NEITHER HERE NOR THERE

Bill Bryson, Neither Here Nor There: Travels in Europe, Minerva, London, 1992.

Bill Bryson

Hammerfest

The additional notes on the front cover in block letters, in text sized between that of the name of the author in large script, and the title of the book in smaller, colourful block letters, read Author of The Lost Continent (in upper and lower case), and ‘IT’S VERY, VERY FUNNY’ SUNDAY TIMES (all upper case). It is as though this book was being promoted on the basis of a previous success, with the hype that it is, at least, a good laugh if nothing else.#

Hammerfest

Gothenburg

The cover presented a set of mixed messages: that this is a pretty ordinary book produced to profit from the popularity of an earlier work; that the author’s name is the most important reference; with the suggestion of a potboiler making the subject appear almost irrelevant – literally ‘neither here nor there;’ but, in spite of this, it is extremely funny: buy the book and enjoy a good laugh. Like most hype, the scale of things humorous was much less than ‘very, very,’ but the muddled messages did prove to have a certain deliberateness in the rather contrived subject with its hopscotch approach that struggled to structure any relevance: it was truly ‘nowhere; anywhere; everywhere.’ The singular concern of the intent of this writing seemed to be driven as a response to a demand for a follow-up book to cash in on the author’s previous success: those who liked the first book were sure to purchase this one, especially if it was 'very, very funny.'

Lichtenstein

The book, published by Minerva, London, 1992, is typical Bryson. It is a cheery book that does have one laughing aloud from time to time with its shrewd, descriptive analogies. One could sum the publication up as ‘walks in cities.’ Bryson repeatedly describes his arrivals, his search for accommodation, his hunt for meals, his quick impressions of the place, and the local beer, in an easy to read, chatty style. He must travel using guides, because he has interspersed his casual observations with various facts seemingly gleaned from these publications, e.g. the size of the cathedral, the length of the street, the number of people, etc., as if this information might be more meaningful than the silly language phrases that Bryson points out are useless, developing the theme for more humour, even though it might not be LOL - laugh out loud, as ex-British PM David Cameron once explained in an effort to overcome any perceived 'relationship' issues.

Lichtenstein

Copenhagen

Generally the arrival is stimulating, but Bryson seems to get bored quickly. He usually spends only a few days in each place, so this is not an ‘in depth’ reporting of cities or city life: we are given snippets of various occasions. Perhaps this is why the emphasis on the cover is on it being ‘funny,’ with ‘TRAVELS IN EUROPE’ using the smallest text - ‘neither here nor there,’ suggesting that it doesn’t really matter. The descriptions of Bryson’s adventures are interspersed with tales of his travels as a younger man, seemingly to add another layer of story-telling and some structure to an aimless itinerary. Sometimes one sees the book as a retracing of steps; perhaps the older Bryson seeking his younger self? - but there is nothing certain about this aspect either. The text is really a happy shambles of Bryson’s irrelevant ramblings: “I think I’ll go to Rome now.”

Copenhagen

Rome

The book records ordinary, everyday experience in a straightforward, one could say simple, but ‘honest’ way. Bryson is a good observer of life. His writing carries the same chirpiness that he presents as a person. He is a typical tourist, never wanting to assimilate by learning languages, just wanting to sense the place, to see it through his eyes; to observe it and move on, hoping things will only get better. He loves the challenge of being like a child again, in an unknown place, with unknown people, language, food, habits, etc. - to discover unknowns and try to cope with them, not in any transformative manner, but just as a passer-by being entertained, with thoughts only about a different future elsewhere.

Rome

Paris

The text is repetitive: Bryson enters his discovered ‘expensive’ room, throws down the backpack, showers, changes, then goes for a walk to get the feel for the place, sometimes to see if it matches his memory. Then he hunts for a meal, and finds an ‘expensive’ place with menus he cannot read. He is always scared of ordering obscure foods that he cannot eat. It is here that Bryson becomes ‘funny’ with suggested meals. He plays a similar game with the soundings of language, cleverly drawing parallels and establishing new contexts for everyday speech. There is a strange and unhappy sense of intolerance in the work that is buried by the recognition of the cleverness of the author.

Paris

Yorkshire Dales: dreaming of home.

Just like a typical tourist, Bryson returns to the hotel tired and/or full of beer, waking up the next morning to have several reviving coffees. When feeling well again he is either rushing off to a bus, or wondering what to do. The cathedral is usually the first place visited, followed by a stroll along some streets and lanes; then a visit to a museum or two. As every tourist discovers, museums can be enjoyed only for so long. After a few hours, Bryson is off for a drink, often spending most of his few days just sitting around watching people in a bar, a square, or a park. If not so engaged, he is in a line waiting somewhere for officialdom to sort out a problem, be this a travel, pickpocketing, or banking matter.

Malham, Yorkshire

Capri

In amongst the observations, Bryson makes comments on architecture and urban design. He is frustrated with cities that lack character and have given no thought for people, just as much as he gets cross with indulgent architectural displays that ignore function. He does write about his experience of cathedrals, and records other places as very desirable - the cliché Capri is one such location.

Capri

The book is a strange amalgam; Bryson records that he is no genius, but, in amongst the jaunty pieces he does sneak in some serious observations. In spite of this, the book is primarily seen as ‘funny.’ It is about the experience of the everyday. Bryson is a skilled observer of place and people, and enjoys the fun and games of context and meaning which lies at the heart of humour. This is not an ‘I did this and this’ book. It is about life, living, place, and people. It is this that makes what appears to be a pretty ordinary book an enjoyable read.

Aachen Cathedral

Aachen Cathedral

Istanbul

One misses illustrations of the places mentioned, but Google Images solves this problem. Aachen Cathedral, recorded as a rich experience, needs to be seen just as the images of other buildings and places described have to be illustrated in order to locate the words, give them some tangible anchor in understanding. Without this, the text remains just a collection of ad hock ‘funny,' forgettable pieces. Life is more than just being ‘funny,’ although humour is an essential part of happily being there. Bryson knows this. His writings are a jovial amusement, seemingly fanciful, while touching lightly on the depth of things ordinary, things lived, with a gentle awareness.

Istanbul

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NOTE

The book has been presented with many different covers: