An Existential Necessity (Luc Sante)

The Paris Review has inaugurated a new blog, Pinakothek. Written by Luc Sante, it's devoted to "miscellaneous visual strata of the past." Here's an excerpt from the second post, "Arcade":

Getting yourself photographed was a pastime and an existential necessity. It reminded you that you existed outside your own head. It showed you your face as others would see it. It gave you an opportunity to compose yourself, although few had the skill to do so successfully, and often the photographer’s haste and hard sell would mitigate against it. Most people come off in arcade pictures as if they had suddenly been shoved onstage to face an audience of thousands.

"Pinakothek" (from a Greek and Latin word for a picture gallery) was also the title of a short-lived feature that Sante maintained on his website a number of years ago.

Notes for a commonplace book (17)

Luc Sante:

The game may not be over, but its rules have irrevocably changed. The small has been consumed by the big, the poor have been evicted by the rich, the drifters are behind glass in museums. Everything that was once directly lived has moved away into representation. If the game is ever to resume, it will have to take on hitherto unimagined forms. It will have much larger walls to undermine, will be able to thrive only in the cracks that form in the ordered surfaces of the future. It is to be hoped, of course, that the surface is shattered by buffoonery and overreaching rather than war or disease, but there can be no guarantee. It may be that whatever escape routes the future offers will be shadowed by imminent extinction. Life, in any case, will flourish under threat. Utopias last five minutes, to the extent that they happen at all. There will never be a time when the wish for security does not lead to unconditional surrender. The history of Paris teaches us that beauty is a by-product of danger, that liberty is at best a consequence of neglect, that wisdom is entwined with decay. Any Paris of the future that is neither a frozen artifact nor an inhabited holding company will perforce involve fear, dirt, sloth, ruin, and accident. It will entail the continual experience of uncertainty, because the only certainty is death.

The Other Paris (2016)

Notes for a commonplace book (16)

Luc Sante:

The occult forces in the city are always at work, indifferent to rationality, scornful of politics, resentful of urban planning, only intermittently sympathetic to the wishes of the living. They operate with a glacial slowness that renders their processes imperceptible to the mortal eye, so that the results appear uncanny. But much like the way stalagmites and stalactites grow in caves, such forces are actually the result of long passages of time, of buildup and wear-down so gradual no time-lapse camera could ever record them, but also so incrementally powerful they could never be duplicated by technology or any other human intent. Over the course of time they have worn grooves like fingerprints in the fabric of the city, so that ghostly impressions can remain even of streets and corners and cul-de-sacs obliterated by bureaucrats, and they have created zones of affinity that are independent of administrative divisions and cannot always be explained by ordinary means.

The Other Paris (2016)

Leonard Lopate's radio interview with Luc Sante is available here, and below is a representative chanson by Damia (Marie-Louise Damien), mentioned in the book.

Notes for a Commonplace Book (4)

Luc Sante:

At night sometimes in certain parts of the city, usually in those remaining streets that are left deserted, usually in winter, but sometimes in other seasons if the streets are sufficiently forsaken, the past can be seen as if through a smeared window. Sometimes this effect occurs only for an instant: when you’re walking back from someplace with a head crammed with company and music and sensations, to a point where all new sensations dissipate, on some dead street in the middle West Side lined with jobbers and import showrooms and loading docks and shuttered luncheonettes, or on a street on the Lower East Side where the intersections have no stoplights and everything is nailed down and dark and the only people to be seen dart by as furtively as wraiths. There will be no traffic, and the streetlights will seem to shrink back into their globes, drawing their skirts of illumination into tight circles, and the rutted streets reveal the cobbles under a thin membrane of asphalt, and the buildings all around are masses of unpointed blackened brick or cacophonies of terra-cotta bric-a-brac or yawning cast-iron gravestones six or eight stories tall. This is the sepulcher of New York, the city as a living ruin.

From Low Life: Lures & Snares of Old New York (1989)

Notes for a Commonplace Book (3)

Luc Sante:

The dead ... are a notoriously perverse and unmanageable lot. They tend not to remain safely buried, and in fact resist all efforts at obliterating their traces. Cultures that glorify and memorialize their dead have simply found a clever way to satisfy and therefore quiet them. When the dead are endlessly represented in monuments, images, memorials, and ceremonies, their vigor passes into these objects and events; it is safely defused, made anodyne. New York, which is founded on forward motion, and is thus loath to acknowledge its dead, merely causes them to walk, endlessly unsatisfied and unburied, to invade the precincts of supposed progress, to lay chill hands on the heedless present, which does not know how to identify the forces that tug at its rationality.

From Low Life: Lures & Snares of Old New York (1989)