The Mountaindale General Store

Mountaindale isn't really a place. At least, it's not anymore, and it hasn't been for a long time.



When I was a child, there was a little store with a gas pump at the intersection of a couple quiet country roads. For me, it was a sort of landmark; we turned at the store, went past the old, red, one-room schoolhouse, and then we were at Grandma's house. A few times my grandmother took me on a quick errand to get milk or butter at the Mountaindale General Store, although we usually went into the small nearby town of North Plains or further to Cornelius or Hillsboro for any more significant shopping. My memory of the Mountaindale General Store is not very clear, but in my imagination it was a creaky old wooden affair with a few creaky old locals hanging out inside.

Appropriately, during the store's waning years, it served as a shooting location for an episode of some forgotten TV show titled Nowhere Man. I never watched it, but the reviews on IMDb are quite positive. Mountaindale played the role of a Southern town with a population of 37.  "Is this the whole town?" the protagonist asks after getting off the bus. The store was the last remnant of Mountaindale to close.

Little Houses on Charlotte Street

Charlotte Street in The Bronx has a mythic place in the history of The Bronx, and it continues to grow as the borough recovers from its period of neglect and abandonment. As the mythology grows, Charlotte Street becomes increasingly symbolic. Yet it remains a place where real families live and build dreams for their future.

As with any other symbolic place, people impose their own agendas onto its history and argue about its meaning. Its history becomes contested through competing efforts to use its lessons to shape the future. Attention to Charlotte Street will only mount going into next year, the 40th Anniversary of the Blackout and The Bronx Is Burning. Quality discussions that hear and consider different perspectives will be invaluable.

Interest in Charlotte Street has already percolated for much of this year. It bubbled up when Bernie Sanders held his massive rally at St. Mary's Park in the South Bronx in April, and it has boiled over since Netflix released its new series The Get Down. As we approach the 40th anniversary of "The Bronx is Burning," attention is likely to grow.

The Sanders rally naturally led to a round of discussions about historic presidential visits to The Bronx. None are more mythologized than the pair of stops at Charlotte Street by Jimmy Carter and Ronald Reagan.

President Carter visited the area in 1977. His suggestion was to "See which areas can still be salvaged." Mere weeks later, televisions viewers watching a Yankees game were told a massive fire was in the same area (it was actually a mile and a half away in Melrose). That moment, paraphrased as "The Bronx is burning," became permanently branded on the borough's image. While the specific fire seen on television that night was not actually on Charlotte Street, it was an apt enough depiction of the arson that left nothing but debris of former homes in its wake. In 1980, local activists staged a People's Convention on the site of Carter's visit during the Democratic Convention to draw attention to broken promises. Later that year, Reagan stole their idea and visited the site to try emphasizing his opponent's failures.

Ultimately, planners and developers led by Ed Logue finally rebuilt Charlotte Street and the surrounding blocks. What they created looked like the image of the prototypical American suburb had literally been xeroxed right into the middle of the least likely inner city neighborhood. A small handful of streets were lined with cheerful little ranch houses. They have hardly changed today. Each has its own little fenced yard. You can hear the birds singing when you stroll down the sidewalk.

Imaginary Cities

I have seen many imaginary cities.
I live with a three-year-old.

Between bursts of "Daddy! DADDY! Look at my wall!" and "Daddy, I have surprise for you," I found time to read Darran Anderson's fascinating book Imaginary Cities.

Don't let the voluminous endnotes fool you; Imaginary Cities is not an academic book. It's more like the delirium of an academic. Just as imaginations are limitless, so is the potential material for this ambitious project. Anderson jumps from reference to reference, none ever fully described or explained. Rather than imposing a linear narrative, instead of situating works and expounding on their significance, Anderson drifts from one vision to the next. It is surprising, and somewhat daring on the part of both the author and the publisher Influx Press to print a book dedicated to material of such visual nature without a single image. The images are supplied by the reader's imagination. Reading this book can feel in turn dizzying, frustrating, exhilarating, incomplete, and ultimately inspiring.

Gotham City
The discussion of Batman's Gotham City is Imaginary Cities at its height. Consider the way Anderson introduces the story and locale that have been retold many times in the making of a modern mythology:

In a dank alleyway, far beneath the metropolitan skyscrapers, there exists a temporal loop. A rich couple, having taken an ill-advised shortcut from the theatre to reality, are shot dead over and over, each time in slightly different variations but always with the same outcome.
p. 374

Rendering by Ferris

source: http://architecturemuseum.blogspot.com

"Gotham is Ferris gone wrong,
or perhaps Ferris gone according to plan."

This is an excellent writing style. It is both clever and appealing to frame the constant retelling and adaptation of the story as a temporal loop. Yet this is a point where I wish Anderson had delved a little deeper. The variations differ because our cities have changed over time. The unchanging outcome becomes a fixed point for navigating a shifting world.

There is meaning in the dark spaces of Gotham City. Anderson recognizes they are more than mere backdrop, they are a fundamental part of the story:

"Batman is a critique of failed urban planning and empathy. Alleyways have dead-ends as traps for the unwary. Abandoned buildings are warrens for criminals. A dark sanctimonious fear of rookeries and today's housing estates, projects and slums as inhuman breeding grounds, prevails." (p. 377)

Again, following the variations through versions over time would show differences in what lurks in the dark as some of our boogiemen have come and gone.

Referring to architectural illustrator Hugh Ferris, Anderson suggests, "Gotham is Ferris gone wrong, or perhaps Ferris gone according to plan." (p. 379) Batman has traditionally been grounded in a dark Victorian esthetic overlaid precisely with a Ferris image of the metropolis. Personally, I find this darkness fascinating and appealing; that is the Gotham City I prefer. I am more drawn to scenes filmed on Lower Wacker in Chicago in "Batman Begins" (2005) than to the increasingly glass-clad Manhattan of "The Dark Knight Rises" (2012). Neither have the palpable anxiety of getting mugged on an urban street that "Batman" (1989) held in common with its audiences' own experiences during the 1980s. As street crime still continues to drop, cities increasingly gentrify with glossy new buildings, and the police militarize, Ferris may continue to fade in the image of Gotham City. This leaves the question of what fixed points remain from the Batman saga as landmarks for our collective consciousness.

The Only Place Where New York Is Still New York

There is a quiet, residual space tucked under some of the city's infrastructure that I visit from time to time. It is a forgotten place, sometimes inhabited by a few of the city's dispossessed and occasionally transited by a curiosity seeker. The gradually deteriorating infrastructure above forms an interesting architectural space. Social commentary has been tagged onto the base of its structures.

Social commentary was written on this space over a decade ago:
THIS MIGHT BE THE ONLY PLACE WHERE NEW YORK IS STILL NEW YORK

The same graffiti is still there today, with little change in the space over the years

Building Ruins

It is our job as city builders to secure the funding necessary to build.  We cannot be frivolous, of course, but we must make the case for investment in infrastructure and architecture that lifts the soul.  Spending just enough to get by will be money wasted.  We will ultimately spend more as we return over and over again for repairs and minor functional improvements, and perhaps even an occasional beautification effort to address the worst of the ugliness, but we will never be satisfied.  There is no substitute for investing in quality.

We must be bold.  If we begin with the pessimism of limited funds, we will fail to produce the plans we need to carry us into the future.  Great plans will find investors, while weak incrementalism will only perpetuate stagnation.

If we are headed for ruin, let us at least leave ruins worth visiting.  Consider the great landmarks of civilization; some may be criticized for contributing to the financial collapse of those who built them, although I think that dubious.  There were invariably other, more critical structural problems that brought each institution to its demise.  The savings from forgoing their landmarks may have extended their life a little, but probably never could have saved them.  More significantly, the durability of landmarks has been a source of cultural and economic richness that accrues for generations beyond the measure of any discounted financial analysis.

As city builders, we owe a responsibility to the present and the future to produce quality landmarks. If we end in failure, let's make it the failure of ruins.

 Herman van Swanevelt (1603/1604–1655), via Wikimedia Commons