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Re: [F_MINOR] GG: Solitude Trilogy Question
Hi Anne, congratulations on your
F_Minor promotion!
I'm wild about "The Idea of
North" -- it's the one I've listened to most thoroughly.
Obviously I'm way behind in reading
criticism of "Solitude" (or criticism of GG's music, or criticism in
general). This is the first time I've heard that some listeners thought there
were any misleading aspects to the dialogue montage.
It was clear to me immediately on my
first listening how Gould had woven these speeches together, and why, the effect
he was trying to achieve.
Bragging follows: I took the wilderness
train trip from (Toronto to) Winnipeg to Churchill MAN (on Hudson Bay), and back
again.
Now that this question has come up, I
think I have an answer for it. "The Idea of North" doesn't reflect the
order and construction of the many conversations as Gould experienced them on
the train.
But it certainly DOES reflect how a
traveller would remember these conversations months or years later. The
memorable parts, and the way one conversation points to and fits in with the
others, the things these people said to Gould that Gould found fascinating, the
things that possessed his memory, re-order themselves as time
passes.
This wonderful train was put into
service around 1955. (The track was laid in the 1920s to make Churchill a grain
shipping port to Europe while the Bay isn't icebound.) Since a National
Geographic TV documentary about Churchill's polar bears, the train's passengers
have become a very goofy mixed bag of international wanderlusters during polar
bear migration season (right about now, as a matter of fact).
But for the rest of the year, the train
is the transportation blood vessel for a vast region of the northern Canadian
wilderness. Air travel is prohibitively expensive in these regions, so the train
is how people get from job to job, from wedding to funeral, from First Peoples
village to school or jobs in the big southern tier cities.
The best thing about the train -- it
takes 2.5 days to go from Winnepeg to Churchill in each direction -- is its bar
and snack car. It's small, and hunger and thirst are big, so the car is always
packed with First Peoples and European-Canadians who live and have authentic
business in these regions.
Usually when you travel in regions with
First Peoples, there are social and architectural barriers that keep travellers
from much direct contact where you could talk informally with the locals. This
bar/snack car -- there's such a crush for the limited seating that you're forced
into very cramped quarters with strangers. Assuming (like Casper Gutman and Sam
Spade) that you like to talk and you like other people who like to talk, the
whole train is a talking and people-watching and elbow-bumping paradise on steel
wheels. The social barriers fade away of necessity, and experiences and stories
are exchanged.
(What's not in "North" must
have been fascinating -- what Gould said when these fellow travellers asked him
who he was, what he did, the stories he told them about his own life. But that
wasn't what he remembered afterwards, that wasn't in the tapestry he wanted to
weave.)
There was nothing artificial or
misleading about how Gould wove his (recorded) memories of these conversations
together. I never thought two dialogues which weren't contemporary had been
gimmicked together to make it sound as if they were contemporary. (There must be
something wrong with these critics' ears, or brains.)
Is this an ethical or aesthetic
complaint by some critics about the documentaries? Is it really a sort of charge
or ethical slur that Gould meant to mislead listeners into reaching untrue
conclusions? Really, I'm a journalist, I'm pretty hip on what's kosher and
what's verboten in this kind of thing -- and "Idea of North" is
Strictly Kosher.
It's Beyond Strictly Kosher. It's an
artistic re-weaving of an entire region's living dialogue, the way a traveller
might encounter it and thereafter remember it. Gould certainly hasn't distorted
a single thing these people said to him.
If Gould "goosed" anything, I
think it was to try to inject and infuse this radio documentary with the same
sense of thrill and excitement and discovery that he experienced with the train
trip and the region.
On the leg from Toronto to Winnipeg --
a "normal" train trip for "normal" people -- I was shocked
that "normal" Canadians -- residents of the Southern Tier urban
corridor -- thought I was strange to want to go to Churchill. "Why do you
want to go there? There's nothing up there."
When Gould started to discover the
Canadian North, he must have been very aware of this strange phenomenon, that
most of his "social peers" had absolutely no interest in the Canadian
Arctic wilderness; if anything, they had an aesthetic abhorrence of it, the way
a classical music lover might think about tekno.
And yet Gould would have been aware
that most of his audience would be his social, ethnic, cultural and geographical
peers. He needed to communicate the thrill and romance and excitement he had
discovered in the Canadian Arctic wilderness and settlements. He was certainly
not preaching to the choir -- he was trying to convert the people smoking in the
church parking lot.
Most Americans and Canadians have grown
up learning to put their safety in the things of modern civilization: fire
hydrants, 911, reliable dial tones and electric current coming out of the wall,
streetlights, elevators, timetables, nearby hospitals, office buildings,
supervised and manicured parks and beaches. I think this is the source of most
peoples' antipathy and suspicion about the wilderness. They're frightened of
places that lack these things to such an uncomfortable degree.
That's where Gould's artistic and
musical skills came in. It's easy to make a boring documentary, especially one
that relies so heavily on dialogue, without an "auteur's" voiceover to
guide the thing along and illuminate and emphasize certain points for
"slow" or even hostile listeners. Gould communicated the thrill he
felt entirely through the voices of the residents of these regions themselves.
They told their own stories and emphasized the points they wanted to emphasize.
Gould wove it into a gorgeous tapestry of sound and conversation and
ideas.
Here is a far inferior
"documentary" about the same wilderness trip, but I hope some folks
get my sense of thrill, and a few giggles, out of it:
What I really
hope is that "North" and my little travelog inspire some of you to
take this amazing train trip to this amazing region. A lot of people on F_Minor
make pilgrimages to Toronto and thereabouts. But this is the most wonderful
Gould pilgrimage I ever took. He was my constant "ghost companion," it
was a wonderful feeling to feel his spirit in the corridor as I wandered up and
down this train.
Bob / Elmer
>I haven't had a chance to read the section on the Solitude
Trilogy in the
>new GG biography. I'm looking forward to it. This relates
more to what
>previous biographers said.
>
>One thing I
remembered about the complaints other biographers made is that
>GG took
portions of interviews from different people and spliced them
>together to
make it look as if these people were talking with each other,
>or even
having arguments, though they had never meant. The biographers
>acted as
if this make it artificial. Which I suppose misses the point. They
>were
expecting the Solitude Trilogy to be "Nanook of the North," but it
was
>more like a collage combined with counterpoint. It was an
artistic
>statement.
<snip>
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