44
" London was a city of ghosts, some deader than others. Thorne knew that in this respect, it wasn't unlike any other major city - New York or Paris or Sydney - but he felt instinctively that London was .... at the extreme. The darker side of that history, as opposed to the parks, palaces and pearly kings' side that made busloads of Japanese and American tourists gawk and jabber. The hidden history of a city where the lonely, the dispossessed, the homeless, wandered the streets, brushing shoulders with the shadows of those that had come before them. A city in which the poor and the plague-ridden, those long-since hanged for stealing a loaf or murdered for a shilling, jostled for position with those seeking a meal, or a score, or a bed for the night.A city where the dead could stay lost a long time "
47
" In the winter of 1987 India was full of iskeems that had gone awry. Agricultural iskeems, political iskeems, economic iskeems, educational iskeems, stop black money iskeems, attract white tourists iskeems, drinkable water iskeems, animal protection iskeems, women's welfare iskeems, nurture children iskeems, don't scan female foetus iskeems, privatization iskeems, medical iskeems, entertainment iskeems, old India iskeems and new India iskeems.
We had mastered the art of nomenclature from the white man.
Grand labels could disguise unforgivable things. "
― Tarun J. Tejpal , The Alchemy of Desire
49
" Beacon, beacon, lonesome on a hill—
Waves run aground, pound ‘round, what a thrill!
Water water everywhere crashes,
Shore’s not lazy for it mashes, bashes…..
Summer’s when tourists traipse o’er to see you,
Offering to wipe-wash your dust and mildew;
Summer painters place you with dinghy and gull,
Historians have you as subject o’er which to mull.
When feline Fog drifts gently or is heavy,
Your bright light’s followed by boat bevy;
And during those calm, clear days and nights
You’re that upright nautical dream exciting tiny tykes. "
― Mariecor Ruediger , HOT STUFF: Celebrating Summer's Simmer and Sizzle
53
" Almost immediately after jazz musicians arrived in Paris, they began to gather in two of the city’s most important creative neighborhoods: Montmartre and Montparnasse, respectively the Right and Left Bank haunts of artists, intellectuals, poets, and musicians since the late nineteenth century. Performing in these high-profile and popular entertainment districts could give an advantage to jazz musicians because Parisians and tourists already knew to go there when they wanted to spend a night out on the town. As hubs of artistic imagination and experimentation, Montmartre and Montparnasse therefore attracted the kinds of audiences that might appreciate the new and thrilling sounds of jazz. For many listeners, these locations leant the music something of their own exciting aura, and the early success of jazz in Paris probably had at least as much to do with musicians playing there as did other factors.In spite of their similarities, however, by the 1920s these neighborhoods were on two very different paths, each representing competing visions of what France could become after the war. And the reactions to jazz in each place became important markers of the difference between the two areas and visions. Montmartre was legendary as the late-nineteenth-century capital of “bohemian Paris,” where French artists had gathered and cabaret songs had filled the air. In its heyday, Montmartre was one of the centers of popular entertainment, and its artists prided themselves on flying in the face of respectable middle-class values. But by the 1920s, Montmartre represented an established artistic tradition, not the challenge to bourgeois life that it had been at the fin de siècle. Entertainment culture was rapidly changing both in substance and style in the postwar era, and a desire for new sounds, including foreign music and exotic art, was quickly replacing the love for the cabarets’ French chansons. Jazz was not entirely to blame for such changes, of course. Commercial pressures, especially the rapidly growing tourist trade, eroded the popularity of old Montmartre cabarets, which were not always able to compete with the newer music halls and dance halls. Yet jazz bore much of the criticism from those who saw the changes in Montmartre as the death of French popular entertainment. Montparnasse, on the other hand, was the face of a modern Paris. It was the international crossroads where an ever changing mixture of people celebrated, rather than lamented, cosmopolitanism and exoticism in all its forms, especially in jazz bands. These different attitudes within the entertainment districts and their institutions reflected the impact of the broader trends at work in Paris—the influx of foreign populations, for example, or the advent of cars and electricity on city streets as indicators of modern technology—and the possible consequences for French culture. Jazz was at the confluence of these trends, and it became a convenient symbol for the struggle they represented. "