logo
When it comes to travel, nostalgia is never a dirty word

When it comes to travel, nostalgia is never a dirty word

Telegraph18-07-2025
It was the English writer L.P. Hartley who came up with the magnificent statement that 'the past is a foreign country; they do things differently there' – using those 11 clever words to open his best-known novel, The Go-Between.
Said literary touchstone is itself a slice of nostalgia that, though published in 1953, peers back at the summer of 1900 with – before the narrative turns to tragedy and trauma – a reasonable amount of rose-tintedness.
I was put in mind of Hartley's frequently quoted wisdom late last month, and then again this week, while researching and writing an article on Aberdeen and its hosting of the Tall Ships Races.
This salute to the 'golden age of sailing' will breezily dominate Scotland's third biggest city over the next four days (July 19-22; tallshipsaberdeen.com), filling the main harbour with almost 50 high-masted, wind-powered vessels from the (relatively) dim mists of the 19th and 20th centuries. As many as half a million visitors are expected.
Reader responses to the piece have ranged from fond reminiscences about the 'Granite City' during the 1980s and 1990s, at the height of the North Sea oil boom ('an amazing vibrant place'), to further-flung recollections of childhood jaunts ('wonderful holiday memories of Aberdeen from when I was a lad. I used to love going down to the harbour to see the women filleting the fish. Showing my age. Simple times'), and a rather wearier realism.
'If the Aberdeen weather is kind, the Tall Ships ought to be a proper spectacle for a few days,' one particularly prescient comment ran. 'However, there may be minimal long-term benefits for the city.'
You may well agree with that final assertion. And unfortunately, the suggestion – made by several readers – that Aberdeen is 'not what it was', citing the boarded-up shops and the empty bank buildings along the key drag of Union Street, may hold some truth.
But then, such urban decline is hardly uncommon in a Britain where our addiction to the easy click of online retail has hollowed out our city centres.
And while a long weekend of schooners, windjammers and barques at anchor will not bring back the ship-building industry of which Aberdeen was one of the global hubs for more than two centuries, there is no harm in celebrating what once was, or in revelling in the merry echoes of yesterday.
We are often told that nostalgia is a fool's errand; a wilful misrepresentation of a past that may not have existed.
But it is also a golden thread through the present, irresistible in its allure.
Its power is currently visible in – to pick two examples – the rapturous scenes at the gigs being played this month by the reformed Oasis, to the reinvention of beloved TV shows and movies, safe in the knowledge that their ingrained appeal will attract viewers all over again (see I Know What You Did Last Summer, the 1997 horror film that has returned to cinemas this weekend with a whole new cast but, pretty much, the same plot).
Nostalgia is also an excellent reason for travel. One of the best. And it is a factor in our holiday decisions more often than we may care to admit.
Why else do we so often return to destinations we have enjoyed before, relishing the prospect of revisiting favourite bars and cherished restaurants? Why do we head back to honeymoon hotspots when a major anniversary rolls around? Why are companies such as Belmond and Orient Express, who specialise in a sophisticated, vintage style of rail travel, so successful in their endeavours? The past may well be a foreign country, but we are more than happy to take a break there.
Besides, the Tall Ships are not just a nostalgic exercise. They keep the skill inherent in sailing – as well as the graceful beauty of the process – alive, bringing youthful participants into the racing crews, and letting them (quite literally) learn the ropes.
I also disagree with the notion that such an event cannot bring broader benefits. If a visitor to the festival 'discovers' Royal Deeside, the Aberdeenshire coast or even the Granite City's superb art gallery over the coming days, tourism has – once again – been a force for good.
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Alex Kingston is the third celebrity contestant announced for Strictly Come Dancing 2025
Alex Kingston is the third celebrity contestant announced for Strictly Come Dancing 2025

BBC News

time34 minutes ago

  • BBC News

Alex Kingston is the third celebrity contestant announced for Strictly Come Dancing 2025

Doctor Who and ER star Alex Kingston has been announced as the second celebrity taking part in the new series of Strictly Come Dancing. The multi-award-winning entertainment show, produced by BBC Studios, will return to BBC One and BBC iPlayer for its new series this September. Alex Kingston has been a star of stage and screen for more than four decades, gaining international fame as Dr Elizabeth Corday in the global hit TV drama ER for eight years, winning a SAG award in the process. She is known to millions of Doctor Who fans as the iconic River Song, aka The Doctor's Wife, a role she has played opposite three Doctors on screen and continues in audio adventure and novel form. Other television work includes a BAFTA-nominated performance as Moll Flanders, plus roles in Douglas Is Cancelled, Treason, Gilmore Girls, Boudica, Lost in Austen, Dodger, A Discovery of Witches, Law & Order: Special Victims Unit, and Arrow. Her extensive theatre roles range from playing Lady Macbeth, to Nurse Ratchet in One Flew Over The Cuckoo's Nest, Prospero for the Royal Shakespeare Company, and many many more. More: Strictly Come Dancing 2025 - find out everything you need to know about the new series Meet the new Professional Dancers joining the Strictly family in 2025 Watch Strictly Come Dancing on BBC iPlayer and add to your Watchlist On joining Strictly Come Dancing, Alex Kingston says: 'Aaaaagghhh!!!!!!' The news was revealed on The One Show on Monday 11 August. The remaining celebrity contestants joining the new series will be announced in due course. Strictly Come Dancing is a BBC Studios Entertainment production for BBC One and BBC iPlayer and was commissioned by Kalpna Patel-Knight, Head of Entertainment at the BBC. The Executive Producer is Sarah James, the Series Editors are Nicola Fitzgerald and Jack Gledhill. The Commissioning Editor for the BBC is Jo Wallace. Strictly Come Dancing will return to BBC One and BBC iPlayer this September. Add Strictly to your watchlist on BBC iPlayer now. GK

Some call the Sussexes' Netflix deal a demotion - but the company still sees them as a power couple
Some call the Sussexes' Netflix deal a demotion - but the company still sees them as a power couple

Sky News

time43 minutes ago

  • Sky News

Some call the Sussexes' Netflix deal a demotion - but the company still sees them as a power couple

While we're all desperate to know what this new deal is really worth in dollars and pounds, one thing I can tell you for certain is that Prince Harry and Meghan want us to know they're delighted that Netflix again wanted to get a deal done. "Absolutely over the moon" is how it was described to me. But they'll also be aware of the attention it'll attract as we all try to pick apart what it means. Image: Meghan, Duchess of Sussex. Pic: Jake Rosenberg/Netflix Firstly because of that ongoing fascination in how they're making money since stepping away from royal life and losing financial support from the King, but also because of the recent reports that Netflix were intending to cut ties. Yes this is a different type of deal from their original one in 2020. Some have argued that a "first look deal" looks like a demotion from what they previously signed up to. With no real clarity on how much their original deal was worth, and no numbers being publicly thrown around this time, that is hard to judge. But talking to those who know something about these kinds of deals you do get a sense it could potentially be more lucrative than it looks on face value. With first look deals, yes there is often financial commitments from the likes of Netflix to get that first exclusive look at projects and first refusal. Please use Chrome browser for a more accessible video player 2:22 Harry claims: War of words continues But there could be other significant monetary incentives for the Sussexes to sign. For example, when the Obamas signed a first look deal with Netflix, the streaming service agreed to pay the operational costs for their production company "Higher Ground". Could it be that Netflix are also now covering the costs of Archewell Productions? Follow the World Listen to The World with Richard Engel and Yalda Hakim every Wednesday Tap to follow It's stating the obvious to say that Harry and Meghan continue to divide opinions, some wanting to watch their programmes from a place of respect and fondness, others as a reason to grumble about them. But signing on this latest dotted line shows Netflix still sees them as a power couple, who attract significant attention and are worthy of investment, whatever that really adds up to.

The Burns Project review – Scotland's national poet in all his glory and contradictions
The Burns Project review – Scotland's national poet in all his glory and contradictions

The Guardian

timean hour ago

  • The Guardian

The Burns Project review – Scotland's national poet in all his glory and contradictions

We are sitting around a table in the sedate surroundings of the Georgian House, the Robert Adam-designed townhouse run by the National Trust for Scotland. James Clements, playing the part of Robert Burns, says something about the weather, and suddenly a streak of lightning cuts down the length of the table top. It has a gash down the middle for that very purpose. It is a sign of the attention to detail in Cora Bissett's excellent production. What could have been a by-the-numbers tribute to Scotland's national poet is altogether more subtle, imaginative and contentious. The long, undulating table, designed by Jenny Booth and cleverly lit by Elle Taylor, continues to play an unexpected part: Clements appears from beneath a domed plate cover in a scene of hungover contrition, while a cutlery boat sets sail under its own steam towards the West Indies. Oh yes, the West Indies. One of the inconvenient truths about this people's poet, the man who wrote the egalitarian A Man's a Man for a' That, is that it was only his newfound career as a published writer that stopped him heading to Jamaica to work in the slave trade. Clements's script, drawing on private letters and recently digitised historical archival material, plus the voices of modern commentators, does not gloss over this, nor the poet's womanising. Rather, it presents a rounded picture of a contradictory man who could write tender verse one minute and abandon a pregnant woman the next. Burns is embodied with gusto and rounded Ayrshire vowels by Clements, accompanied by Lisa Rigby, singing sweet renditions of favourites such as Ae Fond Kiss on guitar and shruti box. It works as both a primer to the short life of this farmer turned celebrity and a knotty study of his politics, compromises, artistic enthusiasms and colourful love life. At the Georgian House, Edinburgh, until 16 August All our Edinburgh festival reviews

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store