What esprit de flânerie had drawn him here he could not say. But the image of it,—the rusted tracks, their ties overtaken by the marauding verdure; the red, unrolling rollingstock blocking tracks which vanished in the horizon of ruinous green,—seemed an apt metaphor for his life with women.
As afternoon segued to evening with the savageness of a cut, he saw himself as an empty, twilit platform where no woman would again alight, the unchalerous shell of a darkened station which would no more warmly receive the transitory train of her ambassade through the embassy set over the foreign country of his interior life. A lamp which illuminated nothing; a sign which apprised no one of nowhere; a bench conveniently placed, and upon whose convenience no one rested and refreshed themselves:—Sometimes places, in their abstraction, resemble us more closely than do other people.—Dean Kyte,
“駅の物語” (“Conte de gare”)
I’ve always had a fascination with trains and train stations. You might think train travel a rather contradictory passion for a flâneur, the most freewheeling of voyageurs: Why should this epic pedestrian, drawn in his dreamy dérive by lines of random desire which sing out to his eye from every street corner, be inexorably attracted to the most restrictive and linear mode of movement through space, one which offers only limited scope for him to exercise his predatory passion for æsthetic investigation?
Hélas, if, like Walt Whitman, I contradict myself, then, dear readers, I contradict myself. As I hope the video and prose poem above attest, I contain multitudes. My soul is as large, as empty and as cryptic a labyrinthine structure as that palatial tomb which lounges alongside the Yarra, receiving and debouching visitors to Melbourne.
And it is certainly no coincidence that as a Melbourne flâneur, I should equally be an aficiónado of that kissing cousin of the train, the tram.
As an aristocrat of the gutter, a gentleman who makes his home in the street, to park my wheels momentarily in the tram, democratic chariot of Melburnians of every caste and class, and exercise my penetrating gaze over Collins or Bourke or Flinders streets from the very midst of them is to enjoy a flâneurial delectation which no other city in the world can offer to as extensive an extent. Verily, to make one’s royal procession up Bourke street on the back of one of these reines de la rue, shaking her bells at the milling mallers who make deferential way for her, is really to get a recherché experience of one of the world’s great thoroughfares.
I’m not quite sure what it is about trains and stations that has always attracted me to them, except that, as Sig. De Chirico seemed to apprehend in paintings such as Gare Montparnasse (1914), both the station and the train are places of dream.
Like Cole Porter, I get no kick in a plane. Flying too high with some guy in the sky is my idea of nothing to do. But lay me down in the gently rocking berceau of a roomette and let me nurse my dreams on that flux of images flying by the window, towns known and unknown, and I will feel myself swaddled in a womb of contentment.
Soon my month-long sojourn in Wagga Wagga ends and I reboard the train, bound for the destinations which are the purpose of my three-month voyage in NSW—Coffs Harbour and Bellingen.
Of course, the destination is a woman. Or women, as the case may be.
I’ve been nursing the dream of seeing Bello again since our second, soul-destroying lockdown in Melbourne last year. In the four months I was under house arrest in a West Melbourne hotel room, my restless esprit ennuyeux de flâneur confined to perambulations through dreams and memories inspired by old photographs and footage taken, as in the video above, during other voyages, writing the second draft of my current work in progress, set in Bellingen, Brisbane, and the Gold Coast, was one of the few things that kept me sane.
To get on a train and get out of Stasiland and into NSW as soon as the border betwixt them opened up again became an obsession with me.
When our ‘Dear Leader’, Mr. Andrews, deigned to release us last November, dangling a tentative morsel of liberty before us (albeit one bounded by a radius of 25 kilometres), my experience of coming out of deep freeze was the inverse of what my Melburnian confrères had complained of all through lockdown: I had lived tensely on my nerve endings for so many months that I felt a sudden crash in energy and an onset of depression at being abbreviatedly free, whereas most of my fellow Melburnians had had their dose of depression in the prison of their homes.
Almost the first thing I did as soon as I was out of the cage was to re-open lines of communication with a woman, the thought of whom, like Dulcinea, had been one of those few things which kept my windmill-wizened brain sane when it seemed eminently possible that the Victorian Government and Victoria Police would go full Stasi on us.
And, as you can imagine with these undependable dames, even a polite inquiry into one’s health was met with radio silence.
That, and freedom, and the American election all coinciding at once seemed to soak my vibe of every adrenal ounce I had needed to endure four months of lockdown in a state which had descended with frightening rapidity towards totalitarianism.
And it was in that state of physical and emotional exhaustion that I made the video above and penned the attendant prose poem.
Trawling through my footage, I seemed to find in the abandoned Trentham train station an image of my soul at that desolate moment. Trentham’s a little town, about halfway between Woodend and Daylesford, which reminded me a great deal of Bellingen when I had stayed there about two years before. As refugees from Newtown in Sydney ‘tree change’ to Bellingen, imagining a verdant, paradisal embassy of inner-city liberalism in the country, so Fitzrovians fleeing Melbourne are steadily driving the property prices in Trentham up above a million dollars.
I’m told you can follow the old railway ties, half-buried in the verdure, from the station to quite a good pub in the next town, but that was a flânerie too energetic for yours truly, being more in the way of a ‘hike’, and my Italian-shod soul demands a nature denuded by copious asphalt and good paving to support it. I probably walked no further towards the slaking refreshment of that mythical pub than where you find my camera set up in the first two shots of the video.
But in the image of an abandoned country railway station at dusk, and in the ghostly sound of a spectral steam train puffing along a ruined route down which no train could nowadays pass, I saw an image of myself, shagged and fagged and fashed on the threshold of middle age, my days as a ladies’ man now well behind me down that ruined pike, having decided that there was one woman left for me in the world to conquer or none at all, one whose tardy silence to my text seemed to leave me, like my camera in the video, lingering restlessly for a train that had been infinitely delayed—and maybe even derailed long before I had arrived at the terminus of this moment of realization that there was but one woman in the world I would deign to travel to the end of the line with.
That sense of the mood—and often the melancholy mood—of empty places which I have elsewhere called ‘the Spleen of Melbourne’, a dark, ponderous sadness about the unpeopled spaces of the city, the unfathomable, heart-breaking mystery of the real and manifest and visible which I and my cameras seem very sensitive to, was potent for me then.
I did eventually hear from the lady in question, and her perky obliquities were worse than if she had left me mired in my tristes mystères of unknowing and Jamesian speculation upon the multiple potential motives of her silence.
And I admit that, since November of last year, I haven’t been quite myself, and I certainly haven’t been at my best. I haven’t entirely recovered from that triple blow of sudden decompression from lockdown, a conversation unresolved and infinitely deferred, and the latest (as it then was) apocalyptic twist to the devolving screw of Western civilization which an American election in the time of Coronavirus represented.
Mostly since then I’ve just tried to beat back my spleen, tamp it down by blows and kicks and cudgels until such time as I could get on that train and find out for myself what goes on with this dame.
Now the train of months has just about drawn up to the platform, and I’m about to find out if this whole trip to NSW, assiduously planned, was worth the price of knowing the truth, or whether I would have been happier trying to decipher unhappy mysteries from the distance of another state.
The train and the station seem quite significant symbols for me in my writing, as in my life. My latest work in progress, a memoir of seduction, is about an occasion when I took the XPT from Bello (or Urunga, to be more precise) to Brisbane, partly to catch the last few days of David Lynch’s exhibition at GoMA, Between Two Worlds, and partly to slay myself in the kind of unfettered Daygame you can’t do but covertly in a small town.
I was all set to get on the train at around 11:00 that night when, an hour or two before I was due at the station, I had the romantic encounter, right there in Bello, I was going to Brisbane for.
I almost missed my train: the lady in question was showing me such a good time I almost blew off a whole trip to Brisbane just to finish what I had started with her. I didn’t sleep that night—and not because it’s damn difficult to do blanket duty on the overnight XPT: I nursed the memory of her kisses as the train rocked and rolled me to Briz Vegas, tried not to let their reality dissolve into dreams until such time as I would be able to write this totally unexpected victory down verbatim in my journal.
I’m now 93% through the second draft of that book, and last week I had a chance to get down to the commencement of the finale, my second round with the redhead, when I was back in Bello, finishing off the pleasure I had deferred for the love of art.
Possibly it makes a difference to be on this side of the border, to be this much closer to the place, both in space and time, for there was a moment, in rewriting the scene, when the sensual reality of the experience—not just her hand in my lap and mine under her dress, but the little park before the library with its globes of yellow light giving it a Parisian air, and the delicious freddezza of Bello in June, made more delicious still when you have the warmth of a woman in your arms—produced the same sensual frisson in me as I felt that night so many years ago.
I could see the place and hear it again. I could feel the chill, valley night which I’ll know again, after so many years’ distance, in another week or two. Having taken me away from a place where the spectres of myself in scenes of dead love with various women are still vivid in my memory, the train will take me back there.
If I were to connect the psychological network map of my amours morts, I think I would discover that women and trains and stations all seem unconsciously connected to me, and that, indeed, I can plot the points of some of the stations of my experience as equally the terminuses of my affairs with several women.
There was the French girl, never to be forgotten, and never, I fear, to be sufficiently honoured in the pearl-like words of peerless prose her soul deserves, whom I kissed goodbye with the heart-breaking knowledge that I would never see her again in this life at the turnstile to the Métro in Belleville.
A few hours hence, I would be getting on the Eurostar to London, and thence, by tube, to Heathrow, carrying the sacred chalice of her kiss across continents and time zones as I wrote the memory of her down in my journal.
The last girl who was of any significance to me before I gave up Daygame, I also saw off on the Metro—at Eltham Station in Melbourne. A Dutch girl of Persian descent, I still see her pretty, dark face framed with ringlets becoming as small as a postage stamp through the pane of the door as it flies away from me, back to Holland.
And as for the object of my fact-finding mission north of the border, the last time I saw her was when we were on a train together in Brisbane, far removed from the climes in which we had known each other in Coffs.
I remember writing to her in a belated birthday card about a year after that last rendez-vous that, when I had gotten off the train at Roma Street, I had not looked back at her—had not been able to look back at her—because I was looking forward to the next time I would see her.
After a lot of near misses in the intervening years, the moment I have been looking forward to may be imminent. The tragedy would be to discover that that last moment of loving vision I sacrificed for this next moment, and which I have looked forward to with anticipation, was really the end of our relation; that I missed my connection with her; and that, for years, I have been wandering around the tomb of Roma Street, not even realizing that I am in the terminus of love.
If you enjoyed the video and the prose poem, you can download the soundtrack from my artist profile on Bandcamp.