And if you canвЂ™t leave, you take refuge in the green spaces you can find, even if they only exist in parks or books clinging to nature for fear of falling off the face of the earth.

People leave cities for numerous reasons but self-preservation looms large.

One sanctuary, offering the possibility of beauty or love, is nature. What do you do with the onset of responsibility, the vagaries of age, and when hedonism no longer does what it used to? When you have reached the sex dungeon panic attack of This Is Hardcore, вЂњWhen you're no longer searching / For beauty or love / Just some kind of life / With the edges taken off.вЂќ While this seems a departure from the shady council estate noir of their earlier work, itвЂ™s a logical progression. There are songs about woods, birdsong, dawn. The cover, by Peter Saville, employs the floral Victorian typography of Louis John PouchГ©e. ItвЂ™s a nature album from a band renowned for urban squalor and glamour. On the surface, We Love Life is the least Pulp of PulpвЂ™s incarnations. Where did We Love Life go? And what does it tell us now, listening back twenty years later? Except, given the troublesome nature of reality, this final section of the arc seems to have disappeared. Then the вЂFallвЂ™ with the lush breakdown of This Is Hardcore. There is the meteoric вЂRiseвЂ™ with His вЂnвЂ™ Hers, followed by the вЂClimaxвЂ™ of their masterpiece Different Class and their momentous Glastonbury-headlining set. There is the вЂIntroductionвЂ™ in the long pre-fame incubation of the band in the derelict but fertile brownfield of Sheffield. Viewed in retrospect, PulpвЂ™s career appears to confirm FreytagвЂ™s five acts. Whether it was true or not is incidental. With the advent of the online world, it became the dominant prism through which we perceive our own lives. With the advent of cinema, the five act structure became the dominant way of portraying life. It tamed and rationalised the chaos of life, and therefore became an appealing belief system. Though the structure existed in practise before then, it took off after Freytag formalised it, and itвЂ™s easy to see why audiences, theatre producers, and political and religious moralists were all flattered by the comfort and order it offered. Another problem was that life, with all its messy tangents and inconvenient loose ends, does not necessarily unfold in five acts.

The problem was Freytag, for all his talent and success, was a racist Prussian supremacist and had, to put it mildly, something of a questionable world-view. In Die Technik des Dramas (1863), Gustav Freytag argued for an ideal five act structure in storytelling.

Tom anderson guitars factory tour