T.L. Morrisey

Showing posts with label The Prisoner. Show all posts
Showing posts with label The Prisoner. Show all posts

Wednesday, November 20, 2024

Louis Dudek's Continuation and The Beatles "Revolution 9"

 

Morgan's Department Store, downtown Montreal, 1955 


Continuation is an assemblage of random and seemingly unrelated statements, mundane or philosophical, epigrammatic and often unrelated to other statements in the same poem. I doubt many readers (or Dudek’s friends) understood, or even liked, what Dudek was doing in Continuation; similarly, The Beatles song, "Revolution 9", left most listeners bewildered, the song is repetitive, disturbing, and makes no rational sense and yet, ironically, even paradoxically, it makes perfect sense as does Dudek’s Continuation. Most of The Beatles’ songs are popular music, none are as idiosyncratic and experimental as “Revolution 9”; indeed, this is a piece of music, of voices and sounds, that suggests the overwhelming banality of everyday life.                  

Both “Revolution 9"  and Continuation seem anomalies in their creators’ bodies of work; neither bring the audience much immediate pleasure until some sense or meaning is found in the work; both are more cerebral, more intellectual, than is found in most music or poetry. “Revolution 9” has  a vision of the meaningless of life, life is overwhelmingly banal, purposeless, and filled with small talk and trivialities. Remember the existentially bleak lyrics to “Eleanor Rigby”, existence has failed, there is nothing to believe in, and life is without purpose or meaning; this is a long distance from typical Beatles music. But it is also the human condition found in another Beatles' song, “A Day in the Life”: 

Woke up, fell out of bedDragged a comb across my headFound my way downstairs and drank a cupAnd looking up, I noticed I was lateFound my coat and grabbed my hatMade the bus in seconds flatFound my way upstairs and had a smokeAnd somebody spoke and I went into a dream

Meanwhile, Continuation is a departure, a deepening, and an extension of the form and content of Dudek's previous books, for instance Atlantis (1967); form and content are extensions of each other Atlantis, and Dudek's other travel-centered books, are connected to place, to geography, to consecutive thinking, while Continuation is connected to mundane existence, it is a stream of consciousness that exists in the realm of thought, it is bits and pieces of existence strung together, more Mallarme than Pound, maybe some Joyce and Woolf, but Pound is still present. Both “Revolution 9” and Continuation have moved away from the narrative function and into observation and statement, to isolated thinking, to non sequitur statement rather than aesthetic artifice; there seems to be little distinction in the importance of one thought over another; they are cut-ups, experiments in process, collages of ideas. Both are the thought processes of consciousness in the darkness of a sound proof isolation chamber, speaking to itself; it is close to being theatre of the absurd.

Note: Listen to the "Ideas" programmes on CBC radio for a discussion on Number Nine, https://www.cbc.ca/listen/live-radio/1-23-ideas/clip/16012646-nine-a-number-synchronicity


Saturday, October 26, 2024

On The Prisoner television show

McGill University campus, 1940s


The Beatles “Revolution 9” could be used as a surrealistic sound track, played over a psychedelic montage of images, for Patrick McGoohan’s television drama, The Prisoner (1967-1968). The protagonist in The Prisoner is played by McGoohan, a former secret agent who suddenly resigns his post but offers no explanation for his decision. McGoohan’s former employer finds his sudden resignation suspicious and McGoohan is abducted from his home and finds himself incarcerated at an unknown seaside location referred to as The Village; his identity is also attacked, he is referred to by his new name, Number Six; the head of The Village is, of course, Number One. The Village is a precursor, and suggestive of, the 15-minute city; in this case it is a place to keep former government employees, all with numbers for names, and they live in relative freedom (the freedom of farm animals), socializing, playing chess, reading The Village newspaper, and some inhabitants are informers on other inhabitants of The Village. The Village is no gulag, it might be called a benevolent incarceration, it is comfortable but no one can leave and the authorities are always attempting to either control or get information out of the inhabitants, and they are all prisoners. But Number Six is not a typical inhabitant, he fights back, he tries to escape. When interrogated Number Six repeats, “I Am Not a Number; I Am a Free Man”; his strength lies in his not surrendering to his jailers, his remaining freedom lies in his refusal to give up information about himself. He says, "I will not make any deals with you. I've resigned. I will not be pushed, filed, stamped, indexed, briefed, debriefed, or numbered! My life is my own!"  The whole series of seventeen episodes is a metaphor for our own existence; who do we believe and what do we believe? There is a penalty for noncompliance with the authorities, it is to be an outcast, detained, attacked, and denied one’s freedom; it is to be gaslighted. While other inhabitants of The Village have been pacified, Number Six constantly challenges the authority of his jailers; he is more determined than the other prisoners. No one escapes from The Village, attempted escape results in being chased down by an ominous giant inflated object called Rover, and inhabitants of The Village are constantly surveilled by CCTV. The Village is a dystopia somewhere between George Orwell’s 1984 and Aldous Huxley’s Brave New World; it predates the 15 minute city. What else can we take from The Prisoner? It is that we are now, and have always been, prisoners, prisoners of ideas, race, social class, wealth, privilege or poverty, politics, our birth, gender, age, and/or religion, and this has decided the purpose and meaning of our existence. Our prison is self made and no one can free you but yourself. The Beatles were fans of The Prisoner and a Beatles song, “All You Need is Love”, was played during in the final episode; is it any wonder that the refrain, "Number Nine, Number Nine", is repeated in The Beatles most idiosyncratic song, “Revolution 9”? The Prisoner is both a psychological and political metaphor for contemporary life, now more so than in 1967. I nominate Laurence Fox to play in any remake of The Prisoner or a life of Patrick McGoohan.                                                         

Be seeing you.

Tuesday, June 13, 2023

Poundbury, The Village, and the 15 Minute City


On television, a few days before the coronation of King Charles III, there was a programme on Charles's idea of a model village, Poundbury, in the south of England. This community was designed by Charles in the 1980s to highlight his concept of the perfect community; for instance, everything is within walking distance and cars are restricted or banned. These are all fairly commonplace ideas today but, when imposed by someone who has more privileges than any of us, it is a bit galling: it is the limited and privileged vision of someone who has had it all and now thinks he can impose his vision on other people, for their betterment. I was repelled by Poundbury, it seemed to me to be a place of social control made acceptable with the inhabitants' consent; they like living in this place or they'd live somewhere else. It's a community for the managerial class. There are rules and regulations for everything, enforced by a town council, and reinforced with the peer pressure of a homogeneous population. 

       This programme on Poundbury immediately reminded me of The Village, the setting for most of the episodes of The Prisoner television series broadcast in 1967-1968; this was a very popular programme, disturbing, dystopian, and Orwellian, starring Patrick McGoohan. The Village is a place for containing people who know too much regarding British intelligence; they have been warehoused in The Village, put out to a benevolent pasture, kept alive and in a comfortable prison life, but without bars, without cells; if you behave and accept life in The Village you will do well there. Meanwhile, someone like Number Six, played by Patrick McGoohan (none of the inhabitants of The Village have names, they are referred to by a number), is tolerated and even indulged. What the authorities ostensibly want from Number Six is to know why he quit his job at MI5 or MI6. But this is really beside the point, the mission of his captors is to break him down, make him lose his own thoughts, make him into a number, make him believe the concept of reality they want him to believe, as happened to Winston Smith in Orwell's 1984

    The other comparison with Poundbury is the 15 Minute City, another form of potential social control that seems, on the surface, to be benign and even a lovely place to live one day. However, this is an example of urban planning gone wrong, it suggests that the best community is one in which all of the necessities of life -- grocery stores, pharmacies, places of work, schools -- are easily reached within a fifteen minute walk or bicycle ride. It almost sounds good except that many of us have always lived in a place where everything is available within a fifteen minute walk; but we didn't talk about it or try to make it something it isn't, it was the organic expression of city life, the way we live, and for many people it still is. 

    Where I live everything is within walking distance, it always has been; that is city life, that is living in a community that is part of a neighbourhood that is part of a borough that is part of a city. No one feels contained by where they live, it is nothing special; when it becomes something "special", needlessly part of a new urban planning idea, then it takes on other qualities; there is a dark, shadow side to all of this happiness and convenience that is imposed on us. Post-Covid many people are working from home, and some people have quit their jobs because they no longer want to work in an office, or live in the city where their workplace is located. Urban planning is trying to re-invent the wheel, and it is coming out square and not round; if you oppose their idea of the future city you are some kind of conspiracy nut, but that is just their way of dealing with anyone who disagrees with them. An extension of the 15 Minute City is the fenced off gated communities already existing in the United States, with a guard at the entrance. You walk everywhere and if you have a mobility problem you will get around on a golf cart, but there are consequences to living in the 15 Minute Gated City, or The Village . . . 

    Do we really want to live in this type of place? There will be no room here for the exceptional, the eccentric, the rebellious, the odd ball who lets his grass grow long and his ramshackle house unpainted. Whether it is Poundbury or The Village or the 15 Minute City these are places for the unimaginative managerial class, the values of this class will control all of us. And, no doubt, fences will be put up around those other unfortunate communities, the homeless (now referred to as the "unhoused") who inhabit parts of many North American cities. No, they are not "unhoused", they are homeless with all of the pathos, suffering, and terrible insecurity this word suggests; to be "unhoused" is an antiseptic word that denies the emotional meaning of living on the street. 

    And what of the arts, spirituality, free thinkers, anarchists or nihilists, odd balls and misfits, the angry, the grieving, or the ecstatic; what if you let your place deteriorate, will you be isolated by peer pressure or a council investigation? This is not a place of barking dogs, crowded streets, the smell of someone's cooking, living cheek to jowl with your neighbours so you can hear them fighting, laughing, talking, humanity as lived by the poor, the artist class, the thinkers, or the way things were in the past that many immigrants to North America experienced; immigrants produced ambitious people who worked hard to make money and move up the social ladder, and they even improved society with jobs and philanthropy; this is not included or suggested, or can even exist in a place like Poundbury or The Village, there is nothing suggesting social mobility, creativity, or freedom of thought in those places; they are retirement living, places of stasis. 

    A recent newspaper article on Glasgow has a subtitle, "Scotland's biggest city is a brawny celebration of industry, ingenuity and individualism", things not found in Poundbury, the Village, or the 15 Minute City. Montreal is a city of neighbourhoods, each distinctive, just as New York City is a city of boroughs, all different and unique -- Manhattan, the Bronx, Brooklyn, Queens, and Staten Island -- just their names resonate with qualities of distinctiveness, ambition, vibrancy, and life. There is a totalitarian feeling to Poundbury, a place that is a reflection of King Charles's concept of an ideal society; but what does he know about how average people live or what they aspire to? It's a good thing he is only a king and has no real power, and being king he will be limited in what he is allowed to say about the future of society. 

    Be seeing you.