For the
last six months I've travelled the States in book form; fictional
form, not encyclopedic tourist guide whose recommendations and maps
are not, as they intimate, user friendly. No, my approach was more
haphazard but perhaps less lost, unlike the protagonists I read of
who were frequently more lost than I. And most of them were male. The
females where they featured seemed, if unsure of themselves, to latch
on futilely and quicker to something, some spark or gem, whereas the
male, however aged, tended towards the farcical.
Disillusionments
with the white picket fence life was a common theme, as was escapism;
and as they made their escape, I from the comfort of a unrealised
verandah went with them, a cocktail in hand. The truth, if it has to
be told, is that although I may occasionally sit next to a large
window overlooking a pub garden and tarmacked car park, I sit
enclosed as if I were the ice cube in my imagined drink, but why
deprive you of the fantasy?
Warning:
I am as notional as the novelised characters I attract. And I do
attract them: they find me, like an all-night café that suddenly
leers at you alongside a dirt track, almost as if it were a
shimmering mirage, only it doesn't disappear when you swerve,
reverse, double back and park with the old Dodges, Chevrolets and
Ford trucks, step out and walk in to its wipe-down, cosy interior.
And in there, characters corner me, whether I seat myself at the
counter or in a red leatherette booth, and beguile me with their
tales, however lunatic or soul searching, as I nurse a coffee and a
piece of pie which to my inattentive eye the solicitous waitress
keeps replenishing until the character sitting across or next to me
heaves him or herself up and throws a few folded bills down and with
a cursory nod to the waitress, but without so much of a backwards
glance to me, exits. Then I, like him or her, after passing a paper
napkin over my mouth, take my leave, to continue my journey
elsewhere.
And so
it goes on...except throughout I've never left my home town, or on
some days even my apartment. I have two, maybe three, active parallel
universes. I make believe as I prepare to read that I sidle
gracefully through an open door onto a verandah, as if I was
attending a glamorous party thrown by Fitzgerald's Gatsby and had
come up here for a different view of the proceedings, and yet when I
commence reading another projection of myself is transported to 1950s
and 60s America, to small towns, to bustling cities, to picture
shows, to all night cafés, roadside diners, hotel bars and
restaurants, and it's there, regardless of the novel's actual
setting, that its characters choose to accost me, usually after
they've ordered a cheeseburger or an egg and sausage breakfast. The
Jazz starlet's gone and I'm more bubblegum poppin' with a small town
attitude, used to roughnecks and cowboys; occasionally though the
Jazz starlet will disrupt the flow and will look up from the book
before her, which she now sees is not a cigarette holder, and gazes
into the middle distance to watch a picture show of that future
America, not realising this is where a part of her has travelled to,
and wonder at her sense of deja vu. Whereas the modern original will
never see either of those bygone eras, except in her conjured
imaginings, and who, in reality, is standing by a closed window,
novel in hand, and most probably subconsciously untying, retying and
tightening the belt of her dressing gown, which you should know is
her autumn-winter attire and her take on the 1940s housecoat.
The
American Dream, but not the America of now. Her person retrogressive
in taste and entertainment. Someone who wants the big open road and
yet her country of birth being in comparison a very small island
cannot tick that box, and neither can America as it is now, for the
power of uninhabited nostalgia is stronger than modernity. And so she
(and I am that she of whom I've been latterly talking for it's easier
in the third person to explain) turns to American-set novels and
American novelists, to drink it in, and let the current world she
lives in slip away. Goes on the road from a room which has large
windows but no verandah.
Picture credit: Woman on the Verandah, 1924, Edvard Munch