Thursday, 18 February 2021

Dust and Din and Vapour

How would the poets and word-smiths of yesteryears describe the cities and towns of today? It's a thought that's been uppermost in my mind ever since renewing my acquaintance with Tennyson and Kenneth Grahame. The latter described London as a great whirling mill, whereas Tennyson said of a town that it was dust and din and steam. But would they use those very same words now? 
London is still a-whirl, and in towns there's still a din, though no dust, no steam. Our air polluted now with particles you cannot see. Our streets have roads, not dust tracks, which cars share with bicycles and not horse-drawn carts. Nothing is powered by steam. Very little is powered by man. And there are no mills, of the sort that once existed. Mills that grind and whirr and belch smoke and need many hands of different sizes. Banking too has changed since Kenneth's day. Computers and e-commerce happened. 
The money-man today is different to yesterday's money-man. Still suited, still booted, but the bowler hat is extinct and the briefcase is rare. Has a briefcase ever contained important papers? And not instead the workings of a novel or some illustrations, or a comic to read in moments of boredom? For working in banking, all day, every day, I imagine, must have more of these moments than most other jobs, as well as more opportunity to break the monotony of figures. But then perhaps those opportunities are less, and the profession, if it's entered, is entered from choice rather than push and family ties. Money drove life back then and it drives life now. The lack of it, the want of it, the needing more. 
There's toilers, there's idlers. There's people trying to both toil and idle, to have security in their lives as well as creativity. People are fundamentally the same, it's the world that's changed. People changed the world but failed, in their heads and hearts, to change with it. 
There's dirt and din and vapour. There's hurry and frayed tempers. There's undisguised rage. There's a tidal motion to go with or battle against. Ants on the march. Up and down and cross the country. Ants in the skies. Flying towards home or away. The ants from above look down on toy houses; the ants below look up at toy planes. 
Where are they going? Is it business or pleasure? 
Are they going to visit their factories in China? Their sweatshops in Bangladesh? Management ant people visiting ant workers in another great whirling city, in the dust and din of another town. Perhaps they are holidaying ants who won't when they get there experience the country they're visiting; they'll stay in their resorts and tip the uniformed ants scurrying around them. Their money, they tell themselves, is boosting the economy, and so they disrespect their host's culture and expect to be served the food they're used to. They see nothing of the dust and din, only the surface calm. Only the pool rippled by swimmers, who swim up and down, up and down and then lounge in a deckchair for the rest of the day. The great mill, almost within their ken, just outside it they evade.
What might they find anyway? Isn't rush and bustle all the same?
Wouldn't there be the same purposeful walks? The same stop-start shuffle? It all depends. On what? On progress, my friend. 
The progress which gives us efficiency and distractions. Amusements which don't broaden the mind, but shrink it. That take us one step closer to an adult-friendly Disneyland. That gives us profit without (or less) individual productivity. That gives us time to kill brain cells. And each other. 
Others, though, will still be ants. Worker ants. Who decides? The banks? The economists? The leaders of nations? The CEOs? 
Who decides which cities, towns should arise to the sound of music? To the sound of a brass band proclaiming cheap labour, cheap labour. 
The soldier ants assemble to defend it in their racing green or fire engine red tunics with gold braiding, as their citizen ants rush to and from, from and to, and stand in queues to buy. 

Picture credit: St Paul's Cathedral, London, 1890, Camille Pissarro (source: WikiArt).

Written in 2020.