Where am I and what am I doing? Writing about Parisian geography

At the bibliothèque Couronnes, a Perec mural

My essay on Georges Perec, the Situationists and Parisian geography appears in the third issue of the White Review, published this week.

I stood near the columbarium at Père Lachaise cemetery. I was there to see the locker-like vault containing the ashes of Georges Perec, kept alongside those of his aunt, Esther Bienenfeld. To the right of the plaque bearing their names and dates someone had affixed a wildflower to the wall with a Tom and Jerry sticking plaster. The columbarium contains thousands of urns stacked in a two-storey grid along one wall of the arcade. Its cloister-like arches surround the domed crematorium and its looming chimneys.

The grid became an obsession for Perec – his Lieux project and his novel la Vie mode d’emploi were planned using 12 by 12 and 10 by 10 grids respectively. Rather than being a limiting structure that undermined a creative impulse, the grid was seen as a constraint that would aid composition (in line with the literary group Oulipo’s view of the literary uses of limitation).

Perec’s Lieux project focused on 12 places in Paris, one of which was rue Vilin, the street where he had lived as a child.

Rue Vilin is in the neighbourhood of Belleville, in north-eastern Paris, and stands on hills overlooking the city centre. Perec’s Jewish family lived in an area described by his biographer David Bellos as ‘a whole Yiddish town within sight of the Eiffel Tower.’ While this street had an obvious emotional resonance for the writer, Perec sought to record his experience there as ‘simply, flatly’ as he could. A series of descriptive texts of each place made up one half of his project – the other half consisting of his memories of the same places. Perec’s descriptions of the rue Vilin capture a place that’s about to be erased: long designated a slum area, it has been marked for extensive redevelopment and reconstruction. It is far from a stable repository for Perec’s past.

Read more of the essay at the White Review. Or order a copy of issue three to read the whole article.

(Illustrator Badaude has contributed a poster to the same issue of The White Review that looks at Perec’s Tentative d’ épuisement d’un lieu Parisien; read her illustrated post about it here – I particularly like the tracing of pigeon trajectories around the place Saint Sulpice, something Perec does in his text. )

Event: John Holten in conversation about The Readymades

On Thursday night from 7pm I’ll be in conversation  with John Holten about his debut novel, The Readymades. The event takes place at the Pygmalion bar on South William Street, Dublin.

From The Readymades’ Facebook page:

‘Holten has expanded the scope of the contemporary novel’
— Brian Dillon

To mark the first Irish presentation of John Holten’s novel The Readymades Broken Dimanche Press are pleased to announce an evening discussion between Holten and writer and journalist Karl Whitney.

Holten has created a unique fiction that uses a variety of forms, genres and found texts to tell the story of Đorđe Bojić and the LGB art group. In collaboration with the Serbian artist and filmmaker Darko Dragicević, they have resurrected contemporaneously a catalogue of LGB artworks from 1995-2007 that accompany the story of The Readymades.

BDP, together with our new partners at Galerie Gojković, will be presenting this work through exhibitions that will mark the launch of the book across Europe this autumn. We’ve already started in Oslo at Gallery 1857 in August, and this discussion will lay the ground for a further Dublin intervention in the coming weeks.

This fiction is on-going; the novel is dead, long live the novel! Time for a fight

Half-man, half-typewriter

Myles na gCopaleen on his friend Remington, a man whose bones were replaced with typewriter parts:

“Remington I knew well. He had the whole of his insides taken out of him, bones and all, when he was a lad – he was suffering from diffused chrythromelalgia – and had new bones made for him out of old typewriters. [...]“

More here.

The City’s Edge: Dublin in Fragments 2

It’s hard to believe how important Tallaght was to the historical development of Dublin city – at least it was hard to believe something like that when I grew up there. Nowhere seemed further from the dense, decaying streets of the city centre in the 1980s than Tallaght, with its vast and oppressive open spaces threaded with sinister-looking electricity pylons that you could hear a low buzz from when you stood beneath them. Tallaght, with its anonymous industrial estates seemingly dropped in the centre of housing developments – estates that, in turn, seemed to stretch for miles without end. Tallaght seemed like nowhere.

Tallaght never seemed part of Dublin, to me. It was distantly flung to the far south-western corner of the city, as if banished from the urban centre for some obscure crime. It was divided from Walkinstown by a large tract of farmland that subsequently, much later, became a park and a motorway. The road from Tallaght to the city – at least the one I was most familiar with – was the Greenhills Road, which runs along a high embankment between Kilnamanagh, where my family lived, and the roundabout at Walkinstown. As you travel north along the road, factories and warehouses stretch out below you to the left, as far as the eye can see. In the distance you can just about see the white papal cross in the Phoenix Park, but, at least from that perspective, that’s the nearest visible green space.

On our bus trips to the city – usually me, my brother and mother, on a 77 bus whose upstairs windows tasted of tobacco smoke when, one rainy day, I wiped my hand on the fogged glass, then licked it – you’d be introduced to the oddly fractured urban planning at work in the city, before reaching the snug terraced streets of the Liberties, the bus taking a sharp hairpin turn at the end of Cork Street before catapulting around the corner down the Coombe, past the disembodied doorway to the old hospital, preserved like an old limb in formaldehyde. Across from St Patrick’s Cathedral, a Dublin Corporation rubbish tip, where street cleaners dumped the refuse they collected along the city’s streets. The inner city intrigued me: it seemed everything Tallaght wasn’t.

Only later did I find out that Tallaght was flung there on purpose. Or at least part of it was. The extensive council estates located to the west of the village were, in part, the city’s response to a long-overdue need for proper social housing to allay the slum conditions in the inner city. Other building followed, as empty landscapes filled up with housing built by private developers on acres of rezoned land.

In the mid-60s, a master plan had proposed the development of a number of new towns in the west of the city, of which Tallaght was one. This expansion formed the western suburbs as they now stand, kept outside the city proper by the boundary of the M50 motorway, which serves as a link between suburbs, and to the roads out of the city.

When the M50 was being built, I still lived in Tallaght, and, before they had laid the road surface, I used to ride my BMX along the flattened earth of the motorway, as far, nearly, as the current interchange in the shadow of the quarry at Firhouse. At that point, there was an urban legend that a local gangster had buried a bag full of money from a robbery somewhere under the road. I cycled along, thinking about it: if you were to start digging, where would you begin? The roadworks were vast, and, by comparison, a bag full of stolen money seemed so small, no matter how much of it there was.

When they had put up a wall along the edge of the motorway, I was still drawn there – the strangeness of this incursion into everyday life had not yet abated. A small stream ran from the estate in Kilnamanagh under the M50. I was intrigued by the way a new concrete riverbed had been constructed to divert the river below the road, and I often pottered around there in the sunlight, watching the water trickle away into the darkness of a moulded cement tunnel. It was surrounded by a grubby scrubland pockmarked with spiky bushes and broken concrete blocks – the detritus of road-building. Discarded, presumably used, condoms could be seen here and there. The stream disappeared under the motorway, and I still don’t know where it emerges.

I went to school at the top of the Greenhills Road, near Tallaght village. Across the field – an open space, really, bordered on one side by an industrial estate, on the other by the Bancroft housing estate – was a small river that smelled like chemicals, but had a rich and intriguing history. The River Poddle had been Dublin’s first municipal water source, and ran from an unspecified source beyond the Belgard Road. It was spliced with a canal that drew water from the River Dodder further downstream, and supplied water to the city for many years. It had become notoriously polluted due to its path through teeming slum areas with virtually no sewage facilities, and had also been used for waste drainage by the tanneries in the Liberties, and, wisely perhaps, it had ceased to be used as a source of drinking water.

When you were out in the field, and you were a primary school child sweating in your uniform on a summer day, you smelled the river before you saw it. It ran down behind the cigarette factory that stood on the other side of the Greenhills Road, before running under the road and through a ditch that directed it eastwards towards Templeogue. The sweet smell of tobacco being rolled into cigarettes wafted across to the school most days – usually in the summer months when the windows were opened in an effort to cool the classrooms.

My abiding memories of Tallaght focus on how separate it seemed from the rest of Dublin. This was partially because of limited public transport, but it was also undeniably physically separate. It still is, to a large degree, thrown off to the edge of Dublin by some powerful centrifugal force.

Some Parisian Walking

Two recent articles by me, written for 3:AM Magazine: a review of Tom McDonough’s new Situationist reader, and an interview with Eric Hazan, radical publisher and author of The Invention of Paris.

Berlinnit?

Just back from Berlin, where I wandered around staring goggle-eyed at the truly strange landscape of meticulously reconstructed 18th Century buildings and the postwar apartment blocks that line the streets of both East and West.

Because I spent a day at a conference in the Schloss Charlottenburg, I didn’t get a chance to see as much of the city as I would have liked. Instead, I bought a day pass for bus and rail, and spent every evening jumping from U-Bahn to S-Bahn to bus. Inevitably, I was drawn towards the bruised monumentality of the Brandenburg gate and the Reichstag, but also to the seedy vitality of the Bahnhof Zoo.

I’ve got my head down working on an introduction to my thesis at the moment, which entails a lot of sitting in a chair for long periods and, inevitably, quite a lot of internet browsing in lieu of quantifiable work. Thinking of buying a new bike? Well, I wasn’t a minute ago, but it now seems to be the most important item on my agenda, as I surf manufacturers’ sites, trying out my close-reading skills on the specifications of each bicycle. And I’ve also discovered that reliable time-wasters such as Twitter and Facebook become over-familiar and quite superfluous with overuse. Maybe that’s the story of the Twentieth/Twenty-First Centuries: new and innovative technology adopted quickly and exhausted before we’ve even got a chance to know whether it’s actually useful. Anyway, back to combing through footnotes – you know, the kind of activity that motivates me out of bed, motivates me down the stairs and out of the door, and motivates me down the street every morning.*

* Motivation, Motivation, Motivation - Peter Cook on Clive Anderson’s chat-show.

This evening in Berlin, a new literary journal will be launched. Titled The Kakofonie, and edited by John Holten, the contributors come from Italy, Germany, Ireland, the USA and Denmark. In the first issue, American cruciverbalist Charlie Stadtlander provides a crossword puzzle, French-based Irish artist John Lalor provides a textual exploration of notions of the void, and there are stories and poems from Luke Sheehan, Patrick O’Beirne, Christian Ward and Andrea Bedorin. In addition, I contribute an essay on Georges Perec and urban form. The first issue is available for download in PDF format here.

My review of Michael Sorkin’s very good book on New York urbanism, ‘Twenty Minutes in Manhattan’, is on the 3:AM Magazine website here.

My review of Owen Hatherley‘s book Militant Modernism is online at 3:AM magazine here.

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