SOME NEW THOMASSONS

Well, new to me anyway, and seen while out walking, though I suppose, by definition, a Thomasson is never brand new, since it’s always a relic or an abandoned and repurposed architectural feature that can subsequently be perceived, however ironically, as a piece of art.  That’s my own definition by the way: there may well be better ones out there.

Let’s start with a couple of empty pedestals or plinths – the one above is in the shadow of the Barbican Center in London, which is to say it’s also very close to the old city wall.  I’m intrigued by the dense black coating up at the top of the molding.  Is that industrial pollution?  Did the whole thing used to be that color?  It doesn’t look like anybody cleaned it – they’d surely have done a better job - so has the grime just fallen away?  These are not entirely rhetorical questions.  And presumably it once had a statue on top of it, I wonder of who or what.

The one above, less ornate, chunkier, cleaner, is to be found just outside the Inner Ring in Vienna, a city where the most incredible bits of statuary are everywhere, but this pedestal would be completely overwhelmed by any of the “typical” Viennese statues you see.  And looking at that rather smooth top, I tend to think it maybe never had anything on it at all, and it’s probably just waiting for some artist to use it and give it life.

An artist like Eduardo Paolozzi perhaps, dead now, so not him specifically, though he’d definitely have done a good job. But I was thinking of him because not so long ago I went to an exhibition of his work at the Whitechapel Gallery in London and I looked out of one of the windows adjacent to the staircase and saw this:

I guess if you saw it elsewhere you might think of it as just another bricked up window, but the combination of Paolozzi, the Thomason mindset, and the presence of art at the Whitechapel makes you, or at any rate me, see things a bit differently.

Meanwhile in my own neighborhood in Hollywood I saw this:

Kind of looks like a niche, the kind of thing you might put a statue of the Virgin Mary in.  (As Dorothy Parker may or may not have said: “Upon my honor/ I saw a Madonna/

/Standing in a niche …” The rest is just abuse and you can look it up for yourself if you need to).  But a closer inspection of the niche reveals some electrical wires up at the top, and a broader view shows a shiny new electricity meter off to the left, so I’m guessing the niche was formerly the home of an old meter.

But I do think I'd put some kind of statuary in there if it were mine.

And finally in my own own street, this thing;

Eyes without a face I suppose, although there is kind of a face, or am I just indulging in pareidolia?  In any case I can’t imagine what this was ever part of but I’m very glad it’s still there.

BUSTER

Not for the first time, not for the last.  Mr Keaton showing how it's done.

THE TAO OF MEANDERING

Those of us who walk, and like to consider the meaning of walking, tend to believe that a walk is something special.  We like to think a walk can be a source of inspiration, a form of meditation, a sacrament, a journey of discovery both of the world and the self.  And of course it can be, and often is, all those things.

But sometimes it’s not.  Sometimes it’s just a walk. 

And of course it ought to be possible to walk without thinking, without writing about it after the event, without blogging about it, without taking photographs en route and downloading them when you get home. But you know, we’re all creatures of habit, and sometimes “just walking” is much harder than it sounds, perhaps much harder than it ought to be.

Sure, you don’t want to get into a rut, but when walking has becomes a means of looking, observing, recording, and also I suppose, metaphorically, a form of hunting and gathering, it becomes hard “just” to go for a walk.  Maybe that’s OK after all, and even if it’s not I’m not sure we can do much about it.  We are how we walk: we walk how we are.

Here are some things I saw and snapped on some recent walks within the borders of Hollywood.  They don’t add up to a source of inspiration, or a form of meditation, a sacrament, or a journey of discovery both of the world and the self.  But we’re just going to have to live with that.

WALKING IN RINGS

Sometimes I discover walking stuff for myself.  Sometimes people send me things.

I discovered, more or less under my own steam, that Wilkie Collins’ The Woman In White contains a whole lot of walking (no doubt most of the world knew this already) - 197 usages of the word walk and its variants in the book, along with stroll, and the occasional ramble, step, march and stride, and so on.

         Here’s some crucial early walking in the novel: 

“I had now arrived at that particular point of my walk where four roads met—the road to Hampstead, along which I had returned, the road to Finchley, the road to West End, and the road back to London. I had mechanically turned in this latter direction, and was strolling along the lonely high-road … when, in one moment, every drop of blood in my body was brought to a stop by the touch of a hand laid lightly and suddenly on my shoulder from behind me.

“I turned on the instant, with my fingers tightening round the handle of my stick.

         “There, in the middle of the broad bright high-road—there, as if it had that moment sprung out of the earth or dropped from the heaven—stood the figure of a solitary Woman, dressed from head to foot in white garments, her face bent in grave inquiry on mine, her hand pointing to the dark cloud over London, as I faced her …

“‘Is that the road to London?’ she said.”

What I didn’t know, till I read it in the New York Review of Books, is that Wilkie Collins and Charles Dickens walked together at a certain time in their lives.  They co-wrote what became The Lazy Tour of Two Idle Apprentices, based on a walking tour they did in the north of England.

“These two had sent their personal baggage on by train: only retaining each a knapsack. Idle (that’s the overdeterministic name of one of the apprentcies) now applied himself to constantly regretting the train, to tracking it through the intricacies of Bradshaw's Guide, and finding out where it is now - and where now - and where now - and to asking what was the use of walking, when you could ride at such a pace as that. Was it to see the country? If that was the object, look at it out of the carriage windows. There was a great deal more of it to be seen there than here. Besides, who wanted to see the country? Nobody. And again, whoever did walk? Nobody. Fellows set off to walk, but they never did it. They came back and said they did, but they didn't. Then why should he walk? He wouldn't walk. He swore it by this milestone!”

Things cooled between the two men after Collins’ brother Charley “walked down the aisle” with Dickens’ daughter Kate.  It was not a marriage made in heaven, apparently.

*

And then fellow walking scribe Anthony Miller sent me a quotation from Robert Mcfarlane that appears in the 2012 documentary titled Patience (After Sebald) directed by Grant Gee,

Macfarlane says, "The British tradition is of walking as recovery and the American tradition is of walking as discovery. That striding forms into the oncoming air of the world, for the Romantic tradition, the British Romantic tradition, is a way to strip away the accretions of civilization, the hawking and hammering of time lived in cities and returning yourself to some original state, I mean, that's Rousseau: It's European as well as it's British. 

“But the American tradition, it's there in the road movie, it's there in the sense that we travel to liberate ourselves, to discover new ways of being, to acquire whole new methods of life that may themselves turn into habits but don't begin as them."

I keep wondering if this is even remotely true.  First of all I wonder if I understand what he means by “recovery.”  Recovery in the sense of getting better again?  As a remedy for illness?  Well maybe, but that seems to be no less British than American – look no further than Cheryl Strayed.

Or does he mean recovery in the sense of repossession or reclamation?  In a literal or metaphoric sense?  Surely only the latter.  You can’t stake a physical claim on the landscape of, say, East Anglia, but you can certainly, metaphorically “make (or remake) it yours.”

As for American walking being a means to discover “new ways of being;” well what’s so American about that?  Isn’t that what the Wordworths and De Quincey and all the rest were trying to do?

Still, maybe we shouldn’t hold MacFarlane to this opinion too firmly.  We all say dubious things when a microphone’s put in front of us.

WALKING IN PULP

Those vintage purveyors of pulp fiction knew a thing or two about the dangers of being a flaneuse.

What could make the dangers even more compelling? Why, a snake, of course.