Category: literature

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More posts about buildings and food

I came across BLDG BLOG yesterday, thanks to a link in the NY Observer. The most recent post, on the shortcomings of architectural criticism, is awfully read-worthy. It explores how an art form (and again, I’m using architecture as a stand-in for other art forms) can become too esoteric for its own good:

[S]trong and interesting architectural criticism is defined by the way you talk about architecture, not the buildings you choose to talk about.

In other words, fine: you can talk about Fumihiko Maki instead of, say, Half-Life, or Doom, or super-garages, but if you start citing Le Corbusier, or arguing about whether something is truly “parametric,” then you shouldn’t be surprised if anyone who’s not a grad student, studying with one of your friends at Columbia, puts the article down, gets in a car — and drives to the mall, riding that knotwork of self-intersecting crosstown flyovers and neo-Roman car parks that most architecture critics are too busy to consider analyzing.

All along, your non-Adorno-reading former subscriber will be interacting with, experiencing, and probably complaining about architecture — but you’ve missed a perfect chance to join in.

The mention of Adorno puts me in mind of the great essay, “Is Bad Writing Necessary?” which appeared in the late, lamented Lingua Franca a few years ago. (It took me a long time to find that article online after LF folded, but I dug it up on a Chinese site, cleaned up the typography, and saved it as a Word doc, which I present here.)

That essay explored the attraction of ‘esoteric writing’ of sorts, that use of academic jargon and deliberate obfuscation that (in my opinion) creates a closed, insulated circuit of theory that has little involvement in the real world. The writer contrasts this style of writing (as exemplified by Theodor Adorno) with the ‘windowpane’ style of George Orwell, which strove to be as unjargonistic as possible.

Even though I went to a theory-heavy undergrad institution, I ended up championing Orwell’s prose over the self-privileging of academic jargon (okay, maybe that should read, ‘Because I went to a . . .’). I understand that some concepts are awfully tricky and need plenty of work to explain, but if you can’t convey them to a reasonably intelligent person without resorting to a glossary of strange terminology, you’re probably just spinning your wheels.

(I’m not sure if the example of explaining the pick-and-roll to my wife this weekend applies, but that was an instance where, rather than resorting to basketball terminology, I used our salt and pepper shakers, a salad dressing bottle and a bottle-cap to demonstrate exactly what the p&r is. Then I explained to her how the Lakers’ terrible defensive rotation on the wing led to Tim Thomas rolling 20 feet for an unimpeded dunk.)

BLDG BLOG writer Geoff Manaugh also explores this idea of theory essentially having its head stuck up its ass:

First, early on, one of the panelists stated: “It’s not our job to say: ‘Gee, the new Home Depot sucks. . .'”

But of course it is!

That’s exactly your role; that’s exactly the built environment as it’s now experienced by the majority of the American public. “Architecture,” for most Americans, means Home Depot — not Mies Van Der Rohe. You have every right to discuss that architecture. For questions of accessibility, material use, and land policy alone, if you could change the way Home Depots all around the world are designed and constructed, you’d have an impact on built space and the construction industry several orders of magnitude larger than changing just one new high-rise in Manhattan — or San Francisco, or Boston’s Back Bay.

You’d also help people realize that their local Home Depot is an architectural concern, and that everyone has the right to critique — or celebrate — these buildings now popping up on every corner. If critics only choose to write about avant-garde pharmaceutical headquarters in the woods of central New Jersey — citing Le Corbusier — then, of course, architectural criticism will continue to lose its audience. And it is losing its audience: this was unanimously agreed upon by all of last night’s panelists.

Put simply, if everyday users of everyday architecture don’t realize that Home Depot, Best Buy, WalMart, even Tesco, Sainsbury’s, and Waitrose, can be criticized — if people don’t realize that even suburbs and shopping malls and parking garages can be criticized — then you end up with the architectural situation we have today: low-quality, badly situated housing stock, illogically designed and full of uncomfortable amounts of excess closet space.

And no one says a thing.

I’m not sure why I’ve grown so interested in architecture and buildings in the last few years. Maybe it’s because of the sorta intersection of art, commerce, and real-world-ness (it’s a building). I should probably ruminate on that for a while.

Anyway, enjoy the article.

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Art Inaction

Witold Rybczynski has an article at Slate about how architects create a brand for themselves. Near the end, he brings up a point that I’d like to ponder (and would like you, dear reader, to ponder):

Most architectural careers are marked by a deliberate evolution–a slow simmer rather than a fast boil. The drive to establish their own unique brands pushes young architects to distinguish themselves early–too early. Moreover, public recognition of an architect’s particular approach–Meier’s minimalism, Stern’s traditionalism, Santiago Calatrava’s bravura–can serve to stymie the natural artistic evolution of a designer’s style.

This has me thinking about the conflicting impulses for just about any artist: how does one achieve commercial success without freezing one’s artistic development?

It brings me back to a post of mine from last year:

Years ago, the first time I phoned the critic and novelist David Gates, I asked him about the novel he was working on. He said, pretty facetiously, “I’m in a sort of bind. If it comes out like Jernigan [his first novel, which I adored], people will say I’m only capable of writing that type of book. If it comes out nothing like Jernigan, people who liked that book will complain that this one is no good.”

A few years later, when I read it, I thought, “This is pretty good, but it’s no Jernigan.” I was a little embarrassed about that reaction, but hey. I read the book again a few months ago, and enjoyed it a lot more than I remembered the first time.

So can you think of artists who’ve achieved renown, financial success and some degree of celebrity who’ve managed not get caught in that stasis?

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More on Jacobs

Witold Rybczynski at Slate has a brief appreciation of Jane Jacobs’s work. He points out that Jacobs largely ignored the suburbs, which is putting it mildly. In her best-known book, she considers them solely as a negative, the way most urban theorists do. Which reminds me that I need to get back to reading Bruegmann’s Sprawl sometime soon, maybe before I make the leap into that Robert Moses book. Guess I oughtta get to reading Rybczynski’s City Life sometime, too.

(And I oughtta get back to some of my ruminations on Jacobs & New Orleans)

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Happyish Anniversary!

Today marks the one-year anniversary of my dad’s quintuple bypass (or clock-resetting, as he calls it). He’s recovered pretty well, but he’s gotten kinda sedentary again, which led to piling on some weight. He also doesn’t seem to attach any psychological significance to the fact that he’s been compulsively buying “designer” watches off of Ebay.

Anyway, Dr. Praeger’s procedure has bought time for Dad, for which I’m thankful. Pop’s also finally booted his cardiologist, who had the charm (and appearance) of a used car dealer from 1982. I haven’t made enough time for Dad lately; not like the first few months after surgery, when I was over at his place after work, getting him on the treadmill, talking him through Jim Cramer’s stock advice.

Coincidentally, I read this article about Philip Roth’s new book, Everyman, today. It’s about old age and mortality:

“Old age isn’t a battle,” the protagonist thinks to himself after calling a former colleague who is dying in a hospice. “Old age is a massacre.”

“This book came out of what was all around me, which was something I never expected — that my friends would die,” Mr. Roth said. “If you’re lucky, your grandparents will die when you’re, say, in college. Mine died when I was a schoolboy. If you’re lucky, your parents will live until you’re somewhere in your 50’s; if you’re very lucky, into your 60’s. You won’t ever die, and your children, certainly, will never die before you. That’s the deal, that’s the contract. But in this contract nothing is written about your friends, so when they start dying, it’s a gigantic shock.”

Reminds me of that line from Fight Club: “On a long enough timeline, the survival rate for everyone drops to zero.”

Dad, meanwhile, was giving himself milestones, in the “I just have to live until . . .” dates, like his grandkids’ visit last summer, or my wedding last March. Now that there are no big events to “live until,” he has to start living for each day.

If I have to tell the rest of you again to make the most of the time you have, I don’t know what I’m gonna do. . .

(More coincidentally, my iTunes just shuffled onto “O, Death,” by Ralph Stanley. You know I wouldn’t make up something so obvious.)

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Athens, Jerusalem and Gillette

I’m here in the Real O.C.! I haven’t seen Peter Gallagher’s eyebrows anywhere, nor Kristin Cavallari’s roots, but I’m sure it’s just a matter of time.

During the flight, I watched No Maps for These Territories, a documentary about William Gibson. I’m ruminating on that one, and might write a lengthy, rambling take on it next weekend. Harass me about it, so I can formulate some more.

Also, I read a pair of short columns that I think you might like, and that seem somehow intertwined. I haven’t gone to Arts & Letters much lately; not sure why. But Amy hit it this weekend and came across both of these pieces, so all credit goes to the official VM wife.

The first is a review of Harold Bloom’s Jesus and Yahweh: The Names Divine, which explores Bloom’s visions and revisions on the relationship between the Old and New Testaments:

Bloom interprets the trinity as an essentially polytheistic “structure of anxiety” in which God the Father—whom Bloom finds “lacking in personality”—is a mere shade of Yahweh. Yahweh, “the West’s major literary, spiritual, and ideological character,” has not, according to Bloom, “survived in Christianity.” In J’s portrait—the earliest biblical layer—Yahweh is “anxious, pugnacious, aggressive, ambivalent,” not to mention all too often absent. But unlike Jesus Christ and God the Father, he is emphatically not a theological God. Indeed, Bloom asserts that “no God has been more human.”

The other piece is about wet shaving, Homer, and the possibility of redemption. I can’t begin to do it justice.

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Toddling with Mr. 3000

Off to Chicago for the BIO Conference. I’ll try to get Bernie Mac’s autograph at his plenary session.

I’m also hoping to get out and meander in the city for a bit. I was in Chicago in March 2000 for a small conference, but that was my only visit. I remember that the architecture in the core area (I forget what it’s called: the Loop or something?) was interesting because, while grand, it didn’t have the sheer vertical overwhelmingness of NYC’s major buildings. It felt more welcoming, in the way that the buildings seemed to sweep away and up, rather than upupUP.

Anyway, if I take any good pix, you’ll be the first to know.

Also, I just finished re-reading the Shakespeare’s Henriad (Richard II, Henry IV 1&2, and Henry V), and have decided to make my next couple of readings “books other people really like and told me to read.” So I’m taking along Geek Love (my wife adores it) and Clockers (my buddy Mark contends it’s like good Charles Dickens, with crack).

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Long Last Love

Journalist and screenwriter Josh Friedman wrote a beautiful piece about his self-composed eulogy, necessitated by his recent cancer surgery:

[W]e all know that there’ll be a last time we do everything and that time and that day may be closer than we think. There’s already things we’ve done for the last time, maybe because we don’t do those things anymore, or maybe they don’t do us. I won’t anchor the 400m relay again, despite the fact that leaning into the curve of a black asphalt track with the baton in my hand, the finish line in front of me and the field behind me is the closest I’ll probably come to heaven.

Of course, I’ve had an asthma attack while losing my virginity for the last time, so maybe things even out.

These are lasts long lost, but they’re buried in the shallows and you don’t need cancer’s sharp edge to dig them up. We all straddle the past and future, and the present’s jammed up our ass like Tom Sawyer’s fence picket.

Read it all.