The uncanny surfaces when foreign scenes trigger repressed childhood imagery.

Evidence

I have an inability to fully believe in the village where I was born, and when I was a child, if I found it on a map, I would stare and stare, squashing the name under my finger: there it is in print, so it must be real. — Hilary Mantel, A Memoir of My Former Self- A Life in…, 193 (#contradicts, via linked claim)

The laconic script and the telescope’s framed, selected and partial images generate a sense of unease; we do not know precisely how peculiar Tomek is. — Hilary Mantel, A Memoir of My Former Self- A Life in…, 381 (#expands, via linked claim)

Categorization

• corroborated: 2 independent passages support this claim
• XREF: connects to: Phobic objects are overdetermined by infantile affect and resist rational correction — Frantz Fanon, Constance Farrington, Black skin, white masks, 589; Even well-meaning Europeans’ childhood racial imagery persists into adulthood — Frantz Fanon, Constance Farrington, Black skin, white masks, 708; Childhood familiarity with a place makes its real-world existence seem fragile — Hilary Mantel, A Memoir of My Former Self- A Life in…, 193 (+5 more)

Related

• Childhood familiarity with a place makes its real-world existence seem fragile (similarity 0.86)

Broader Connections

• Childhood familiarity with a place makes its real-world existence seem fragile #contradicts (0.60) — Hilary Mantel, A Memoir of My Former Self- A Life in…, 193
• Framed partial views generate unease in the viewer #expands (0.35) — Hilary Mantel, A Memoir of My Former Self- A Life in…, 381