A crowd of ladies from a faraway land, each dressed in brightly coloured fabrics, would come chattering past the house each day. They would sweep along every morning and evening, their conversations bright, adult, and quite incomprehensible in some unknown language. The little boy asks, who are those ladies? His mother tells him that they all work in the mill at the bottom of the street.
The boy learned a lesson young: who you are and what you are can be seen from where you’re going – and when. The direction you’re walking, and the time of day, tells us something about who you are.
At the bottom of the street, a crossroads. Go left into a quiet lane past the allotments to the edge of town. Go right past a bowling green smooth like a billiard table, to a sweet shop. Straight on, to the park, to school, to Cubs. The crossroads of our lives – turn each way for different lives, different paths. People will know where you are going, when you walk through these streets. Here, brick and tarmac, there, woods and quiet shrubs and grasses. Straight on – for play, and for learning.
The sepia stains of history lie on these streets, or at least it seems so, to the boy and to the man he became. Here, a grandfather swam in an outdoor pool. There, a street where an unsmiling lady stood in a crowd of joy and cheers, struggling to see the good in VE Day. Over there, the flats, and the outlines of vanished streets. The streets are gone, but the memories remain, thick like dust, easy to discern if you’re the right sort. Listen carefully, even today, and you can hear the treble drone of bombers, or the wretched tears of poverty, the grinding life of the urban poor.
He came back to those streets in a kind of pilgrimage, thinking somehow to reconnect with the past, with the feeling of those early days. If he could represent his childhood. all the carefree years of boyhood, as an icon, that icon would be a little image of the mill at the bottom of the street. He walked past that mill every day for years uncounted, it seemed to him when he was young. Endless weeks, he went past that mill, morning, afternoon, evening. And he never went inside it, in all his life.
As a young man, he’d sat with this father watching old Laurel and Hardy movies. They were amusing; there were wry smiles. But even as he watched them, he found that they were just not as funny as they had been when he was a small boy. He’d mentioned this to his father, who’d shook his head with the greybeard wisdom of ages. “The boy who rolled around laughing on the floor at these movies, no longer exists”, he said. The boy became the man, the young man became the older man.
Could these streets ignite a kind of holy nostalgia? Could they form a harbour into which a pilgrim might sail, to sojourn briefly in the past – a visit only. Not to remain. The mill was still there; the streets were still there. The crossroads by the bowling green was unchanged. The municipal lines of alternating plane trees and lime trees in the park – still there, save for a few gaps caused by storms of old.
Walking in past the park, he’d noticed that no single youngster was out playing. It was 4.30pm on a spring weekday afternoon. The roundabouts were siezed and rusted, the swings abandoned, it seemed. Where was everybody? Where were they all? He knew, really. No Marie Celeste mystery here. Just the modern world, risk averse, focussed on itself, with smartphones, tablets and unwillingness to be out of doors.
The mill was the fixed point – all the landscape was the mill. But there was no river of bodies pouring down the street to find work there. That river had dried up long ago. Here had been a future for hands of skill. No longer. That much had changed even in his own youth. What remained now, was clearly foreseeable even back then – if you could read the writing on the wall. What had been a mill making clothes, was now a university department. It was a department covering such matters as textiles and art, so there remained a tenuous connection with what had been. On the river of time, you cannot paddle upstream. That river flows only in one direction.
He walked up the street, remembering the red and blue bricks in the pavement. He recalled cycling down the street on a baking hot day, trying to keep in the shade. The baleful sunlight of reality was upon him now, beating mercilessly on his head. No golden light of evening, nor delicate pink at dawn, but scorching tropical sunshine at noon. A sunshine, as Kipling wrote, that sometimes strikes men dead.
Yet, though saddened, he knew things had to change. There is no going back. There’s no returning to those places of golden childhood. Nostalgia is a hip-flask from which we can allow ourselves no more than a discreet sip, every now and then. If we look back, we must look in thankfulness, not in nostalgia.
Treading his way up what he thought was a dried up riverbed, he noticed that there was a new river of bodies making their way to the mill, young people, people learning. people looking to the future. And reassured somewhat, he left that harbour and sailed away back home.
Nice piece, Nick – like the title phrase very much.
The title “All of the landscape was the mill” comes from an old Stuart Adamson (Big Country, The Skids) lyric in a song called “Steeltown”:
Out on a prospect that never ends
All the landscape was the mill
Grim as the reaper with a heart like hell
With a river of bodies flowing with the bell
Here was a future for hands of skill