Read the Printed Word!

Thursday 26 July 2018

Nostalgia is being used to steal the future

The Financial Times published an article yesterday morning arguing that ‘nostalgia has stolen the future’:

“I remember when elections were won by leaders selling visions of the future: Harold Wilson’s white heat of technology, Ronald Reagan’s morning in America or Tony Blair’s New Britain. In the new democratic disorder nostalgia has replaced optimism as a ruling emotion. Populists recognise the power of adjusted memory. America’s Donald Trump, British Brexiters, Europe’s new nationalists – they all inhabit a rose-tinted past. Nostalgia’s force lies in a human instinct to screen out the bad while recalling the good…”

Though I agree largely with Stephens’ polemic, and the questioned use of nostalgia is something I have been thinking about for a while, I would argue a more active accusation of nostalgia’s theft of the future. That is: nostalgia has not simply ‘stolen the future’, but is actively being used to do so. 

Nostalgia has a complicated etymology beyond the popular understanding of rose-tinted glasses. Borrowed from Latin, its early usage from the mid-18th century was as a medical diagnosis for homesickness, a meaning that retains contemporary use as a longing for familiar surroundings. In the early 20th century the term is de-spatialised by an emphasis on its temporal properties; nostalgia thus comes to describe a sentimental longing for or regretful memory of a period in the past, especially in one’s own lifetime, or a sentimental imagining or evocation of a period of the past. In the 1970s it transmogrifies once more: a collective term for things that evoke a former (remembered) era. Retaining its triad of forms, nostalgia today is generally understood as a sentimental longing or wistful affection for a period in the past. It’s the sighed remarks of older generations about Their Day and the comparative ignorance of The Youths Today; the #throwbackthursdays shared across social media platforms in weekly longings for beaches, parties and other off-days past; the renewed (characteristic?) contemporary fascination with period dramas of vintage styles, romances and heroes.