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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
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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.
