Archive for category Michel Butor
Since the announcement of Michel Butor’s death a few days ago, obituaries, hommages, appreciations and recollections have appeared in the quality press across Europe . But not here in the UK. Not a word.
It wasn’t always thus. In 1956, Butor’s second novel, L’Emploi du temps, was published, with an English translation appearing in 1960 (Passing Time). The setting was immediately recognisable to British readers – a northern English city, rain drenched and fog bound, grimy and sooty, where you can’t get a drink until evening, and you can’t get a decent meal anywhere, at any time.
This was Manchester, where Butor, fresh from teaching in Egypt and ‘inundated with sun’, came for a two-year stint as a lecteur at the University. Manchester, masquerading as Bleston, where Revel, a young Frenchman, came for a one year contract translating documents for a shipping company.
It’s not the city’s landmarks that make it so recognisable. Butor keeps some features but plays fast and loose with their relative positions, adds a second Cathedral, and configures the railway stations in a kind of noose around the city centre. He transforms Belle Vue into Plaisance Gardens. His street names mingle the authentically Mancunian (Chorley) and the generic (New Bridge, Birch Street) with odd-sounding names such as Continents, Mountains or Geology.
Anyone trying to use the frontispiece map as a guide to Manchester would very soon get as lost as Revel did – quite apart from the liberties Butor has taken with the real city, the map shows only those streets and landmarks which play a part in the narrative. Manchester’s Strangeways prison does, however, retain its distinctive shape and is a brooding presence at the heart of the novel.
Manchester’s rain and fog, the smoke from its chimneys, the days without daylight, the sprawl of the city in which one could walk for hours and not reach the countryside, the black water of the canal – these are both the reality of 1950s Manchester and its myth.
And the novel draws you in with its opening chapter, which blends poetry
Suddenly there were a lot of lights. … I gradually struggled free of drowsiness, sitting there alone in the corner of the compartment, facing the engine, beside the dark window-pane covered on the outside with raindrops, a myriad tiny mirrors each reflecting a quivering particle of the feeble light that drizzled down from the grimy ceiling
with the mundane miseries of travel
this was not the fast through train which I ought to have taken and on which I was to have been met; I had missed that by a few minutes at Euston, which was why I’d had to wait indefinitely at some junction for this mail-train
and foreshadowing, of the mundane miseries still to come, and of the darker and deeper threat to be faced:
I remember standing up and smoothing out the creases in my raincoat, which was then still sand-coloured. ….For my vision was still like clear water; since then, every day has clouded it further with a sprinkling of ash
It’s reasonably clear at this stage that the narrator is writing in May about the events of the previous October. As the time scheme for the novel becomes more complex, the darker undertones become more prominent, and the reader will either be mesmerised, as caught up in the threads as the narrator himself, or merely mystified and frustrated.
Poet Allen Fisher was in the former category, and that tantalising opening section inspired his own poem, ‘Butor. Passing Time again’:
window-pane covered on the
litdrops, a myriad
restring parcel of
drizzled down from the grimy
sealing a thin blanket of noises
enfold me begin to thin
Philosopher Richard Wollheim’s 1969 novel A Family Romance uses a diary format to chronicle a man’s plans to poison his wife. The protagonist is reading L’Emploi du temps and ruminates on the notion of murder and argues – seemingly with Butor but more accurately with Revel – about the way in which the diary records events, looping backwards and looking ahead – but ultimately coming to a realisation that ‘a man might change his mind’.
the hero, a young Frenchman, … picks up a crime story called ‘The Murder of Bleston’, Le Meurtre de Bleston. … He wants to murder Bleston and wishes someone actually would. (p. 15) … The author of the book I’m reading attributes to an author within the book an interesting theory about the book he’s writing. He – the author within the book – is a writer of detective stories, and his theory is that every detective story is constructed around, we might say is a string stretched between two murders: the murder committed by the assassin upon the victim, and the murder committed by the detective … upon the assassin (p. 55)
As against the author of L’Emploi du temps I invoke a notion of completeness which insists, not that everything is in, nothing out, but rather that any signle thing that is in should bear upon it the marks of every other thing, in or out. … If my criticism of Butor is justified, what he ignores – namely, that addition alters what is added to – is something that is not a necessary feature of all writing but is a feature of, and a defect in, his writing (p. 122)
I have argued … that the later entries [in Revel’s diary] are either disruptive or superfluous. Disruptive, that needs no explanation: superflueous, in that if the later entries do not nollify the earlier ones, then they have been anticipated by them, everythng that they have to say is buried in the earlier ones if only we dig deep enough. Alternatively, if Butor really felt he still had something to say, why did he not rewrite the diary as a totality? (pp. 161-2)
It gave better than any other book I’ve ever read the feeling of how where one is affects who or how one is. … perhaps it’s not so much a matter of what a place does to one as what one does to the place or rather what one can’t do to the place, ‘the intractability of Bleston'(p. 229)
In criticising L’Emploi du temps, what I never appreciated is that a man might change his mind (p. 236)
For artist Steve Hawley the novel seemed to anticipate interative fiction, and it inspired his film, Yarn:
a “recombinant narrative” or generative cinema DVD video installation, using archive footage of Manchester of the 1950s, and a voiceover spoken by a computer programme, which uses the capacity of the DVD medium to present different scenes and spoken text so that the narrative never repeats itself.
The experience is like the 1001 nights, in that the story has no beginning and no end, but rather an immersion in a narrative world where fact and fiction are blended.
I have explored elsewhere the response of W G Sebald, who came to Manchester 15 years after Butor, to L’Emploi du temps. This is evidenced in his long poem, ‘Bleston: a Mancunian Cantical’, published in English translation in 2011. The darkness of Bleston fed into his state of melancholy, his alienation from his birthplace and his preoccupation with the landscape of trauma.
So, different readers will find different ways of reading this complex novel. In doing so they echo Revel’s own efforts to make sense of what is happening to him, of what Bleston is doing to him, or what he can or can’t do to it. As he reads the detective novel Le Meurtre de Bleston he extrapolates from the hints and clues in the text and conversations with friends, coming to believe that the novel is a fictionalised exposé of a real murder and thus that his revelation of the pseudonymous author’s real identity threatens his safety, and ultimately that a road accident which befalls him is an attempted murder. He casts himself as the detective, just as he casts himself as Theseus once he discovers the series of tapestries telling that story. He casts the city as a sorcerer, as a Hydra, as the Minotaur within the labyrinth of its streets, and himself as embattled, attempting to resist its power.
There are so many threads that one can follow through the labyrinth of the text. But given its capacity to draw in British readers in particular through the fascination of seeing ourselves through others’ eyes, and through the dry humour of the portrayal of a 1950s northern city, it is sad that Jean Stewart’s English translation is currently only available at prices that would deter all but the most dedicated readers. Perhaps, when the British press gets around to noticing Butor’s passing and commemorating it appropriately, some enterprising publisher will take a punt on reissuing it, and giving a new generation of readers the chance to explore those rainy streets and lose themselves in Bleston.
Meantime, his Portrait of the Artist as a Young Ape can be found in translation at quite a reasonable price, if you feel inclined to explore its Gothic mysteries…
Allen Fisher, ‘Butor. Passing Time Again’, in Gravity (Salt, 2004)
Steve Hawley, ‘Locative Narrative and an IPhone App: Manchester as a Mythical City’ http://www.stevehawley.info/writing.html
W G Sebald, ‘Bleston: A Mancunian Cantical’, in Across the Land and the Water: Selected Poems, 1964-2001, translated by Iain Galbraith (Hamish Hamilton, 2011)
Richard Wollheim, A Family Romance (Farrar, Strauss & Giroux, 1969)
A writer more written about than read, perhaps. A demanding writer, ‘difficile et crypté’, yes. And impossible to sum up, as obituarists are doubtless realising right now, as the news of his death crosses the globe.
All the tributes will make the obligatory reference to the ‘nouveau roman’, despite Butor’s insistence that he was never really a part of this group, despite the fact that it was never really a group anyway. All the tributes will mention La Modification (though the French Minister of Culture has apparently referred to it today as La Consolidation…), his best known work. But a glance along the shelves of even a modest Butor collection such as mine will show the diversity of his oeuvre.
Four novels, all from the 1950s, including the aforementioned La Modification, as well as the novel which has obsessed me for the last 10+ years, L’Emploi du temps. Mobile, an ‘étude’ on the US, a sort of road movie in poetic form.
Portrait de l’artiste en jeune singe (Portrait of the Artist as a Young Ape), which plays with autobiographical elements and Gothic horror tropes: ‘history, fact, illusion, myth, dreams, legends, black magic and memory become indistinguishable’. The series Genie du lieu (Spirit of Place), meditations on the places he lived, worked in and visited, from Egypt to Australia, and back (again and again) to Paris with whom he had a love-hate relationship throughout his life. Another series of meditations, on dreams, Matière de rêves, as well as Histoire extraordinaire: Essai sur un rêve de Baudelaire. Essays on literature, and Illustrations, texts to accompany imaginary images. Dialogues with Beethoven’s Diabelli Variations and with Stravinsky’s Concerto for Two Pianos. And collaborations – with composers such as Henri Pousseur, and with visual artists with whom he produced ‘artists’ books’, where his text worked with/alongside/as part of the piece. Poems by the hundred, some few collected in the Anthologie Nomade.
Butor was born in a suburb of Lille, third in a family of seven children. His father worked for the railways, but was also an artist. They moved to Paris in 1929, where they remained apart from a spell in Evreux during the ‘phony war’. After studying at Lycée Louis le Grand and the Sorbonne, Michel taught in Egypt, then took up a two-year post as lecteur at Manchester University (‘a difficult change of climate’). He published his four novels with Editions de Minuit, and they gained considerable critical acclaim, winning prestigious literary prizes. He married Marie-Jo, had four daughters, travelled and taught around the world, his last academic post being at the University of Geneva. Retired since 1991, he continued to write, particularly in collaboration with other writers and artists, but the loss of Marie-Jo in 2010 meant that ‘the powerful creative spirit, the enthusiasm for reaching new frontiers of understanding and knowledge, and the appetite for travelling, all were less intense’.
Attempting to sum him up might be a lost cause. His Complete Works (which was acknowledged to be far from complete) ran to 12 hefty volumes. A ‘perpetual innovator’, he was preoccupied with crossing and blurring borders and boundaries, between countries, between people, between creative genres. He was a poet, a philosopher, an academic, a specialist in music, painting and literature, and a great traveller, and he built a body of work that was unclassifiable and complex.
He saw art in its broadest sense as a ‘ gigantic weaving, with a profusion of individual strands and threads’, to which all the arts and all artists contribute. There is no such thing as an individual work, no such thing as a completed work. The boundaries between text and music and painting are not fixed, they are ‘three faces of the same enterprise’, this ‘immense cultural weaving’.
And while readers and critics acknowledge that his works make strenuous demands upon them, what is also acknowledged is that he was a man with ambition but without arrogance or ego. He believed in the importance of his own work as part of this cultural fabric, but not in his personal importance. He was no austere ascetic, but loved wine, and jazz, and detective novels. He was generous and warm, as his many interviewers have invariably noted.
He was also idealistic. He believed that art could change the world, that it was vital. Poets to him were the researchers and the technicians of language, and it was through working on and with language that they could change the world. His adolescence in Paris during the Occupation, when violence and the thread of violence were ever present, when words were dangerous and silence could be resistance or collaboration, when knowledge was rationed and ideas a clandestine currency, haunted his work and fired his beliefs in art and freedom. He didn’t write to sell books, he wrote to find a unity in his life, writing was a ‘spinal column’.
Butor’s writing does not lend itself generally to uplifting quotations. But today one does spring to mind.
Every word written is a victory over death.
Passage de Milan (Paris: Editions de Minuit, 1954)
L’Emploi du temps (Paris: Editions de Minuit, 1956), translated as Passing Time, by Jean Stewart (London: Faber, 1965)
La Modification (Paris: Editions de Minuit, 1957)
Le Génie du lieu (Paris: Grasset, 1958)
Essais sur les modernes (Paris: Gallimard, 1960)
Histoire extraordinaire: Essai sur un rêve de Baudelaire (Paris: NRF Gallimard, 1961)
Mobile: Etude pour une représentation des États-Unis (Paris: Gallimard, 1962)
Description de San Marco (Paris: Gallimard, 1963)
6 810 000 litres d’eau par seconde: Etude stéréophonique (Paris: Gallimard, 1966)
Portrait de l’artiste en jeune singe: Capriccio (Paris: Gallimard, 1967)
Dialogue avec 33 variations de Ludwig van Beethoven sur une valse de Diabelli (Paris: Gallimard, 1971)
Où: Le Génie du lieu II (Paris: Gallimard, 1971)
Matière de rêves (Paris: Gallimard, 1975)
Boomerang: Le Génie du lieu III (Paris: Gallimard, 1978)
Improvisations sur Michel Butor: L’Ecriture en transformation (Paris: La Différence, 1993)
Stravinsky au piano (Paris: Actes Sud, 1995)
L’Utilité poétique (Saulxures: Circé, 1995)
Anthologie nomade, ed. Frederic-Yves Jeannet (Paris: Gallimard, 2004)
(This is an edited version of a talk given at the ‘Everywhere & Nowhere’ postgraduate symposium of the Landscape, Space & Place group at the University of Nottingham, on 20 June 2016)
It might seem odd to posit the city of Manchester as an imagined place. However, from the beginnings of its rapid growth in the early years of the Industrial Revolution, the real city was mythologised by the many from around these islands and beyond them who came to see the miracle or shock city of the age. Manchester in the Industrial Revolution became an archetype of both shock and wonder, awesome and awful at the same time. As it grew, with remarkable speed and with no discernible plan, it attracted comparisons both with the greatest of human and divine achievements, and with the works of the devil.
For Disraeli it was ‘as great a human exploit as Athens’, for Carlyle, ‘every whit as wonderful, as fearful, as unimaginable, as the oldest Salem or prophetic city’. Many accounts, alongside these exalted descriptions, acknowledge the dichotomy – for example this from the Chambers Edinburgh Journal of 1858:
Manchester streets may be irregular, and its trading inscriptions pretentious, its smoke may be dense and its mud ultra-muddy, but not any or all of these things can prevent the image of a great city rising before us as the very symbol of civilisation, foremost in the march of improvement, a grand incarnation of progress.
Alexis de Tocqueville too was able to recognise both extremes. In Manchester ‘the greatest stream of human industry flows out to fertilise the whole world. From this filthy sewer pure gold flows. Here humanity attains its most complete development, and its most brutish; here civilisation works its miracles, and civilized man is turned back almost into a savage.’
Overall though the majority came down on the ‘awful’ side of the divide. Even Mrs Gaskell, who was a local, described the impression of the men working in the factories as ‘demons’. For others it was ‘a Babel in brick’, a ‘revolting labyrinth’, and its river was ‘the Styx of this new Hades’.
There were particular aspects of Manchester that inspired these reactions. De Tocqueville said that:
Everything in the external appearance of the city attests the individual powers of man; nothing the directing power of society. At every turn, human liberty shows its capricious force.
Whereas some cities’ growth can be illustrated by an expanding grid, or like Paris by the addition of layer upon layer of suburbs, Manchester grew organically, cramming factories and workers’ housing into whatever space was available, without much consideration of the living conditions that would result, minor things such as sanitation, for example, and the outcomes were grim.
Manchester was thus characterised as ‘a vast unknowable chaos’, illustrated by the invocation of Erebus, in Greek mythology the personification of darkness, born of Chaos, who inhabits a place of darkness between Earth and Hades. So we have descriptions of chimneys ‘belching forth clouds of Erebean darkness and dirt, as if they had a dispensation from the devil’.
Hippolyte Taine records that ‘in the city’s main hotel, the gas had to be lit for five days: at midday one could not see clearly enough to write.’ The darkness was noted well into the 1950s. There were two factors here, not only the constant smoke from the chimneys but the moist air and relatively flat terrain, which meant that ‘the acid and other impurities become dissolved in the moisture, and the black parts of the smoke become wet and heavy’. This combination created the ‘terrifying Manchester fogs … when the phenomenon of temperature-inversion produced near darkness and zero visibility around the clock for days on end’.
The pollution had other effects. Sir James Crichton Browne (1902) rather marvellously described how ‘A sable incubus embarrasses your breathing, a hideous scum settles on your skin and clothes, a swart awning offends your vision, [and] a sullen cloud oppresses your spirits’.
There is a kind of trope of ‘first view of Manchester’ which strengthens the sense of an archetype, a mythical place. For example:
Alexis de Tocqueville – Voyages en Angleterre, Irlande, Suisse et Algerie (1835): A sort of black smoke covers the city. The sun seen through it is a disc without rays. Under this half daylight, 300000 human beings are ceaselessly at work. A thousand noises disturb this damp, dark, labyrinth.
Hugh Miller – First Impressions of England and its People (1847): One receives one’s first intimation of its existence from the lurid gloom that overhangs it. There is a murky blot in one section of the sky which broadens and heightens as we approach, until at length it seems spread over half the firmament. And now the innumerable chimneys come in view, tall and dim in the dun haze, each bearing atop its own troubled pennon of darkness.
Mrs Gaskell – North & South (1855): For several miles before they reached Milton, they saw a deep, lead-coloured cloud hanging over the horizon in the direction in which it lay.
Hippolyte Taine – Notes sur l’Angleterre (1874): We approach Manchester. In the copper sky of the sunset, a strangely shaped cloud hangs over the plain; beneath this immobile cover, the high chimneys, like obelisks, bristle in their hundreds; one can distinguish an enormous dark mass, the vague rows of buildings, and we enter the Babel of brick.
W G Sebald, The Emigrants (1992)
Max Ferber’s arrival in 1945: From a last bluff he had had a bird’s eye view of the city spread out before him … Over the flatland to the west, a curiously shaped cloud extended to the horizon, and the last rays of sunlight were blazing past its edges, and for a while lit up the entire panorama as if by firelight or Bengal flares. Not until this illumination died … did his eye roam, taking in the crammed and interlinked rows of houses, the textile mills and dying works, the gasometers, chemical plants and factories of every kind, as far as what he took to be the centre of the city, where all seemed one solid mass of utter blackness, bereft of any further distinguishing features.
The narrator’s arrival in 1966: By now, we should have been able to make out the sprawling mass of Manchester, yet one could see nothing but a faint glimmer, as if from a fire almost suffocated in ash. A blanket of fog that had risen out of the marshy plains that reached as far as the Irish Sea had covered the city, a city that spread across a thousand square kilometres, built of countless bricks and inhabited by millions of souls, dead and alive.
What strikes the observer in each case is that where they should be able to see the city, instead they see a pall of black smoke, a ‘murky blot’ in one part of the sky, a strangely shaped cloud that hangs over it. Coming closer they see the chimneys, each with its ‘troubled pennon of darkness’ and closer still the mass of buildings, the black river, the sombre brickwork. It’s also worth noting the striking similarity between Sebald’s description of Max Ferber’s first view of the city, and Hippolyte Taine’s.
Another feature attributed to Manchester which led to associations with hell or at least a cursed place was the absence of native flora and fauna. Birdlife was largely absent at the height of industrial activity, and much restricted later, until the Clean Air act created a more hospitable environment. And attempts to create parks, to give the inhabitants a taste of the countryside were doomed as trees and shrubs and blooms were poisoned by the fumes.
These conditions were not unique to Manchester. The industrial cities of the North East inspired John Martin’s apocalyptic paintings, and those of the Black Country Tolkien’s vision of Mordor.
And there’s an intriguing apocalyptic story published in the Idler magazine in 1893 about the doom of London, resulting from a seven day fog, with no wind to clear it, suffocating all of the inhabitants. But Manchester seemed to exert a particular fascination – the scale and the extremity of the conditions in the city drew visitors from across the country and from Europe. As Tristram Hunt says, in his study of the Victorian city, ‘in Manchester it was always worse’.
By the 1950s some of the most notorious slums had disappeared, and proper sanitation had long since removed the threat of cholera and typhus. But the fogs were still extreme, the air still heavy with smoke and metallic tasting vapours, the rain still a near-constant. In addition to the effects of pollution, there were areas of wasteland, bomb sites from the war, not yet redeveloped.
Michel Butor’s novel L’Emploi du temps, published 60 years ago, transformed Manchester into Bleston, and used its mythology to imbue its rain-drenched streets with a sense of dread and danger. Taking elements of the real city he subverts its mundane reality so that Manchester becomes Babel, Babylon, Daedalus’ labyrinth, a Circe or a Hydra. It also becomes Paris under Nazi occupation.
Michel Butor arrived in Manchester in 1951, straight from a spell teaching in Egypt. He was, as he described it, inundated with sun, and then plunged into Mancunian darkness. It was a climatic shock, and the very features of the city which had inspired earlier writers to flights of heightened prose and invocations of hell were to influence his response.
Darkness, fog, mud and soot, rain. These elements feature on almost every page of his novel, L’Emploi du temps (Passing Time), in which the city is renamed Bleston. So far, so realistic. But from very early on they begin to be associated with something beyond the combination of natural and manmade phenomena which Butor was observing.
The fog makes it difficult to find one’s way in the city – masking its shape so that the unwary find themselves going in circles, losing all sense of direction. It stifles, engulfs and sedates, oppressing the spirits. Bleston/Manchester, is a labyrinth, eluding navigation, confounding any attempt to grasp its totality, the narrator, Jacques Revel, says that ‘it grows and alters even while I explore it’. As in Andre Gide’s version of the Cretan labyrinth in his novel Thésée, the ‘narcotic fumes’ sap the will so that those within the labyrinth lose the desire to escape, forget that escape is even possible. On the walls near Bleston’s station, posters illustrate holiday destinations, but the narrator comments sardonically ‘as if it was really possible to get away’. His one attempt to get to countryside is doomed – the best the city can offer, it seems, is some nice parks. Thus the city is a prison, as it was effectively for so many of its past inhabitants.
Butor commented that ‘it is easy to see how the French capital hides beneath the mask of Bleston’. On the face of it, it’s far from easy. Paris is the city of light, a cosmopolitan centre of culture – Bleston/Manchester is characterised by darkness, dirt and narrowness of vision (literally and metaphorically). But something in the constant smell of smoke in the air, the darkness of evening when everything was closed, the way the inhabitants hunched their shoulders against the rain and scurried home ‘as if there were only a few minutes left before some rigid curfew’ triggered memories for Butor of a very different Paris.
Those who fled Paris in 1940 and then returned after the armistice found it uncanny, familiar yet profoundly different. There was a curfew, the clocks had been changed so that it got dark an hour earlier, and a pall of smoke hung over the city from the burning of tanks of oil as the German army advanced, which poisoned the air and drove its birdlife away.
This was the Paris of Butor’s adolescence. He lived near the Hotel Lutetia, HQ of the Abwehr (and after Liberation, the meeting point for returning deportees), near the prison du Cherche Midi where many resistance members were imprisoned, and he walked to school through streets where now plaques commemorate those who were killed during the Occupation and the liberation of the city. At his school both pupils and staff disappeared, some deported or imprisoned, some choosing a clandestine life in the Resistance. Butor described the sense that nothing was happening but that this nothing was bloody. The carceral menace of everyday life, as Debarati Sanyal put it.
Thus in Bleston the fog and the darkness are metaphorical as well as literal, creating not only confusion but fear. There is a constant sense of menace, and the city itself is the source. Personified as a sorcerer, as a Hydra, as both labyrinth and Minotaur, Bleston is at war with Revel, and he with it. But it’s also at war with itself, consuming itself in fire (prosaically a series of arson attacks on various premises encircling the city). The recurring motif of Cain and Abel is a reminder of the divisions between those who collaborated and those who resisted, as well as between occupier and occupied.
The novel is no allegory of the Occupation. This is one reading of a book that defies categorisation, a many-layered text. But my argument is that something in the extremity of Manchester, where it’s always worse, prompted memories of those dark years in Butor, and those memories created the tension in the novel, between the mundane events and the dark, violent interpretations of those events, between the humorous realism of the grim up north descriptions of rain and atrocious food and the sense of dread and danger on every page.
Around ten years after L’Emploi du temps was published, another young European, W G Sebald, arrived in the city, read Butor’s book, and began to write about his own Manchester, in The Emigrants and After Nature, transforming the landscape of industrial decay into a melancholic landscape of loss and trauma.
Like Butor, W G Sebald encountered a significant culture shock on arriving in Manchester, after teaching in Switzerland. Sebald was profoundly alienated from his home country of Germany. His sense of isolation ‘could not have been helped by his wanderings through scenes of slum clearance and urban decay.’
Objectively those areas were disappearing so one might surmise that Sebald sought them out, was drawn to their melancholy which reflected and intensified his own. It’s true that the Manchester Development Plan approved in 1961 (although not fully implemented, as I’ll mention later), and the implementation of smokeless zones were making significant improvements in the atmosphere and cleanliness of the city, even if children growing up in the city in the 60s still had plenty of bombsites to play on. However, Sebald’s ‘melancholy at alienation, and exile in a strange land’ found its correlative in the ‘desolate leftovers of nineteenth century Manchester’. It is also suggested that Sebald’s reading of L’Emploi du temps enhanced his melancholy but again it is likely that he was drawn to the novel because it resonated with his own mood and response to Manchester.
Thus the picture painted in The Emigrants of Manchester as ‘a city of ruins, dust, deserted streets, blocked canals, a city in terminal decline’ is probably a distortion. However, the narrative is only in part about the Manchester that Sebald encountered in 1966-7. ‘Manchester … fades into insignificance in relation to another important geographical, phantasmic and persistent presence, which is Germany’.
Sebald gives us more than one Manchester. We see the city first of all through the eyes of the narrator (who both is and isn’t Sebald) arriving in the 1960s, and then through the eyes of the titular Emigrant, Max Ferber, who arrives in 1945, having been sent on the Kindertransport in 1938 from Munich, and finally the narrator’s return in the 1990s, finding that a further cycle of improvement and decay has taken place in the interim.
For Ferber, Manchester triggers memories of Germany. This is partly due to its immigrant communities, the Jewish quarters with their names evoking a European past. But as Thomas Mann, exiled in the US, said, ‘Where I am, is Germany’. There’s another connotation. Manchester’s ‘night and fog’, its fire buried in ash, its chimneys, evoke a past that he escaped, thanks to his parents’ foresight, but which they did not.
Ernestine Schlant describes this aspect of Sebald’s writing as ‘“dense” time – a time in which past and present intersect, commingle, and overlap. This commingling destroys sequence and evokes the sense of a labyrinth with no exit‘. She was speaking specifically of Sebald’s writing, but it would equally be a powerful description of Butor’s novel, where Bleston’s past as Roman temple of war, divided Reformation city and industrial machine are threaded with Butor’s memories of Paris at war.
A brief postscript – I mentioned the Manchester Development Plan, published in 1961. This as it turns out is another imaginary Manchester – not drawing upon the myths of the past but upon a vision of the future.
Plans were drawn up in 1945, but budgetary constraints and building regulations meant that they were largely put on hold. By the time they were revisited, technological advances had opened up hitherto unimaginable possibilities for the city, with moving pavements, heliports and monorails. Once again, the economic climate changed before the plans could be realised and they stand now as a memorial to that other unrealised Manchester.
So in this very real city we can glimpse Engels’ hell on earth, Butor’s city at war, Sebald’s post-Holocaust landscape, the idealistic vision of the 1960s planners. The features that made Manchester the shock city of the 19th century are no longer readily visible. Manchester now is arguably just one of our major cities, unlikely to inspire comparisons with Athens or with Hades. But the past in all its various forms, as well as the unrealised visions of the future are there to be stumbled over, bubbling up between the paving stones. Unmemorialised, their presence is still felt.
Michel Butor, L’Emploi du temps (Minuit, 1956); English translation (by Jean Stewart), Passing Time (Faber, 1965)
W G Sebald, Die Ausgewanderten (Fischer, 1992); English translation (by Michael Hulse), The Emigrants (Vintage, 2002)
__, Nach der Natur (Fischer, 1995); English translation (by Michael Hamburger), After Nature (Hamish Hamilton, 2002)
Robert Barr, The Doom of London, The Idler (1893)
Charles Dickens, Hard Times (1854)
Benjamin Disraeli, Coningsby (1844)
Friedrich Engels, The Condition of the Working Class in England (1840)
Leon Faucher, Manchester in 1844
Elizabeth Gaskell, Mary Barton (1848), North and South (1855)
Andre Gide, Thésée (1946)
James Phillips Kay, The Moral and Physical Condition of the Working Classes Employed in the Cotton Manufacture in Manchester (1832)
Hugh Miller, First Impressions of England and its People (1869)
Hippolyte Taine, Notes sur l’Angleterre (1874)
Alexis de Tocqueville, Voyages en Angleterre, Irlande, Suisse et Algérie (1835)
Asa Briggs, Victorian Cities (Penguin, 1990)
Mireille Calle-Gruber, La Ville dans L’Emploi du temps de Michel Butor (Nizet, 1995)
Jo Catling and Richard Hibbitt (eds), Saturn’s Moons: W G Sebald – a Handbook (Legenda, 2011)
Mark Crinson, Urban Memory (Routledge, 2005)
J B Howitt, Michel Butor and Manchester, Nottingham French Studies, 12, 2 (1973)
Tristram Hunt, Building Jerusalem: The Rise and Fall of the Victorian City (Phoenix, 2005)
Michael Kennedy, Portrait of Manchester (Hale, 1970)
Alan J Kidd, Manchester (Keele UP, 1996)
Gary S Messinger, Manchester in the Victorian Age (MUP, 1985)
Stephen Mosley, The Chimney of the World (Routledge, 2008)
Terry Pitts, La Catastrophe muette: Sebald à Manchester, Ligeia, 105-8 (2011)
Peter Preston and Paul Simpson-Housley (eds), Writing the City: Eden, Babylon and the New Jerusalem (Routledge, 1994)
Natalie Rudd, Fabrications : New Art and Urban Memory in Manchester (UMiM, 2002)
Debarati Sanyal, The French War, in Cambridge Companion to the Literature of WWII (CUP, 2009)
Ernestine Schlant, The Language of Silence (Routledge, 1999)
Janet Wolff, Max Ferber and the Persistence of Pre-Memory in Mancunian Exile, Melilah, 2 (2012)
‘and I haven’t even time to set down something that happened on the evening of February 29th, something that seemed very important and that I shall forget as I move farther away from you, Bleston, as you lie dying, Bleston, whose dying embers I have fanned, for now the long minute hand stands upright and my departure closes this last sentence’ (Michel Butor, Passing Time, p. 288)
What happened on that Leap Day we will never know. We have some details of some of the events and developments of that month – the diarist, Jacques Revel, dines with the Bailey family for the first time (whilst noting that he was spending less time with their elder daughter, Ann, as his affections begin to drift towards her sister Rose), and meets George Burton for the first time, not knowing at that stage that he is the author of the detective novel which plays an important role in events. He buys a second copy of The Bleston Murder, having lent the first to Ann.
None of this suggests that February 29 would turn out to be an especially significant date. Of course, February 29 is always going to seem significant, by virtue of its rarity. It’s a day that only exists once every four years, and thus one that can be, in effect, hidden for three out of four years. Almost a ‘jour fantome’.
Is it the centre of the labyrinth that is the narrative of Passing Time? Some have said so – describing the date as the ‘geometrical centre’ of Revel’s year in Bleston. If you do the sums, it’s one month short of the halfway point of Revel’s year in Bleston. However, his final month is a month of tying up loose ends and saying his ‘adieux’ – with the announcement of Ann’s engagement to his friend and colleague James (her sister Rose has already become engaged to his friend and compatriot Lucien) he is merely passing time in Bleston until the pre-ordained departure date. Indeed, he feels himself reduced to a ghost, a Sunday-afternoon ghost, revisiting the places he has known during his life in Bleston.
Revel’s diary is an attempt to master the city which has bamboozled and disoriented him from the moment of his arrival, by creating with his own narrative the Ariadne’s thread to guide him through the labyrinth. In doing so, he creates his own labyrinth, as what is initially a straightforwardly linear account twists and turns, as he reflects on more immediate events, reminds himself as he records the events of one day of the later developments that they foreshadow, and so on.
So his failure to record what happened on 29 February is, firstly, indicative of the failure of this enterprise. The time of writing and the time written about will never be reconciled and this gap is the evidence of that disjunction. It’s a blank space, an empty centre, an enigma. The final page is a record of other failures. He notes that he ‘had not even been able to visit the old church of St Jude’s on the other side of the Slee’, St Jude the patron saint of desperate cases and lost causes. St Jude’s is close to a small synagogue, which Revel has also failed to visit (having forgotten that he’d wanted to do so), and to the sinister prison, itself described as ‘a sort of hole’ within the tissue of the city.
He describes ‘those sinister days in February’ when his longing to leave the city is at its most intense, but which he would prefer not to think about, ‘but which on the contrary I ought to be able to pick out from among the tangle of my winter memories with strong supple pincers of language, which I ought to keep firmly before my eyes’ (p. 286). So rather than being unable to recall what happened on 29 February, perhaps Revel chooses not to.
It’s not just a generalised recognition that he ran out of time to fill in the gap, it’s a deliberate blank, which draws our attention to a significant absence. Like the blank space on the back of the detective novel, where the author’s photograph should sit, like the missing pieces in the sequence of stained glass windows, the blank spaces on the frontispiece map, the ‘terrain vague’ on the outskirts of the town, the incomplete New Cathedral building… ‘an incomplete alphabet of which I know one letter is missing, a keyboard of which I know one note is missing, a Tarot pack of which I know one card is missing’. That the missing day is the one that only occurs every four years (it occurred in 1952, the year in which Butor arrived in Manchester) obviously draws even more attention to it.
That we cannot know what happened is part of the fascination of the book. It is at the same time an entirely closed narrative structure – we have no knowledge of anything that happened prior to Revel’s arrival in Bleston, nor what he will do or where he will go next – and an open one which tantalises us with the many mysteries of the text, drawing us back in to wander the rain-drenched streets again in search of answers. The disparity between the mundane events which Revel records and the intensity of the language in which he describes them suggests that the gaps – the things that aren’t said – are of deep significance, that all is not as it initially seems, that maybe we aren’t (just) in a fictionalised version of Manchester after all…
(adapted from a paper given at ‘There & Back Again’, a postgraduate conference at the University of Nottingham, organised by the Landscape, Space, Place Research Group. The title is taken from Iain Hacking’s fascinating study of the fugueur phenomenon)
The idea of wandering, of travelling without constraints, without a humdrum practical purpose, is perennially appealing to most of us, even if, for most of us, the drawbacks come to mind pretty speedily if we start to entertain the notion. Some do it anyway – seize the moment when the obstacles are not insuperable – but generally it’s something to enjoy vicariously, or to indulge in short bursts, taking time out of a holiday schedule to just have a stroll around foreign streets.
Throughout myth and literature there are many wanderers who cross seas, continents and centuries. For some it’s a pastime, a means of avoiding commitments or encumbrance:
I’m the type of guy that likes to roam around
I’m never in one place, I roam from town to town
And when I find myself fallin’ for some girl
I hop right into that car of mine and ride around the world (Dion, The Wanderer, 1961)
Everyday in the week I’m in a different city
If I stay too long people try to pull me down
Hendrix suggests that the prejudices of the cities in which he finds himself push him to leave, as well as, like Dion, that if he does sometimes feel his heart ‘kinda gettin’ hot’ for some woman, he moves on before he gets caught. For some, wandering is a subversive practice (not using the city streets in the prescribed way), for others it’s a compulsion, even a curse.
The flâneur is one of those archetypal wanderers. This classic definition is by Baudelaire, writing in 1863 in his ‘Le Peintre de la vie moderne’.
The crowd is his element, as the air is that of birds and water of fishes. His passion and his profession are to become one flesh with the crowd. For the perfect flâneur, for the passionate spectator, it is an immense joy to set up house in the heart of the multitude, amid the ebb and flow of movement, in the midst of the fugitive and the infinite. To be away from home and yet to feel oneself everywhere at home; to see the world, to be at the centre of the world, and yet to remain hidden from the world—impartial natures which the tongue can but clumsily define. The spectator is a prince who everywhere rejoices in his incognito. The lover of life makes the whole world his family, just like the lover of the fair sex who builds up his family from all the beautiful women that he has ever found, or that are or are not—to be found; or the lover of pictures who lives in a magical society of dreams painted on canvas. Thus the lover of universal life enters into the crowd as though it were an immense reservoir of electrical energy. Or we might liken him to a mirror as vast as the crowd itself; or to a kaleidoscope gifted with consciousness, responding to each one of its movements and reproducing the multiplicity of life and the flickering grace of all the elements of life.
He is a perfect stroller, a passionate spectator, an erudite wanderer. He walks the streets, probably alone, with no map or itinerary, with the confidence that comes from being male, well-educated and wealthy. His milieu is the city, and quintessentially Paris. One might think that the boulevards and arcades of Haussmann’s Paris lent themselves to strolling so much better than the labyrinthine streets of the old city, but it was that old city that defined the flâneur, allowing (in Edmund White’s words) ‘a passive surrender to the aleatory flux of the innumerable and surprising streets’.
The flâneur is a prototype detective, his apparent indolence masking intense watchfulness. This recalls Edgar Allen Poe’s story, ‘The Man of the Crowd’ (which was translated by Baudelaire), in which a man recovering from illness sits in a London coffee shop, watching the passers-by, and engaging in Holmesian deductions about their occupation and character. His attention is drawn by an old man who he is unable to read, and he feels compelled by insatiable curiosity to follow him, for a night and a day, as the man moves unceasingly through the city: he is the man of the crowd – not only hiding within it, but unable to exist outside it.
Walter Benjamin in his 1935 study of Baudelaire suggests that Baudelaire identifies the old man as a flâneur. This must be a misreading on Benjamin’s part, since the old man is as manic as the flâneur is composed. The flâneur may ‘set up house’ in the heart of the crowd, becoming part of ‘the ebb and flow of movement’, but he remains separate, above the mass. He is, like Baudelaire and Benjamin, at the same time engaged with and alienated by the city.
Poe’s story does give us a flâneur, however, in the person of the narrator, who can and does choose to abandon his pursuit, stepping aside to resume his life, and a different kind of wanderer, in the person of the man of the crowd. Steven Fink argues persuasively that the man of the crowd is the mythological figure of the Wandering Jew, condemned to wander endlessly as punishment for a terrible crime. (He has a number of counterparts, including, amongst others, Cain, the Flying Dutchman, and the Ancient Mariner.) Certainly this description by Benjamin’s contemporary, Siegfried Krakauer, is remarkably close to Poe’s description of the old man:
‘there arose confusedly and paradoxically within my mind, the ideas of vast mental power, of caution, of penuriousness, of avarice, of coolness, of malice, of bloodthirstiness, of triumph, of merriment, of excessive terror, of intense – of supreme despair … How wild a history … is written within that bosom!’. (Edgar Allen Poe, ‘The Man of the Crowd’)
Imagine [his face] to be many faces, each reflecting one of the periods which he traversed and all of them combining into ever new patterns as he restlessly and vainly tries on his wanderings to reconstruct out of the times that shaped him the one time he is doomed to incarnate. It is a terrible face, ‘assembled from the many faces of the dead’. (Siegfried Krakauer – History, the Last Things Before the Last (OUP, 1969))
If the man of the crowd is no flâneur, he does bear a stronger resemblance to the fugueur, a lesser-known (and shorter-lived) phenomenon which emerged in the 1880s. Bordeaux medical student Philippe Tissié and neurologist Jean-Martin Charcot at the Salpêtrière hospital in Paris documented a number of cases of men undertaking strange and unexpected trips, in states of obscured consciousness. They were subject to hallucinations, and often dominated by ideas of persecution. Their conduct during the episode appeared normal, but they were unconscious of what they were doing, and had no memory of it afterwards – in a state of dissociative fugue. A fugue state is defined as involving selective memory loss, the inability to recall specific – perhaps traumatic – events. This may be accompanied by wandering and travelling, in an attempt to recover memory/identity, or perhaps in a flight from it – the etymological paradox of flight/pursuit.
The fugueur is quite distinct from the flâneur whose journeying is deliberately aimless and random, an end in itself. His itinerary may defy linear logic but nonetheless is purposeful, even if that purpose can be discovered only retrospectively. The flâneur, in his fine clothes, walked the streets as if he owned them because, wealthy and well-educated, he could. The fugueur, in his state of obscured consciousness, was likely to be mistaken, instead, for a vagrant. Albert Dadas, ‘patient zero’ in the mini-epidemic of ‘mad travelling’, was repeatedly arrested for vagabondage. The fugueurs were generally of more modest means than the flâneurs – tradesmen, craftsmen or clerks – and their travels took them much further afield. If someone spoke of a city or a country Albert was seized by the need to go there, and did so, often then finding himself in difficulties due to lack of funds.
One of Charcot’s patients was a young Hungarian Jew named Klein, who was ‘constantly driven by an irresistible need to change his surroundings, to travel, without being able to settle down anywhere’. This particular patient prompted a link with the then prevailing view that Jews were more prone than other races to various forms of neurasthenia and that this particular manifestation was ‘in the character of their race’. Thus the Wandering Jew was, according to Henri Meige’s thesis, ‘only a sort of prototype of neurotic Israelites journeying throughout the world’. Even at the time it was pointed out, fairly acerbically, that if the Jews had a tendency to move from place to place, this was in generally externally rather than internally driven, as persecution and prejudice made it necessary to leave one home in search of another.
Charcot’s diagnosis, and his use of the term ‘hystero-epilepsy’ in particular, fell out of favour, largely due to the failure to identify a common cause that would account for a collection of rather disparate individual cases. In the twentieth century the two types of wanderer seem often to merge, as trauma and exile create a more melancholy and more driven wanderer. One can trace a line from Baudelaire’s flâneur to the Surrealists, via Walter Benjamin’s description of flânerie as a dream state in which ‘The city as a mnemonic for the lonely walker [: it] conjures up more than his childhood and youth, more than its own history’, to Guy Debord’s dérive as subversive practice, and on to today’s psychogeographers. Rather than being a disaffected and detached observer, the flâneur in the late 20th and 21st century may be in flight from memory, from identity, at home nowhere, an exile who feels no connection, or only a highly problematic one, to homeland or origins.
Michel Butor’s 1956 novel, L’Emploi du temps is set in a northern English industrial city, called Bleston but clearly inspired by Manchester, where Butor had worked a few years earlier. It takes the form of a diary kept by his protagonist, Jacques Revel, in the city for a one-year placement. We know nothing of Revel’s life before his arrival in Bleston, or of what he will do after he leaves. He speaks of his year there as a prison sentence – he is unable to leave the city during that period, and compelled to leave it on a specific date. He is certainly not at home in Bleston, but he seems entirely rootless, without any connection elsewhere. In his restless wanderings through the streets, he seems to be searching – mostly fruitlessly – for lodgings, for someone whose name he does not know who he met on an earlier walk, for the elusive countryside. But ultimately his quest is to master the city by walking its streets, grasping the reality which seems to be changing around him as he walks – it is a phantasmagorical city, whose heavily polluted atmosphere creates a narcotic dream-like state, distorting his perceptions and leaving him disorientated.
Butor’s novel had a significant influence on W G Sebald, who came to Manchester about 15 years later. Sebald read L’Emploi du temps when he first arrived, and it inspired a poem, ‘Bleston: A Mancunian Cantical’, as well as having a wider impact on his work.
In Sebald’s novels, the narrator (who may or may not be, to some extent, Sebald) invariably begins by describing a journey. He is precise about when, and where, although the layering of timeframes and locations means that we can lose these certainties as the narrative progresses, but frequently the ‘why’ is obscure, not just to the reader but to the narrator himself. The narrator and the various protagonists are rarely, if ever, ‘at home’. They are often in transit or in provisional, interim spaces such as waiting rooms, railway stations, and transport cafes. Their journeys often induce episodes of near paralysis, physical or mental, and they end inconclusively, often with a sense that the quest will continue after the final page.
But if the Sebaldian narrator is a contemporary example of the melancholy flâneur, Jacques Austerlitz connects us directly with the fugueur, and with wandering as a response to trauma and loss. As a child, Austerlitz arrived in England on the Kindertransport, where his foster parents gave him a new life, and a new name, telling him nothing of his past, or the fate of his parents, until, as a sixth former, he learns that he is not Dafydd Elias.
For many years he avoids any topic or image which might shed light on or raise questions about his origins. But, increasingly isolated, and with his life ‘clouded by unrelieved despair’, tormented by insomnia, he undertakes nocturnal wanderings through London, alone, outwards into the suburbs, and then back at dawn with the commuters into the city. These excursions begin to trigger hallucinations, visions from the past, for example, the impression that ‘the noises of the city were dying down around me and the traffic was flowing silently down the street, or as if someone had plucked me by the sleeve. And I would hear people behind my back speaking in a foreign tongue …’. He is irresistibly drawn to Liverpool Street Station, a place full of ghosts, built as it is on the remains of Bedlam hospital, and, in the disused Ladies’ Waiting Room, encounters the ghosts of his foster parents and the small boy he once was.
Thus his obsessive wanderings appear to have had a sub-conscious purpose, taking him back to the point of rupture between one life and another. He embarks upon a new phase of wandering, driven by the need to find his home and his parents. Overhearing a radio documentary about the Kindertransport, and the reference to a ship named The Prague, like Albert Dadas, the original fugueur: ‘the mere mention of the city’s name in the present context was enough to convince me that I would have to go there’.
Austerlitz’s quest remains incomplete at the end of the novel. In the course of his wanderings he has, he believes, discovered his former home in Prague and traced his mother to Teresienstadt and his father to the Gurs concentration camp in France in 1942. Beyond that he knows only that his mother ‘was sent east’ in 1944. He does not know where, when, or even whether they died.
His quest, and his confrontation with the losses that defined his life, leads to ‘several fainting fits … temporary but complete loss of memory, a condition described in psychiatric textbooks … as hysterical epilepsy’. He is taken, significantly, to the Salpêtrière, where Charcot established this diagnosis almost a century earlier. This diagnosis would only be included in psychiatric textbooks as a historical footnote – an example of Sebald’s dense or layered time – we know precisely where we are, but the ‘when’ is not so straightforward.
Thus we’ve come full circle. And I want to make another tentative, perhaps fanciful connection. Sebald invites us to make all sorts of links with the name Austerlitz – the battle, the Parisian railway station, even Fred Astaire. And there’s always the echo of another name, the likely final destination of both of his parents, unspoken here except in a reference to the Auschowitz Springs near Marienbad. One more then – Ahasuerus, the name often given to the mythological Wandering Jew.
Baudelaire’s description of the flâneur – ‘être hors de chez soi, et pourtant se sentir partout chez soi (away from home and yet at home everywhere)’ has echoed through the twentieth century and into our own, accumulating more and more melancholy baggage. That this phrase has darker undertones than Baudelaire will have intended is brought home by a speech made by Hitler in 1933, in which he described the Jewish people, the ‘small, rootless international clique’, as ‘the people who are at home both nowhere and everywhere’.
In our time then, rather than someone at ease wherever he finds himself, we are likely to think of the refugee and the exile, adapting without putting down roots, unable to return but unable fully to belong, always sub-consciously ready to move on or even keeping a bag permanently packed, just in case. For the original flâneur this characteristic was an affectation, a chosen detachment and rootlessness. For the fugueur, driven by trauma or crisis of identity, it is a curse, to have to wander, and never to find answers, or find home.
Anderson, George K, The Legend of the Wandering Jew (Hanover/London: Brown UP, 1991)
Benjamin, Walter, ed. Michael W Jennings, The Writer of Modern Life: Essays on Charles Baudelaire (Cambridge, MA/London: Belknap Press of Harvard UP, 2006)
Brunel, Pierre (ed), translated by Wendy Allatson et al, Companion to Literary Myths, Heroes and Archetypes (NY/London: Routledge, 1996)
Coverley, Merlin, Psychogeography (Harpenden: Pocket Essentials, 2006)
Fink, Steven, ‘Who is Poe’s Man of the Crowd?’, Poe Studies, 44, 2011 (17-38)
Gilloch, Graeme, Myth and Metropolis: Walter Benjamin and the City (Cam.: Polity, 1996)
Goldstein, Jan, ‘The Wandering Jew and the Problem of Psychiatric Anti-Semitism in Fin-de-Siècle France’, Journal of Contemporary History, 20, 4(October 1985), 521-52
Hacking, Ian, ‘Automatisme Ambulatoire: Fugue, Hysteria and Gender at the Turn of the Century’, Modernism/Modernity, 32 (1996), 31-43
__, ‘Les Alienés voyageurs: How Fugue Became a Medical Entity, History of Psychiatry, 7, 3 (September 1996), 425-49
__, Mad Travellers: Reflections on the Reality of Transient Mental Illnesses (Free Association Books, 1998)
Kuo, Michelle and Albert Wu, ‘Imperfect Strollers: Teju Cole, Ben Lerner, W G Sebald and the Alienated Cosmopolitan’, Los Angeles Review of Books, 2 February 2013
Lauster, Martina, ‘Walter Benjamin’s Myth of the Flâneur’, Modern Language Review, 102, 1 (January 2007), 139-56
McDonough, Tom, ‘The Crimes of the Flâneur’, October, 102 (2002), 101-22
Micale, Mark S, In the Mind of Modernism: Medicine, Psychology and the Cultural Arts in Europe and American, 1880-1940 (Stanford UP, 2004)
Seal, Bobby, ‘Baudelaire, Benjamin and the Birth of the Flâneur’, Psychogeographic Review, 14 November 2013
White, Edmund, The Flaneur: A Stroll through the Paradoxes of Paris (Bloomsbury, 2008)
The long history of Belle Vue Gardens in Manchester is being celebrated this month, and it seems timely to note its appearance, under the name of Pleasance Gardens, in Michel Butor’s Manchester-inspired 1956 novel L’Emploi du temps (Passing Time).
Butor’s view of Manchester (Bleston in the novel) was, it must be admitted, largely negative. He loathed the climate, and the food, and seems to have been deeply unhappy in the city, where he arrived to take up the post of lecteur in the French department at the University in 1952.
He seems to have taken to Belle Vue, however. Pleasance Gardens, along with the various peripatetic fairs which rotated around the periphery of the city, on the areas of waste land, represent a mobile and open element in a closed, even carceral city, and a window on different kinds of community than those indigenous to Bleston. The narrator sees the friends he knows in a different light in these places, which may be in Bleston but are not fully part of it and don’t share its malaise.
Pleasance Gardens appears on the frontispiece map, in the bottom left-hand corner, its shape not dissimilar to that of the real Belle Vue. Butor took from the real city of Manchester the geography and architecture that interested him and that fitted with his narrative preoccupations, and ignored or altered the rest. The descriptions include a great deal of precision and detail – however, the historians of Belle Vue will have to judge where the fictional version departs from its model.
He describes the entrance to the Gardens:
The monumental entrance-gates whose two square towers, adorned with grimy stucco, are crowned … with two enormous yellow half-moons fixed to lightning conductors, and are joined by two iron rods bearing an inscription in red-painted letters beaded with electric bulbs then gleaming softly pink: ‘Pleasance Gardens’.
The big folding door which is armoured as if to protect a safe, and only opens on great occasions and for important processions, whereas we, the daily crowd, have to make our way in by one of the six wicket-gates on the right (those on the left are for the way out) with their turnstiles and ticket collectors’
The earthenware topped table which displayed, on a larger scale and in greater detail, with fresh colours and crude lettering, that green quarter circle with its apex pointing towards the town centre…
The tickets themselves are described in detail:
the slip of grey cardboard covered with printed lettering: On one side in tall capitals PLEASANCE GARDENS, and then in smaller letters: Valid for one visitor, Sunday, December 2nd. And on the other side: REMEMBER that this garden is intended for recreation, not for disorderly behaviour; please keep your dignity in all circumstances’
On this winter visit:
There was scarcely anybody in the big, cheap restaurants or in the billiard-rooms; avenues, all round, bore black and white arrows directing one to the bear-pit, the stadium, the switch-back, the aviaries, the exit and the monkey-house.
We walked in silence past roundabouts with metal aeroplanes and wooden horses, … and past the station for the miniature railway where three children sat shivering in an open truck waiting to start; and past the lake, which was empty because its concrete bottom was being cleaned’.
Posters everywhere echoed: ‘Come back for the New Year, come and see the fireworks’.
A later visit, in summer, followed one of the fires that feature so frequently in the novel. Belle Vue was devastated by fire in 1958, and whether this account was inspired by a real event I do not know – it may well be that whilst Manchester was plagued by an unusually large number of arson attacks over the period that Butor was there, he extrapolated from that to a fire at Pleasance Gardens, purely for narrative purposes.
In the open air cafe that is set up there in summer in the middle of the zoological section, among the wolves’ and foxes’ cages and the ragged-winged cranes’ enclosure, the duck-ponds and the seals’ basins with their white-painted concrete islands. I could see, above the stationary booths of this mammoth fairground, eerily outlined in the faint luminous haze, the tops of the calcined posts of the Scenic Railway, with a few beams still fixed to them like gibbets or like the branch-stumps that project from the peeled trunks of trees struck by lightning; and I listened to the noise of the demolition-workers’ axes’
If Butor generally warmed to the Gardens, his portrayal of the animals in the Zoo is less enthusiastic – he speaks of the cries of the animals and birds mingling with the noise of demolition, of melancholy zebras and wretched wild beasts, and of their howls during the firework display. Perhaps their imprisonment chimed uncomfortably with his own sense of being trapped in the city.