A new way to go behind the scenes of some of Bristol’s most historic buildings.
Far more than Judge Dredd – old stone face himself – it was Mega City 1 itself that caught my imagination as a child reading 2000AD.
There’s something both thrilling and terrifying in the idea of this vast, anarchic, dirty, urban sprawl, that’s the size of a state.
Imagine a map that grew and shrank, advanced and retreated as we lived out our lives. This map wouldn’t simply chart every building, street and pavement encountered, this map would change according to the weight and resonance an individual gave to a place.
Landscapes, places and routes that meant more to you personally would be given greater prominence.
Equally places you had never visited, or didn’t care, for would shrink in relative size, or disappear altogether. This would be an emotional map, a map of the inner world as much the external one.
Landscapes, imagined and remembered, have always played a central role in literature.
The fascinating relationship between writers and the British landscape is currently explored in a new exhibition at The British Library: Writing Britain: Wastelands to Wonderlands. Here are some thoughts it inspired.
The best way to approach London, according to Jonathan Raban at least, is from the north. You should drive down via Archway to take in the fabled Dick Whittington hillside view of the city and descend deeper within, until you reach the river Thames, where London’s full glory will hit you.
My own arrival was rather prosaic by comparison: a dull coach journey up the M4 from Bristol, which ended up amid the traffic at Hyde Park Corner