Nine years before Humboldt set out, in the spring of 1790, a twenty-seven-year-old Frenchman named Xavier de Maistre had undertaken a journey around his bedroom, an account of which he would later entitle Journey around My Bedroom. Gratified by his experiences, de Maistre in 1798 embarked upon a second journey. This time he travelled by night and ventured out as far as the window ledge; the literary result would be titled Nocturnal Expedition around My Bedroom.
Two approaches to travel: Journey to the Equinoctial Regions of the New Continent; Journey around my Bedroom. The first required ten mules, thirty pieces of luggage, four interpreters, a chronometer, a sextant, two telescopes, a Borda theodolite, a barometer, a compass, a hygrometer, letters of introduction from the king of Spain and a gun; the latter, a pair of pink-and-blue cotton pyjamas.
Xavier de Maistre was born in 1763, in the picturesque town of Chambéry at the foot of the French Alps. He was of an intense, romantic nature and was fond of books, especially by Montaigne, Pascal and Rousseau, and of paintings, above all Dutch and French domestic scenes. At the age of twenty-three, de Maistre became fascinated by aeronautics. Etienne Montgolfier had, three years before, achieved international renown by constructing a balloon that flew for eight minutes above the royal palace at Versailles, bearing as passengers a sheep named Montauciel (‘Climb-to-the-sky'), a duck and a rooster. De Maistre and a friend fashioned a pair of giant wings out of paper and wire and planned to fly to America. They did not succeed. Two years later de Maistre secured himself a place in a hot-air balloon and spent a few moments floating above Chambéry before the machine crashed into a pine forest.
Then, in 1790, while he was living in a modest room at the top of an apartment building in Turin, de Maistre pioneered a mode of travel that was to make his name: room travel.
Introducing Journey around My Bedroom, Xavier's brother, the political theorist Joseph de Maistre, emphasised that it was not Xavier's intention to cast aspersions on the heroic deeds of the great travellers of the past—namely, ‘Magellan, Drake, Anson and Cook'. Magellan had discovered a western route to the Spice Islands around the southern tip of South America, Drake had circumnavigated the globe, Anson had produced accurate sea charts of the Philippines and Cook had confirmed the existence of a southern continent. ‘They were no doubt remarkable men,' wrote Joseph. It was just that his brother had discovered a way of travelling that might be infinitely more practical for those neither as brave nor as wealthy as those explorers.
‘Millions of people who, until now, have never dared to travel, others who have not been able to travel and still more who have not even thought of travelling will be able to follow my example,' explained Xavier as he prepared for his journey ‘The most indolent beings will no longer have any reason to hesitate before setting off to find pleasures that will cost them neither money nor effort.' He particularly recommended room travel to the poor and to those afraid of storms, robbers and high cliffs.
4.
Unfortunately de Maistre's own pioneering journey rather like his flying machine, did not get very far.
The story begins well: de Maistre locks his door and changes into his pink-and-blue pyjamas. With no need of luggage, he travels to the sofa, the largest piece of furniture in the room. His journey having shaken him from his usual lethargy, he looks at it through fresh eyes and rediscovers some of its qualities. He admires the elegance of its feet and remembers the pleasant hours he has spent cradled in its cushions, dreaming of love and advancement in his career. From his sofa, de Maistre spies his bed. Once again, from a traveller's vantage point, he learns to appreciate this complex piece of furniture. He feels grateful for the nights he has spent in it and takes pride in the fact that his sheets almost match his pyjamas. ‘I advise any man who can do so to get himself pink and white bedlinen,' he writes, for these are colours to induce calm and pleasant reveries in the fragile sleeper.
But thereafter de Maistre may be accused of losing sight of the overall purpose of his endeavour. He becomes mired in long and wearing digressions about his dog, Rosinne, his sweetheart, Jenny, and his faithful servant, Joannetti. Prospective travellers in search of specific guidance on room travel risk coming away from reading Journey around My Bedroom feeling a little betrayed.
And yet de Maistre's work sprang from a profound and suggestive insight: the notion that the pleasure we derive from a journey may be dependent more on the mind-set we travel with than on the destination we travel to. If only we could apply a travelling mind-set to our own locales, we might find these places becoming no less interesting than, say, the high mountain passes and butterfly-filled jungles of Humboldt's South America.
What, then, is a travelling mind-set? Receptivity might be said to be its chief characteristic. Receptive, we approach new places with humility. We carry with us no rigid ideas about what is or is not interesting. We irritate locals because we stand in traffic islands and narrow streets and admire what they take to be unremarkable small details. We risk getting run over because we are intrigued by the roof of a government building or an inscription on a wall. We find a supermarket or a hairdresser's shop unusually fascinating. We dwell at length on the layout of a menu or the clothes of the presenters on the evening news. We are alive to the layers of history beneath the present and take notes and photographs.
Home, by contrast, finds us more settled in our expectations. We feel assured that we have discovered everything interesting about our neighbourhood, primarily by virtue of our having lived there a long time. It seems inconceivable that there could be anything new to find in a place where we have been living for a decade or more. We have become habituated and therefore blind to it.
De Maistre tried to shake us from our passivity. In his second volume of room travel, Nocturnal Expedition around My Bedroom, he went to his window and looked up at the night sky. Its beauty made him feel frustrated that such ordinary scenes were not more generally appreciated: ‘How few people are right now taking delight in this sublime spectacle that the sky lays on uselessly for dozing humanity! What would it cost those who are out for a walk or crowding out of the theatre to look up for a moment and admire the brilliant constellations that gleam above their heads?' The reason people were not looking was that they had never done so before. They had fallen into the habit of considering their universe to be boring—and their universe had duly fallen into line with their expectations.
5.
I attempted to travel around my bedroom, but it was so small, with barely enough space for a bed, that I concluded that the de Maistrian message might prove more rewarding if it was applied to the neighbourhood as a whole.
So on a clear March day at around three in the afternoon, several weeks after my return home from Barbados, I set out on a de Mais-trian journey around Hammersmith. It felt peculiar to be outside in the middle of the day with no particular destination in mind. A woman and two small blond children were walking along the main road, which was lined with a variety of shops and restaurants. A double-decker bus had stopped to pick up passengers opposite a park. A giant billboard was advertising gravy. I walked along this road almost every day to reach my Underground station and was
The author's bedroom
unused to regarding it as anything other than a means to my end. Information that assisted me in my goal attracted my attention; all else was judged irrelevant. Thus, while I was sensitive to the number of people on the pavement, as potential impediments to my path, their faces and expressions were invisible to me—as invisible as the shapes of the buildings or the activity in the shops.
It had not always been thus. When I first moved to the area, my attention was less jealously focused. I had at that time not yet settled so firmly on the goal of reaching the Underground quickly.
On entering a new space, our sensitivity is directed towards a number of elements, which we gradually reduce in line with the function we find for the space. Of the four thousand things there might be to see and reflect on in a street, we end up being ac
tively aware of only a few: the number of humans in our path, perhaps, the amount of traffic and the likelihood of rain. A bus that we might at first have viewed aesthetically or mechanically—or even used as a springboard to thoughts about communities within cities—becomes simply a box to move us as rapidly as possible across an area that might as well not exist, so unconnected is it to our primary goal, outside of which all is darkness, all is invisible.
I had imposed a grid of interests on the street, one that left no space for blond children and gravy adverts and paving stones and the colours of shop fronts and the expressions of businesspeople and pensioners. The power of my primary goal had drained me of the will to reflect on the layout of the park or the unusual mixture of Georgian, Victorian and Edwardian architecture along a single block. My walks along the street had been excised of any attentive-ness to beauty, any associative thoughts, any sense of wonder or gratitude, any philosophical digressions sparked by visual elements. In their place, there was simply an insistent call to reach the Underground posthaste.
Now, following de Maistre, I tried to reverse the process of habituation, to dissociate my surroundings from the uses I had previously found for them. I forced myself to obey a strange sort of mental command: I was to look around me as though I had never been in this place before. And slowly, my travels began to bear fruit.
Once I began to consider everything as being of potential interest, objects released latent layers of value. A row of shops that I had always known as one large, undifferentiated, reddish block acquired an architectural identity. There were Georgian pillars around one flower shop, and late-Victorian Gothic-style gargoyles on top of the butcher's. A restaurant became filled with diners rather than shapes. In a glass-fronted office block, people were gesticulating in a boardroom on the first floor as someone drew a pie chart on an overhead projector. Just across the road from the office, a man was pouring out new slabs of concrete for the pavement and carefully shaping their edges. I boarded a bus and, instead of slipping at once into private concerns, tried to connect imaginatively with other passengers. I could hear a conversation in the row ahead of me. Someone in an office somewhere—a person quite high up in the hierarchy, apparently—didn't understand: he complained about how inefficient others were but never reflected on what he himself might be doing to contribute to that inefficiency. I thought of the multiplicity of lives going on at the same time at different levels in a city. I thought of the similarities of complaints—always selfishness, always blindness—and the old psychological truth that what we complain of in others, others will complain of in us.
The neighbourhood did not just acquire people and defined buildings through my reawakened attention; it also began to collect ideas. I reflected on the new wealth that was spreading into the area. I tried to think why I liked railway arches so much, and why the motorway that cut across the skyline.
It seemed an advantage to be travelling alone. Our responses to the world are crucially moulded by the company we keep, for we temper our curiosity to fit in with the expectations of others. They may have particular visions of who we are and hence may subtly prevent certain sides of us from emerging: ‘I hadn't thought of you as someone who was interested in flyovers,' they may intimidatingly suggest. Being closely observed by a companion can also inhibit our observation of others; then, too, we may become caught up in adjusting ourselves to the companion's questions and remarks, or feel the need to make ourselves seem more normal than is good for our curiosity. But alone in Hammersmith in the middle of a March afternoon, I had no such concerns. I had the freedom to act a little weirdly. I sketched the window of a hardware shop and word-painted the flyover.
6.
De Maistre was not only a room traveller. He was also a great traveller in the classic sense. He journeyed to Italy and Russia, spent a winter with the royalist armies in the Alps and fought a Russian campaign in the Caucasus.
In an autobiographical note written in 1801 in South America, Alexander von Humboldt specified his motive for travelling: ‘I was spurred on by an uncertain longing to be transported from a boring daily life to a marvellous world.' It was this very dichotomy, ‘boring daily life' pitted against ‘marvellous world', that de Maistre had tried to redraw with greater subtlety. He would not have suggested to Humboldt that South America was dull; he merely would have urged him to consider that his native Berlin might have something to offer, too.
Eight decades later, Nietzsche, who had read and admired de Maistre (and spent much time in his own room), picked up on the thought:
When we observe how some people know how to manage their experiences—their insignificant, everyday experiences—so that they become an arable soil that bears fruit three times a year, while others—and how many there are!—are driven through surging waves of destiny, the most multifarious currents of the times and the nations, and yet always remain on top, bobbing like a cork, then we are in the end tempted to divide mankind into a minority (a minimality) of those who know how to make much of little, and a majority of those who know how to make little of much.
There are some who have crossed deserts, floated on ice caps and cut their way through jungles but whose souls we would search in vain for evidence of what they have witnessed. Dressed in pink-and-blue pyjamas, satisfied within the confines of his own bedroom, Xavier de Maistre was gently nudging us to try, before taking off for distant hemispheres, to notice what we have already seen.
Acknowledgements
Thanks to Simon Prosser, Michele Hutchison, Caroline Dawnay, Miriam Gross, Noga Arikha, Nicole Aragi, Dan Frank and Oliver Klimpel.
Picture Acknowledgements
pp. 3, 237 Hammersmith Broadway from London A-Z Street Atlas (Reproduced by permission of Geographers' A-Z Map Co. Ltd. Licence No. B1299. This product includes mapping data licensed from Ordnance Survey®. © Crown Copyright 2001. Licence number 100017302)
pp. 3, 209 A Barbados beach (© Bob Krist/CORBIS)
p. 3 Portrait of Joris-Karl Huysmans (detail), photograph by Dornac (fl. 1890-1900) (Archives Larousse, Paris/Bridgeman Art Library)
p. 6 Tahiti Revisited, 1776, oil on canvas, by William Hodges (© National Maritime Museum, London)
p. 16 View of Alkmaar, c. 1670-75, oil on canvas, 44.4 X 43.4 cm, by Jacob Isaacksz van Ruisdael, Dutch (1628/9-82) (Ernest Wadsworth Longfellow Fund, 39.794. Courtesy Museum of Fine Arts, Boston. Reproduced with permission. © 2000. Museum of Fine Arts, Boston. All Rights Reserved)
p. 27 Charles Baudelaire, c. 1860, photograph (© Hulton-Deutsch Collection/CORBIS)
p. 27 Edward Hopper, c. 1940, photograph by Oscar White (© Oscar White/CORBIS)
p. 50 Automat, 1927, oil on canvas, by Edward Hopper (© Francis G. Mayer/CORBIS)
p. 53 Gas, 1940, oil on canvas, 66.7 X 102.2 cm, by Edward Hopper (The Museum of Modern Art, New York. Mrs Simon Guggenheim Fund. Photograph © 2001 The Museum of Modern Art, New York)
p. 55 Compartment C, Car 293, 1938, oil on canvas, by Edward Hopper (© Geoffrey Clements/CORBIS)
p. 60 Hotel Room, 1931, oil on canvas, by Edward Hopper (© Museo Thyssen-Bornemisza, Madrid)
p. 65 Gustave Flaubert, photograph (© Bettmann/CORBIS)
p. 71 Doors and Bay- Windows in an Arab House (detail), 1832, watercolour and pencil drawing, by Eugene Delacroix (Departement des arts graphiques, Louvre/Photo: © RMN —Gerard Blot)
p. 82 Bazaar of the Silk Mercers, Cairo, lithograph by Louis Haghe after a drawing by David Roberts, from Egypt and Nubia, published by F. G. Moon, 1849, London (By permission of the British Library)
p. 84 Private Houses in Cairo, engraving from Edward William Lane's An Account of the Manners and Customs of the Modern Egyptians, 1842, London
p. 89 Women of Algiers in Their Apartment, 1834, oil on canvas, by Eugene Delacroix (Louvre, Paris/Photo: © RMN—Arnaudet; J. Schormans)
p. 93 Gustave Flaubert in Cairo, 1850, photograph by Maxime Du Camp (Photo: © RMN—B. Hatala)
p. 99, 104 Alexander von Humboldt and Aimé
Bonpland in Venezuela, c. 1850, oil on canvas, by Eduard Ender (1822-83) (Brandenburgische Akademie der Wissenschaften, Berlin/AKG London)
p. 113 Esmeralda, on the Orinoco, from Views in the Interior of Guiana, engraved by Paul Gauci (fl. 1834-67), lithograph after a drawing by Charles Bentley (1806-54) (Stapleton Collection/Bridgeman Art Library)
p. 115 Alexander von Humboldt and Aimé Bonpland at the Foot of Chimborazo, 1810, oil on canvas, by Friedrich Georg Weitsch (Staatliche Schlösser und Gärten/A KG London)
p. 118 Geographie des Plantes Equinoxiales, from Tableau physique des Andes et Pays voisins, 1799-1803, by Alexander von Humboldt and Aimé Bonpland (© Royal Geographical Society)
p. 127 William Wordsivorth (detail), 1842, oil on canvas, by Benjamin Robert Haydon (By courtesy of the National Portrait Gallery, London)
p. 140 The River Wye at Tintern Abbey, 1805, oil on canvas, by Philip James de Loutherbourg (1740-1812) (Fitzwilliam Museum, University of Cambridge Bridgeman Art Library)
p. 149 Kindred Spirits, 1849, oil on canvas, by Asher Brown Durand (Collections of the New York Public Library, Astor, Lenox and Tilden Foundations)
p. 155 Map of Egypt (detail), from Arthur Penrhyn Stanley's Sinai and Palestine, published by John Murray, 1859, London
p. 155 Edmund Burke (detail), 1771, oil on canvas, by Sir Joshua Reynolds (By courtesy of the National Portrait Gallery, London)
p. 155 Job (detail), oil on canvas, by Leon Joseph Florentin Bonnat (1833-1922) (Musée Bonnat, Bayonne/Lauros/Bridgeman Art Library)
p. 158 Rocky Mountains, Landers Peak, 1863, oil on linen, by Albert Bierstadt (Courtesy of the Fogg Art Museum, Harvard University Art Museum, Mrs William Hayes Fogg. Photographic Services © 2001 President and Fellows of Harvard College)
The Art of Travel Page 15
