The city encyclopedia

  If it were possible to print every said in Paris about current affairs in the course of a single day, one would have to concede that it would make a very strange collection. What a pile of contradictions! The very idea is grotesque! – Sebastian Mercier.

The modern idea sometimes leans out at you from an old volume when you least expect it. This becomes a specialty of the modernist writer – Borges, for instance. I was leafing through the Tableau de Paris, Sebastian Mercier’s masterpiece of urban psychogeography, written in the 1780s and 90s, and I came upon this phrase, and I immediately thought of Ulysses, of Flaubert’s Bovard et Pecuchet, of Benjamin’s arcades.  Modernism is inseparable from modernization, and modernization is inseparable from the city. The city as laboratory and assembly line, the city as a hive of opinion and of the various media cultures – image, paper, entertainment and spectacle, etc. This is what James Scott calls the “Great Tradition” – in contrast with the countryside’s “Little Tradition”. Scott, from his ethnographic experience in Southeast Asia, saw how the Great Tradition sends its envoys into the country to destroy and utilize the Little Tradition. Of course, this is bubble gum like any binary: stretch it too much and it will pop right in front of your nose. Still, it has its conceptual uses.

As does that moment when the bubble bursts. Yuri Lotman, in his last book, Culture and Explosion, proposes “explosion” as a model of sudden cultural transition. In the introduction to the book, Peeter Torop, Lotman’s student,  makes an astute comment:

Those caught inside the processes are unable to escape from the space of the explosion, and as insiders are unable to notice all of the possible choices, all possibilities for the future. With the passage of

time, these choices will have been made, or then again left unmade through the suppression of the explosion, after which the post-explosive moment, that is the moment for describing the explosion, will be actualized. The chaos and diversity of communicative processes will become ordered in autocommunicative self-description.

 

I can’t resist thinking of the Cold War in these terms – that is, in terms of operators in the space of the explosion, which they could see but not, as it were, comprehend. To comprehend means having a grasp of the totality, which in the Cold War seemed to have fallen on the shoulders of geeks planning Mutually Assured Destruction. What kind of totality was that? The monumental aspect of it was all about targeting – targeting the cities and factories for planes and missiles, targeting “what is said” in the streets with movies, tv, newspapers and the many and various educational institutions. The novel was one of these institutions – it had its targets while serving, as well, as an instrument of registration. While the city was the necessary substrate of modernization, the system to which it gave rise was the literal destroyer of cities- which are all perched, now, on the edge of the abyss.

That conjunction of the abyss with the great encyclopedia of the city’s talk might have occurred to Mercier, in terms of the cult of ruins. Mercier was between the generation of Diderot (Mercier, too, was in attendance at an operation on a man born blind) and Volney – he was older than the latter by about 16 years. This, too, is a sort of prehension – modernity had its own antiquity, one further back than the Greeks and less classically finished, more savage.