I've written before about how I'm not much of a fan of travelling these days. Well, that's not entirely true. I'm not a fan of travelling in space, but I'm a great fan of travelling in time. I do it almost every weekend.
Here's what I mean.
I spend my summer weekends at our small cottage on the shore of Lake Champlain, on the Quebec side of the border. We're only about ten kilometres from Vermont, and much as I love that state, I can't bring myself to cross the border while Canada remains under continuous attack from Trump.
Incidentally, my wife doesn't hold Trump against Vermont the way I do. She rarely lets a weekend pass without driving over to hunt for collectibles and vintage treasures for her hobby business. This past weekend, when she returned to Canada, the customs officer asked, "So how have we contributed to Trump's economy today?"
Gotta love border agents.
Back to time travel.
The bay—which is what my wife's family has called it since her grandfather bought the property in the early 1940s—has always felt to me as though it exists in another era.
Her grandparents discovered the area on their honeymoon. Back then it was known as Kirkland Beach, now part of the town of Venise-en-Québec. They were so enchanted by the place that they bought several acres along Missisquoi Bay, with three hundred feet of lakefront. The property itself is actually in the neighbouring municipality of Saint-Georges-de-Clarenceville.
Over the years, the family built five cottages on the land, starting with one for her grandparents and one for each of her two great-uncles and their families. Each family enjoyed about a hundred feet of shoreline.
The area also became a favourite summer destination for my wife's grandparents' circle of friends from the city. So many of them bought neighbouring properties that their little corner of the bay became known as "La Palestine." It's still identified by that name on Google Maps.
My wife's father spent the summers of his youth there, fishing and boating. Later, my wife and her siblings spent their childhood summers there as well. When I married into the family and we had children of our own, we continued the tradition. About a decade ago, I bought the cottage that had been built for my wife's family from my father-in-law.
I'm not entirely sure why, but I've always associated going to the bay with travelling back in time. Perhaps it's because the cottage itself has changed very little since it was built in the early 1970s. Even the kitchen stove we still use dates from that era.
The surrounding area, however, has changed dramatically. Property values have soared, and sprawling waterfront homes have replaced many of the modest cottages. The town of Venise-en-Québec has exploded with condominium and spa developments over the past decade.
Yet in my mind, the bay still belongs to another era, when life moved more slowly. Somehow the memories of my wife's childhood, her father's childhood, and her grandparents' generation remain alive there. The stories are still told: fishing derbies on the lake; trophy-sized largemouth bass, bowfin (they call beaverfish), pike and walleye; bonfires and scavenger hunts for the children; fathers teaching them to water-ski; grandparents playing gin rummy on the lawn, drinking whisky and smoking cigars.
My wife remembers arriving in June, putting on a bathing suit, and not taking it off until the end of August.
For her, the bay is about family memory and history.
For me, it's about finding refuge in myself.
Only an hour's drive from Montreal, the cottage became a sanctuary during the most stressful years of my life. Whenever I needed to escape, I'd steal away for a weekend alone. Somehow that simple retreat helped me recover myself and put life back into perspective.
When we got Sirius Satellite Radio in the car about a decade ago, the journey itself became part of the ritual. I'd tune into the 40s station and be transported even before I arrived. Glenn Miller, Benny Goodman, Woody Herman, Tommy Dorsey, Duke Ellington, Sinatra and Dick Haymes, Anita O'Day, Helen Forrest, and the Andrews Sisters—they became the soundtrack of my escape from the city and, for a little while, from my own life.
Crossing the Champlain Bridge, I felt myself slipping back into the postwar years—a time when the world could finally exhale after holding its breath for five long years. Somehow that music reflected how I was feeling as I struggled to keep our young family afloat while searching for moments of peace.
The music of the 40s was, ironically, swinging and joyful, filled with love songs and hopeful melodies. It wasn't an escape from hardship so much as an antidote to it. After years of pain and destruction, it celebrated the simple possibility of happiness again.
I'd arrive at the cottage after dark and leave the lights off, letting my eyes adjust to the lakeside landscape. The moonlight, reflected off the lake, filled the cottage through the gallery windows with a soft, ethereal glow. The tiny lights of distant cottages around the bay blended almost seamlessly with the stars scattered across the black sky.
In those early years, there was no television and no internet. All we had was a radio.
On Saturday nights I'd listen to Vermont Public Radio: the old-time music programs, American Routes with Nick Spitzer, My Place with Joel Najman, and, approaching the witching hour, Hearts of Space, Stephen Hill's hour of ambient music. It was the closest thing I knew to meditation—a quiet reunion with something timeless inside me, and with the universe as a whole.
A few years ago we finally got internet access, thanks to the cousins next door. I'm not unhappy about it, although it does mean I don't read books the way I used to. Over the years we've amassed a pretty extensive library at the cottage, and I regret that it's somewhat neglected now.
The internet, however, has enabled a different kind of time travel. This summer I've been binging film noir from the 1940s and 50s. This past weekend I watched Kiss of Death (1947), Road House (1948), The Hitch-Hiker (1953), and The Scarlet Hour (1956).
I love the pace of the storytelling and the dramatic lighting of those old black-and-white films. I love the way people dressed, the elegance and beauty of the actresses, and the dialogue—the more period slang, the better. I even enjoy all the smoking, despite knowing that it shortened the lives of so many of the actors.
Back then Hollywood released a new movie almost every week. I find myself looking up the prolific careers of the actors, directors, and screenwriters, wanting to know their stories.
Today's movies are relentlessly fast-paced. Every frame is filled with action; every scene cuts to the next before it has a chance to breathe. While the old films were built on performance and character development, the real star of many modern films seems to be the technology used to make them.
Sometimes I wonder if it's nostalgia that I crave. Can I really be nostalgic for a time that predates my birth?
The postwar films were ultimately human stories about love, jealousy, greed, loyalty, and betrayal. They were dark, but almost always redemptive. Many portrayed men struggling to fit in after returning from the service, trying to rebuild their lives and find their place in a changed society. What they found when they got home were women who had developed a new sense of their own power and independence. The femme fatale emerged from that cultural shift.
Many of those films revolve around gender conflict. The parallels with today's changing gender roles—and with men's continuing struggle to redefine themselves—are hard to miss.
I don't think what draws me to those movies is nostalgia. It's authenticity.
The films of that period feel authentic and human-centred in a way that many of today's films simply don't. They reflect the fears, uncertainties, hopes, and aspirations of ordinary people. They were made by artists who had lived through depression and war, many of them immigrants remaking themselves. Their stories are grounded in life's enduring struggles: rebuilding, falling in love, raising families, and carrying on.
It's sort of what the cottage at the bay represents to me too.