Sometimes they're just a dandyish affectation. (Yes, it IS Nic Cage).
Saturday, June 14, 2014
Wednesday, June 11, 2014
WALKING IN SHRAPNEL
While I was in London I walked to Tate Britain, what used simply to be
the Tate. I think I’d noticed before
that the west face, as it were, in Atterbury Street is pocked with shrapnel
scars, but since I was on my way to see an exhibition titled Ruin Lust, I saw them with new eyes.
I wish I’d loved the exhibition more.
The curator, Brian Dillon, is clearly a good man, but it seemed he was
reduced to rummaging around in the gallery’s basement and digging out what he
could find. Of course the Tate has some
pretty decent stuff in its basement, and it’s hard to complain about works by Turner, Graham Sutherland, Paul Nash, John Piper, Eduardo Paolozzi, et
al.
John Piper, St Mary le Port, Bristol, 1940 |
But am I the only one to be less
than fascinated by Jane and Louise Wilson’s photographs of
the bunkers of the Atlantic Wall?
Especially since (unless I missed it somehow) they fail to acknowledge that
Paul Virilio covered this territory rather more fully in his book Bunker Archeology. But, of course, Virilio isn’t British so he
doesn’t get any of his stuff into Tate Britain.
Virilio writes of the bunkers, “Why this analogy between the funeral archetype and military
architecture? Why this insane situation looking out over the ocean? This
waiting before the infinite oceanic expanse? Until this era, fortifications had
always been oriented towards a specific staked-out objective: the defense of a
passageway, a pass, steps, valleys or ports. Whereas here, walking daily along
kilometer after kilometer of beach, I would happen upon these concrete markers
at the summit of dunes, cliffs, across beaches, open, transparent, with the sky
playing between the embrasure and the entrance, as if each casemate were an
empty ark or a little temple minus the cult.” Why indeed? I think this might have been referenced in the Wilsons' work.
Still, who am I to be critical of the Tate when
there was a pile of Nicholson’s Walking
in Ruins in the bookshop?
I’m sure there’s no end of shrapnel marks on
the buildings of London, but the ones I’m most familiar with are on St Paul’s
Cathedral, which escaped a direct hit in the Blitz, but was left with some spectacular
scarring. (But see the comment below)
I imagine that by no means all the scars on St
Paul’s are from from World War Two.
There are some carved “graffiti” (below), and I suppose that date must
be 1702 (though it's a very badly written 7) since that was right in the
middle of the construction of the cathedral, and W. Fox was presumably one of the stone masons.
Below is one of my not all that old author
pics (photograph by Steve Kenny) sitting on the steps of Sheffield City Hall –
and yes those are indeed shrapnel scars in the lump of masonry I'm sitting on. There was a period of at least six years when I
walked past the Sheffield City Hall every day on my way to and from school, and yet I never noticed the scars at
the time. New eyes were required.
Also, while I was in England, and definitely
inspired by Virilio rather than the Wilson sisters, I went walking on the Naze
at Walton, in Essex, looking for bunkers.
It’s one of those places I’d vaguely heard of but knew nothing
about. Naze derives from the Old English word “næss” meaning ness or promontory, but there is also something nose-like about the land
formation.
It was a vital bit of territory during World War
Two. There’s now
a World War Two Walk to be done there, though I admit I didn’t follow the route
very closely, not least because I couldn’t actually find it. (True, I didn’t look all that hard). The
Naze Tower, which has been there since 1720, was used as a radar tower during
hostilities, and there were bunkers or pillboxes with anti-aircraft machine-guns built along the
cliff edge, not “looking out over an oceanic expanse” but
across the North Sea to Holland. I found
this particularly fine bunker:
And then this one:
Since the bunkers were designed to withstand aerial bombings it’s
perhaps not surprising that they're still standing. There are some signs of decay. One of the metal supports on the one above is rusted most of
the way through, thanks to the salt air no doubt, and yet the structure itself seems
completely sturdy. It feels more like a monument than a genuine ruin.
And in that first bunker there was evidence of human presence, and indeed
of exuberant, untutored, over-optimistic (and misspelled) wall art. It would no doubt all have been different if
Hitler had won.
Monday, June 9, 2014
WALKING WITH THE QUEEN
There was an interview (by Billy Heller) with Aretha Franklin in
yesterday’s New York Post under the headline “Aretha Franklin’s Secret Life.” Heller says: I saw you in Newark last year, and I was exhausted
watching you perform. How do you keep in
shape?"
Let's leave aside the fact that Aretha’s figure has not always conformed
to received notions of “in shape,” not least because of health issues, and let's also assume Heller isn't making some cruel joke, and read
her reply.
She says, “I have a walking regimen – about three
times a week, at least a mile or so. I
walk the super Walmarts, the biggest ones.
If people are in the aisle and the store happens to be crowded that day,
I got to other aisles.”
Well, as I have often said, there’s no such thing as
a “walker's body.” They/we do come in all
shapes and sizes. I've also long thought
there might be a book titled Walking the
Great Indoors which would consist of a series of pedestrian expeditions in
airports, underground tunnels, railway stations, factories, malls and indeed big box stores.
It’s not easy to find a picture of Aretha walking
but here she is at least walking down the aisle in 1978 at her marriage to
Glynn Turman.
Labels:
Aretha Franklin,
Walking the Great Indoors,
Walmart
Thursday, June 5, 2014
CELEB WALKING
One of the minor pleasures and curiosities of being in a “walking city”
is that once in a while you see celebs, just walking around. Although I've seen a few celebs in LA,
I’ve never seen any of them walking. Spotting Nick Nolte leaning against his Prius
in the parking lot of the Vons supermarket at the corner where Hollywood and
Sunset Boulevards meet, is as near as I’ve come. Though there's obviously evidence here that he can be seen walking sometimes.
When I lived in Park Slope in Brooklyn, I collected a whole set of
sightings – John Turturro, Paul Auster, Steve Buscemi et al.
In Paris I once got off the Eurostar train, walked out of the station
and there immediately was Jane Birkin, also walking, although in fact I think
she was looking for a taxi.
My London sightings included Bob Geldof (more than once), Joe Strummer,
Cliff Richards, Julian Cope, Peter Ackroyd; but given how long I lived in
London, the sighting were perhaps surprisingly few.
Just once in a while the celeb sees you looking and looks back. And of course you have to play it cool. Brief eye contact and an “I know who you are”
nod is as much as is required. I had one
of those moments once in Manhattan with Thurston Moore. He was walking along lower Broadway, having
just come out of Dean and DeLuca, and I was on my way in, and we went through
the old “look and nod routine.” It was a
small bright spot in my day, though probably not in his.
And now Thurston Moore is living in London, and he’s written a piece
for a pamphlet titled On Community, produced by New
Humanist magazine in association with the Stoke Newington Literary Festival.
He says of his earlier trips to London, when he stayed in Stoke
Newington, “I wanted to be in London and traipse the
streets of the Slits, Gang of Four, PiL, the Raincoats but, unlike the
minuscule parameters of NYC geography, London was a sprawl the size of a small
state. Determined to find action, I'd leave Stoke Newington for Camden Town or
Notting Hill by hoofing it to Church Street and waiting for the 73 to get me to
Kings Cross and into the city lights.”
Then adds, “In hindsight I wish I'd stayed
close to Stoke Newington, indeed all of Hackney, and investigated its world.”
I understand what he
means. I once almost lived in Stoke
Newington, but in the end decided it was too far away, too far from the center
of things. These days however, Stoke
Newington seems to be the center of the London cultural universe, and one way
or another I always seem to end up there when I’m in London. And Abney Park Cemetery seems like the very
center of the center.
Indeed, the picture above
shows Thurston Moore in the Abney Park Cemetery, and not so long ago, and not
for the first time, I found myself walking there with my fellow scribe and
drifter Travis Elborough. And we came
across this gravestone:
Literary know-it-alls
though we may sometimes appear, we’d never heard of Eric Walrond, though it was hard to resist a book titled Tropic Death.
I now know that Walrond was
a respected, if fringe, figure of the Harlem Renaissance. Tropic
Death is a collection of twelve short stories, first published in
1926. According to his publisher, “This
book of stories viscerally charts the days of men working stone quarries or
building the Panama Canal, of women tending gardens and rearing needy children.
Early on addressing issues of skin color and class, Walrond imbued his stories
with a remarkable compassion for lives controlled by the whims of nature.”
I confess I haven’t read
the book. I have however read an
article by Walrond published in the magazine The Messenger in 1924, about
walking in Harlem. “Along the avenue you
are strolling. It is dusk. Harlem at
dusk is exotic. Music. Song. Laughter.
The street is full of people – dark, brown, pomegranate. Crystal clear is the light that shines in
their eyes. It is different, is the
light that shines in these black people’s eyes.
It is a light mirroring the emancipation of a people and still you feel
that they are not quite emancipated. It is the light of an unregenerate.”
I wonder if Walrond felt any
more emancipated in London. He died
there in 1966, having collapsed from a heart attack while walking in the
street.
Thursday, May 29, 2014
WALKING AND WATCHING
A couple of small curiosities seen while walking in England.
First, I was staying in London, in Highgate, with my pals Martin and
Judy Bax. It’s a fairly posh, leafy bit
of suburbia, so I wasn’t surprised to find that their street was part of a Neighbourhood
Watch area, as was proved by signs like this on some of the lampposts.
The image of the meerkat was a new one on me, though I subsequently saw
it in other parts of London, and I suppose the idea is that meerkats are
sociable and watchful, but they’re also likeable and essentially benign. They’re not like, say, spies for Big Brother.
At the end of Martin and Judy’s street however there’s the entrance to
a tube station, where walkers are being watched by these things.
Now, there’s nothing likeable and benign about these things. These are serious, heavy duty security
cameras, this is surveillance. Somebody’s got to keep an eye on things,
right? You can walk the street under the
friendly gaze of the meerkat, but once you get to the tube station you know
you’re really being watched.
*
And here’s another thing. I went for a walk in London with Richard
Lapper, an old school friend from Sheffield, now a journalist with the
Financial Times. He lives in Limehouse,
in a former gunpowder warehouse, and he led the way. I didn’t have a map, which meant that for
once, I really didn’t have any idea where I was or where I was going. There was something rather pleasant about
this, since I’m so often the man with the plan.
I know that we were in the Lea Valley for some of the
time, and we walked through Victoria Park, and we went by various canals, and
we saw the Olympic Stadium from a distance, a few ruined warehouses, and some
very fancy-looking apartments, and at a certain point on the home stretch I saw
something floating along the canal, and it was this, a cut out letter, an “I.”
This was, for sure, not so very remarkable in itself. However a few
years back, I was having a walk with Steve Kenny, another of my old school pals, along the canal in Sheffield, and we happened to see a different letter
floating along the top of the water. In
this case, the letter “Y.”
It seems that the universe is sending me a message, one letter at a
time.
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