Always after attacks like these some rush to help and some rush to hate. The helpers try to contain the blast, the haters help to spread it.
Posts Tagged Manchester
Today I woke to more news of horror. So close to home – just across the Pennines, a city where I’ve worked, where I have friends, a city whose history and culture I have studied for years now. And as I saw the first reports I wept, for the children who have been murdered and hurt and terrified, for the parents who are still desperately waiting to find out what has happened to their kids, or who are lost in unimaginable grief. My heart hurts.
Manchester is resilient. It has had to be. We all have to be in this dangerous world, if we’re to hold on to what really matters, if we’re to love and hope and laugh, if we’re to bring children into this world and bring them up to love and hope and laugh.
Whilst the usual suspects have been swift to inject their poison into social media, to encourage hate and violence in response to hate and violence, many more are trying to do the opposite.
Ian Dunt, on the politics.co.uk website:
Our response will be to try to contain the blast, by showing that the overwhelming majority of people remain kind, decent, and big-hearted. This is not a platitude. It is a political response.
But of course we feel anger. Of course we feel scared. Of course we feel loathing for the person who hated life so much that he could go into an arena full of happy, excited kids and commit mass murder.
The point is, what do we do?
If we let that anger be channeled into hostility to anyone other than the perpetrator and whichever group he claims to represent, they win.
If we let fear prevent us from living our lives to the full, or push us to allow our freedoms and the freedoms of others to be curtailed, they win.
Terrorists, of whatever political or religious persuasion, want to provoke fear and anger. As the UN defines terrorism, it is ‘intended to cause death or serious bodily harm to civilians or non-combatants with the purpose of intimidating a population or compelling a government or an international organization to do or abstain from doing any act’.
In other words, whatever anger and fear we feel, however desperately sad we feel, we must not be compelled by their actions to do anything that is not in itself just, fair and right, nor to abstain from doing what is in itself just, fair and right.
When we (those of us who argue in this way, as well as expressing our solidarity via social media with the victims) are berated for just waiting for the next atrocity, I wonder what it is that we (or our governments) should be doing instead. What form should our rage take, that could make us and our children safer?
The voices of hate were quick to speak up, as always. They claim to be fuelled by righteous anger, but in their words there’s a hideous kind of glee. They call for action, but what they have in mind is closing the borders, or worse. The responses which would, of course, be exactly what the terrorists hope for, and would make us less rather than more safe.
I do understand that changing one’s profile pic, claiming that ‘je suis wherever’, and all that, seems useless and inadequate. Of course those things in themselves do not change the situation. They’re easy to ridicule and dismiss. But as Stig Abell says:
It is easy to dismiss the commonplaces, the impossibility in using words to deplore the lack of words. But the very fact of reaching for words – of trying to talk about it – is an appropriate response. And, at moments of crisis and trauma, the use of comprehensible and familiar phrasing is itself a sign of something important: it is a bid for connection. Cliché demonstrates community, our intention to understand one another. It does not matter that “standing in solidarity” has no practical import, or that prayers may be just so much shouting into a void. It does not matter that there is unresolved tragedy in a violent world that makes consolation a commonplace.
Because by using cliché, we are trying to employ common currency, we are grasping for tokens – however smoothed by over-use – that we all recognise, we all can handle and share. We are using language to be inclusive. …
So we should abandon any knee-jerk response … to hashtags and platitudes, to prayers and placards. There are always words, even over-familiar and trite ones. And they tell us something about our desire to connect and collect ourselves, to take the time to try at least to “think of the victims and the families”. That desire is a good thing. Clichés are good things when pressed into the service of communication in the aftermath of the incomprehensible and the traumatic. They often reveal the good intentions we share, and they are more valuable than ever.
So I refuse to be embarrassed about the inadequacy of my own words. I believe that however feeble they are in the immediate aftermath of something which hurts my heart as much as this does, I can and must keep saying what I believe.
Daesh divide the world into Crusaders (that this definition includes pre-teen girls at a pop concert tells you all you need to know) and the Caliphate. George Bush used similar rhetoric after 9/11, telling us that we were either with the US or with the terrorists. I’m not proposing any equivalence of those two approaches, other than that this polarisation, this reduction of the complexity and diversity of life into two opposing absolutes, has done and continues to do immeasurable harm.
In the wake of the November 2015 Paris attacks, Jonathan Freedland wrote about Daesh’s onslaught against the ‘grey zone‘ :
The grey zone is where I want to live. Islamic State hates it, that place between black and white, where nothing is ever either/or and everything is a bit of both. Those who have studied the organisation tell us “the grey zone” – Isis’s phrase – is high on the would-be warriors’ to-eradicate list, along with all those other aspects of our world that so terrify them: women, statues of the past, the pleasures of the present.
Specifically, the grey zone refers to the sphere of coexistence where Muslim and non-Muslim might live together. That’s anathema to the frightened young men of Isis, who yearn for a world divided on binary lines, with room for only two categories – them and the infidel. Such a world would be as clean and neat as computer code, with Isis the ones and the rest of us reduced to zeros.
I made my own contribution on this blog. Looking back now, I am not certain that my interpretation of the grey zone was correct. It may be that it should properly be defined as the place inhabited by Muslims who have not signed up for the caliphate and for jihad. For Daesh it is a state of hypocrisy, and their hatred of it explains why the vast majority of their victims are Muslims – the wrong sort of Muslims. So whilst their murderous attacks in Kabul, Baghdad, Ankara and so many other locations are attacks on the grey zone, Paris and Manchester, Brussels and Nice, were attacks on the Crusaders.
But we don’t have to accept any of their twisted, hateful definitions. The grey zone for me is where people of all faiths and none meet, talk, share music and food and laughter. It’s where in the wake of tragedy people of all faiths and none offer whatever they can – a free taxi ride, somewhere to stay, a blood donation. We must defend it.
We have to refuse to be bystanders when anyone – on social media, on the street, in the workplace – demonises or harasses Muslims or those who look as if they might be Muslims. We have to have conversations across the various divides of age, ethnic background, religion, politics – find out what other people think, share what we think, find the common ground. We have to counter and debunk the lies that are routinely told about refugees, immigrants, Muslims, and the propaganda that xenophobic political movements such as the Front National, EDL/Britain First etc. and their equivalents across Europe will make of the Paris atrocities.
None of this will stop Daesh. I’m not sure what will. How do you stop someone with an explosive belt and a Kalashnikov, who cares nothing for the lives of the people they will mow down, and nothing for their own life, indeed who is ‘seeking to be killed’ in order to gain martyrdom? Perhaps we cannot afford to be pacifists in any absolute sense. These are the moral quandaries that face us and perplex us, and we cannot take refuge in absolutes, because absolutes are a huge part of the problem.
We’re all looking for a ‘magic bullet’ to use against this big bad. There may be political and/or military solutions (just as likely, I’m afraid, there will be political and/or military reactions that will hurt Daesh’s victims more than they hurt Daesh itself).
For myself, what I want to do most of all is to fight – not with Kalashnikovs but with words and the way I live my life – for the grey zone.
Because the last thing the grey zone is, is grey. It’s every colour under the sun. And it’s beautiful.
Enjoy your life.
Make it count.
And don’t let the murderers win.
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)
(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, during Butor’s first year 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…
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.
cities@manchester on Manchester, the original shock city
by Brian Rosa, PhD candidate in Geography
Manchester is a city of superlatives: it was the prototypical “shock city” of the Industrial Revolution, Friedrich Engels and Karl Marx’s model for everything that was abhorrent in the industrial capitalist city, and one of the birthplaces of the labor and women’s suffrage movements. In its heyday, Manchester was depicted in literature of Engels, Alexis de Toqueville and later the paintings of L.S. Lowry, as an uninterrupted, chaotic anti-landscape of chimneys and smoke, strewn across a featureless topography. Its unprecedented configuration invoked equal parts awe and dread, moral panic, and tempestuous visions of the future. In 1833, Toqueville described the crowded conditions, poorly constructed housing, hulking factories, and environmental degradation of Manchester: “From the foul drain the great stream of human industry flows out to fertilize the whole world. From this filthy sewer pure gold flows. Here humanity attains its most complete…
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I’ve written previously about the relationship between Bleston and Manchester, and about the links between Butor and Sebald, and I’ve just been exploring the fascinating collection of essays on Sebald in Melilah, the Manchester Journal of Jewish Studies, alerted by Helen Finch’s recent blog about Sebald’s Manchester. It’s good to see the link with Butor explored a bit more, but I would have to take issue in some respects with Janet Wolff’s article, ‘Max Ferber and the Persistence of Pre-Memory in Mancunian Exile’, which I think fails to fully identify the deeper connections between the two writers.
I would agree that Passing Time is not about Manchester in a straightforward way but I think Wolff takes that too far when she says that ‘none of this is about an actual city’, and that Revel’s diatribes against Bleston are ‘the ravings of a neurasthenic, whose debilitated psychological state produces monsters in the environment’. (p. 52) This is not a new charge – reviewers have in the past diagnosed Revel with depression or schizophrenia. But I’d argue that rather than alerting us to an unreliable narrator, the mismatch reminds us that Bleston is not just Manchester, not just any particular city. It contains many cities, real and fantastical.
But it is based more upon Manchester in its physical reality than on any other city, and contrary to Wolff’s statement that ‘there are no physical descriptions at all (quite unlike the Manchester of ‘Max Ferber’)’, there are many descriptions of Manchester landmarks, as J B Howitt has shown (in his article ‘Michel Butor and Manchester’, even though Butor takes and uses those features which are relevant to him, and changes or ignores those that are not.
What interests me most, however, is Wolff’s argument that the Manchester of The Emigrants fades into insignificance in relation to ‘another geographical, phantasmic and persistent presence’.
My studies of Butor are concerned precisely with identifying that presence in Passing Time. More anon.
- Janet Wolff, ‘Max Ferber and the Persistence of Pre-Memory in Mancunian Exile’, in Melilah, 2012 Supplement 2, Memory, Traces and the Holocaust in the Writings of W.G. Sebald. (Guest editors: Jean-Marc Dreyfus and Janet Wolff)
- J B Howitt, ‘Michel Butor and Manchester’, Nottm French Studies, 12 (1973), 74-85
When I started this blog, part of my motivation was to enthuse, if I could, other readers about Michel Butor, and about this novel in particular. The publication of Sebald’s poems which reveal his indebtedness to Butor has helped my cause because there are more people out there reading Sebald than there are reading Butor, and my exploration of the connections between the two writers has intrigued at least one fellow blogger sufficiently to inspire him to read Passing Time. I reblogged earlier this week his reactions to the novel, and promised to post my own response here.
I’ve been lost in this book for years now. I feel as much trapped in it as Revel is in Bleston – of course, I could turn my attention to another of Butor’s many fascinating works, just as Revel could at any point take a train away from Bleston at least for a break. But somehow I always find myself back in the city again, traipsing, as Decayetude has it, around those miserable streets, searching for the dark heart of Bleston. As he says, ‘we are subjects, held prisoner in the book/narrative as Revel is in his own story’.
Exasperating, yes, and rewarding. Irritating, yes, and wonderful. Not quite a masterpiece as set against Sebald’s prose work and Ishiguro’s The Unconsoled? I can’t say – but I would maintain that this is one of the great novels of the mid-twentieth century, one of the richest, most intriguing novels I have read, and one whose interest I cannot seem to exhaust.
To pick up on a few specific observations:
- We’ve discussed the impossibility of actually writing contrapuntally or fugually in relation to an earlier blog post – and I agree, that we cannot in a written work actually hear the different melodies/voices at the same time. But Butor’s sentences echo each other and create an impression of layering, an illusion of polyphony. I want to explore this in much more depth at some future point.
- The musical structure is described as ‘quasi-mathematical’, and indeed one of the many contradictory things about Butor is that he does use mathematical grids and so forth to structure his writing, but that as intellectual, as erudite as his work is, it is always at the same time warm, passionate, idealistic. It never reads like an exercise.
- Revel feels he has blood on his hands. But so does almost everyone – or rather everyone, at least momentarily, seems guilty or dangerous. Horace Buck is almost certainly responsible for some of the fires that are Bleston’s plague. Burton himself writes murders, if he does not commit them. Richard Tenn may possibly be the model for Burton’s fictional fratricide. Jenkins not only comes under suspicion from Revel but suspects himself after a homicidal dream. Even the Bailey women suddenly appear in a sinister light when Revel tells them that he knows the pseudonymous author of the detective novel, so much so that he feels he has betrayed his friend and even endangered his life. In Bleston suspicion and betrayal are in the air.
Decayetude says that there is also ‘in the last pages, a darkness I cannot quite get to the heart of ‘. This is the quintessential experience of the reader of Passing Time. This is what nags at one, that feeling that there is something we’re missing, something at the centre of the labyrinth.
Some critics became quite tetchy in response. W M Frohock, reviewing the novel in 1959, said that ‘the hero… is not completely plausible, psychologically. After all, it is one thing to experience a kind of depression in a city like Bleston, and a different one to stay, month after month, at the bottom of the slough. Even in Bleston, Jacques Revel should really find his situation less grim on some days than he does on others’ (p. 60). Which sounds rather like an exhortation to ‘pull yourself together, Jacques’ .
These responses suggest attempts to read Passing Time as a realistic account of a year in a northern city – understandable, since we begin with what seems to be just that, and since the account is anchored in bus times and street names and the mundane detail of city life. But from the start, from the first page, that terror is present, and it and myriad references on every page tell us that 1950s Manchester is onlyone source for Bleston.
That Manchester at that time should have triggered such an intense response is something I’ve looked at elsewhere. (Aside from anything else, the extremity of the climactic conditions linked to industrial pollution was extraordinary – J B Howitt has talked of the ‘terrifying Manchester fogs … when the phenomenon of temperature-inversion produced near darkness and zero visibility around the clock for days on end’ (p. 54).)
And yet, and yet, there is more than this, and I think there are answers to be had. You just might have to wander those rain-drenched fog-bound mean streets for a long time to find the heart of that darkness….
Frohock, W M, ‘Introduction to Butor’, YFS, 24 (1959), 54-61
Howitt, J B, ‘England and the English in the Novels of Michel Butor’, MA thesis, University of Manchester, April 1972
__, ‘Michel Butor and Manchester’, Nottingham French Studies, 12 (1973), 74-85
I discovered Sebald and Butor at around the same time, and noted the biographical coincidence that both had spent time at the University of Manchester, but it’s only with the publication of Across the Land and the Water that I’ve discovered quite how strong the links between the writers are. Reading The Emigrants, I had been struck by the echoes of Butor’s descriptions of Manchester, but had attributed them mainly to the common subject – after all, there are common features in descriptions of the city, particularly of the first encounters with the city, across a couple of centuries, upon which both authors draw. In the light of the ‘Mancunian Cantical’ however, it’s very clear that Butor’s novel was a direct influence, and of real significance to Sebald. I’ve gone back since both to the Max Ferber segment of The Emigrants, and to the final part of After Nature, part of which also relates to Sebald’s Manchester days. (There are interesting connections between all four texts – to take just a couple of examples, the fascination with the star-shaped Strangeways prison, and the Guy Fawkes anecdote – which deserve more attention, and may well get it at some future point.)
I’ve been much taken with the notion that Sebald might have chanced upon Passing Time in a Manchester bookshop, just as Butor’s hero Revel finds the book that’s going to shape his experience of the city, Le Meurtre de Bleston, nestling between Torture through the Ages, and a Handbook of Cricket. I now know that he owned the French text (the 1966 edition – thanks go to Terry Pitts, of the Vertigo blog, for that information), and the poem itself provides internal evidence of this – but the idea is too delightful to let go. Of course, the English edition may have prompted him to track down the French, having recognised that this extraordinary text was going to be profoundly important to him. Either way, as this poem was finished on or shortly before 26 January 1967, his response to the book must have been pretty immediate.
The poem contains a number of direct quotations in French from L’Emploi du temps, which are noted by Iain Galbraith The title of the final section is ‘Perdu dans ces filaments’, which refers to Revel’s sense that he was a virus, caught in Bleston’s threads. ‘Filaments’ also echoes ‘fil d’Ariane’, a reference to the story of Theseus who found his way through the labyrinth to kill the minotaur with the help of Ariadne’s thread – a legend that is central to L’Emploi du temps.
There are also a number of phrases that aren’t presented as quotations from L’Emploi du Temps:
|The mere shadow of a feast-day phantom/Of a defunct feast-day Bleston||L’ombre d’une fête, le fantôme d’une fête morte (24 July, p. 237)||The shadow of a festival, the ghost of a dead festival (p. 176)|
|Bleston my ashes in the wind of your dreams||Toi … qui éparpillais mes cendres au vent de tes rêves (20 Aug, p. 306)||You who in your dreams scattered my ashes to the winds (p. 225)|
|From time to time the howls of animals in the zoological/Department reach my ears||On entendait de temps en temps les hurlements des animaux dans la section zoologique (30 July, p.250)||From time to time you could hear the animals howling in their nearby cages (p. 185)|
I’ve shown these against the French text and the English translation because I think this makes it clear that Sebald’s source was the French text, which he translated into German, and which Iain Galbraith has now rendered into English.
Of course, what’s interesting isn’t just that Sebald has chosen to quote (albeit via translation) Butor’s novel, but which aspects of it appear to have made the most powerful impact on him. There are key words in L’Emploi du temps, motifs which are repeated and which gain cumulative weight as the narrative develops, and a number of these recur in the ‘Cantical’ too. I’ve picked out a few, to set out some markers for a future study, or for real Sebaldians to take further than I can.
- A shuttered world – the image of a closed shutter (grille de fer, literally Iron Curtain) is found throughout L’Emploi, reinforcing the idea of a city that is closed, but also the sense that the protagonist’s efforts to find his way, to make connections, are constantly thwarted by ‘une grille de fer fermee’.
- Mute – silence is a theme here, repeated in ‘the silence of revelation’ in part III, ‘reclining in silence’ , ‘The valleys of Bleston do not echo’, in part IV . In The Emigrants, Max Ferber speaks of the loss of his mother tongue, German, which he hasn’t spoken since parting from his parents in 1939, ‘and which survives in me as no more than an echo, a muted and incomprehensible murmur’ (p.182). Music and silence are key themes for Butor – Revel ponders the absence of music in Bleston, a symptom of its malaise. There is actually a strong musical theme in L’Emploi, and throughout Butor’s work, which will be the subject of a later blog post.
- ‘The starlings … sleepless on the sills of Lewis’s Big Warehouse’ – this passage is reworked in The Emigrants (p. 157)
- Shadows – one of the most often repeated motifs in L’Emploi. Bleston is full of shadows, both literal and metaphorical, obscuring both the way ahead and the motives and intentions of the people.
- Mamucium – Sebald’s reference to the origins of Manchester’s name recalls Butor’s offering of alternative etymologies for Bleston, from the popular ‘Bells Town’ to the improbable ‘Bella Civitas’ but focusing on Bellista, city of war. (Manchester itself was the site of a temple of Mithras.)
- ‘torture a travers les ages’ – this phrase is translated by Galbraith but he doesn’t note that it’s a quotation from L’Emploi. This is the title of one of the books that Revel sees when he’s looking for the detective novel, Le Meurtre de Bleston, which plays a key role in the narrative.
- feast-day phantom – see also Fete nocturne, more shadows, and the phantom. Bleston reduces, or tries to reduce, its inhabitants to ghosts, or shades. But there’s also a ghost in The Emigrants, the ‘grey lady’ who visits Ferber daily (pp.181-2).
- ‘the howls Of animals in the zoological Department’ – in context in L’Emploi, the animals echo Revel’s despair, and his sense of imprisonment
- Sharon’s Full Gospel – referred to also in After Nature: ‘row after rock of the sick, amid the congregation’s shrieking, were healed and even the blind had their sight restored’ (p. 98)
- The offshore ships waiting in the fog recur in The Emigrants (p. 166)
- opgekilte schottns – translated as ‘frozen shadows’ (see earlier references to shadows). Galbraith also relates this to the story of Theseus who causes the death of his father, a legend that is represented in the tapestries in Bleston’s museum
- wasteland – Bleston’s centre is ringed by areas of ‘terrain vague’. These are the locations for the travelling fair as it moves around the city, and for many of the fires which punctuate the narrative.
- ‘my ashes In the wind of your dreams’ – Sebald retains the construction ‘in the wind of your dreams’ which is lost or weakened in the English. However, whereas his wording suggests that it is Bleston that is being addressed, in the context of the novel, it is the city which is addressing Revel, who has burned his map in an attempt to revenge himself on the city.
- On ne doit plus dormir – Pascal via Adorno, the abundance of suffering permits no forgetting. Both Sebald and Butor wrote ‘contre l’oubli’.
As Galbraith says, ‘The poem presents a labyrinth of allusions, and the reader who attempts to follow them risks becoming ‘perdu dans ces filaments’ . To which I’d have to say, ‘Challenge accepted’!
Michel Butor, L’Emploi du temps (Paris: Minuit, 1956)
Michel Butor, Passing Time, translated by Jean Stewart (London : John Calder, 1965)
W G Sebald, ‘Dark Night Sallies Forth’, in After Nature, translated by Michael Hamburger (London, Hamish Hamilton, 1988)
W G Sebald, ‘Max Ferber’, in The Emigrants, translated by Michael Hulse (London: Vintage, 2002)
W G Sebald, ‘Bleston: A Mancunian Cantical’, in Across the Land and the Water: Selected Poems, 1964-2001, translated by Iain Galbraith (London: Hamish Hamilton, 2011)
Michel de Certeau‘s famous description of looking down from the World Trade Centre illustrates the opposition which he explores through ‘Walking in the City’ between the ‘ville-concept’ and the real, organic city as experienced at ground level, by those who live and walk in it. From such a vantage point, the cartographer can map on to the constant motion, the indistinct sea and fog of the city, a ‘terra cognita’ of recognisable taxonomies (see White, on Zola’s Paris). Even the most complex maze or labyrinth seems straightforward when one can see the whole. But once we’re walking in the city, rather than gazing at it from on high, all of the means we have to make sense of it rapidly reveal their limitations. Maps sooner or later are ‘interrupted by an encounter with the unmappable’ (Hillis Miller).
An early review of Michel Butor’s L’Emploi du temps claims that ‘if [its] explicit geography … does not make that story an excellent guide to the back as well as main streets of Manchester I should be very much surprised’ (Frohock). One hopes he did not make the attempt to navigate the Manchester streets armed only with the book, and a map which marks those streets and landmarks encountered by the novel’s hero (and not all of those). The frontispiece map was prepared by Butor to guide him through the cityscape he was creating. It indicates the relative positions of the key locations as anchorage points – the stations, the homes of the various characters, the cathedrals, restaurants etc, but there are gaps where streets and buildings must be but are not recorded. Resemblances to the layout of Manchester’s city centre seem pretty much random and coincidental – for example, as noted elsewhere, the star shape of the prison is replicated on the map, but it does not sit in relation to the river, the University or any other features of the city as it does in reality. So we can dispose of the frontispiece map as a lightly disguised map of Manchester.
The other thing the frontispiece is not, is the map that Revel buys and uses to get his bearings in the city. It is like a map drawn from memory, where some configurations of streets are recalled in detail and others only vaguely. Thus it mirrors the text which is an act of resistance against the forgetfulness that Bleston’s fogs engender. Just as the text does not and cannot record everything that happened even to Revel, let alone the things that he did not witness, the map only records his experience and first-hand knowledge, and as such we are aware that it may be partial both in the sense of being incomplete, and in the sense of reflecting subjective perceptions and priorities. It recalls the famous surrealist map of the world, whose proportions relate to the cartographers’ cultural ideals rather than to geographical reality, as well as the first medieval maps, which were records of journeys taken, rather than attempts to objectively encapsulate space.
Revel’s experience of Bleston begins with him losing his way, and his failure to grasp its geography leads him to see it anthropomorphically as trying to evade him, hiding from examination as if the light burned it, or camouflaging itself as if in the folds of a cloak. Purchasing a map is the first of his tactics. However, it is apparent from the beginning that any one source of information will be insufficient. The map gives him the aviator’s or bird’s eye view but does not tell him how to make his way around the city. For that he needs the bus timetable. Taken together, these tools do not help him to find lodgings – for that he needs the intervention of a fellow exile, using informal local knowledge. To make sense of the city he needs to engage with its inhabitants, indigenous or otherwise. (See Annie Lovejoy & Harriet Hawkins‘ project Insites on ‘deep mapping’). The journal, as it logs street names and bus numbers, weaves together his sources, unreliable or partial as they are, in an attempt to encompass the reality of the city. Revel’s fight back against the city culminates in his burning of the map (one of many fires which punctuate the narrative). But that ‘profoundly irrational act’ is both negated and emphasised when he has to buy another to replace it. The map is inadequate and misleading, but essential nonetheless.
Maps imply a knowledge which denies their selectivity. They make the city readable, or purport to, and so slough off the city’s complexity and freeze its opaque mobility in a falsely transparent text. But the phantasmagoric city, in constant flux, is the antithesis of the guidebook/map representation of the city which fixes locations, connections, distances. It is this city that the text invites us to see, recognising the inadequacy of the map, showing us an inferno, a necropolis, a temple of war, a prison. It is its own past, and its own potential futures, which we explore as physiognomy, as mythology, as history, as politics, as text – a secret text, which we need to decipher, from signs and symbols, a palimpsest where what has been erased can still be traced.
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Robert Alter, Imagined Cities: Urban Experience and the Language of the Novel (New Haven; London: Yale University Press, 2005)
Jeremy Black, Maps & Politics ( London: Reaktion Books Ltd, 1997)
Gary Bridge, Reason in the City of Difference: Pragmatism, Communicative Action and Contemporary Urbanism (London: Routledge, 2005)
Mary Ann Caws (ed), City Images: Perspectives from Literature, Philosophy and Film (NY: Gordon & Breach, 1991)
Michel de Certeau, L’Invention du quotidien, I (Paris: Gallimard, 1990)
Mike Crang & Nigel Thrift (eds), Thinking Space (London: Routledge, 2000)
Christian Emden, Catherine Keen & David Midgley (eds), Imagining the City, Vol. I (Bern; Oxford: Peter Lang, 2006)
W M Frohock, ‘Introduction to Butor’, Yale French Studies, 24 (1959), 54-61
Graeme Gilloch, Myth and Metropolis: Walter Benjamin and the City (Cambridge: Polity, 1996)
Ben Highmore, Michel de Certeau: Analysing Culture (London : Continuum, 2006)
David Frisby, ‘The Metropolis as Text’, in Neil Leach (ed.), The Hieroglyphics of Space: Reading and Experiencing the Modern Metropolis (London; NY: Routledge, 2002)
J. Hillis Miller, Topographies (Stanford, Cal.: Stanford University Press, 1995)
Nicholas White, ‘Reconstructing the City in Zola’s Paris’, Neophilologus, 8 (1997), 201-14