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The Palgrave Handbook of Literature and the City Jeremy Tambling Editor the Palgrave Handbook of Literature and the City Editor Jeremy Tambling London, United Kingdom The Palgrave Handbook of Literature and the City Jeremy Tambling Editor The Palgrave Handbook of Literature and the City Editor Jeremy Tambling London, United Kingdom ISBN 978-1-137-54910-5 ISBN 978-1-137-54911-2 (eBook) DOI 10.1057/978-1-137-54911-2 Library of Congress Control Number: 2016948575 © The Editor(s) (if applicable) and The Author(s) 2016 The author(s) has/have asserted their right(s) to be identified as the author(s) of this work in accordance with the Copyright, Designs and Patents Act 1988. This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. Cover illustration: © Novarc Images / Alamy Stock Photo Printed on acid-free paper This Palgrave Macmillan imprint is published by Springer Nature The registered company is Macmillan Publishers Ltd. The registered company address is: The Campus, 4 Crinan Street, London, N1 9XW, United Kingdom For Pauline, who has helped so much with this project VOLUME EDITOR’S INTRODUCTION AND ACKNOWLEDGEMENTS The city is the defining subject of modernity, occupying a first place in any discussion of it, or of globalisation. Urban life has been the subject of endless theorisation and of some extraordinary writing, in poems, novels, and plays many of which have pushed at the limits of literature. The Palgrave Handbook of Literature and the City gives the most complete single account available of how cities exist at the moment in theory and literature, not restricting itself to cities in the western traditions of Europe and North America. It gives some sense of the history of cities, paying attention to differences and continuities observable in comparing ancient, premodern, and modern cities. It shows how the city and critical and cultural theory are absolutely dependent on each other. The ques- tion has been asked consistently, what ‘urbanization’ means; or how much it explains; it is at the heart of all the chapters which follow. Here, different authors, all specialists on their topic, have engaged with particular cities, and with their literature, and sometimes film, as ways of conceptualising how to think of the city and of the changes that urbanisation implies. We are principally talking about ‘modernity’ as urban. In the 1851 census, Britain found that its urban population exceeded its rural: the first country to do so, and an indication of how far it had industrialised. It was followed by France (1900) and the United States (1920); it is now even the case with China. Cities now are either ‘world cities’ or on the way to being so. Outside the sleeknesses of many tourist destinations, many dwarf the population of entire countries; they seem beyond representation, even beyond compassing, with megacities proliferating in the Third World, such as Mexico City, Seoul, São Paulo, Mumbai, Delhi, Jakarta, and Dhaka, perhaps the poorest megacity. If cities are growing, the major trend is in the production of slums, and of squatters, ‘cities’ with no infrastructure whatsoever, an argument deriving from Mike Davis’s Planet of Slums, which calls Mumbai the ‘global capital of slum- dwelling’ (Davis 2006, p. 23). Yet the competition here is not lacking. Davis found the fastest growing ‘slums’ to be in the Russian Federation and former Soviet Republics, and the poorest in Luanda (Angola), Maputo (Mozambique), Kinshasa, and Cochabamba (Bolivia), while calling Los vii viii VOLUME EDITOR’S INTRODUCTION AND ACKNOWLEDGEMENTS Angeles the first world capital for homelessness (36) and Gaza the world’s largest slum (48). And the obverse? Try Dubai, in the United Arab Emirates, a new city built on oil wealth, and definitional for modernity: here everyone is assigned a place, though they are not allowed to identify with that place, so, not insignificantly, it has the world’s third largest airport, and it assigns people liberty relative to their income: a quarter of its 2.5 million population construc- tion workers live in unbearable conditions in Muhaisnah, called ‘Sonapur’ by its Indian workers (one of several with this ‘Land of Gold’ name), brought in to construct the world’s currently tallest building, the Burj Khalifa. Or, one of the bleakest of cities in literary terms: Ciudad Juarez, on Mexico’s border with the United States, called Santa Teresa in the Chilean novelist Roberto Bolaño’s 2066. Its visitors feel it is growing by the second (Bolaño 2009, pp. 128–129), on the strength of its maquiladoras: assembly plants for American transnational companies, freed from any trade or workers’ protection, reliant on cheap Mexican labour. Bolaño shows that it is divided into depressing quadrants, but the shock that waits is the infinite series of unsolved murders of women, described in documentary form in Part Four, ‘The Part About the Crimes’,asifthecity’s distinction may have always been its casual violence towards women (it may be the world capital for making ‘snuff’ movies), and the sense of such violence and lawlessness as being like factory processing. The city is something amorphous: we need a First Part on theories of the city as these have developed through the twentieth century, because it is not evident that we know what we are talking about in thinking of cities, nor that we know what the problems are. Theorising it is a move towards finding ways to represent it, i.e. to bring it in front of us as a knowable entity, but it resists representation and its possibility. This Handbook points to the range of literary and cultural texts which the city has produced, and incited, some of which try to represent, others of which have given up on that. Here, definitions of the ‘literary’ (probably impossible anyway) cannot be conservative; they must be sensitive to cultural translation, because to deal with the city now means dealing with globalisation. Further, they cannot ignore film for that has been a route for many cities and countries to enter into the issue of global representation in the arts. Film, inseparable in many ways from the experience of the city, has changed ways of reading, almost becoming the new literary in itself, in relation to the global and to world cities. If cities breed a paranoia born of the need to claim space, film may be a unique medium for seeing that (Kennedy 2000, pp. 33–34). Perhaps, like the graphic novel, such as Marjane Satrapi’s Persepolis (2003) about Tehran, filmed in 2007—and comic books as plural ‘reads’ are integral to urbanism—film’s visual quality and narrative speed go together. Cinemas are urban: inseparable from shopping malls, part of their commodity display. Architecture presents itself as cinematic, one of its commitments to illusion and to the image. And film interrogates space which architecture brings out and attempts to control (Vidler 1993, pp. 44–56). As music belongs to cities, film also does, and we can think how decisively it has constructed visions of the city in, say, Metropolis (1927), Man with a Movie Camera (1929), VOLUME EDITOR’S INTRODUCTION AND ACKNOWLEDGEMENTS ix Casablanca (1942), Rome, Open City (1945), Bicycle Thieves (1948), Les Quatre Cents Coups (1959), La dolce vita (1960) or Manhattan (1979) or Blade Runner (1982—Los Angeles or Tokyo?) or Philadelphia (1993), The Age of Innocence (1993), In Bruges (2008), The Act of Killing (2012) or Timbuktu (2014). Cities occupy a prominent place in popular consciousness, and, coming back to literature, many of those films began as novels or short stories. However complete we have attempted to be in choosing cities which have been written about or have generated writing, it is impossible to be compre- hensive. Setting out how the Handbook works, I start with a Prologue, ‘City- Theory and Writing in Paris and Chicago: Space, Gender, Ethnicity’. After that, the book divides into seven Parts, each headed by the editor’s introduction, which both hopes to map out what is covered and suggest the importance of what there is. In each case, these Introductions point the reader forward to the Further Reading at the end for further directions. The Parts explain themselves by their titles: first, one on the major theorisations of the city, such as those associated with Simmel, Benjamin, Lefebvre, David Harvey, Saskia Sassen, Richard Sennett, Guy Debord, Michel Foucault, and Michel de Certeau. Second, one on European cities, third one on North American cities. A fourth then looks at the cities of the Caribbean, Mexico, and Latin America, with contrasts between, for instance, the new planned capital of Brasília, and the favelas of Rio. In these chapters, above all, the sense of an exciting local and national politics inflects writing about the city, which is political to the core. The Fifth Part is on Africa and the sixth on Asian cities, with a chapter on Australia and New Zealand.
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