Draw the Green Curtain

There are few things less appealing than razor wire, but then I suppose that's the point. Razor wire speaks volumes -- it says, "keep out" with sharp edges, but also suggests indifference and uncertainty. Because razor wire is cheap and ugly. It is the manifestation of urban neglect. It's what makes people cross to the other side of the street.

But what happens when nature takes over, enveloping the cruel metal with tangles of green vines, transforming the spiraling razor wire into a trellis? I'm awed by this phenomenon. As we know, the woods have long represented an escape from the complexities and ugliness of urban civilization. To me, the vines are an envoy of the woods, shielding us from the harshest of realities, softening the sharpest of edges.

The Ruins of New York's Industrial Past

Perhaps due to an overreaction to a recent birthday, lately I've been thinking a lot about decay. As I touched upon in an earlier post, Hollywood has given us our fair share of desolate New York City ruins. But we don't really need Hollywood; we have plenty of real-life examples of urban decay, most notably of the city's industrial past. These are, admittedly, in most cases less cataclysmic than zombie-apocalypse or sudden onset of an ice age, but they can be just as visually striking.

A few years ago, the Times ran a photo essay by Nathan Kensinger that included images of Brooklyn's industrial ruins, including an abandoned powerhouse on the Gowanus Canal known as "The Batcave" (you'll see why) and the infamous Admirals' Row in the Brooklyn Navy Yard. I keep coming back to these photos; they expose the tender underbelly of New York's past -- spaces occupied now only by our city's most destitute.

On my recent visit to Staten Island, my friends and I sought out another industrial ruin: the Ship Graveyard, the site of dozens of scuttled vessels left to rust in the wetlands. Not much is known about the Ship Graveyard, I suspect it's because its the result of illegal dumping. Indeed, to reach the spot, you must pass through the neglected 18th-century Seguine family graveyard and down a steep hill overgrown with phragmites and poison ivy. But it's worth the effort.

Staten Island Ship Graveyard from Alicia West on Vimeo

I Never Knew the Charm of Spring... Til April in Paris

I'm fresh back from a week-long visit to Paris. I still have that great jet-lag that lets you feel rested upon waking up at 7:30 a.m. (of course the flip side is that I fell asleep at 9:00 p.m. with all the lights on). Regardless, I am up and feeling industrious.

I've been to Paris before, but previously had not had the benefit of touring the city with natives. Forgive the anthropological leaning of this post, but this experience allowed me to begin to understand and try to embrace the rhythms and customs of the town. While I'll never get the double-cheek kiss down (awkward!), it was liberating to sit down and enjoy a coffee, rather than taking it to go on my way elsewhere.

This joie de vivre-type atmosphere was refreshing. But I also noticed a strong vein of formalism and tradition that we seem to lack stateside. (We're a little more rough around the edges and, well, rude.) I noticed this everywhere -- in interactions in shops, in fashion, and, quite surprisingly, in tree pruning (you didn't think I'd be able to tie this in, did you?)! Parisians love square trees. I don't get it, and I cannot find any explanation thus far. Parks are a priority in Paris, and as far as I can tell, this specialized pruning is a part of keeping them neat and tidy. It's the french cuff of urban forestry!

Jardin du Luxembourg

A Failed Attempt at a Positive Outlook: Legacy Vs. Men in the Cities

In hopes of redeeming myself from my "I Hate Winter" post from mid-January, I had planned to write about Joel Meyerowitz's photo collection Legacy: The Preservation of Wilderness in New York City Parks, which includes some breathtaking wintertime images of nature. Meyerowitz's photos of the furthest reaches of the city's parks provide a glimpse of what so few New Yorkers experience – actually being in nature, completely cut off from the trappings of urbanism, all within our five boroughs. These photos express a calm and beauty that is transcendent.

As I said, my plan was to write an uplifting, positive post about natural beauty. But as I was shuffling through our collection of monographs in search of Meyerowitz's work, I came across Robert Longo's Men in the Cities.

The Men in the Cities series, created by Longo in the late 70s and early 80s, includes large-scale drawings of suited men and women writhing in response to unseen stimuli. Longo saw the figures as representative of Downtown types – both CBGB's and Wall Street, and he described the violent gestures he captured as emblematic of the time: "that jerking into now." What's special about the book I have is that it focuses on the photographs Longo used as the basis of his drawings, and many of these, unlike the drawings, which are closely cropped, are set against the backdrop of New York City as seen from the rooftop of Longo's South Street apartment building.

It's easy to identify with Longo's frenetically contorted figures. In wending my way through early adulthood in New York, I frequently feel pulled in too many directions, not sure which expectations to fulfill, all the while my business casual attire twisting uncomfortably.... But it's nice to know that Meyerowitz's New York City is out there too, and someday I'll get there.


















Left: Pelham Bay Park, Hunter Island, marsh grass and tidal pool, winter, Joel Meyerowitz

Right: Photographic study, Robert Longo

In Defense of Poison Ivy

I have always been a die-hard Batman fan, and one of my favorite characters besides the Bat himself is Poison Ivy. The origin story goes like this: Pamela Isley, a shy but attractive botany grad student, is seduced by her professor, who later poisons her. She survives and finds she has developed an immunity to all natural toxins. A supervillain is born. Yet this supervillain has a cause: Poison Ivy is a environmental preservationist turned fanatical bio-terrorist.

A friend of mine recently gave me a sweetly sinister little book by Amy Stewart titled Wicked Plants: The Weed that Killed Lincoln's Mother & Other Botanical Atrocities, which details some of the "unfathomable evils [that] lurk within the plant kingdom." Stewart posits that plants should be approached with a guarded respect, noting that "we all benefit from spending more time in nature -- but we should also understand its power... [plants] can nourish and heal, but they can also destroy."

In an episode of Batman the Animated Series, Ivy poisons Gotham's DA, Harvey Dent, in revenge for his destruction of nature in the pursuit of civic development. She reasons, "Plowing up a field of beautiful wild flowers for that silly penitentiary of his." "This little rose," she adds, gesturing to the poisonous agent, "would be extinct today if I hadn't saved my precious from those horrible bulldozers. The blood of those flowers is on his hands!"

It's hard not to like to Poison Ivy. She understands the power of nature and defends it, albeit in a twisted way. As the scales of the built and natural environment continue to tip in my Gotham, there's a small part of me that fantasizes about donning a green unitard and kicking some ass in the name of plants everywhere. But I'll settle for more reasonable methods. Persistence is key. As Ivy says when vanquished, "They can bury me in the ground as deep as they like, but I'll grow back. We always grow back!"

I Want to Wake Up In the City that Doesn't Sleep

People seem to like disaster movies, particularly ones that leave New York City completely desolate. In these films, the city's infrastructure is intact, but bereft of human activity, it is defenseless as nature creeps back in. These movies play on the idea that urbanism and nature are mutually exclusive. As Eric Sanderson writes in one of my favorite passages of Mannahatta, "It a conceit of New York City—the concrete city, the steel metropolis, Batman's Gotham—to think it is a place outside of nature, a place where humanity has completely triumphed over the forces of the natural world, where a person can do and be anything without limit or consequence." The people are what make this city great.

This has been a frenetic, but exciting New York week for me. With Halloween, the marathon, the mayoral election and the Yankees' ticker-tape parade, I spent most of the last week overwhelmed by masses of people, their excitement and frustration crushingly palpable. At each of these events, I felt pride and enjoyment (yes, even at the ticker-tape parade, thanks to Jay-Z), but I also found myself searching for a quiet moment, a place to breathe, my own personal empty Times Square with meadow grass sprouting through the asphalt.

And this is why I think we like these disaster movies: because New York is as stressful as it is uplifting. Though we love our skyscrapers, sports events and over-the-top celebrations, there is a part of us that wishes for a quieter and more profound experience, which we see distilled by an idealized natural world.

Image from I Am Legend.

Mon Oncle: A Lesson in Urban Design

This week, I went to see a screening of Jacques Tati’s Mon Oncle (1958) at MoMA. Mon Oncle focuses on the absurdity of the bourgeois' obsession with modern invention, which imprisons them as much as it sets them free. The film's main expression of this condition is the ultra-modern home of Monsieur and Mademoiselle Arpel, Monsieur Hulot's (Tati's cinematic alterego) sister and brother-in-law. The house (Villa Arpel) is strikingly sterile -- outfitted entirely in modernist furniture that no one finds comfortable, cabinets that open and shut with complex mechanical programming and a garden consisting of concrete stepping stones, steel edges and plants so manicured they hardly seem real.

There's a fantastic scene in Mon Oncle, where the Arpels host a garden luncheon. During this scene, Hulot's nephew, stifled by Villa Arpel and bored to tears by the shallow social display, rips down a portion of climbing vines, destroying the sad, manicured symmetry. The party rapidly deteriorates, ending in insult and injury (due in no small part to Hulot's bumbling navigation around the awkward "natural" space) and the nephew running around the garden in a Native American headdress. Later that night, when Hulot sneaks back to the house to finish tearing down the vines, the circular windows of Villa Arpel transform into patrolling eyes (the silhouettes of the Arpels' synchronized heads).

Obviously, I got a kick out of this battle enacted between the attenuated natural world and the anthropomorphized built environment. In reading Eric W. Sanderson’s Mannahatta: A Natural History of New York (as noted in a previous post, this study is also an exhibition at the Museum of the City of New York), I learned that the Lenape, the Native American inhabitants of Mannahatta, created the structural beams of their wigwams by transplanting tree saplings in a circular plan and bending them inward. The contrast of the Lenapes literally building shelter from live nature with Villa Arpel's precise, tamed gardens brings me back to Anne Whiston Spirn, who posited in 1984 that to ensure the continued success in the urban environment, "nature in the city must be cultivated… rather than ignored and subdued." I think Tati would have agreed.

Into the Woods: Shakespeare in the Park

To me, the Delacort Theater in Central Park is the absolute perfect place to see Shakespeare. Set against the backdrop of the Turtle Pond and Belvedere Castle and enclosed with a scrim of trees, this open-air stage epitomizes the transition and balance between the urban zone and the woods, a dichotomy that Shakespeare frequently explored and, after all, the subject of this blog.

To attend Shakespeare in the Park at the Delacort is to cast yourself in a Shakespearean comedy. New York City can easily be aligned with Athens in A Midsummer Night's Dream or Milan in The Tempest, cities where obligation and law reign, where passion is restricted by culture and power is worth killing for. The C train ride uptown to 81st Street is clearly a shipwreck (akin to Viola’s in Twelfth Night) that leaves you gasping for air and thankful that you arrived unharmed at such an idyllic locale. The park is a world of freedom, magic and romance. And hotdogs. I really love those hotdogs... but I digress.

Shakespeare in the Park is always a cathartic experience for me, "converting all [my] sounds of woe/into hey, nonny, nonny!"* At least until I get back on the subway.

*William Shakespeare, Much Ado About Nothing, Act II, Scene iii

An Introduction

I’m what you’d call a city girl, but I was lucky enough to attend a progressive grade school when I was a kid that based our education in the classroom on experiences both in the urban environment of Center City Philadelphia and the wilds of a nature preserve in Upper Roxborough. My school’s tenet was and still is City, Country, Classroom.

Until recently, my life experience led me a-stray from this well-rounded educational foundation. Misery in a de facto suburban high school caused me to insist that my roots were set firmly in concrete, certainly not in lawn.

And while it is true that I will never again be persuaded to go camping and will never, ever pee in the woods, I realize now that I find joy and curiosity in the natural environment present and growing in the built environment of New York City, my home for the last eight years.

My hope for these posts is to focus on subjects such as the historic ecosystem, current civic endeavors to green and clean the urban environment, fun things to do and see in the city’s parks, and things you can do to help the environment on an individual level. I hope also to hear from you, as I am by no means an expert and am eager to learn more.