is the name of a rather wonderful late-70’s track by Burning Spear, but I am not here to dicuss the finer points of his musical style. I am, rather pondering the delight I take in reading travel books. At present, one of the five books I have on the go is Black Lamb and Grey Falcon, a huge, sprawling travelogue-history lesson-ethnographic expedition-just about everything else, based around the author’s three trips to the new Yugoslav state in the 1930’s. The book is a delight in so many ways, and provides just as much insight into British social mores of the time as it does those of the Balkans, but it is, essentially, a travelogue. And I have just passed on the other most enjoyable book I have read in the last year, From the Holy Mountain, again a socio-historical travelogue.
Now, I have to admit to be struggling with fiction as a whole these days. Most of what I read is either academically related to my interests, or collections of essays - most of my reading is done ont he Tube, and I find it almost impossible to immerse myself in a longer work. The critical and destructive nature of my personality also precludes me from engaging with a great deal of fiction, as I tend to analyse as I read, and this gets in the way of enjoyment on the whole.
So travel literature appeals to me. Being appallingly British and having a fear of travelling anywhere more exotic than Bognor Regis means that there are a wealth of countries I can explore in this manner as I pass through East Acton. I always remember being most taken with Palin’s journeys and the rash of ‘Great Railway Journeys’ and so on that followed - both Whicker and Michelmore left me cold as a child, but the new, budget travellers who sought to get away from the crowds (Ian Wright - not the footballer was one of them, and the late Pete McCarthy as well). It was so much easier to see the sights of Gambia or somewhere else I would need inoculations to visit at 8.30 on a Thursday night than to actually have to travel there. A sanitised, but grubby, nonetheless, picture of more unusual destinations has always appealed.
Having pondered this more over the last few days, particularly because I am not entirely happy with what I have written, there are further parts to my interest in this kind of literature. Firstly, the notion of someone who is intrinsically an ‘outsider’, linguistically, politically, ethnically, especially if they are British (and so are not an outsider to my cultural poles), yet not a complete innocent abroad, is central to my appreciation.
Writers on their native countries never seem to do it for me - maybe there are too many preconceptions confirmed - the exception(s) to this in my experience have been the English-speaking Irish writers of the late 19th/early 20th centuries, especially Synge, although, once again, the wild west of Ireland in those days was a world away, lingusitically, socially, religiously, and so on from his middle-class Protestant County Dublin upbringing. The other issue is tht writers on their own countries tend to have an agenda, as Radischev, or are simply caught up in their own passion for the area - Wainwright’s guides to the Lake District, etc, I’m sure are perfectly usuable, but the BBC has recently remade them for television and added a wealth of new information about both the local areas and about the genesis of the guides themselves.
So, anyway, to use Russian Formalist terminology, there is a need for ‘ostranenie‘, or defamiliarisation - it gives a far greater insight into both the country and the writer themself - Dostoevskii’s ‘Winter Notes on Summer Impressions’ works on so many levels, and the descriptions of London are frequently as apt today as they were 150 or so years ago, but the very nature of these descriptions, the aspects of life in the modern centre of the Great British Empire at the time, the parallels he sees with Russia, are all echoed throughout his later writings, and few writers have laid bare every aspect of their personality as freely as dear old F.M.D.
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