When one is broadening one's mind in the appreciation of culture, it's always nice to be able to relate to the artist. And not just in a
Black-Eyed Peas, "hey, I DO have humps - in the back AND in the front!" way.
I'm talking more about Punt Rd. In Elliot Perlman's book
Three Dollars, Eddie panics that he'll have no knowledge to impart to his yet-to-be-born daughter. Except that, no matter what time of the day or night, at all costs avoid Punt Rd.
As I sat in bumper to bumper traffic heading south along that particular wayfare today, I knew exactly what he meant. Along with probably the whole of car-driving Melbourne, I knew it before he wrote it, I acknowleged it when I read it, and I carry the knowledge with me.
Presumably Punt Rd is so busy because it's hard for a north-south traveller to avoid directionally. And because cars are allowed to park at the kerb - BOTH WAYS!! - for almost the entire stretch. One lane of traffic each way on a major arterial with a school on it, brilliant work there Melbourne/Stonnington councils.
But the reason I keep returning to its needlessly slow-flowing traffic is actually because I LIKE PUNT RD. I feel HUGE affection for the hard-fought-for Nylex clock, and it's complicated four-step colour-change programming. (It reminds me of driving through Melbourne at night after a family trip visiting grandparents, and passing the huge green Victoria Bitter sign on the left on St Kilda Rd, which would mean there was still lots of fascinating city to go, and then getting to the huge red Canon sign, which was I don't know where, but it meant we were nearly out of the city and I could fall asleep without fear of missing any more wondrous sights. Imagine if I ever went to Vegas, I think I'd pass out from happiness just at all the signs.)

I also feel ridiculously grateful if the temperature on the Nylex clock is anything above 10 degrees. I like going past the MCG and being so expertly Melburnian that I know which is the Punt Rd end (as opposed to listening to ABC Grandstand as a young country thing, and not really being too sure).
Moving to Melbourne five years ago was a revalation to this country kid. It's best illustrated by
Greg Champion's song about the fallout that would occur if/when Richmond won a premiership. Including the lines (and to tune of
Green Green Grass of Home):
Old Swan St looks the same, as I go by on the train,
And there's Dimmey's and the grunge pub on the corner...
Well Church St will explode, and they'll have to close Bridge Rd,
On Victoria St the Vietnamese will party.
And the Skipping Girl will dance all night,
Punt Rd ground will be a dreadful sight,
On the day that Richmond win the flag.
.. it was VERY exciting to move to Melbourne, and not only discover where all those places were, but TO ACTUALLY FREQUENT THEM. Oh, and to discover that the Corner Hotel of all my frustrated TripleJ gig-guide listenings, where I actually wanted to LIVE when I eventually moved to Melbourne, was actually one in the same as "the grunge pub on the corner". Who'd have thought it?!
Anyway, the whole point is that I'm muchly cosmopolitan now. And back to relating to high literature, this needed to be on the internet somewhere.
The world is too big for love to be real. There are too many people in the world to ever know, beyond everything, that you are with the right person. That your heart is as swollen as it can be. Think of all the people in China. It is unlikely anyone will ever meet all of them. How can we know for certain, for absolute certain, that trapped inside a foreign language and thumping in a foreign heart there isn't a love that is meant for us. The infinite possibility of existence, its limitless potential, is the proof that we need that love is nothing more than an imagination, a human folly, friendship swollen with self-importance, a final retreat from the storm of possbility. The love of our life could so easily have been someone else. It is random and accidental, haphazard and unsystematic. That which we feel for one person, clinging on to the delusion of destiny, could so easily be felt for a million people should the timeing and the meetings and the mutual readiness have coalesced at some other time in some other place. Should someone else have accepted us or rejected us then everything would have been different. And once we know this, we know that all love is a lie. Not honesty but deception. Not heroism but cowardice. An unspoken agreement of mutual consolidation and compromise, a shield from possibility and a bed in which to sleep, nothing more than that.
But I do still miss her.
- Daniel Kitson, London, 2006