Article
Culture
Psychology
Weirdness
5 min read

Why smell jumps the queue when it comes to memories

Smells hardwire deep into the brain, writes Henna Cundill, as she explores why they jump-start such vivid memories.
An autumnal scene of a church yard and church framed by leafless trees.
'The smell of dust and damp stone will always cry “safety!”'
Jakub Pabis on Unsplash.

When I was a 22-year-old undergraduate my mother died quite suddenly. I can't remember the name of the undertakers we used, nor the chaplain who took her funeral. I can no longer visualise what any of their faces looked like. I know I visited the chaplain’s house to plan the funeral, but I can't remember exactly where that house was. What sticks is that the day of the funeral was a sultry summer's day, and both the chaplain and the undertakers smelt of perspiration. To this day there are moments where I catch that same whiff of man-sweat in some other location, and for a fleeting second, I am a bewildered 22-year-old once more. 

Here is another memory. I attended a tiny, rural Church of England primary school in the middle of England. At the end of each school year, all of us donned our little Wellington boots, which smelt faintly of slurry (since this was dairy-farming country) and sweaty feet. Then we lined up in a crocodile and trudged through the bluebell-wood (damp leaves) and skirted the edge of fields (silage, which stings the nose) covering the mile or so between our school building and the village church. 

We would enter the church grounds through the back field, hurrying through an eerily muffled graveyard with tombstones towering far above our heads and the grass disturbingly lumpy beneath our little feet. To the chidings of “Quickly!” and “Quietly!” we children scurried down a gravel path, away from this unsettling place of death, to reach the cool sanctuary of a little church, and the comforting smells (for me, at least) of damp stone and dusty hymnbooks. 

Others may not have the same associations, but for me the smell of dust and damp stone will always cry “safety!” and the reassurance that “there are no ghosts in here!” in contrast to that troubling graveyard. From death to life. Yet, at the same time, getting stuck with my nose close to some man’s whiffy armpit on the Tube will forever insinuate that I am just a child pretending to be a grown-up, out of my depth, overwhelmed with one thousand decisions to make (“What flowers do you want for her coffin?”) and no-one to advise. In the midst of life, death again.  

On reflection I will know that my emotions are being manipulated by my nose, in ways which are more or less than helpful depending on the circumstances.

Of course, I am not 22 years old and lost anymore, no matter what that man’s armpit tries to tell me. My rational mind knows better, but my rational mind doesn’t get a say – or doesn’t get the first say anyway. This is because smell is the only one of our senses that bypasses the thalamus (the brain’s ‘filtering gate’ that decides which part of the brain needs to respond to sensory input) and goes straight to the limbic system, where emotional memory is stored.  

Sometimes it is very obvious that this is taking place, such as in the examples given above. On reflection I will know that my emotions are being manipulated by my nose, in ways which are more or less than helpful depending on the circumstances. But it can happen in more subtle ways too. Supermarkets infamously pump out smells to influence our buying choices, and we’re trying to sell our house right now, so we’ve been brewing a whole lot more coffee than we ever usually would.   

Intriguingly, scientists don’t really know why the human sense of smell jumps the queue when it comes to cognitive processing. There are biological theories, such as that the smell of predator could wake up our ancestors while they were sleeping and/or could allow them to follow a scent trail quickly when fleeing danger or seeking food. There are social theories too, such as that we don’t have a lot of good words to describe smells, so the brain just doesn’t bother trying to analyse them. Whatever the truth of the matter, the reality is that (whether we like it or not) our noses are an emotional trip-hazard.  

When I walk through those great oak doors there is a moment, a glitch in the matrix, when the unmistakable smell of church hits my nose. Dust, damp… a little hint of mouse. 

I can’t help wondering what this tells me about my religious practice. Do I go to church because I have made a cognitive decision to worship God each Sunday? Or do I go to church because I am following my nose, getting away from a world full of armpits and responsibilities to a place where I am a seven-year-old girl, all gingham dress and wellies, feeling safe. If so, does it matter?    

Truth is, my mind can give me a dozen reasons not to go to church every single week. In fact, two dozen reasons. More. It has always been a busy week; I’m always behind on work. The house always needs a sort out and the car is never washed. But because certain congregation members are normally counting on me for certain things, and because I’m still pretending to be a grown up, I typically drag myself out the door, and off to church I go.  

And week on week, without fail, when I walk through those great oak doors there is a moment, a glitch in the matrix, when the unmistakable smell of church hits my nose. Dust, damp… a little hint of mouse. My body registers this before my mind; my shoulders drop a little of their tension. Even if it’s just for a fleeting moment, I start to feel that I know for sure what is absolutely real in my life and what is just pretend.  

Is this knowledge irrational – since it doesn’t come from the cognitive part of my mind? Or is there a God who knows that the cognitive part of my mind sometimes tells me all sorts of untrue and unhelpful things. Is there a God who is choosing to reach out to me in more subtle, more ancient ways?  

I can only wonder if I have been following my nose all this time, without even noticing. Drawn along by an ancient scent trail that leads me time and time again…this way…and that way…until I reach a place where there is safety, and bread. 

Review
Culture
Music
6 min read

The biblical undercurrent that the Bob Dylan biopics missed

In the best of Dylan’s work is a contemporary Pilgrim, Dante or Rimbaud on a compassionate journey.

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A colorful mural depicts the eyes of Bob Dylan staring to the side.
Dylan mural, Minneapolis.
Nikoloz Gachechiladze on Unsplash.

The Bob Dylan biopic A Complete Unknown begins with his arrival in New York and concludes with his performance at the Newport Folk Festival in 1965. He begins the film as a complete unknown, as he arrives with no backstory to share or, where he does, one that he has invented. He ends it as a complete unknown, because he consistently refuses all the boxes or labels in which others want to imprison him. 

This aspect of Dylan’s life and career has also characterised many of the earlier biopics, such as 2007’s I’m Not There which features six different versions of Dylan as poet, born-again Christian, outlaw, actor, folk singer, and electrified troubadour. Suze Rotolo, his girlfriend throughout much of the time covered by A Complete Unknown, described the way in which he absorbed influences at this time like a sponge:  

“He had an incredible ability to see and sponge – there was a genius in that. The ability to create out of everything that’s flying around. To synthesize it. To put it in words and music.” 

Focusing on this aspect of Dylan’s life and practice can, however, lead to a minimising of his upbringing and also to a misleading sense of brilliant but entirely disconnected phases – essentially a series of rejections – as having characterised his career. There are some important elements of Dylan’s life and ideas that are overlooked, underplayed or simply lost as a result. Many of these involve the particular expression of spirituality that has informed his work from the beginning. 

As Rabbi James Rosenberg has explained: “Robert Allen Zimmerman was born in Duluth, Minnesota, on May 24, 1941. He spent the majority of his childhood, including his high school years, in Hibbing, about 60 miles northwest of Duluth. His father and mother, Abram and Beatie, whose parents were immigrants from Eastern Europe, sent both him and his younger brother David to the local synagogue for their Jewish education leading to Bar Mitzvah at age 13.”  

As a result, Dylan’s songs have from the beginning of his career been suffused with the phrases and imagery of the Bible; interestingly, not just the Hebrew Bible, but the Christian Bible too. Whether it’s the references to Judas in “Masters of War” and “With God on Our Side” or quoting Jesus in ‘the first one now will later be last’ (“The Times They Are A-Changin’”) or the Old Testament stories that feature at the end of “When the Ship Comes In”, wherever you look within Dylan’s lyrics the influence of the Bible is apparent. 

Follow that thought with another which notes the prevalence of apocalyptic images (storms, hurricanes etc) and events (‘The hour when the ship comes in’, the moment when “The Times They Are A-Changin’” or the night when the “Chimes of Freedom” ring, for example). Then think from where images of apocalyptic events primarily derive in the Western imagination and you’ll be circling back to the Bible, and the Books of Daniel and Revelation in particular. That is of course what Dylan himself did following his born-again experiences in the late ‘70s and early ‘80s, but the Bible was always the original seedbed for his images and ideas. 

Then, look deeply into one of the most apocalyptic of his early songs – “A Hard Rain’s A-Gonna Fall” – and you’ll see a manifesto to which he has held throughout his career and which illuminates his work in every decade and every change of direction within his lengthy career. The central character in “A Hard Rain’s A-Gonna Fall” commits to walking through an apocalyptic world in order to tell and think and speak and breathe and reflect what he sees in order that all souls might see it too. In a much later manifesto song – “Ain’t Talkin’” – he puts it like this:    

Ain’t talkin’, just walkin’ 

Through this weary world of woe … 

Heart burnin’, still yearnin’ 

In the last outback, at the world’s end 

Throughout Dylan’s career, he writes songs about people travelling through life in the face of apocalyptic storms seeking some form of relief or salvation or entry to heaven. So, what we have in the best of Dylan’s work is a contemporary Pilgrim, Dante or Rimbaud on a compassionate journey, undertaken in the eye of the Apocalypse, to stand with the damned at the heart of the darkness that is twentieth century (and then twenty-first century) culture. 

It's actually all there right at the beginning in the song that he wrote for and sang to his hero Woody Guthrie:  

I’m out here a thousand miles from my home 

Walkin’ a road other men have gone down 

I’m seein’ your world of people and things 

Your paupers and peasants and princes and kings 

  

Hey, hey, Woody Guthrie, I wrote you a song 

’Bout a funny ol’ world that’s a-comin’ along 

Seems sick an’ it’s hungry, it’s tired an’ it’s torn 

It looks like it’s a-dyin’ an’ it’s hardly been born

(“Song to Woody”) 

Dylan’s songs, from that point onwards, have documented where his pilgrim journey in the eye of the apocalypse has taken him; often with imagery of storms lighting his way. He has travelled the paths of political protest, urban surrealism, country contentment, gospel conversion and world-weary blues. On his journey he: saw seven breezes blowing around the cabin door where victims despair (“Ballad of Hollis Brown”); lightning flashing for those who are confused, accused and misused (“Chimes of Freedom”); surveyed “Desolation Road”; talked truth with a thief as the wind began to howl (“All Along the Watchtower”); sheltered with an un-named woman from the apocalyptic storm (“Shelter from the Storm”); felt the idiot wind blowing through the buttons on his coat, recognised himself as an idiot and felt sorry (“Idiot Wind”); found a pathway to the stars and couldn't believe he'd survived (“Where Are You Tonight? Journey Through Deep Heat”); rode the slow train up around the bend (“Slow Train”); was driven out of town into the driving rain because of belief (“I Believe in You”); heard the ancient footsteps join him on his path (“Every Grain of Sand”); felt the Caribbean Winds, fanning desire, bringing him nearer to the fire (“Caribbean Wind”); betrayed his commitment, felt the breath of the storm and went searching for his first love (“Tight Connection to My Heart”); then, at the final moment, it's not quite dark yet but he’s walking through the middle of nowhere trying to get to heaven before the door is closed (“Tryin' To Get To Heaven”): 

The air is getting hotter, there's a rumbling in the skies 

I've been wading through the high muddy water 

With the heat rising in my eyes. 

Everyday your memory grows dimmer. 

It don't haunt me, like it did before. 

I been walking through the middle of nowhere 

Tryin' to get to heaven before they close the door.

(“Tryin' To Get To Heaven”) 

Whatever the crises we face, whether personal or political, there’s a Dylan song that says there’s light at the end of the tunnel if you keep walking toward it and, whatever the song, there’s a depth of insight and compassion for those who are struggling along the way. 

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