by Joan Didion
Nor do I recall who first solved what was once a crucial center dilemma: the placement of the major tenant vis-à-vis the parking lot. The dilemma was that the major tenant—the draw, the raison d'être for the financing, the Sears, the Macy’s, the May Company—wanted its customer to walk directly from car to store. The smaller tenants, on the other hand, wanted that same customer to pass their stores on the way from the car to, say, Macy’s. The solution to this conflict of interests was actually very simple: two major tenants, one at each end of a mall. This is called “anchoring the mall,” and represents seminal work in shopping-center theory. One thing you will note about shopping-center theory is that you could have thought of it yourself, and a course in it will go a long way toward dispelling the notion that business proceeds from mysteries too recondite for you and me.
A few aspects of shopping-center theory do in fact remain impenetrable to me. I have no idea why the Community Builders’ Council ranks “Restaurant” as deserving a Number One (or “Hot Spot”) location but exiles “Chinese Restaurant” to a Number Three, out there with “Power and Light Office” and “Christian Science Reading Room.” Nor do I know why the Council approves of enlivening a mall with “small animals” but specifically, vehemently, and with no further explanation, excludes “monkeys.” If I had a center I would have monkeys, and Chinese restaurants, and Mylar kites and bands of small girls playing tambourine.
A few years ago at a party I met a woman from Detroit who told me that the Joyce Carol Oates novel with which she identified most closely was Wonderland.
I asked her why.
“Because,” she said, “my husband has a branch there.”
I did not understand.
“In Wonderland the center,” the woman said patiently. “My husband has a branch in Wonderland.”
I have never visited Wonderland but imagine it to have bands of small girls playing tambourine.
A few facts about shopping centers.
The “biggest” center in the United States is generally agreed to be Woodfield, outside Chicago, a “super” regional or “leviathan” two-million-square-foot center with four major tenants.
The “first” shopping center in the United States is generally agreed to be Country Club Plaza in Kansas City, built in the twenties. There were some other early centers, notably Edward H. Bouton’s 1907 Roland Park in Baltimore, Hugh Prather’s 1931 Highland Park Shopping Village in Dallas, and Hugh Potter’s 1937 River Oaks in Houston, but the developer of Country Club Plaza, the late J. C. Nichols, is referred to with ritual frequency in the literature of shopping centers, usually as “pioneering J. C. Nichols,” “trailblazing J. C. Nichols,” or “J. C. Nichols, father of the center as we know it.”
Those are some facts I know about shopping centers because I still want to be Jere Strizek or James B. Douglas or David D. Bohannon. Here are some facts I know about shopping centers because I never will be Jere Strizek or James B. Douglas or David D. Bohannon: a good center in which to spend the day if you wake feeling low in Honolulu, Hawaii, is Ala Moana, major tenants Liberty House and Sears. A good center in which to spend the day if you wake feeling low in Oxnard, California, is The Esplanade, major tenants the May Company and Sears. A good center in which to spend the day if you wake feeling low in Biloxi, Mississippi, is Edgewater Plaza, major tenant Godchaux’s. Ala Moana in Honolulu is larger than The Esplanade in Oxnard, and The Esplanade in Oxnard is larger than Edgewater Plaza in Biloxi. Ala Moana has carp pools. The Esplanade and Edgewater Plaza do not.
These marginal distinctions to one side, Ala Moana, The Esplanade, and Edgewater Plaza are the same place, which is precisely their role not only as equalizers but in the sedation of anxiety. In each of them one moves for a while in an aqueous suspension not only of light but of judgment, not only of judgment but of “personality.” One meets no acquaintances at The Esplanade. One gets no telephone calls at Edgewater Plaza. “It’s a hard place to run in to for a pair of stockings,” a friend complained to me recently of Ala Moana, and I knew that she was not yet ready to surrender her ego to the idea of the center. The last time I went to Ala Moana it was to buy The New York Times. Because The New York Times was not in, I sat on the mall for a while and ate caramel corn. In the end I bought not The New York Times at all but two straw hats at Liberty House, four bottles of nail enamel at Woolworth’s, and a toaster, on sale at Sears. In the literature of shopping centers these would be described as impulse purchases, but the impulse here was obscure. I do not wear hats, nor do I like caramel corn. I do not use nail enamel. Yet flying back across the Pacific I regretted only the toaster.
1975
In Bogotá
On the Colombian coast it was hot, fevered, eleven degrees off the equator with evening trades that did not relieve but blew hot and dusty. The sky was white, the casino idle. I had never meant to leave the coast but after a week of it I began to think exclusively of Bogotá, floating on the Andes an hour away by air. In Bogotá it would be cool. In Bogotá one could get The New York Times only two days late and the Miami Herald only one day late and also emeralds, and bottled water. In Bogotá there would be fresh roses in the bathrooms at the Hotel Tequendama and hot water twenty-four hours a day and numbers to be dialed for chicken sandwiches from room service and Xerox rápido and long-distance operators who could get Los Angeles in ten minutes. In my room in Cartagena I would wake to the bleached coastal morning and find myself repeating certain words and phrases under my breath, an incantation: Bogotá, Bacatá. El Dorado. Emeralds. Hot water. Madeira consommé in cool dining rooms. Santa Fé de Bogotá del Nuevo Reino de Granada de las Indias del Mar Océano. The Avianca flight to Bogotá left Cartagena every morning at ten-forty, but such was the slowed motion of the coast that it took me another four days to get on it.
Maybe that is the one true way to see Bogotá, to have it float in the mind until the need for it is visceral, for the whole history of the place has been to seem a mirage, a delusion on the high savannah, its gold and its emeralds unattainable, inaccessible, its isolation so splendid and unthinkable that the very existence of a city astonishes. There on the very spine of the Andes gardeners espalier roses on embassy walls. Swarms of little girls in proper navy-blue school blazers line up to enter the faded tent of a tatty traveling circus: the elephant, the strong man, the tattooed man from Maracaibo. I arrived in Bogotá on a day in 1973 when the streets seemed bathed in mist and thin brilliant light and in the amplified pop voice of Nelson Ned, a Brazilian dwarf whose records played in every disco storefront. Outside the sixteenth-century Church of San Francisco, where the Spanish viceroys took office when the country was Nueva Granada and where Simón Bolívar assumed the presidency of the doomed republic called Gran Colombia, small children and old women hawked Cuban cigars and cartons of American cigarettes and newspapers with the headline “JACKIE Y ARI.” I lit a candle for my daughter and bought a paper to read about Jackie and Ari, how the princess de los norteamericanos ruled the king of the Greek sea by demanding of him pink champagne every night and medialunas every morning, a story a child might invent. Later, in the Gold Museum of the Banco de la República, I looked at the gold the Spaniards opened the Americas to get, the vision of El Dorado which was to animate a century and is believed to have begun here, outside Bogotá, at Lake Guatavita. “Many golden offerings were cast into the lake,” wrote the anthropologist Olivia Vlahos of the nights when the Chibcha Indians lit bonfires on the Andes and confirmed their rulers at Guatavita.
Many more were heaped on a raft. … Then into the firelight stepped the ruler-to-be, his nakedness coated with a sticky resin. Onto the resin his priests applied gold dust and more gold dust until he gleamed like a golden statue. He stepped onto the raft, which was cut loose to drift into the middle of the lake. Suddenly he dived into the black water. When he emerged, the gold was gone, washed clean from his body. And he was king.
Until the Spaniards heard the story, and c
ame to find El Dorado for themselves. “One thing you must understand,” a young Colombian said to me at dinner that night. We were at Eduardo’s out in the Chico district and the piano player was playing “Love Is Blue” and we were drinking an indifferent bottle of Château Léoville-Poyferré which cost $20 American. “Spain sent all its highest aristocracy to South America.” In fact I had heard variations on this hallucination before, on the coast: when Colombians spoke about the past I often had the sense of being in a place where history tended to sink, even as it happened, into the traceless solitude of autosuggestion. The princess was drinking pink champagne. High in the mountains the men were made of gold. Spain sent its highest aristocracy to South America. They were all stories a child might invent.
Many years later, as he faced the firing squad, Colonel Aureliano Buendía was to remember that distant afternoon when his father took him to discover ice.
—The opening line of One
Hundred Years of Solitude,
by the Colombian novelist
Gabriel García Márquez.
At the big movie theaters in Bogotá in the spring of 1973 The Professionals was playing, and It’s a Mad Mad Mad Mad World, two American pictures released in, respectively, 1967 and 1964. The English-language racks of paperback stands were packed with Edmund Wilson’s The Cold War and the Income Tax, the 1964 Signet edition. This slight but definite dislocation of time fixed on the mind the awesome isolation of the place, as did dislocations of other kinds. On the fourth floor of the glossy new Bogotá Hilton one could lunch in an orchid-filled gallery that overlooked the indoor swimming pool, and also overlooked a shantytown of packing-crate and tin-can shacks where a small boy, his body hideously scarred and his face obscured by a knitted mask, played listlessly with a yo-yo. In the lobby of the Hotel Tequendama two Braniff stewardesses in turquoise-blue Pucci pantsuits flirted desultorily with a German waiting for the airport limousine; a third ignored the German and stood before a relief map on which buttons could be pressed to light up the major cities of Colombia. Santa Marta, on the coast; Barranquilla, Cartagena. Medellín, on the Central Cordillera. Cali, on the Cauca River, San Agustín on the Magdalena. Leticia, on the Amazon.
I watched her press the buttons one by one, transfixed by the vast darkness each tiny bulb illumined. The light for Bogotá blinked twice and went out. The girl in the Pucci pantsuit traced the Andes with her index finger. Alto arrecife de la aurora humana, the Chilean poet Pablo Neruda called the Andes. High reef of the human dawn. It cost the conquistador Gonzalo Jiménez de Quesada two years and the health of most of his men to reach Bogotá from the coast. It cost me $26.
“I knew they were your bags,” the man at the airport said, producing them triumphantly from a moraine of baggage and cartons and rubble from the construction that seemed all over Bogotá a chronic condition. “They smelled American.” Parece una turista norteamericana, I read about myself in El Espectador a few mornings later. She resembles an American tourist. In fact I was aware of being an American in Colombia in a way I had not been in other places. I kept running into Americans, compatriots for whom the emotional center of Bogotá was the massive concrete embassy on Carrera 10, members of a phantom colony called “the American presence” which politesse prevented them from naming out loud. Several times I met a young American who ran an “information” office, which he urged me to visit; he had extremely formal manners, appeared for the most desultory evening in black tie, and was, according to the Colombian I asked, CIA. I recall talking at a party to a USIS man who spoke in a low mellifluous voice of fevers he had known, fevers in Sierra Leone, fevers in Monrovia, fevers on the Colombian coast. Our host interrupted this litany, demanded to know why the ambassador had not come to the party. “Little situation in Cali,” the USIS man said, and smiled professionally. He seemed very concerned that no breach of American manners be inferred, and so, absurdly, did I. We had nothing in common except the eagles on our passports, but those eagles made us, in some way I did not entirely understand, co-conspirators, two strangers heavy with responsibility for seeing that the eagle should not offend. We would prefer the sweet local Roman-Cola to the Coca-Cola the Colombians liked. We would think of Standard Oil as Esso Colombiano. We would not speak of fever except to one another. Later I met an American actor who had spent two weeks taking cold showers in Bogotá before he discovered that the hot and cold taps in the room assigned him were simply reversed: he had never asked, he said, because he did not want to be considered an arrogant gringo.
In El Tiempo that morning I had read that General Gustavo Rojas Pinilla, who took over Colombia in a military coup in 1953 and closed down the press before he was overthrown in 1957, was launching a new bid for power on a Peronist platform, and I had thought that perhaps people at the party would be talking about that, but they were not. Why had the American film industry not made films about the Vietnam War, was what the Colombian stringer for the Caribbean newspaper wanted to talk about. The young Colombian filmmakers looked at him incredulously. “What would be the point,” one finally shrugged. “They run that war on television.”
The filmmakers had lived in New York, spoke of Rip Torn, Norman Mailer, Ricky Leacock, Super 8. One had come to the party in a stovepipe preacher’s hat; another in a violet macrame shawl to the knees. The girl with them, a famous beauty from the coast, wore a flamingo-pink sequinned midriff, and her pale red hair was fluffed around her head in an electric halo. She watched the cumbia dancers and fondled a baby ocelot and remained impassive both to the possibility of General Gustavo Rojas Pinilla’s comeback and to the question of why the American film industry had not made films about the Vietnam War. Later, outside the gate, the filmmakers lit thick marijuana cigarettes in view of the uniformed policia and asked if I knew Paul Morrissey’s and Andy Warhol’s address in Rome. The girl from the coast cradled her ocelot against the wind.
Of the time I spent in Bogotá I remember mainly images, indelible but difficult to connect. I remember the walls on the second floor of the Museo Nacional, white and cool and lined with portraits of the presidents of Colombia, a great many presidents. I remember the emeralds in shop windows, lying casually in trays, all of them oddly pale at the center, somehow watered, cold at the very heart where one expects the fire. I asked the price of one: “Twenty-thousand American,” the woman said. She was reading a booklet called Horóscopo: Sagitario and did not look up. I remember walking across Plaza Bolívar, the great square from which all Colombian power emanates, at mid-afternoon when men in dark European suits stood talking on the steps of the Capitol and the mountains floated all around, their perspective made fluid by sun and shadow; I remember the way the mountains dwarfed a deserted Ferris wheel in the Parque Nacional in late afternoon.
In fact the mountains loom behind every image I remember, and perhaps are themselves the connection. Some afternoons I would drive out along their talus slopes through the Chico district, out Carrera 7 where the grounds of the great houses were immaculately clipped and the gates bore brass plaques with the names of European embassies and American foundations and Argentinian neurologists. I recall stopping in El Chico to make a telephone call one day, from a small shopping center off Carrera 7; the shopping center adjoined a church where a funeral mass had just taken place. The mourners were leaving the church, talking on the street, the women, most of them, in black pant-suits and violet-tinted glasses and pleated silk dresses and Givenchy coats that had not been bought in Bogotá. In El Chico it did not seem so far to Paris or New York, but there remained the mountains, and beyond the mountains that dense world described by Gabriel García Márquez as so recent that many things lacked names.
And even just a little farther, out where Carrera 7 became the Carretera Central del Norte, the rutted road that plunged through the mountains to Tunja and eventually to Caracas, it was in many ways a perpetual frontier, vertiginous in its extremes. Rickety buses hurtled dizzyingly down the center of the road, swerving now and then
to pick up a laborer, to avoid a pothole or a pack of children. Back from the road stretched large haciendas, their immense main houses barely visible in the folds of the slopes, their stone walls splashed occasionally with red paint, crude representations of the hammer and sickle and admonitions to vote comunista. One day when I was out there a cloud burst, and because my rented car with 110,000 miles on it had no windshield wipers, I stopped by the side of the road. Rain streamed over the MESA ARIZONA WESTWOOD WARRIORS and GO TIDE decals on the car windows. Gullies formed on the road. Up in the high gravel quarries men worked on, picking with shovels at the Andes for twelve and a half pesos a load.
