Earlier this year, The Spectator magazine ran a competition asking for 150 words of advice to intending writers purporting to be from well-known writers. Had he still been alive, this would have been the advice that Henry James would not have given:
The – and it is, one would venture, most appropriate to deploy the definite article in this, admittedly ambiguous, context, although many may well disagree, and so the utterance will surely not remain uncontested, but, one hopes, always unrebutted – first – because the established custom in our society, at least that part having a certain level of education and – how shall I best acknowledge this? – breeding, is to denumerate from the first numeral, for, after all, exactly how could no elements even be articulated, let alone counted? – rule – although our society, however flawed, and it is flawed, is law-governed, or rather aspires to be thus – is – and there can be none, at least none of social consequence, who could argue or question what the meaning of is is – to be – for we are dealing with the invocation of existence in reference to something primeval, inchoate, even struggling to be birth-éd – concise.”
Re-reading Ian Hancock’s fine history of liberal white politics in Rhodesia reminds me that the first politician in that sad country to harass and intimidate his political opponents was not Robert Gabriel Mugabe, but Ian Douglas Smith. Smith and his Rhodesian Front party arrested, tortured, silenced, detained, and killed black opponents of white rule. As far as I know, no white opponents were murdered, but they were arrested, deported, silenced, shouted-down in public meetings, made the victims of malicious innuendo, traduction, and defamation, and otherwise intimidated if they dared oppose RF rule. I know at least one opponent who committed suicide rather than kill his fellow citizens in defence of white privilege. These actions, Smith insisted, were for the maintenance of Western, Christian, values. Bah, humbug! As early as May 1965, in Smith’s first election as an incumbent prime minister, he prevented any white or black opposition politician from gaining access to state-owned media. In contrast, Smith himself was treated with great deference and respect, despite continuing to hold racist views that would have shamed a Klansman, after Mugabe came to power in 1980. He should have been tried as a war criminal. In a more just world, he would have been.
The terror that Robert Mugabe has unleashed on his homeland is different in scale, perhaps, but not in kind from that of Ian Smith. The evil that men do may well outlive them.
Ian Hancock : White Liberals, Moderates and Radicals in Rhodesia 1953-1980. New York: St Martin’s Press.
If one trope could define the full diversity of artistic endeavour in this Millenium period, it is the mash-up. For visual art, we have become used to collages of images, videos, fashion, and even material junk. Ditto for sound objects and events. In movies, Godfrey Reggio’s Koyaanisqatsi (1982) became a popular example, at least among college students. And now computer scientists are exploring mashups of programming languages, for instance, here. But not even architecture has escaped. The increasingly widespread Bauhaus-influenced style seen in new office and apartment buildings in Europe and North America these last two decades is one of life’s great pleasures of looking.
What distinguishes this architecture? The influence of Bauhaus and de Stijl ideas is evident in straight edges, flat roofs, vertical walls, and structures comprising rectangular prisms. But these are not the single-box prisms of the International Style skyscrapers of 50 years ago. Rather, each structure comprises multiple, intersecting prisms, expressing a multiplicity of interpenetrating shapes. The result is that external walls are not flat or simply lying in a single vertical plane, but extruding or withdrawing into multiple vertical planes. The effect of this interleaving mash-up is most pleasing.
Second, external surfaces are no longer a single, uniform colour or material. Typically, the different prisms, or the different interpenetrating vertical planes, will be made from different materials: red-brick, white stone or concrete, grey aluminium sheets, etc. Here, the mash-up of materials and colours is unlike most western domestic or office architecture of the past two centuries.
Here are some examples. First is the red-brick apartment building across the street in this photo, in Madison, Wisconsin (Source: via The Dish). Notice how the external walls do not all lie in the same vertical plane, and note the use of different coloured and perhaps even types of surfaces – red-brick, light-coloured brick, and grey slate. There is a white trim.
And here is the Jaclyn Building, in Sofia Bulgaria (Architects: Aedes Studio), again with red brick, grey and white surfaces, but this time less balanced vertically.
And here is an apartment building, The Reach, in Leeds Street, Liverpool, UK, with all the familiar elements along with a curved corner. The only thing lacking from this building is a single tree in green leaf right up against it, to give the image a textured asymmetry of colour and line.