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We long for a sense of belonging that village life offers We long for a sense of belonging that village life offers
(6 months later)
For all that it longs to act as a bracing corrective to ITV's ludicrous Downton Abbey, the BBC's hyped new drama The Village isn't without its share of historical falsehoods. Its characters – we're in 1914 as it begins – talk of women's suffrage and the coming war in a way that you feel real people probably never did (a kind of polarised ping pong over the dinner table), and it seems unlikely that an upper-class young woman would ever have had spur-of-the-moment sex in the bracken with the servant whose job it was to draw her bath.For all that it longs to act as a bracing corrective to ITV's ludicrous Downton Abbey, the BBC's hyped new drama The Village isn't without its share of historical falsehoods. Its characters – we're in 1914 as it begins – talk of women's suffrage and the coming war in a way that you feel real people probably never did (a kind of polarised ping pong over the dinner table), and it seems unlikely that an upper-class young woman would ever have had spur-of-the-moment sex in the bracken with the servant whose job it was to draw her bath.
Nevertheless, as you will find should you watch the first part tonight, it's impossible not to admire the ambition of this show. Peter Moffat, its writer, wants nothing less than to tell the story of the 20th century through the lives of the inhabitants of one tiny Peak District village; the plan is that, future commissioning editors allowing, The Village will eventually comprise some 42 hours of television.Nevertheless, as you will find should you watch the first part tonight, it's impossible not to admire the ambition of this show. Peter Moffat, its writer, wants nothing less than to tell the story of the 20th century through the lives of the inhabitants of one tiny Peak District village; the plan is that, future commissioning editors allowing, The Village will eventually comprise some 42 hours of television.
He has, he says, written an "ordinary epic", a narrative that is determined to be interested in life as it is lived. Given the way that television works these days, this is brave-bordering-on-foolhardy. Hillside intercourse apart, such quotidian rhythms are going to require more than a little patience on the part of the audience.He has, he says, written an "ordinary epic", a narrative that is determined to be interested in life as it is lived. Given the way that television works these days, this is brave-bordering-on-foolhardy. Hillside intercourse apart, such quotidian rhythms are going to require more than a little patience on the part of the audience.
Moffat's bosses at the BBC, of course, will be betting on viewers swooning contentedly at the sight of clouds scudding over Edale and Hayfield, the Derbyshire villages where it is filmed, even if they aren't absolutely gripped by its plot. And not without reason. Our love of the idea of the village, if not the reality, shows no sign of letting up. We cleave to it through thick and thin, for all that most of us live in cities and suburbs; for all that so many villages now have only half-lives, thanks to second-home owners and post office closures.Moffat's bosses at the BBC, of course, will be betting on viewers swooning contentedly at the sight of clouds scudding over Edale and Hayfield, the Derbyshire villages where it is filmed, even if they aren't absolutely gripped by its plot. And not without reason. Our love of the idea of the village, if not the reality, shows no sign of letting up. We cleave to it through thick and thin, for all that most of us live in cities and suburbs; for all that so many villages now have only half-lives, thanks to second-home owners and post office closures.
Last week, much of the news was frantically metropolitan: Boris Johnson in Islington, David Miliband in Primrose Hill, Pippa Middleton and her sushi notionally at the offices of Waitrose Kitchen magazine in Ladbroke Grove. All the same, we also learned both the best place (supposedly) for rural living in England (the villages of the borough of Waverley in Surrey, according to the Halifax), and that the long-standing editor of The Archers, Vanessa Whitburn, has decided to move on – and I bet you a million pounds that it was these stories that were the more resonant for most people. Boris Johnson is endlessly entertaining but he is not, by any stretch of the imagination, a balm for the soul.Last week, much of the news was frantically metropolitan: Boris Johnson in Islington, David Miliband in Primrose Hill, Pippa Middleton and her sushi notionally at the offices of Waitrose Kitchen magazine in Ladbroke Grove. All the same, we also learned both the best place (supposedly) for rural living in England (the villages of the borough of Waverley in Surrey, according to the Halifax), and that the long-standing editor of The Archers, Vanessa Whitburn, has decided to move on – and I bet you a million pounds that it was these stories that were the more resonant for most people. Boris Johnson is endlessly entertaining but he is not, by any stretch of the imagination, a balm for the soul.
Novelists and dramatists tend to talk of villages as microcosms; the universal emotions are all there, but helpfully boundaried and with some pretty scenery to boot. Property writers, on the other hand, purr seductively over quality of life: villages are safe, and near good schools, and the air is clean.Novelists and dramatists tend to talk of villages as microcosms; the universal emotions are all there, but helpfully boundaried and with some pretty scenery to boot. Property writers, on the other hand, purr seductively over quality of life: villages are safe, and near good schools, and the air is clean.
Of course I understand both of these arguments. I like Barbara Pym and the thought of being able to leave my back door open as much as the next woman. But neither one of them truly explains the enduring fascination of villages for the kind of people who would feel buried alive if they actually had to live in one. I'm the sort of a person, literally and metaphorically, who needs to know that I can buy a paper and a pint of milk at any time of day or night. So why is it that when I'm anxious about work and life, I lie on my bed and picture myself walking across the green of a small village in County Durham? What is it that my heart is seeking as I turn myself into a human version of Google Earth?Of course I understand both of these arguments. I like Barbara Pym and the thought of being able to leave my back door open as much as the next woman. But neither one of them truly explains the enduring fascination of villages for the kind of people who would feel buried alive if they actually had to live in one. I'm the sort of a person, literally and metaphorically, who needs to know that I can buy a paper and a pint of milk at any time of day or night. So why is it that when I'm anxious about work and life, I lie on my bed and picture myself walking across the green of a small village in County Durham? What is it that my heart is seeking as I turn myself into a human version of Google Earth?
My own hunch is that this longing is to do with sense of place, a connectedness that is increasingly elusive in our cities, which all look alike, and whose inhabitants come from everywhere and nowhere.My own hunch is that this longing is to do with sense of place, a connectedness that is increasingly elusive in our cities, which all look alike, and whose inhabitants come from everywhere and nowhere.
Peter Moffat has strained his every sinew not to gild his fictional village with what he has called a "Ready Brek glow": crops fail, families go hungry, and a scrap of tripe in milk is thought a feast fit for a king. It's no bucolic idyll. But even so, the romantic in him won't, or can't, dispense with the idea of the bond between his characters and their land.Peter Moffat has strained his every sinew not to gild his fictional village with what he has called a "Ready Brek glow": crops fail, families go hungry, and a scrap of tripe in milk is thought a feast fit for a king. It's no bucolic idyll. But even so, the romantic in him won't, or can't, dispense with the idea of the bond between his characters and their land.
In the first episode, John Middleton (John Simm), a struggling farmer, forces his small son Joe – a boy unwilling to work in the fields – to stare at the flag floor of the family kitchen and consider its ancient dips. By the door and the hearth, it curves steeply, worn down by the feet of many generations. Beneath the dining table, however, there is no slope, for this piece of furniture is never moved, and meals are eaten quickly, being only fuel. I didn't believe John's speech as a piece of realism but I felt its power as poetry.In the first episode, John Middleton (John Simm), a struggling farmer, forces his small son Joe – a boy unwilling to work in the fields – to stare at the flag floor of the family kitchen and consider its ancient dips. By the door and the hearth, it curves steeply, worn down by the feet of many generations. Beneath the dining table, however, there is no slope, for this piece of furniture is never moved, and meals are eaten quickly, being only fuel. I didn't believe John's speech as a piece of realism but I felt its power as poetry.
We city dwellers, for all that we might cherish the sound of police sirens and hard-braking buses, are just so much flotsam and jetsam. London, the city where I have lived for 20 years, has swallowed me up. But being invisible isn't the same as belonging.We city dwellers, for all that we might cherish the sound of police sirens and hard-braking buses, are just so much flotsam and jetsam. London, the city where I have lived for 20 years, has swallowed me up. But being invisible isn't the same as belonging.
Do politicians watch any television apart from the odd box set of The West Wing and Borgen? My strong guess, having interviewed dozens of the breed, is that they don't. But we must hope that a few do at least try The Village, a series that is political in the very broadest sense of the word. Our politicians need to get back in touch with the emotional ties between town and country as a matter of some urgency.Do politicians watch any television apart from the odd box set of The West Wing and Borgen? My strong guess, having interviewed dozens of the breed, is that they don't. But we must hope that a few do at least try The Village, a series that is political in the very broadest sense of the word. Our politicians need to get back in touch with the emotional ties between town and country as a matter of some urgency.
For far too long, they have divided people into "urban" and "rural" and, having counted the relevant heads, made policy decisions based on the conviction that city types, who comprise the bigger, louder group, simply don't care what happens in the countryside (we see this most recently in this government's disastrously haphazard and wilfully ignorant new planning regime, which favours greenfield development over brownfield).For far too long, they have divided people into "urban" and "rural" and, having counted the relevant heads, made policy decisions based on the conviction that city types, who comprise the bigger, louder group, simply don't care what happens in the countryside (we see this most recently in this government's disastrously haphazard and wilfully ignorant new planning regime, which favours greenfield development over brownfield).
This is madness, and it will bite them on the bum in the end. And just to flip the argument over: understanding why people in Birmingham and Newcastle and Sheffield never miss The Archers, and spend a few minutes of every working day staring dreamily at village houses on the Rightmove website, should be the bottom line for those of our politicians who hope to make Britain's cities less dysfunctional (assuming such creatures do exist). For it's only by discovering what it is that so many of us are missing that we will have any hope at all of making our home towns better places – happier places – to live.This is madness, and it will bite them on the bum in the end. And just to flip the argument over: understanding why people in Birmingham and Newcastle and Sheffield never miss The Archers, and spend a few minutes of every working day staring dreamily at village houses on the Rightmove website, should be the bottom line for those of our politicians who hope to make Britain's cities less dysfunctional (assuming such creatures do exist). For it's only by discovering what it is that so many of us are missing that we will have any hope at all of making our home towns better places – happier places – to live.
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