Article
Attention
Culture
Weirdness
Wildness
6 min read

Take a walk: the world is weirder than you think it is

Psychogeography and the dark alleyways of the mind.

Mockingbird connects the Christian faith with the realities of everyday life.

A backlit person at twilight holds a hand out towards the camera, holding some fairly lights
Riccardo Annandale on Unsplash.

This article, by Blake Collier, first appeared in Mockingbird. Published by kind permission. 

 

Entre chien et loup. 

The phrase literally means “between dog and wolf” and has most immanently been used to describe the twilight hour where day and night intermingle before night fully takes hold. 

Jean Pruvost, a linguist who has studied the expression, gave some background on ‘entre chien et loup.’ He says it comes from a Latin phrase, intra hora vespertina inter canem et lupum, that dates back to at least the seventh century. And it refers to the time when the daylight dims and you could mistake a dog for a wolf. 

One could imagine before the advent of electricity and modern public lighting how ambiguous this time of day could be as the landscapes around your small village were being consumed by the darkness — the human eye not fully able to calibrate fully for day or for night, hence the inability to distinguish between a friendly pet and a looming threat. 

This is what is popularly known as liminal space in our current epoch. This liminality is always present, however, not just at dusk. As we move through the worlds we inhabit, whether natural or built, we are constantly finding ourselves within transition or transformation. Psychogeography is a broader term that is often used to investigate the liminal movement of bodies through space. In its most simplistic form, it is how our mind interacts with and processes the physical landscapes that we inhabit and how those landscapes affect our mind. The actual history of the term is much more complicated — honestly, convoluted — however at its core it is scratching at the nebulosity of things like entre chien et loup

At the outskirts of a city or town, one begins to see the fraying of the edges, those areas where we have yet to fully enact our illusory control over the land.

About seven or eight years ago at the height of my running prowess, I got up one Friday morning very early and started a ten-mile run I had planned around nearly the full border of my hometown of Canyon, Texas. I did not know if I would make it the whole way, but the intent was there and the map was set. However, something interesting happened as I began plodding down my route. Those lines that show up on our maps often engender varying qualities of trails. Most of the time I was hitting asphalt and sidewalks, but when you are following a broad circle around a town, it’s not uncommon to find ambiguous stretches between incorporated and unincorporated parts of the town. Somewhere within the first mile or two, one of the “roads” I had included on my path ended up being nothing more than a worn trail through prairieland behind a group of houses. 

I bring this story up because, though I did not know it then, I was enacting a psychogeographic practice. Iain Sinclair, who is probably one of the most well-known proponents of modern psychogeography, walked the M25 around London in seven different treks over a time period. The M25 is a 125-mile loop around London and is considered one of the busiest highways in the world. As he ambled along the highway — sometimes on asphalt, sometime “around” the trace of the highway — he would take note of what he saw, and he eventually wrote the book London Orbital. This practice allowed him to see London in a new way because at the outskirts of a city or town, one begins to see the fraying of the edges, those areas where we have yet to fully enact our illusory control over the land. They have neither been captured by urban sprawl nor have they been renovated and gentrified. These lacunae are ambiguous regions between the built and unbuilt (or decayed). Once again, we are placing ourselves intentionally into places where we attend to the ley lines which connect the physical markers to the perceived or imagined topographies of the places where we exist. 

To put it bluntly, being intentionally attentive to surroundings can trigger investigations into the seen and unseen powers that hole up in our built environments and the natural world that pushes back against it. 

The path through the prairieland I spoke of earlier ended at a concrete curb and a recently repaved residential street that ran right next to a Catholic church, almost like the church was posting itself on the fringes of the town to warn of impending threat, or perhaps giving a welcome sight to a weary traveler. I suppose it depends on how you look at it. 

Yet it is exactly this work of attending to where we live and reacquainting ourselves with it that is, I believe, at the heart of this purposeful ambulation through space. Our lives fall into banality most of the time. We take everything for granted and we see our lived environment through that myopic lens. But take a walk on the outskirts of where you live, without a phone or music or any other technological mediation, and just look around the space and pay attention to how it embroils your emotions. I can nearly guarantee that you will find the place you live is much weirder than you thought it was, and you might even learn a thing or two about what your place values. I knew that Catholic church was in that general area of that path, but I didn’t realize how that path would empty me out before its hallowed presence. 

However, as I thought about it, it made sense that in this community the Catholic church would be found on the edges of the town. There are somewhere around ten other churches in a town of about 17,000 all of which are Protestant. However, if you go just ten or eleven miles west to the town of Umbarger, the roles are reversed. There is still one Catholic church, but as far as I know no Protestant churches. Merlin Coverley, in his book tracing the history of psychogeography, finds that “contemporary psychogeography as closely resembles a form of local history as it does a geographical exploration.” One could take the observations from their ambulation and dig into their place’s past to see why this might be the case. However, this is very much the chien of this psychological study of environment.  

What about the loup? Psychogeography has always had connections to the occult and the weird. Coverley continues later in his book, 

“Here, then, we find all the features ascribed to psychogeography today: the mental traveler who remakes the city in accordance with his own imagination is allied to the urban wanderer who drifts through the city streets; the political radicalism that seeks to overthrow the established order of the day is tempered by the awareness of the city as eternal and unchanging; and the use of occult symbolism reflects the precedence given to the subjective and the anti-rational over more systematic modes of thought.” 

All of this is to say that what we might find out about the place we live in when we give ourselves to its fringes and walk its shores might have a darker tone which implicates local politics and powers. Perhaps we will even find ourselves confronted by a metamorphosis which changes the very way we live, work, and move in these places. 

Sinclair’s earlier work Lud Heat in 1975 set out to remap London by way of connecting London’s churches built by eighteenth-century architect Nicholas Hawksmoor and their odd loci to numerous prominent murders like the Radcliffe Highway Murders and those by Jack the Ripper. There is a thread that ties some of the imagery Hawksmoor used in his churches to ancient Pagan symbolism. To put it bluntly, being intentionally attentive to surroundings can trigger investigations into the seen and unseen powers that hole up in our built environments and the natural world that pushes back against it. 

If nothing else, this study of the ambiguous transgressions between mind and place helps us bring a new profundity to our existence. It psychologically brings us back to a place where our intellectual, physical, and technological prowess cannot protect us from the hairs that stand on the back of our necks. Because everything, if attended to perceptively, can be seen as a dog or a wolf. And that should give us great pause in the everyday grind of our lives. 

Review
Awe and wonder
Culture
Theatre
5 min read

This Narnia play left me yearning to cheer on good

The Lion, The Witch and The Wardrobe is still relevant at 75.

Steve is news director of Article 18, a human rights organisation documenting Christian persecution in Iran.

 A play set shows a witch and lion on stage.
EMG Entertainment.

This article contains spoilers.  

It’s been 75 years since C.S. Lewis’s The Lion, The Witch and The Wardrobe was first published, and the story is still captivating audiences and even sparking fresh controversy. 

If you hadn’t heard the news, the role of the lion, Aslan, is rumoured to have been offered to Meryl Streep, a woman, for Greta Gerwig’s upcoming film, set to be released in time for Thanksgiving next year. 

I recently saw another adaption of the famous book - Adam Peck’s play - in a theatre in Torquay, as part of a 75th anniversary tour of the UK.  

And having previously read the book and watched two different film versions, I still found myself considering elements of the story I hadn’t previously, hidden depths I hadn’t noticed - even if these didn’t include Aslan’s gender. 

For those not familiar with the tale, it follows the journey of four children through the doors of a magic wardrobe, which transports them into a fantastical kingdom in which a lion reigns but a witch has held dominion for 100 years. 

Under the White Witch’s spell, there has been only winter for a century - “always winter and never Christmas”, as one famous line from the story goes. 

But now, thrust into this story in the fulfilment of a prophecy long foretold, four “sons of Adam and daughters of Eve” - boys and girls, to you and me - come as the lion king returns, and a new day dawns. 

The winter begins to thaw, Spring is in the air, and Father Christmas even shows up to shower the children with gifts. 

But the return of Aslan - and even Santa Claus - doesn’t signal the end of the story. There is still a battle to be fought; the witch still has power and even ensnares one of the children, Edmund, with the promise of all the Turkish delight he could wish for, and the title of a prince. 

It is at this moment - still early in the tale - that the battle between good and evil is clearly laid out, and the forces of light and darkness clash thenceforth. 

In the play, those enslaved by the witch are clad in black to emphasise the distinction, while much is made of the meaning of the name of the youngest child, Lucy: “bringer of light”. 

The imagery is abundantly clear, as it has ever been in Lewis’ Chronicles of Narnia, of which the The Lion, The Witch and The Wardrobe is the first and most famous of seven books. 

And the author, renowned for being an atheist who later became a Christian, leans heavily upon his newfound faith throughout the Narnian tales, and not least in the character of Aslan. 

Yet while you and I may frustratingly regularly let ourselves down, there is also something within us - is there not? - that ever yearns to cheer on the forces of good. 

At Easter, it is especially hard not to see in Aslan’s death and resurrection a striking similarity with the figure at the centre of the Christian faith. 

Indeed, it was this moment of greatest sacrifice - for the “traitor”, Edmund - that most struck me this time around, even though I already knew the story so well. 

At church the following day, as I took Communion, I was still reflecting on Aslan’s sacrifice and wondering whether Edmund more closely resembles the average Christian - myself included - than the older, nobler brother, Peter, in whom most of us would prefer to see our likeness. 

My mind returned to a moment in the theatre that had humbled me, when the lady sitting in front of us handed me £20 to treat my children for being “so good”, having at the interval made me bristle by asking them to sit quietly and stop kicking her chair. 

“Fair enough?” I hear you suggest. Well, perhaps, but I didn’t think it until that humbling moment after the curtain had closed. 

My son later told me he hadn’t thought the lady had been unkind, which again got me thinking about my own imperfections and need to be more childlike. 

Yet while you and I may frustratingly regularly let ourselves down, there is also something within us - is there not? - that ever yearns to cheer on the forces of good. 

I doubt many audience members were rooting for the witch, while I suspect most can also understand the need to “beware the witch”, as one song from the play puts it 

Another biblical parallel is the fulfilment of a prophecy long foretold, while both the Bible and The Lion, The Witch and The Wardrobe highlight the special significance of someone innocent dying to save the guilty. 

There is even a clear reference at the very start of the book and play to one of Lewis’ most famous pieces of theology, when the professor in whose wardrobe the children later get lost asks them a question as they consider whether or not to believe Lucy about the magical kingdom that she first glimpsed. 

She’s either lying, mad or telling the truth, the professor says, in much the same way that Lewis says of Jesus Christ’s own central claim: he’s either “mad, bad or God”. 

As for the success of the play, as someone who no longer lives in London, I was certainly impressed by this West End product. 

The scene changes are creative, aided by music, dance and possibly even a trapdoor - my children and I had different opinions on how the magical disappearances of certain characters were achieved. Maybe it truly was magic. 

There’s also the nice touch of the play starting even before it officially begins, through the twinkling of a soldier’s fingers upon the keys of a piano while the audience take their seats - perhaps to help us turn our minds from a sunny day in the English Riviera to dreary London at the time of the Blitz. 

So, do go and see the play if you get the opportunity - it’ll do you good and make you think, whether or not you choose to consider if the lion is male or female.