How Gaston Bachelard gave the emotions of home a philosophy - Gillian Darley | Aeon Essays - 0 views
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As Foucault said of Bachelard a few years later, his characteristic approach was to avoid all defined hierarchies, any universal judgments: ‘He plays against his own culture with his own culture.’ He stood apart, separating himself from the mainstream, finding cracks, dissonances, minor phenomena that he could make his own. Poetry of every description was his raw material.
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Indoors, in The Poetics of Space, the journey into intimacy is neatly evoked by drawers, cupboards, wardrobes and above all locks, although he warns, somewhat testily, against their use as gratuitous metaphors (and he is strongly averse to the idea of habit).
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The wellbeing of the warm animal (or human) protected in its nest or cocoon or cottage from the bad weather raging outside is a primitive sense of refuge that we can all share, adult or child. The appeal of a safe haven translates into domestic architecture with such features as the accommodating Arts and Crafts inglenook, seats close by the fire, Frank Lloyd Wright’s enduring penchant for an immense fireplace buried at the core of a house, or even, a favourite 1960s touch, the conversation pit – with or without its trademark shagpile carpet.
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Late in life, Auden wrote a set of 15 verses titled Thanksgiving for a Habitat (1960-1964). They were a celebration of domestic contentment in his Austrian cottage, and were structured around the rooms of the house, including ‘the Cave of Meaning’ (his study), the cellar, the attic, and his bedroom ‘the Cave of Nakedness’. In the title poem he ends, happily, writing of ‘a place I may go both in and out of’.
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The ‘cupboardness’ of children’s play areas; a library tucked beneath some stairs; a universe of emotions in the corner
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In his neat phrase ‘reading a room’, Bachelard encouraged readers to think of some place in their own past: ‘You have unlocked a door to daydreaming.’