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Going back to Rockville

Going back to Rockville

Two weeks ago I found myself in the far North – Edinburgh. The last time I had walked the streets of Edinburgh it was the winter of 1998, the threshold of 1999. Just before I left for the south, for Marseille, so there is a certain symmetry to write about this trip now, just after my last entry about Marseille.

Well, up north, the shadows are even longer than in Paris, that’s for sure. In early summer the sun in Edinburgh doesn’t exactly set it more sort of fades away. Even at 10pm in the evening there is a weak watery blue light that fills the streets. One leaves one’s restaurant and is surprised by a lingering glow still present in the sky.

I had returned to the city for the usual no-good reason. Of course I took a lot of photographs as I wandered the streets with my colleagues or alone. On the last day before my departure I made an epic tour of the city, walking from my guest house in Morningside (excellent Scottish breakfasts each morning) all the way to the modern art galleries in Dean village and then back across the city to the new Scottish parliament and the foothills of Arthur’s seat, the extinct volcano in the centre of Edinburgh. But after traversing the city I had no energy left to make the ascent so I contented myself with watching people trudging forcefully across its slopes. I remembered the last and only time I had made the climb myself, with my friend Brendan. The soles of my shoes were worn thin and it was impossible to get any purchase on the smooth mossy slopes which had been worn flat by generations of hikers. I slid around like I was on an ice-skating rink. It was only with great difficulty that I managed to reach the summit.

I know Edinburgh quite well, despite the fact that I’ve never lived there. In the dark days towards the end of my time in England I made constant trips there to escape the tedium of life in Durham and to visit friends of mine who lived there. I was attracted by the cafes and galleries which were non-existent where I lived.

Now of course I see all this a bit differently. The city centre of Edinburgh, at least in the old town, appeared to me now as hollowed-out, empty. A facade, almost. I was constantly surprised at how quiet the streets were only a few short steps away from the main thoroughfares, after the frantic density of Paris. I didn’t remember this. I didn’t remember either that at 9AM on a Saturday morning that most shops were not yet open, that life had not yet started. In the evening, walking around, it was hard to see anyone who was neither a student or retired, at least in the places around the old town. A cold wind pursued me relentlessly throughout my week-long stay there. (A friend of mine told me that a colleague of his had remarked that more wind passed over Edinburgh in one year than in any other part of the UK.)Nevertheless, the rain only really began in earnest on the last day of my trip, and the sinister bulk of the castle looming over Princes street was partially neutralised by the presence of a blue sky containing only a few scattered clouds….

All the cafes and bars I remember from those distant winters in Edinburgh were still in the city; no changes, it seemed. On Saturday morning I found myself once again in Florentin’s, where I had spent many long hours at the end of the last century. But I found it strangely different than before, than the last time I was there which I remember very clearly as being January the 1st, 1999. What had changed? The wall between two halves of the cafe had been removed, making one large open space. It no longer felt so cramped as before, but perhaps just slightly less intimate. I think I wrote a lot of letters there, in the days when I still wrote letters. It is strange how these places continue to exist, even in our absence.
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In Marseille, illuminated.

In Marseille, illuminated.

I am at the other side of the country, in the south. Marseille. A southern city. I won’t mention Milosz, his southern cities, except to say that his words return often to my mind …

I’m here for a few days, the usual no good reason, a conference, and actually quite a few people are here that I’ve known for a long time, friends from when I lived in Canada a decade and a half ago. I’m here in my sixth floor hotel room, a few streets back from Vieux port, it’s the evening, from my window I see the bone-white illuminated spires of the Panier, and although now it’s dark in the daytime I see red rooftops and a shard of water through the gaps between buildings. A few bars of accordion can be heard from time to time, drifting past, but it’s the end of the evening, the tourists have left, there’s no point playing much longer. Maybe there is the sound of water. And a few lost seagulls.

My relationship to the city is a complicated one. I came here in 1999 from a subterranean existence in England and lived here for two and half years. You must first imagine a sky deeper and bluer than any sky you have seen before. A deep, clear and perfect blue. Each morning in my apartment high on the hill near the Notre Dame de la Garde the very first thing which entered my consciousness in the morning was the blue of the sky. I opened my eyes and through my window my line of sight intersected a clear and faultless square of sky. On most days the breeze, the endless wind, clears the atmosphere of particles, renders everything luminous. I was very grateful indeed after the heavy skies of the north of England to find myself here. I remember a recurrent thought almost every morning for the first few months after I arrived – that I had left for good the place I had come from, and I did not need to return. I felt immensely relieved.

Once again today, crossing the Vieux Port at the middle of the day, I felt almost overpowered by the amount of light streaming down from the sky. No ghosts could hide here in this light. I felt nostalgic for the weak, diluted rays of Parisian sunshine, always coming from the sky at a long oblique angle and casting tall shadows in the street. That was always the first thing I noticed when made the trip between Paris and Bologna – the long shadows on the Parisian buildings.

But it does no good to keep one’s eyes too closely on the sky, as anyone who has ever visited Marseille will tell you. Back at ground level, the city is chaotic, disordered, and hazards may arrive from any direction. It’s best perhaps to fix one’s gaze at point somewhere in the middle distance and walk towards it as fast as you can.

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Kurt Vonnegut leaves us….

Kurt Vonnegut leaves us….

Mr. Kurt Vonnegut died around ten days ago. Last weekend, I spent a few hours in a nice cafe near my house to write this essay about Mr. Vonnegut and his brother, Bernard.

I was a great admirer of Mr. Vonnegut’s fiction from a very early age, and I had read almost all of his books by the time I left Ireland for university in England. Of course, I was a very impressionable young man. So you can imagine my astonishment when I arrived in Manchester, at UMIST, to discover that the scientists in the physics department actually knew Bernard Vonnegut, Kurt’s brother. Not so surprising of course – they were atmospheric physicists after all, and were working on the same research topics that Bernard was interested in. Bernard and Kurt had actually visited the department a few years before I arrived.

In my final year at UMIST I had a summer job in New Mexico, which in the end lasted six months because I had problems with my PhD grant and had no immediate reason to return to the UK (in the end I did a Masters’ program in Canada). I worked at New Mexico Tech, in Socorro. For the first three months I helped out with measuring radon transport in the desert (a lot of houses in New Mexico are built on granite and are a little too tightly insulated…) For the second half of my stay I was the sole inhabitant and operator of the Joint Observatory for Cometary Research (JOCR for short, ho ho). A very interesting experience which I should some day describe at length….

For the first few weeks I was on the mountain, the only other inhabitants for miles around were those at the Langmuir Labs, on the other peak, where they were doing their wacky experiments with thunder and lightning. This involved firing rockets up into clouds and seeing what would happen, that kind of thing. Observing, measuring. I visited there a few times, and I watched the experiments in progress. Bernard Vonnegut spent most of his summers at Langmuir Labs, but, of course, he was not there the one summer that I happened to be there.

And that is how I got to thinking about Kurt and Bernard. My favourite Vonnegut book, after Cat’s Cradle is probably Mother Night. Mr. Vonnegut informs us in his introduction that it is the only book of his which contains a moral: “Be careful what you pretend to be because you are what you pretend to be”. Indeed.

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On Mr. David Lynch

On Mr. David Lynch

A few weeks ago I went to the Fondation Cartier to see their exhibition of David Lynch’s work, “The Air is on Fire”. (The Fondation Cartier building is a beautiful structure with an enormous glass facade, like perhaps something from one of Calvino’s “Invisible Cities”.) The entire exhibition space has been given over to Mr. Lynch’s works: upstairs there are paintings and drawings; downstairs there are photographs as well as a small cinema designed by Lynch himself. The cinema shows continuously a series of short films from early in Lynch’s career.

However, the thing that one notices instantly after crossing the threshold and entering the building is the “environment sonore”. Loudspeakers have been positioned throughout the building and they carry in perfect fidelity a continuous series of low-pitched rumbles and clanks, humming, blurred whirring noises, sounds of distant underwater factories. It is all vaguely menacing in an undefined, troubling way. When I visited, heavy rain was falling outside, and through the great glass facade of Fondation one could see dark clouds hanging low over Paris, and a grey, watery light filtered through the windows. You get the idea. (I had wanted to go and see the exhibition a second time, before writing this, but these last few weeks the weather has just been too good).

Of course, for the main part the terror of David Lynch’s work comes not from what is shown but what is suggested. The canvases upstairs feature a Lynchian everyman, ‘Bob’ who finds himself in all sorts of troubling circumstances. In one canvas a man (Bob?) faces a woman on a sofa, in his hand is a small, sharp object (could it be a gun?) and from his mouth oozes the words “Do you want to know what I really think?” the response to which from the woman is an abrupt “No”.

Downstairs, all around the walls, is a long series of undated photographs containing the usual Lynchian preoccupations, amongst them photographs of factories and empty stretches of terrain vague. I watched a few of the films projected in the cinema: I saw “The Grandmother” a very early colour feature, which features a small boy who grows a tree in his bedroom, from which emerges an elderly lady — the grandmother of the title I suppose, although we are never certain, the film is silent.

All of this leads one to appreciate even more his latest film, Inland Empire, which I saw just after I had visited the Fondation Cartier. I was a bit apprehensive, of course, given what some have said, but after hearing Lynch talking about the film in an interview, it certainly seemed like an interesting thing to see. What is truly remarkable is the extent to which Lynch has worked on the film’s visual appearance, the way in which forms and scenes are presented, and the way in which all of that is integrated with the soundtrack, which is one of the most brilliant and disturbing soundtracks I have ever heard. Normally I am quite happy to see films in small cinemas in the quartier latin, but that film really demands the latest possible audio technology in the largest possible cinema. Again, like in the Fondation Cartier, it is a menacing, low-frequency succession of clanks and rumbles, omnipresent throughout the three hours of the film. There is only one sequence of around fifteen minutes when natural, ambient sound is allowed to intrude in the film’s disturbing and bizzare Universe.

What is it about? Lynch’s own response is the pithy ‘a woman in trouble’. A thread of plot is discernable in the early stages of the film, but it soon disintegrates into a series of parallel histories the link between which is difficult to fathom. But it doesn’t matter; the film is really a succession of films, of scenes. Each may or may not be related to the other. For the most part, we are inside, confined to small rooms, we follow conversations between people whose faces are twisted like those in a canvas from Francis Bacon (one of Lynch’s favourite artists). Menacing rumbling noises can be heard in the background. It is not clear how each room is connected to each other room; crossing a door’s threshold can imply a displacement in either time or space. Part of the film was shot in Poland, and the buildings and spaces in these scenes are imbued with an extra, even heavier, layer of memory and history (and even less paint). To disorient us even further, every so often we are presented with a domestic scene — a suburban family sit in their living room, but they are all wearing rabbit suits. Their slightest movements or most banal utterances elicits raucous laughter from an unseen studio audience. And yes, of course, all of this happens at night.

After all of this, one understands Lynch much better; it is clear that “Inland Empire” was the film he’s been trying to make from the start; it is the film of a visual artist first and a filmmaker second. It is hard to isolate what makes the film so compelling, but I’m certain that it has something to do with this profound visual sense which Lynch has. The film is so rich, so layered, that I could easily see it a second time. Or a third.

But that is enough for today. Not a single cloud can be seen the Parisian sky, so it is probably not a good idea to spend too much time underground with Mr. Lynch.

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