6 David C. Brody, James R. Acker and Wayne A. Logan, Criminal Law (Gaithersburg, MD: Aspen, 2001), p. 63.
7 Bryan D. Palmer, Cultures of Darkness: Night Travels in the History of Transgression (New York: Monthly Review Press, 2000), pp. 16–17.
8 Theodor W. Adorno, ‘Culture Industry Reconsidered’, in The Culture Industry: Selected Essays on Mass Culture, ed. J. M. Bernstein (London: Routledge, 1991), p. 92.
9 Theodor W. Adorno, ‘How to Look at Television’, in The Culture Industry, p. 138. Incidentally, in a larger political context, I agree with Terry Eagleton that ‘the dystopian view that the typical citizen of advanced capitalism is the doped telly viewer is a myth, as the ruling class itself is uncomfortably aware.’ See Ideology: An Introduction (London: Verso, 1991), p. 42.
10 Jonathan Crary, 24/7: Late Capitalism and the Ends of Sleep (London: Verso, 2013), pp. 79, 80.
11 Ibid., p. 81.
12 I take this formulation from Peter Linebaugh, The London Hanged: Crime and Civil Society in the Eighteenth Century, 2nd edition (London: Verso, 2006), p. 23.
13 André Breton, ‘Jacques Vaché’, in The Lost Steps, trans. Mark Polizzotti (Lincoln, NE: University of Nebraska Press, 1996), p. 42.
14 Adorno, ‘How to Look at Television’, p. 147.
15 Viktor Shklovsky, ‘Art as Device’, in Theory of Prose, trans. Benjamin Sher (Champaign, IL: Dalkey Archive Press, 1990), p. 6.
16 Oliver Goldsmith, The Citizen of the World: or, Letters from a Chinese Philosopher, Residing in England, to His Friends in the East (London, 1782), pp. 216–17.
17 Richard Mabey, Weeds: How Vagabond Plants Gatecrashed Civilization and Changed the Way We Think about Nature (London: Profile, 2010), p. 20.
18 Walter Benjamin, The Arcades Project, trans. Howard Eiland and Kevin McLaughlin (Cambridge, MA: Harvard University Press, 1999), p. 372.
19 Mike Davis, Dead Cities (New York: New Press, 2002), p. 370.
20 Fredric Jameson, ‘Then You Are Them’, London Review of Books 31: 17 (10 September 2009), p. 7.
21 Richard Jefferies, After London: or, Wild England (Oxford: Oxford University Press, 1980), p. 36.
22 Herbert Marcuse, One-Dimensional Man: (London: Sphere, 1972), p. 20.
23 John Rechy, City of Night (London: Souvenir Press, 2009), p. 136.
24 Marcuse, One-Dimensional Man, p. 21.
25 On psychogenic fugue, see the chapter on Edward Bellamy in this volume; and, for a fuller sense of the historical background, Ian Hacking, Mad Travelers: Reflections on the Reality of Transient Mental Illnesses (Cambridge, MA: Harvard University Press, 1998).
26 See Craig Koslofsky, Evening’s Empire: A History of the Night in Early Modern Europe (Cambridge: Cambridge University Press, 2011), pp. 59, 79. For further thoughts on this theological tradition, see Matthew Beaumont, ‘R. S. Thomas’s Poetics of Insomnia’, Essays in Criticism 68: 1 (2018), pp. 74–107.
27 Theodor W. Adorno and Max Horkheimer, Dialectic of Enlightenment, trans. John Cumming (London: Verso, 1986), p. 3.
28 See Carlo Ginzburg, The Night Battles: Witchcraft and Agrarian Cults in the Sixteenth and Seventeenth Centuries, trans. John and Anne Tedeschi (Baltimore: Johns Hopkins University Press, 1983).
29 Michael Löwy, ‘The Current of Critical Irrealism’, in Adventures in Realism, ed. Matthew Beaumont (Oxford: Blackwell, 2007), p. 198.
30 Rachel Bowlby, ‘Commuting’, in Restless Cities, eds Matthew Beaumont and Gregory Dart (London: Verso, 2010), p. 52.
31 See Karl Marx, Economic and Philosophical Manuscripts (London: Lawrence & Wishart, 1977), pp. 67–9.
32 Theodor W. Adorno, Aesthetic Theory, eds Gretel Adorno and Rolf Tiedemann, trans. Robert Hullot-Kentor (London: Athlone Press, 1997), p. 31.
33 William Blake, ‘London’, in The Complete Poetry and Prose of William Blake, revised edition, ed. David V. Erdman (New York: Anchor Books, 1988), pp. 26–7.
34 David H. Keller, ‘The Revolt of the Pedestrians’, in The Road to Science Fiction: From Wells to Heinlein, ed. James E. Gunn (New York: Signet, 1979), pp. 168–97.
35 See ‘Playboy Interview: Ray Bradbury’, Playboy 43: 5 (May 1996), pp. 47–56, 149–50.
36 Ray Bradbury, ‘Burning Bright: An Afterword’, in Fahrenheit 451, anniversary edition (London: HarperCollins, 2003), p. 177.
37 Jonathan R. Eller, Becoming Ray Bradbury (Urbana, IL: University of Illinois Press, 2011), p. 239. No doubt Bob Dylan would understand Bradbury’s alarm. In 2009, he was arrested late one afternoon while wandering alone in the rain, some distance from his tour bus. A local resident reported ‘an eccentric-looking old man’ behaving suspiciously. As this incident demonstrates, the isolated, slightly tattered individual on the street embodies a spontaneous refusal of the suburban values that prevail in tightly curtained interiors.
38 Bradbury, ‘Burning Bright’, p. 178.
39 Bradbury, Fahrenheit 451, p. 166. Hereafter, page references appear in parenthesis after the quotation.
40 Andrew A. Bruce and Shurl Rosmarin, ‘The Gunman and His Gun’, Journal of Criminal Law and Criminology (Northwestern) 24 (1933–4), p. 537.
41 Terry Eagleton, Sweet Violence: The Idea of the Tragic (Oxford: Blackwell, 2003), p. 279.
42 André Breton, Nadja, trans. Richard Howard (Harmondsworth: Penguin, 1999), p. 72.
43 Paul Carter, Repressed Spaces: The Poetics of Agoraphobia (London: Reaktion, 2002), p. 45.
44 See Ernst Bloch, The Principle of Hope, vol. 1, trans. Neville Plaice, Stephen Plaice and Paul Knight (Cambridge, MA: MIT Press, 1995), p. 144.
10. Not Belonging
1 Jean Rhys, Good Morning, Midnight (Harmondsworth: Penguin, 2016), p. 23.
2 Margit Mayer, ‘The “Right to the City” in the Context of Shifting Mottos of Urban Social Movements’, City 13: 2–3 (2009), p. 367.
3 Georg Simmel, ‘The Metropolis and Mental Life’, in Simmel on Culture: Selected Writings, eds David Frisby and Mike Featherstone (London: Sage, 1997), p. 179.
4 On the phenomenological interpretation of architecture, which comprises an extensive literature of course, see for example Kent C. Bloomer and Charles W. Moore, Body, Memory, and Architecture (New Haven: Yale University Press, 1977); Christian Norberg-Schulz, Genius Loci: Towards a Phenomenology of Architecture (London: Academy Editions, 1980); and, more recently, M. Reza Shirazi, Towards an Articulated Phenomenological Interpretation of Architecture: Phenomenal Phenomenology (London: Routledge, 2014).
5 China Miéville, ‘The Conspiracy of Architecture: Notes on a Modern Anxiety’, Historical Materialism 2: 1 (1998), p. 1.
6 See Silke Steets, ‘Taking Berger and Luckmann to the Realm of Materiality: Architecture as a Social Construction’, Cultural Sociology 10: 1 (2016), p. 99.
7 Alejandro Zaera Polo, ‘The Politics of the Envelope: A Political Critique of Materialism’, Volume 17 (2008), pp. 76–105.
8 Peter Marcuse, ‘From Critical Urban Theory to the Right to the City’, in City 13: 2–3 (2009), p. 190. See Henri Lefebvre, ‘The Right to the City’, in Writings on Cities, ed. and trans. Eleonore Kofman and Elizabeth Lebas (Oxford: Blackwell, 1996), pp. 147–59; also, David Harvey, Rebel Cities: From the Right to the City to the Urban Revolution (London: Verso, 2012).
9 Norberg-Schulz, Genius Loci, p. 20.
10 Slavoj Žižek, Living in the End Times (London: Verso, 2011), pp. 244–78.
11 Ibid., p. 244. See Kojin Karatani, Transcritique: On Kant and Marx (Cambridge, MA: MIT Press, 2003).
12 Michel de Certeau, The Practice of Everyday Life, trans. Steven Rendall (Berkeley: University of California Press, 1984), p. 100.
13 Žižek, Living in the End Times, pp. 244–5.
14 Anthony Vidler, The Architectural Uncanny: Essays in the Modern Unhomely (Cambridge, MA: MIT Press, 1992).
15 Ernst Jentsch, ‘On the Psychology of the Uncanny’, trans. Roy Sellars, Angelaki 2 (1995), p. 8. I have written about what I call the ‘historical uncanny’ in ‘Red Sphinx: The Mechanics of the Uncanny in The Time Ma
chine’, in The Spectre of Utopia: Utopian and Science Fictions at the Fin de Siècle (Bern: Peter Lang, 2012), pp. 221–52.
16 Sigmund Freud, ‘The “Uncanny”’, in Art and Literature, trans. James Strachey, The Penguin Freud Library, vol. 14, ed. Albert Dickson (Harmondsworth: Penguin, 1990), p. 341.
17 Ibid., p. 340.
18 Ibid., p. 345.
19 Ibid., p. 364.
20 Ibid., p. 362.
21 Vidler, The Architectural Uncanny, pp. ix–x.
22 Warren Montag, ‘Spirits Armed and Unarmed: Derrida’s Specters of Marx’, in Ghostly Demarcations: A Symposium on Jacques Derrida’s Specters of Marx, ed. Michael Sprinker (London: Verso, 1999), p. 71.
23 Jacques Derrida, Specters of Marx: The State of the Debt, the Work of Mourning, and the New International, trans. Peggy Kamuf (London: Routledge, 1994), p. 11.
24 Alberto Pérez-Gómez, A. (2006) ‘The Space of Architecture: Meaning as Presence and Representation’, in Questions of Perception: Phenomenology of Architecture, eds Steven Holl, Juhani Pallasmaa and Alberto Pérez-Gómez (San Francisco: William Stout, 2006), p. 23.
25 David Harvey, Social Justice and the City, revised edition (Athens: University of Georgia Press, 2009).
26 Monika Grubbauer, ‘Architecture, Economic Imaginaries and Urban Politics: The Office Tower as Socially Classifying Device’, International Journal of Urban and Regional Research 38: 1 (2014), p. 340; see also Monica Degen and Gillian Rose, ‘The Sensory Experiencing of Urban Design: The Role of Walking and Perceptual Memory’, Urban Studies 49: 15 (2012), pp. 3271–87.
27 See Slavoj Žižek, ‘In His Bold Gaze My Ruin Is Writ Large’, in Everything You Always Wanted to Know about Lacan (London: Verso, 1992), p. 252.
28 Miéville, ‘The Conspiracy of Architecture’, p. 2.
29 Jean-Paul Sartre, What Is Subjectivity? trans. David Broder and Trista Selous (London: Verso, 2016), p. 114.
30 Miéville, ‘The Conspiracy of Architecture’, p. 18.
31 Karl Marx, Economic and Philosophical Manuscripts of 1844, trans. Martin Milligan (New York: International Publishers, 1964), pp. 155–6.
32 De Certeau, The Practice of Everyday Life, p. 103.
33 Arnold Berleant, ‘The Environment as an Aesthetic Paradigm’, Dialectics and Humanism 15: 1–2 (1988), p. 97.
34 J. Hillis Miller, ‘The Critic as Host’, in Modern Criticism and Theory, ed. David Lodge (London: Longman, 1988), p. 281.
35 Edmond Jabès, The Book of Questions, vol. 1, trans. Rosmarie Waldrop (Hanover: Wesleyan University Press, 1991), p. 368.
36 Henri Lefebvre, The Production of Space, trans. D. Nicholson Smith (London: Routledge, 1991), p. 273.
37 Zaera Polo, ‘The Politics of the Envelope’, p. 78.
38 Žižek, Living in the End Times, p. 253.
39 Manfredo Tafuri, Architecture and Utopia: Design and Capitalist Development, trans. B. Luigia La Penta (Cambridge, MA: MIT Press, 1976), p. 179.
40 Maria Kaika and Korinna Thielen, ‘Form Follows Power’, City 10: 1 (2006), p. 63.
41 Zaera Polo, ‘The Politics of the Envelope’, p. 80.
42 See, for example, Leslie Sklair, ‘Iconic Architecture and Capitalist Globalization’, City 10: 1 (2006), pp. 21–47.
43 See Louis Althusser, ‘Ideology and Ideological State Apparatuses (Notes Towards an Investigation’, in Lenin and Philosophy, trans. Ben Brewster (New York: Monthly Review Press, 2001), pp. 85–126.
44 Paul Jones, ‘Putting Architecture in its Social Place: A Cultural Political Economy of Architecture’, in Urban Studies 46: 12 (2009), pp. 2525.
45 Rowan Moore, ‘British Museum Extension’, Observer, 29 June 2014, available at: theguardian.com/artanddesign.
46 Oliver Wainwright, ‘British Museum’s £135m Extension for Care and Collection of World Treasures’, Guardian, 8 July 2014, available at: theguardian.com/artanddesign.
47 Derrida, Specters of Marx, pp. 6–7.
48 Ibid., p. 8.
49 Ibid., p. 7.
50 Gilles Deleuze and Félix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia, trans. B. Massumi (London: Continuum, 2004), p. 127.
51 Zaera Polo, ‘The Politics of the Envelope’, p. 79.
52 Mike Davis, City of Quartz: Excavating the Future in Los Angeles (London: Verso, 1990), p. 231.
53 See Tal Kaminer, The Efficacy of Architecture: Political Contestation and Agency (London: Routledge, 2017).
54 Walter Benjamin, The Arcades Project, trans. Howard Eiland and Kevin McLaughlin (Cambridge, MA: Harvard University Press, 1999), p. 151.
55 Georg Simmel, ‘Sociology of the Senses’, in Simmel on Culture, p. 112.
56 Ibid.
57 T. S. Eliot, The Waste Land, in The Complete Poems and Plays (London: Faber & Faber, 1969), p. 73.
Index
Ackroyd, Peter, 259
Adorno, Theodor, 51, 212, 214, 216, 219, 222, 223, 231
Agamben, Giorgio, 193–4
Agrippa, Menenius, 189
Alberic (fictional character), 123
Amato, Joseph, 201
Angelo, Duke (fictional character), 206
Apollinaire, Guillaume, 5
Aragon, Louis, 4, 5
Arnold, Matthew, 116
Artaud, Antonin, 184
Ashbery, John, 24
Athens, 126, 248, 255
Auden, W. H., 4
Austen, John, 259
Avenue de La Bourdonnais, 267
Bachelard, Gaston, 147, 179
Bacon, Francis, 68
Balzac, Honoré de, 18, 20, 51, 192, 193
Barabas (fictional character), 103
Barani, Ghodratollah, 265–6
Barcelona, 249
Barnes, Djuna, 16, 169, 171
Barnum, P. T., 92
Barthes, Roland, 19, 187, 189–92, 210
Bartlett, Edith (fictional character), 87
Barton (fictional character), 55
Bataille, Georges, 187–93, 197, 199, 201, 202, 206–10
Baudelaire, Charles, 10, 16–18, 28, 30, 37, 40–3, 58, 97, 156, 158, 168–70, 172–6, 179, 182–3
Bayswater Road, 260
Beard, George Miller, 97
Beckett, Samuel, 5, 169, 171, 172, 178, 192, 223
Bellamy, Edward, 67–71, 73, 75–7, 80, 83, 85–9, 134
Belleville, 271
Belloc, Hilaire, 120
Benedikt, Moritz, 151
Benjamin, Walter, 3, 6–9, 15, 18, 20, 24–5, 29, 30, 33, 40, 42, 47, 49, 57, 156, 161–5, 168–9, 171–2, 175–6, 184, 193, 218, 254
Bennett, Arnold, 112
Bentley, E. C., 115, 116, 132
Bergonzi, Bernard, 103
Berleant, Arnold, 244
Berman, Marshall, 1, 7, 24, 76, 168, 173, 174
Besant, Annie, 82
Bethlehem Hospital, 48
Betjeman, John, 264, 265
Bibliothèque Nationale, 207
Biella, 249
Bion, Wilfred, 192
Bishop of London, 258
Blake, William, 223, 224
Bloch, Ernst, 20, 21, 231
Bloom, Harold, 123, 124, 127
Bloom, Leopold (fictional character), 171
Bloomsbury, 110, 249
Boerhaave, Herman, 262
Boiffard, Jacques-André, 207–10
Bonaparte, Louis-Napoléon, 168
Bonnefoy, Yves, 252
Bordeaux, 80
Borges, Jorge Luis, 113, 114
Boston, 68, 74–7, 83–5, 88
Boulevard Haussmann, 269
Bourne, Ansel (see also Albert John Brown), 77, 79, 83, 86, 87
Bowen, John, 53, 55
Bowlby, Rachel, 167, 171, 175, 223
Bowser, Rachel, 102
Boz (see also Charles Dickens), 51
Bradbury, Ray, 15, 211–5, 218–25, 227, 228, 230, 232
Branly, Quai, 267
Braque, 177, 178
Breton, André, 1, 4, 169, 188, 210, 216
Bridewell,
262
Bridgeman Art Library, 25
British Museum, 98, 250, 251
Brontë, Charlotte, 16
Brooklyn, 6
Brown, Albert John (see also Ansel Bourne), 79
Browning, Robert, 123–7, 130, 139, 140, 267
Buckingham Palace, 264
Bulgaria, 269
Bunyan, John, 54, 116
Burgin, Victor, 176
Butler, Christopher, 179, 180
California, 216
Campden Hill, 120, 148
Cardinal Richelieu, 269
Carlyle, Thomas, 52
Carpentier, Alejo, 4, 10
Carter, Paul, 52, 149, 155, 231
Celan, Paul, 5
Cervantes, Miguel de, 118
Chalmers St, 151
Chamayou, Grégoire, 111
Champ de Mars, 266, 267
Chandler, Raymond, 140
Chaplin, Charlie, 49
Charcot, Jean-Martin, 81, 83
Charing Cross, 153
Chesterton, G. K., 8, 9, 115–28, 130–40, 148, 163, 264
Clarissa (fictional character), 171, 183
Clarisse (fictional character), 226, 227, 229
Cocullo (fictional character), 202
Coleridge, Samuel Taylor, 28, 36, 37, 42
Conan Doyle, Arthur, 103
Connecticut, 77, 78
Conrad, Joseph, 100–2, 129, 145, 157, 160, 169, 171, 182
Constantinople, 80
Corbett, Elizabeth, 82
Cordes, Emil, 151
Coutard, Raoul, 228
Covent Garden, 61
Crary, Jonathan, 214, 215
Cromwell, Oliver, 263
Cubitt, Thomas, 264
Cumberland Gate, 263
Dadas, Albert, 80, 83
Dante Alighieri, 5, 23, 181
Darwin, Charles, 197
Davis, Mike, 218, 254
de Certeau, Michel, 13–14, 237, 244
de Chirico, Giorgio, 23–9, 35
de Man, Paul, 43
Debord, Guy, 10, 147
Defoe, Daniel, 217
Deleuze, Gilles, 253
Derrida, Jacques, 236, 241, 252–3
Dickens, Charles (see also Boz), 9, 15, 17, 45–9, 51–7, 60–6, 120, 131, 136, 137, 139, 163
Dolar, Mladen, 107
Dostoevsky, Fyodor, 93
Dover Beach, 116
Dr Faustus (fictional character), 97
Dr Leete (fictional character), 72, 75, 85
Dr Moreau (fictional character), 96
Dublin, 171
The Walker Page 36
