thehuzzingsea

'So long as I remain alive and well I shall continue to feel strongly about prose style, to love the surface of the earth, and to take a pleasure in solid objects and scraps of useless information.' ― George Orwell

Category: Literature

The Letters of Ernest Hemingway (1929-31)

Article first appeared in The Irish Times

Book Title:

The Letters of Ernest Hemingway : Volume 4, 1929–1931

ISBN-13:

978-0521897365

Author:

Ernest Hemingway

Publisher:

Cambridge University Press

Guideline Price:

£35.00

It would be conceivable to think that every mote of enlightenment has already been swept from the attic of Ernest Hemingway’s life.

Since his death in 1961, we have had numerous biographies; books documenting his friendships with contemporary literary luminosities such as F Scott Fitzgerald, Gertrude Stein, or Ezra Pound; collections of pontifications by Hemingway in, and out of, the writer’s chair; selected letters’ series relating to “Papa”; publications about Hemingway on big-game hunting, bullfighting, or fishing; and many, many others. Then there has been the hungry analysis of Hemingway’s personal life following his suicide in Idaho, just short of his 62nd birthday: from how this sad coda replicated a similar act by his father in 1928 (while Hemingway was in his late 20s), to more trivial issues, such as the fact that some of his wives possessed boyish haircuts.

Can there be much more matter for conjecture on this colossus of the writer’s craft? Well there is thanks to Cambridge University Press, which is well under way in its plans to publish every extant private-letter penned by the American. More than a dozen volumes in total are anticipated and the latest volume of Hemingway’s correspondence covers the years 1929-1931. The project is a remarkable feat of scholarly endeavour, and after finishing this volume, I cannot wait for the next instalment. The letters simply bounced the echoes of Hemingway that have lay in the corners of my mind since first reading his work as a teenager.

One of Hemingway’s best-known declarations on his style of writing used the analogy of an iceberg, whereupon he said: “The dignity of movement of it (an iceberg) is due to only one-eighth of it being above water.” He usually claimed to dislike discussing his writing, in case he might stymie its flow, but the full quote adds: “If a writer of prose knows enough about what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them.”

This idea kept bobbing about in my thoughts as I made my way through the book. To adapt the iceberg theory to this glacier of words we have in store from Hemingway (probably a dozen more volumes to come!), the novels could be considered the one-eighth that was on show: the public figure, the dedicated craftsman, “Papa”, the winner of the Nobel Prize in Literature in 1954, tough, cocky, dignified and graceful. Meanwhile, the letters are what floated underneath and are the man: roughly formed and expansive, solidly packed with braggadocio, yes, yet full of squeaking uncertainty and insecurity. They show the struggles and groans to write and the darkness where Hemingway’s mind would often drift, and the inner conflicts that gave much of what he published such power and depth.

The sheer fun of this series is that it seats the reader right in Papa’s chair. You travel with him in body (physical ailments) and mind (fulminations of thoughts), armed only with yourself, Hemingway’s madcap voice running in your head, and perhaps a Highball or two to savour along the way. The correspondence is a joy to read (if we skip the detailed letters on guns, etc): irreverent, gossipy and bitchy, funny, sincere, we have all sides of Hemingway, from the playful to the portentous. We see his puckishness and genuine affection, in his close relationship with his generous editor Maxwell Perkins, for example; we find his guilt in leaving his first wife Hadley and his awkward relationship with his mother, and the cross he felt he was carrying in keeping her and his young siblings financially solvent after the death of their father. We have it all, here.

The letters are frequently very funny; belly laughs material. To take one example, in a letter to Pound in February, 1930, Hemingway writes about Henry James and the interior monologue. It is worth quoting at length, spelling mistakes and slipshod punctuation included:

“I’ll read H.J. again. As you know I’ve read damn little of him. Have had hard luck and hit the wrong ones . . .

“Certainly the interior monologue is shit – it always takes place in the mind of the author – not the citizen he is writing about. I think it is legitimate for the Irish because their minds go that way – But I know personally I have never had one going on in my mind in my life . . . I know the interior monologue is a trick because it is the easiest damn thing to write – I have cut out thousands of them out of Mss. All shit. You write that stuff when you wont bite on the old nail.”

Anyone who already knows of Hemingway’s personality will expect to encounter the obnoxious side of the man, and we have much, too much, to swallow in the letters: racism, anti-Semitism, misogyny, and homophobia; all the cruelties are here as a casual crutch for his wounded pride to usually fall on. Of course the letters were written in the private sphere, but some of the language is despicable and inexcusable, so there can be no justification for his feelings whatsoever. Yet they do possess historical value in that the reader gets a glimpse of the drawn-curtain xenophobia or homophobia that existed among the educated, middle classes (such as Hemingway was) and the language that was unashamedly used in the times he lived and was writing. Fortunately the editors with their studious, detailed and exhaustive annotations have done an exceptional job of placing the letters in their proper clothing, so that we are able to make our own measurements of Hemingway as a man. These letters are a waterfall of Hemingway’s feelings, so we get the licentious and the loving – but then the flaw in the iris can be just as intriguing as the beauty of the eye.

The correspondence is best read alongside the novels he was writing at the time; it breaks the flow. But more importantly it refreshes your instincts on what he strove to achieve, and what made him the exciting writer he became, and remains. A reasonable way to sum up the value of this project is to return to something Hemingway once said: “Read everything I write for the pleasure of reading it. Whatever else you find will be the measure of what you brought to the reading.” We cannot say fairer than that.

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Henry David Thoreau – a consideration

Walden Pond

My article in The Irish Times.

For someone who worshipped trees, the writer Henry David Thoreau certainly made good use of them: his journal, increasingly thought to be his most important work, ran to two million words, collated across 24 years in 14 volumes. There’s also a sweet irony in that Thoreau came from a family that accrued its wealth through pencil manufacturing, for Henry was often accused of “swinging the lead” in the worst possible sense when it came to his own life.

Last year was the bicentennial of Thoreau’s birth, resulting in a number of new titles on one of the giants of the American literary canon. There is a new biography Henry David Thoreau – A Life by Laura Dassow Walls (University of Chicago Press), while more targeted takes on the author of Walden come in the forms of The Boatman – Henry David Thoreau’s River Years by Robert M Thorson (Harvard University Press) and Thoreau and the Language of Trees by Richard Higgins (University of California Press).

Up to now, any consideration of Thoreau’s life has usually been poured through a mystical sieve. Anyone with a passing familiarity of Thoreau will think of a hermetic, ascetic environmental philosopher who penned Walden, that great work on nature and the self and its related ideas of regrounding, renewal and rebirth. This is a decent transcription of the most important loop of the writer’s life. But there’s much more to Thoreau, and what we already know is not always read in the proper light either – something that Dassow Walls strives to put right in her excellent biography.

Living at Walden Pond gave rise to the notion of Thoreau leading a hermetic life. But this supposition can be debunked by the fact that the only time he lived alone was the two years he spent at this now world-famous landmark (Thoreau’s was a short life, dying aged 44 of TB). The charge of seclusion from society can be thrown out, too, as Dassow Walls describes Thoreau’s large social circle of fellow pioneers, some closer to him than others: (erstwhile mentor) Ralph Waldo Emerson, Nathaniel Hawthorne, Frederick Douglass, Walt Whitman, Margaret Fuller and John Brown, the sheep herder-surveyor who tried to form an army to counter pro-slavery insurgents who were forcibly taking control of the government of Kansas. The book also outlines Thoreau’s many trips to Boston, New York City, Canada and other places; how he would give regular lectures; speak publicly against slavery; spend time with Native American families; protest against unjust taxes (Thoreau thought a man’s duty is to break any law that’s immoral). He also, earlier in life, set up a school with his brother John based on progressive ideals, while being a skilled handyman meant Thoreau was constantly helping friends and family around his hometown of Concord. If “reclusiveness” shares such richness to society, then perhaps we should all utilise our great genius for staying at home.

 

Thoreau encountered plenty of Irish people during his lifetime. There were the famous encounters in Walden (which we shall not spoil for new readers by mentioning here) and due to the railroad expansion through Concord he met many families who arrived in town seeking work. His friends and family fretted over the Irish invasion of workers, but Thoreau soon rebuked them, saying: “The sturdy Irish arms that do the work are of more worth than oak or maple. Methinks I could look with equanimity upon a long street of Irish cabins and pigs and children revelling in the genial Concord dirt, and I should find my Walden wood and Fair Haven in their tanned and happy faces.”

Thoreau also happened to be at Cape Cod when, in nearby Cohasset, the famine ship St John, sailing from Galway, had foundered in heavy seas and high winds, breaking on the rocks just south of Boston in 1849. Only 23 of the 120 onboard were rescued and later Thoreau would use these unforgettable scenes to open his book Cape Cod after his visit to the disaster site. As he came to know the three generations of the Riordan family who settled in his home town, Thoreau wondered if they were living his ideals better than he was – dirt poor, yes, but living independent lives on the land, with little regard for “Yankee markers of success”.

Ever railing against injustice, Henry also intervened after hearing that Kerryman Mick Flannery won a spading contest at a county fair, only to see his boss claim the prize money. Thoreau drafted a petition collecting money to make up for the theft, while he also went door-to-door to raise the 50 dollars needed to bring Flannery’s family from Ireland, lending much of the money himself.

Thoreau – A Life is a brilliant, big-hearted, definitive and sympathetic biography that carries the original nature boy through a time of considerable flux in American life. It helpfully carries the reader to a different shore, too, for a refreshed view of this otherworldly, and yet truly American, writer and visionary. The writing always keeps a lightness of touch, yet is constantly weighted with scholarly research. Mirroring Thoreau’s eternal symbol of Walden Pond, Dassow Walls presents the reader with the strange, beautiful ripples of Thoreau’s personality that makes his life so fascinating, while at the same time she plumbs the documents of his journals, books, and letters to dredge up new ideas on his thinking and motivations. She is a confessed Thoreauvian, and this rewarding book is a testament to her, and its sometimes-maligned subject.

An idea Richard Higgins is keen to emphasise in his book is Thoreau’s – and our – relationship with trees. Readers of Walden are already aware that Thoreau held an unwavering faith in nature, and found solace in trying to comprehend his place within it. Thoreau realised that we sit within nature’s embrace, not the other way around; as though nature were mere window dressing to our everyday lives. He studied the fragility of nature, but was also aware of its force, and how it could consign humanity to the dustbin of extinction if need be. Thoreau watched the natural world as a realm of time, and as Higgins points out in this engaging book, he trusted his instincts: “we will sooner overtake the dawn by remaining here, where we are, than by chasing the sun across the western hills,” Thoreau observed.

 

From reading this book it is easy to imagine that Thoreau loved trees more than humans – to begin with, he believed trees did their duty more than his fellow citizens. “Thank God they (humans) cannot cut down the clouds,” he once wrote despairingly. This symbiotic love of his sylvan surroundings goes some way in explaining why some commentators now write him off as a crank; they view his abiding affection for nature as unhealthy, misanthropic. But his love of trees allows us to see his environmental prescience: he was writing of trees as purifiers of air and fountains of water long before terms like carbon sinks, or the word ecology even, were understood or defined. (Incidentally, Thoreau used the term “nature’s economy” in his writing.)

Writing on trees requires a special talent to make the subject come alive: Thoreau achieved this with aplomb, but Higgins’ prose sometimes fails to deliver. In compensation the book contains a number of impressive photographs of Henry’s “local world”, taken either by Higgins or from the historic plates of Herbert Wendell Gleason. It is a book to savour lightly and slowly, just as the subject himself might have prescribed.

Thoreau’s river years are covered in The Boatman, which is an admirable book, if less enjoyable compared with the others due to the narrowness of the subject and its academic anchor of style. Nevertheless, Robert M Thorson keeps his approach breezy enough to carry the reader downstream, and if the central current is a thin one, the author still manages to give a clear direction of Thoreau’s life and his links to the local waterways of Concord River Valley.

Inspiration for the title came from Thoreau’s file map of the Concord River – it runs seven feet in length – which he drafted a few years before his death in 1862. Emerson described Thoreau’s passion for the waterways in a letter: “Henry T Occupies himself with the history of the river, measures it, weighs it, and strains it through a colander of all eternity.” The Boatman leaves Thoreau’s woody persona on the shore without regret, and instead gets the reader’s feet wet with forensically detailed adventures in “Henry T” country.

Thoreau went to Walden Pond to live life on his own terms, and he wrote Walden in order to show the rest of us that it could be done. These books add worthy voices to the intention. Finding the opportunity to read the many titles on Thoreau is something to ponder all the same. In Dassow Walls’ selected bibliography there are 16 pages of writing linked to the writer-philosopher. How to find the time? We may need our own Walden after all.

 

A weekend with Hemingway

Made for a sunny summer Sunday 


The Russian Soul: Selections from a Writer’s Diary by Fyodor Dostoevsky/Rosamund Bartlett

(Notting Hill Editions)

Henry David Thoreau – A Life by Laura Dassow Walls 

(University of Chicago Press)

The Boatman – Henry David Thoreau’s River Years by Robert M. Thorson 

(Harvard University Press)

Thoreau and the Language of Trees by Richard Higgins 

(University of California Press)

Two hundred years since the birth of Henry David Thoreau. Fyodor Dostoevsky isn’t far behind him; the bicentennial of his birth is in 2021. I’m looking forward to starting these, and hope to review them soon enough. Chapeau to the publishers!

Books which set the standards for journalism

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The Fields family, Alabama 1936 (Photograph: Walker Evans)

 

Nothing dates so decidedly as journalism. This is probably one of the most solipsistic statements to begin any article, but it’s true: so much spilt ink is soon swept out from the attic of memory; very little journalism is read twice. I refer to traditional journalism in this case, as new media listicles and click-bait copy are rarely read through at all, despite the increasing volume foisted upon our mental space.

Reportage remains a style of journalism which can lift itself above the frivolous freeway of traffic-generating content that obsesses modern media. In such form, the strange hinterlands of a good story can be transformed from journalism into literature. The continuing success of The New Yorker, The Atlantic, and The Paris Review proves that there is still a place for long-form writing even in our increasingly time-starved lives. The United States seems to cherish its indepth journalistic tradition somewhat more than we do in Europe. This noble lineage was brought into mind reading the posthumously-published Cotton Tenants by James Agee. The 30,000-word book – punctuated with remarkable photographs by Walker Evans – originally was an article for Fortune magazine from 1936, documenting the lives of three families struggling through desperate times in Alabama. Fortune chose not to run it at the time of its writing for reasons that are still unknown. The book portrays a world that essentially doesn’t exist any more, a snapshot of impoverished cotton farmers, and I could not put it down until I had finished it.

Agee is best-known for his book Let Us Now Praise Famous Men (written later, it’s a much broader canvas for his work in Cotton Tenants; one is meant to be sung, one is meant to be preached, said the author) and as a screenwriter of two classic films The Night of the Hunter and The African Queen. Despite this, Agee always felt a sense of dread of squandering his talent, which he carried with him to his early death from a fatal second heart attack at the age of 45 in 1955. He died in the back of a New York City cab on his way to a doctor’s appointment.

Cotton Tenants is a small book but it packs a heavy punch with its clinical details of the families’ subsistence, where the weight of living is crushing them slowly, grinding them into the very ground they furrow. The three families are inescapably locked into capitalism’s cruel cycle; their only release will be death, the finality of their laborious existence is their only escape from the abject misery of poverty.

This brutal archaic agriculture system is no longer part of American life, yet it remains heartbreaking to read their stories all the same. The book is compelling, largely thanks to Agee’s machine-gun fire prose, as he rattles out descriptions of the families’ lives: diet, clothes, education and so on. The fact he never lays it on thick is part of the book’s appeal; then again, he doesn’t have to. The suffering is there in black and white, and in the photographs too, even if they do have a compassionate dignity to them. That being said, a page never slips by Agee where he’s not lifting the prosaic day-to-day into poetry: the families’ disenfranchisement always finds an unsettling death dance under his pen. The writer Adam Haslett describes Agee’s prose style perfectly as “Jesus strained through Marx”. For example: “A civilization which for any reason puts a human life at a disadvantage; or a civilization which can exist only by putting human life at a disadvantage, is worthy neither of the name nor of continuance.”

Some may ask why we should read a piece of journalism that’s 80 years old and recounts an age that’s long since disappeared. One reason is because the likes of Agee’s work sets the bar as to what journalistic inquiry should be. Another reason is that dehumanization can take different forms and remains with us today, be it in sweat shops in Bangladesh, tourist hustlers in Thailand, or the absurd debt trap culture forced upon ordinary working people in western society. In the modern age, progress is always pitched in positive terms under the yoke of capitalism. However you will be hard pressed to find many positives from such a consensus in David Bandurski’s valuable account of rural resistance to economic regeneration in China.

China’s seemingly unrelenting growth figures – which are readily cast in doubt by economists – has resulted in voracious demand for land and natural resources, meaning much of the ground rural villagers stand on is as valuable as diamond jewels. Hence the book’s title, Dragons in Diamond Village, from Bandurski who is an American journalist and film-maker. Being a fluent Mandarin speaker and having extensive experience of Chinese culture allows Bandurski to take us into the heart of the matter, and in meticulous detail he tells the human stories involved in the battle against corruption, cronyism and intimidation perpetrated by a faceless ruling class.

China had 320 cities when it put in place its economic reforms in 1978; as of this year the country has 660 cities, many of which have ruthlessly swallowed up urban villages, which traditionally were farmed and developed by rural communities. The Chinese state now wants even more of this land, at any cost, to continue the drive for economic growth, and (similar to the cotton tenants of 1930s Alabama) many poor people are at the mercy of the political establishment. There is no private land ownership in China; it belongs to the state. “State-held” land can be developed for commercial reasons, while “collectively held” land is controlled by village communities, and rural Chinese people consider this land their birth right. The latter is what the developers want to take hold of, by any means.

The villagers are organising and fighting back though, and Dragons in Diamond Village paints a painful, but brave, picture of their struggles against an unchecked ideology of communism on one hand, and capitalism on the other. (To give an idea of China’s development and monocratic political makeup, between 2011-2013 the country consumed more concrete than the United States consumed in the entire 20th century; as Bandurski notes, rural China is being paved out of existence. According to Forbes magazine more than 90 per cent of the richest people in the country are members of the ruling Communist Party). Bandurski makes a good fist of simplifying a complex land system and tradition, and densely details the plight of many individuals, while holding a light to the hypocrisy of the Chinese Communist Party. It is a just account of social struggle well worth reading.

Someone who had little time for any Communist party was George Orwell, a master of long-form reportage with such timeless non-fiction as Homage to Catalonia, Down and Out in Paris and London, and The Road to Wigan Pier. Orwell’s account of the working class in north England has often (depressingly) been used to give him an intellectual kicking post factum, especially due to a particular sentence he included in the book: “. . . the lower classes smell”. A simple statement of truth never got in the way of a revisionist ideologue’s opinion when it comes to a minor critic bashing a major reputation.

Thankfully the English academic John Sutherland resides nowhere near this cul-de-sac of cranks, but instead uses this sentence of Orwell’s as a jumping off point to write a biography of one of his literary heroes, warts and all considered. Having lost his sense of smell recently, Sutherland decided to re-read Orwell’s oeuvre and was struck by the importance the author placed on odour throughout his writing, be it shag tobacco, or furtive rolls in the summer grass with a lady friend (Sutherland does seem disconcertingly fixated on Orwell’s “rutting” throughout the book).

Having read three biographies on Orwell before, I wondered what more could be excavated from the bones of Eric Blair and his alter ego George with Orwell’s Nose. Sutherland’s book is an excellent read though. Written with a breezy and freewheeling style, he skilfully manages to encapsulate the life of one of the 20th century’s most important writers in about a third of the word count of other books. The prose is infused with wry humour and apt judgment on George’s endeavours. If you’ve yet to read an Orwell biography, it is a fine starting point. If you can’t resist all things Orwell, like me, then pinch your nose and dive in on this admirable portrait of a deeply flawed man with faultless prose.

Orwell’s Nose by John Sutherland (Reaktion Books)

Dragons in Diamond Village by David Bandurski (Melville House)

Cotton Tenants by James Agee & Walker Evans (The Baffler)

* Article first appeared in The Irish Times

Street life: visionary who changed how we think about cities

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Jane Jacobs (photo: The Center for the Living City)

This year cannot be allowed to pass by without reference to its being the centenary of Jane Jacobs, the renowned American thinker and writer on cities and urban spaces. Jacobs was an activist who emboldened many to challenge the established order when it came to public planning, someone who said of the metropolis: “There is no logic that can be superimposed on the city; people make it, and it is to them, not buildings, that we must fit our plans.”

We should hold on to her ideas: Jacobs was a common-sense champion of how places should be allowed to grow and shape themselves around us, not the other way around.

Down the years her work has been a source of elucidation for many people who have cared for the environment surrounding them, but who perhaps have been unsure about how to mobilise their thoughts against the abstraction of civil bureaucracy, something which often seeks to depersonalise – disengage us from – our living space.

Understandably a raft of books have appeared to coincide with the centenary of her birth. Becoming Jane Jacobs by Peter L Laurence (University of Pennsylvania Press), Jane Jacobs: The Last Interview and Other Conversations (Melville House Books) and Eyes on the Street: The Life of Jane Jacobs, the biography by Robert Kanigel (Knopf) look like notable additions to the canon.

However, it is a masterwork from her own pen for which Jacobs will be best remembered. The Death and Life of Great American Cities was first published in 1961 – a reprint is available from Vintage – after an article by Jacobs three years earlier in Fortune magazine was noticed by the Rockefeller Foundation, which offered her funding to write about cities.

A postage-stamp synopsis of the book is that Jacobs felt cities to be organic, that they evolve and develop over time depending on how the people living in the space use it; cities would not be formed with some painting-by-colours methodology of planning.

The streets are what make the city, wrote Jacobs, which was contra-modernism and its fashionable Corbusien ideas at the time of neat grids and high-rise towers lifting people off the streets. These ideas would have resulted in a place where people are looking inwards at courtyards, rather than outwards to what Jacobs called the ballet of the daily workings of the street.

“Cities have the capability of providing something for everybody, only because, and only when, they are created by everybody,” said Jacobs, in her ardent opposition to one-size fits all planning. She wanted diversity, density and engagement and maintained that cities were safer with “eyes on the street”.

Jacobs was an autodidact and an outsider, just like that other great poet of place Ian Nairn. She was not some sleek metropolitan and The Death and Life of Great American Cities rocked the establishment and rattled architecture’s gilded cage.

Quite an achievement for someone born in the unfashionable coal-mining town of Scranton, Pennsylvania in 1916, and who had no college education or formal training.

It is also worth bearing in mind the general attitudes to a strong-willed woman in that era; all these facts probably added to the shock felt by Jacobs’s temerity; the New Yorker critic Lewis Mumford dismissed her reflections as naive while reviewing the book under the headline Mother Jacobs’ Home Remedies, for example).

Born Butzner to a doctor father and school teacher mother, it seemed young Jane was something of a firebrand from early on: playing pranks at school, showing little concern for authority by secretly reading books during lessons and holding imaginary conversations with Thomas Jefferson or Benjamin Franklin (depending on who was lodging in her imagination at the time).

She chose an unpaid internship at the Scranton Tribune instead of going to college, before moving to join her sister in New York in 1934. She worked various jobs, all the while immersing herself in the big city, before her first writing opportunity came. It was an unglamorous one in a metal trades paper, but it got her started, leading to a series of commissions from Vogue magazine.

Supposedly her pieces about the city were earning Jacobs $40 a time, while she was on $12 a week working as a secretary. While hosting a party in her apartment in April 1944, she met her husband, Robert Jacobs, an architect, and they married in May. Jacobs said later in life that she only wrote books due to his encouragement.

The Jacobs made their home above a sweet shop in 555 Hudson Street, in Greenwich Village, which these days can attract as many fans of architecture as any modernist masterpiece. Here she watched the dance of the street at dawn and dusk and evolved her ideas on urban planning even further by taking a position at the Architectural Forum.

The esteem bestowed on Jacobs after the publication of The Death and Life of Great American Cities saw her become involved in the protests against New York City planning chief Robert Moses’s proposals to build the Lower Manhattan expressway. This was to run through the heart of Greenwich Village and the very streets where Bob Dylan would scuff his shoes and polish his verse.

The tussle between Jacobs and Moses has already been well documented (there’s even an opera based on it) so there is no need to go into it here. But the victory and Jacobs’s organisation of like-minded citizens who fought to preserve the Village was the embodiment of citizen empowerment. It showed everyone else that planning was too important to be left to the planners.

The long-running dispute has become the stuff of legend, partly because “ordinary mom” Jacobs took the fight both on to the street and into the corridors of powers. She took on Moses, one of the most powerful figures in the US at the time, and won.

Many on the left saw her as an inspiration of how an organised community can take on capitalism and come out victorious. Of course, Moses’s haughty attitude to the public played a significant role in the project’s defeat as well: at a proposal hearing on the plans, he was quoted as saying: “There is nobody against this – nobody, nobody, nobody but a bunch of . . . a bunch of mothers!”

As time went on, and the proposed motorway’s momentum faded, one imagines Moses probably affixed another word to the merry band of “mothers”.

In the end those who fought to save Greenwich Village were triumphant, although the Jacobs moved on. They went to Canada in 1968 after their two sons said they would rather go to jail than be conscripted to fight in Vietnam.

Unsurprisingly, Jane Jacobs soon became involved in similar campaigns in Toronto. She remained there until her death in 2006, aged 89.

The historian Robert Caro, who has written a tome on Moses, said she was not the first person to stress the importance of neighbourhood, which is correct, but he went on to add: “But no one had ever said it so brilliantly before. She gave voice to something that needed a voice.”

What Jacobs would make of what we call “gentrification” today is hard to say. She believed in cities growing by themselves, so would her theories apply to the tech generation that has taken over San Francisco, squeezing out the diversity and freakbeat fabric that made the city one of the most distinctive in the world? Or to Paris, which is now mostly an urban centre for the wealthy, ringfenced by poverty and the rest of the population?

Organic developments can also embody undesired change and urban cleansing; it would have been nice to have heard her views on such places.

Ultimately, Jacobs helped change the way we think about cities, whether you believe her ideas stand or fall. She gave us another prism through which to consider how we plan our urban space: when we do intervene, it shouldn’t be just about making things new, it should be about making things better.

One hundred years on from her birth, we now have the necessary perspective to realise how perceptive she was. Those “eyes on the street” she talked about included her own, always framed by those striking owlish glasses. We were lucky to have them.

* Article first appeared in The Irish Times

Mansion among the people

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Mansion House Dublin (all photos courtesy of Dublin City Council)

Pomp and ceremony does little for me usually, but if I’m ever trudging through the Dublin streets on a crisp cold or ragged wet night then I always find warmth passing the Mansion House on Dawson Street which, until the Luas line developments, was always the prettiest street in the city.

Set back from the road, with two-storeys of seven bay windows, the elegant illuminated facade of the Mansion House has a curative quality to lift any cursing part of your soul, even as you walk into the teeth of a howling gale. It looks best at Christmas time, when snow is falling: its understated tree stood out front, while the shadows loll in the iridescence of the stemmed lanterns running along the lower face of the house, distinguished by its Georgian porch (by Simon Vierpyl) and Victorian wrought iron portico (by Daniel Freeman). The building takes on a magical quality in these moments: like some lustrous smile peering out at you from the depths of winter’s darkness. It always makes me think of the ghosts that may be fleeting ethereally through Dawson Street; past St Ann’s Church, built in 1719 , and the Mansion House, its older neighbour by nine years.

It’s a little more than 300 years since Mansion House came into the ownership of Dublin Corporation, having been purchased on 18 May 1715 from the property developer Joshua Dawson for the princely sum of £3,500 sterling, a yearly rent of forty shillings to Dawson, and the rather bizarre condition of a loaf of double-refined sugar weighing six pounds to be handed over each Christmas (unsurprisingly this was never paid, nor sought out).

Dawson was originally from Dawson’s Bridge, Co Derry but moved to Dublin to further his career, where he became a high-ranking civil servant based in Dublin Castle and MP for Wicklow borough (apparently while living in the city he kept his evenings full too by managing a network of spies working to undermine Catholic priests; well before they started doing it for themselves).

In Dublin Dawson built the Mansion House as his private residence in the Queen Anne style. It was quite an unusual move in a quintessentially Georgian city. But such was the Tory from Derry’s love for the ruling monarch he went ahead with a design type that artist Osbert Lancaster said ‘would be more rational and more just to call Wren… few monarchs have displayed less interest in architecture than that monarch’.

stainglasswindow

Stain glass window

Dawson bought a tract of land to the east of St Stephen’s Green in 1705 and drained the marshy ground and laid out a straight road running parallel to Grafton Street, unabashedly naming it after himself; Duke Street and Anne Street soon followed as part of his urban plan. After the development flurry Dawson was called back to take over the family estate in his home county, and he promptly offered the house to Dublin City Assembly on the proviso he would build an extra room that could be used for civic receptions – the now famous Oak room. It’s fitting the man originally from the county of oaks would depart on such a note.

When the First Citizen of the city duly took residence in the house he was given an annuity of £500 sterling each year for entertainment purposes, along with 10,000 oysters from the civic oyster beds. It’s a pity the Mayor could not get hold of Thackeray in order to lubricate his quill with claret-soused kindness and salt his tongue with Dublin Bay’s finest. The great English writer was not impressed by the Mansion House when his eyes fell upon it. In his essay ‘A Summer Day in Dublin’ from ‘The Irish Sketch Book’ (published in1843) he noted:

I had just passed his lordship’s mansion in Dawson Street, – a queer old dirty brick-house, with dumpy urns at each extremity, and looking as if a storey of it had been cut off – a rassée-house. Close at hand, and peering over a paling, is a statue of our blessed sovereign George II. How absurd these pompous images look, of defunct majesties, for whom no breathing soul cares a halfpenny!” 

He certainly was right on the second point. From reading his travelogues, the ‘Vanity Fair’ scribbler could be dyspeptic at the best of times, and the Queen Anne style had fallen thumpingly out of fashion by that stage of the 19thcentury – Victorian buildings were vogue – and nothing fell harder from Thackery’s pen than that which was not in fashion.

Many original features of the Mansion House remain, the two main staircases for example; quite a feat for a house now in the foothills of its fourth century (it’s worth noting the city of London did not build a mansion house until thirty years after Dublin). Naturally there has been changes to the likes of the Supper Room, the Oak Room, the Lord Mayor’s Garden, and the surrounding area of the house. For indepth details of changes made (and the many mooted) throughout its history it is worth consulting the impressive ‘The Mansion House Dublin – 300 years of history and hospitality’ by Dublin City Council for a rich account and meticulous itinerary of this Dublin landmark. Some of the more significant additions or alterations to the house have played a part in Ireland’s storied past. The Round Room stands out for one. It was built beside the Mansion House, on part of the former bowling green, in just six weeks for the visit of King George VI in 1821 (the roof atop the Round Room was a temporary one, such was the builder’s haste; a permanent one was put in place three years later).

This same room would go on to hold the meeting of the first Dáil on 21 January 1919, which is so memorably captured in Tom Ryan’s painting which now hangs above the entrance to the Dáil chamber. What goes around comes around in the Round Room it seems, which John Croker Wilson described as: ‘the circular court of a Moorish palace open to the sky: the battlements were a gallery walled with ladies, music and a company of halberdiers in Spanish dresses of light blue silk, as a guard of honour to the king.’

mansionhousedrawingroom

Drawing Room

The Round Room was also scene to many a Lord Mayor’s Ball down the years, and the visit of the Prince of Wales in 1861 had ‘The Irish Times’ praising the House Steward Mr McCleaverty whose arrangements were ‘so perfect that although there were over 100 persons present, no inconvenience resulted to the guests’. Things must have become somewhat boisterous however, and maybe even out of hand (although these details were sadly not reported) as the same newspaper carried a number of advertisements looking for valuable property lost at the ball. One offered a reward ‘if found by a poor person’. If such a poor beggar had chanced upon an expensive bracelet or a purse stuffed with coins, I can’t imagine they would have handed them in. Not for all the oysters in Dublin Bay.

  • The Mansion House Dublin – 300 years of history and hospitality is published by Dublin City Council, Dublin City Library and Archive
  • Article first appeared in Architecture Ireland http://architectureireland.ie/

Pen-and-inkery – the magical drawings of Osbert Lancaster

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Osbert Lancaster did not have to look far for caricature. Sporting a walrus moustache, and always dressed in true dapper dandy style with tweeds or pinstripes, he possessed all the natural self-awareness he and other members of the ‘Brideshead Revisted’ brigade brought to any luncheon.

A rambunctious figure, Lancaster could have easily bounded out of a PG Wodehouse novel – in many photographs he looks like Larry Olivier with a few extra potatoes.

But beneath this surface of seeming superciliousness lay depths of talent and discernment. Lancaster was a designer, cartoonist, writer on architecture and travel, and a humorist. He enjoyed nothing more than poking fun at the very establishment he belonged to – and fortunately his work is in print again thanks to Pimpernel Press, which has published a beautiful three-volume slipcase edition of his books: ‘Osbert Lancaster’s Cartoons, Columns and Curlicues’.

The books are made up of Lancaster’s architectural drawings published across the period of the Second World War, tracing the line between the pre-war ideas of preservation, and the post-1945 movement towards renewal and reinvention. In the introduction to the first of these books, ‘Pillar to Post’, Lancaster threw his jocular saddle over a po-faced subject: ‘All the architecture in this book is completely imaginary, and no reference is intended to any actual building living or dead.’

The drawings that follow are satirical, funny, and extremely accurate – so much so that his descriptions were added to the design lexicon: ‘Banker’s Georgian’, ‘Pont Street Dutch’, ‘Pseudish’, ‘Stockbroker’s Tudor’ are all used today. Looking at his drawing ‘Twentieth Century Functional’, it’s fair to say he flagged part of the embryonic modernist movement: a cubist house, and a touch of the ‘Mad Men’ lifestyle thrown in as the hip couple sunbathe on a rooftop, waiting for cocktail o’clock no doubt.

The other volumes, ‘Home Sweet Homes’ and ‘Drayneflete Revealed’, cast an irreverent eye towards matters of domesticity, and presaged some of the conflicts found within the good intentions of the New Town planners (‘The Drayneflete of Tomorrow’ perfectly encapsulates the new city ideology of grids, boulevards, airports and high rises). Lancaster coined more new terms for suburban living in these volumes – ‘By-Pass Variegated’, ‘Aldwych Farcical’ – and always made sure to include the one thing that seems almost sacrilegious to architectural design and drawing: people.

Lancaster’s visions contained such a sharp satirical edge that his long-time friend John Betjeman noted: ‘My only fear… is that some town councils may get hold of (these books) and take it literally.’ His drawings poked some sacred political cows as well. At a time when many people on the left were apologising for or turning a blind eye to Stalin’s Soviet Union, while condemning the actions of Hitler and the Third Reich, Lancaster made two drawings side-by-side in ‘Pillar to Post’. Titled ‘Third Empire’ and ‘Marxist Non-Aryan’, it showed identical structures and designs, bar the easily adjusted window-dressing of Stalinist and Nazism military insignia.

modernhouse

 

Osbert Lancaster was born in Notting Hill, London in 1908, and after leaving Oxford with a fourth-class degree and failing his exams to enter the legal world, he found himself somewhat adrift. Art school did not work out for him either, so he started out as a freelance illustrator, designing posters for London Transport and other companies. Betjeman was working on the ‘Architectural Review’ by the 1930s, and soon got his old pal involved. This led to a job with the ‘Daily Express’, when it was still a newspaper of note, and it was here that Lancaster pioneered the pocket cartoon that we are all familiar with now (a single panel, single column drawing). He became part of the Fleet Street furniture during this golden age of newspaper journalism, contributing an estimated 10,000 cartoons over a period of forty years. “He was a bastard”, Lancaster later recalled of Express proprietor Lord Beaverbrook, “but by God he knew his journalism.”

The books on architecture are what Lancaster should be best remembered for though – they are humorous first and foremost, but they also helped disseminate knowledge of architectural styles to many people. The drawings and designs allowed people have the confidence to critique new fads, while at the same time they gave welcome voice to the conservation calls in the urban planning debate. It could be argued that ‘Drayneflete Revealed’ was a much greater force on the issue of urban renewal compared to a 5,000-word polemic, for the simple reason that more people would read it, and, just as importantly, turn the pages joyfully to watch the argument played out.

‘The object of this book,’ Lancaster wrote of ‘Pillar to Post’, ‘is to induce an attitude to architecture less reverent and of greater awareness.’ The books are of their time, of course, but their legacy is part of the strong heritage culture that we rightly fight for today.

When Osbert Lancaster died in 1986, ‘The Times’ observed that ‘with his poached-egg eyes, martial moustaches, tweedily dandified clothes and bufferish-pose as the last of the great clubmen, he seemed to have stepped out of the magically preposterous world of his own drawings.’

Not a bad epitaph for a boy with a fourth-class degree.

 

‘Osbert Lancaster’s Cartoons, Columns and Curlicues’ (2015), Pimpernel Press, £40

  • Article originally appeared in The Irish Times

 

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Czesław Miłosz

 

‘Death is endowed with the supreme authority of Law and universal necessity, while man is reduced to nothing, to a bundle of perceptions or even less, to an interchangeable statistical unit. But poetry by its very essence has always been on the side of LIFE.’

Vladimir Nabokov, in a letter to his wife Vera

 

‘You came into my life, not as one who comes to visit, but as one comes into a kingdom where all the rivers have been waiting for your reflection, all the roads for your steps.’

S a r a h

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