s reflexes would do something more worthwhile than recycling propaganda,
wouldn’t you?
Then there is the nadir of this
doleful tale.
We’re in Paris at a nice
bed-and-breakfast hotel right on the Seine and immediately
opposite the Louvre.
Out our window I snap shots of the bicycles and booksellers and street-sweepers
and row of poplars and river between us and the great palace-museum.
Now if brain is going to reflex
something, surely it should be some Baudelaire?
But nope.
Instead brain automatically
strikes up with Eartha Kitt singing “Sous les Ponts de Paris” and Mireille
Mathieu singing “Sous le Ciel de Paris” and in no time I’m hopping round the
room humming “I Wanna Step Out on the Champs Elysees”, like Fred Astaire in the movie Funny Face, till my wife tells me to
calm down.
It’s not as if this condition is
life-threatening, but it is annoying – the way places are overlaid with pop
culture references. It’s like the way you can still remember the jingles to
long-ago TV advertisements. It’s because they’re so catchy. But they still do
block out the daylight – the thing that is really in front of you. And if you don’t
make a big and conscious effort to push them aside, you will see nothing with
your own eyes. You will end up behaving as you have been told to behave in pop
songs and romantic movies. Like those
idiot tourists who buy golden padlocks,
lock then to the wire-mesh side of a bridge and throw the key into the Seine
because some dumb pop song told them that if they do this, their love will
last. How crass! How like thinking of “Tulips from Amsterdam” while looking at
unoffending canals!
Yes, dear postmodernist. I do
know you think all reality is “constructed”, and if my brain didn’t strike up
with glib and ready-made associations before every scene, it would still be
seeing that scene as it has so often been “constructed” for me. But I am still
saying that it is possible to see things cleanly and clearly with your own
fresh eyes.
Places with no literary
associations whatsoever. Places that nobody has written a song about. Places
ignored by wordsmiths. Perhaps I will be fortunate enough to find such a place
one day.
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