Cityscape Quotes

They would find this House of Hades. They'd take the Doors of Death. And by the gods, if Leo had to design a grabber arm long enough to snatch Percy and Annabeth out of Tartarus, then that's what he would do. Nemesis wanted him to wreak vengeance on Gaea? Leo would be happy to oblige. He was going to make Gaea sorry she had ever messed with Leo Valdez. "Yeah." He took one last look at the cityscape of Rome, turning bloodred in the sunset. "Festus, raise the sails. We've got some friends to save.

Yeah." He took one last look at the cityscape of Rome, turning bloodred in the sunset. "Festus, raise the sails. We've got some friends to save.

They kidded him, calling him Admiral, but for once Leo accepted the title. This was his ship. He hadn't come this far to be stopped. They would find this House of Hades. They'd take the Doors of Death. And by the gods, if Leo had to design a grabber arm long enough to snatch Percy and Annabeth out of Tartarus, then that's what he would do. Nemesis wanted to wreak havoc on Gaea? Leo would be happy to oblige. He was going to make Gaea sorry she ever messed with Leo Valdez. "Yeah," He took once last look at the cityscape of Rome, turning bloodred in the sunset. "Festus, raise the sails. We've got some friends to save.

I’m not a religious or spiritual man. I am guided solely by my instincts, my gut. And they have led me to you. Without you, I have nothing to believe in.

Abandon Hope All Ye Who Enter...No Women's Bathroom

I'd been with boys before; I'd been with boys I'd thought were men. But this was different. David kissed like a man. He tasted, he smelled and he fucked like a man.

Of all the men, and ashamedly, that included Bill, David was the one who I felt in my core, as though I only existed as an extension of him. I wanted to fall just so he could catch me.

Lo- don't move," he says, seriously, his eyes like honey in the basement light- warm and amber and shining. "i'm still working." "I had an itch." "Let me know next time, and I'll scratch it for you. Before the terrible itching incident ruined everything, I was about to start on the dark shadow of your elbow crease. Now I'll have to re-create that perfect, dark, little cityscape from memory.

Present-day culture, social relations, cityscapes, modes of production, agriculture, and transportation have remade the traditional proletarian into a largely petty bourgeois stratum whose mentality is marked by its own utopianism of “consumption for the sake of consumption.” We

Dickens became one of the greatest interpreters of urban life because he was a prodigious walker; his visceral encounters with the physical and human cityscape run through all his work. Urban literature is bound up with walking, because walking takes you away from the familiar, down “long perplexing lanes untrod before,” as John Gay put it in his 1716 poem “Trivia; or, the Art of Walking the Streets of London.

Olivia, I’ll put on a show in front of your friends, at your work, whenever we’re in public. But I’m growing tired of pretending when we’re alone. Don’t tempt me.

You make this decision, and we're in it together. I will be your shield.

Seeing David was a full-body experience. I felt heavy and light at the same time. He gives me butterflies, but they aren’t butterflies. They’re bigger and darker and scarier, like crows. They’re dangerous. And did Bill ever give me butterflies?

I wait on the origin of night's sounds waking. I know that here only the blind man sings, even in rain The notes of drenched violins rise like warped mirrors' and the last clouds part slowly, like a cracked wheel.

Jackie’s work during this period on behalf of the landmarks preservation movement. At various times, she spoke with poignance of Manhattan monuments disappearing, of patches of sky being snatched away, of a cityscape that was dying “by degrees.” Pressed to explain why she had become involved in the fight to save the ornate Beaux Arts–style Grand Central Station, whose bankrupt owners hoped to raise money by allowing a fifty-five-story commercial tower to be built above it, Jackie said: “It’s a beautiful building that I’m used to seeing.

June's answer drifts up into the night air and echoes across the cityscape, one of millions of things happening in each of our lives, the small steps you take that are invisible to everyone else in the world. The steps that, nevertheless, matter the most. Yes. Always. Forever.

The sun had just gone down, and its afterglow was backlighting the city, which formed low cliffs around the bucolic void to the idle stockyards. The city was blacked out because bombers might come, so Billy didn’t get to see Dresden do one of the most cheerful things a city is capable of doing when the sun goes down, which is to wink its lights on one by one. There was a broad river to reflect those lights, which would have made their nighttime winkings very pretty indeed. It was the Elbe.

You know, when I looked into your eyes at the theater, I was stunned. Nothing like that has ever happened to me. And when I saw you in that gold dress, at the restaurant, I knew you were the most beautiful thing I had ever seen. You were glowing. But right now, in my bed, naked and undone,” he paused, leaning forward to kiss me softly on the lips. “You are perfect. I never want you any other way.

A waning moon hung over the cityscape like a Cheshire cat’s looming smile.

The New Territories — it's the forgotten narrative of Hong Kong, because it doesn't have the architecture or cityscape with traces of colonial characteristics.

Bright hues in the cityscape, found on street signs and in bike lanes, window boxes and graffiti, have become little gifts for me—small infusions of warmth and life.

The Vieux Carre is most beautiful in the early evening, when the subtle colors of a sunset provide a perfect complement to the concrete, creating a harmony of architecture on each street... Thoughts also have a softer tone during these evenings. So, I chose this time to walk and think after a personally oppressive day. A day when my mind needed the relief of a pastel cityscape.

What are you thinking?” he asked in a disarmingly gentle tone. “That the city looks different depending on whom I’m seeing it with.” He nodded easily, as if this same thought had occurred to him. “I notice different things,” I continued. “Like with you, I pay more attention to the details of the buildings – the textures, the colors, the people standing in front of them. The reflections are different.” “Reflections?” he asked quietly. “They are.” I watched our bodies morph and distort in the window of an empty bank. “You’re there,” I said. “That’s how they’re different.

Together, we look north. The cityscape lies in darkness… Through the roots of those buildings, Lysander’s army will be moving south… All coming to kill my men. Should we not have fed them? Should we not have healed them?

Thank you,” I answered, unsure of the proper American response to her gracious enthusiasm. In the Arab world, gratitude is a language unto itself. “May Allah bless the hands that give me this gift”; “Beauty is in your eyes that find me pretty”; “May God extend your life”; “May Allah never deny your prayer”; “May the next meal you cook for us be in celebration of your son’s wedding . . . of your daughter’s graduation . . . your mother’s recovery”; and so on, an infinite string of prayerful appreciation. Coming from such a culture, I have always found a mere “thank you” an insufficient expression that makes my voice sound miserly and ungrateful. I gazed at the cityscape. Ribbons of concrete and asphalt stretched and looped under more cars than I had ever seen.

Gentrification is often presented as a sort of corrective to the suburbs: instead of white flight and unsustainable cookie-cutter planning, we get dense, urban, and diverse cityscapes. But gentrification is simply a new form of the same process that created the suburbs; it's the same age-old, racist process of subsidizing and privileging the lives and preferred locales of the wealthy and white over those of poor people of color. The seesaw has just tipped in the other direction. Gentrification does not mean that the suburbs are over, or that cities are becoming more diverse. All it means is that our geography of inequality is being redrawn. Gentrification is not integration but a new form of segregation. The borders around the ghettos have simply been rebuilt.

...Pat wondered what inspiration an artist might find in the attempts of twenty-first-century architects to impose their phallic triumphs on the cityscape. Had any artist ever painted a contemporary glass block, for instance, or any other product of architectural brutalism that had laid its crude hands here and there upon the city?...If a building did not lend itself to being painted, then surely that must be because it was inherently ugly, whatever its claims to utility. And if it was ugly, then what was it doing in this delicately beautiful city?

The arctic pavement turned into a whirlwind of viscous blood. The fiery shadows on the metropolitan walls blitzed him, avenging overachievers starved for vengeance. He fell into the abyss. His migraine made his head feel heavier than it was. Thoughts of her were coals for the old train engine inside his head.

He’d sit through me screaming along to Moulin Rouge and I’d sit through him reciting every line from Back To The Future. I tried to learn the guitar using his guitar, but gave up because I was shit. He helped me paint a night-time cityscape mural on my bedroom wall. We watched four seasons of The Office. We sat in each other’s rooms with our laptops on our legs; he kept falling asleep at random times of the day; I kept persuading him that Just Dance sessions were a good idea; we discovered that we were both very passionate about Monopoly. I didn’t do any homework when I was with him. He didn’t do any uni reading when he was with me.

For a week the sun had been nothing but a puffy, seamless sheet of white, and this Tuesday had begun the same. But as the day progressed, the grayness receded like a mist, the sky’s white became more illumined from behind, then occasionally a patch of blue would open. Then another here and there, until blue touched blue and they became background for streaks and wisps of cloud. Sunlight, rays of it, gave a brightness like spring, a direct and golden-yellow brightness unlike the trapped, refracted glow of a winter’s day, and to that homogeneous cityscape that lay so inert and wide and flat, just a few spring rays of sunshine gave a sudden depth and dimension to everything. Individual things came alive, as if each stood brightly before you, each with its own story.

It took the sun a long while to come over the mountains and until it did my vision was bound to the few gray yards around the trailer. It was day but not day, dim but not night, a fugue of half-thoughts and disconnected images, pulsing with power beyond easy meaning—a crow flapping, glowing black against the gray—a shadow like a man crouched with a knife—parking lots aching with pink blur—so overwhelmed by thought I’d have to sit back, set down the pen, set down my coffee, and it goes on—glass towers gleaming out of gray cityscapes, blinding silver—an old man with a red guitar—the booming flame of rockets trailing smoke—a girl’s face, her freckled cheek downy with fine hairs, fleshy lips spread in a smile over crooked teeth. I sink in reverie—and what, what does it mean?—then scrape a few more lines with my pen. Nothing even approximate. Another failure.

In Woolrich's crime fiction there is a gradual development from pulp to noir. The earlier a story, the more likely it stresses pulp elements: one-dimensional macho protagonists, preposterous methods of murder, hordes of cardboard gangsters, dialogue full of whiny insults, blistering fast action. But even in some of his earliest crime stories one finds aspects of noir, and over time the stream works itself pure. In mature Woolrich the world is an incomprehensible place where beams happen to fall, and are predestined to fall, and are toppled over by malevolent powers; a world ruled by chance, fate and God the malign thug. But the everyday life he portrays is just as terrifying and treacherous. The dominant economic reality is the Depression, which for Woolrich usually means a frightened little guy in a rundown apartment with a hungry wife and children, no money, no job, and desperation eating him like a cancer. The dominant political reality is a police force made up of a few decent cops and a horde of sociopaths licensed to torture and kill, whose outrages are casually accepted by all concerned, not least by the victims. The prevailing emotional states are loneliness and fear. Events take place in darkness, menace breathes out of every corner of the night, the bleak cityscape comes alive on the page and in our hearts. ("Introduction")

Inside the Galleria it was dark and dank, with fountains and foliage unchanged from the 1980s. I instantly knew it—an old friend—despite having never stepped foot inside, and the loneliness that had been haunting me all day lifted in an instant. Even though I was two thousand miles from it, I was home. I had just moved from Philly, and I didn’t know a soul. My new life was feeling so empty, I needed cheap stuff to fill it up, and there was something particularly alluring that drew me to the Galleria that day—a store I had heard about that was becoming ubiquitous in Los Angeles, popping up faster than a rash of Starbucks in the cityscape. It was a fast-fashion empire to rule them all—pitch-perfect knockoffs of designer styles on an endlessly rotating trend carousel that changed out daily. If you couldn’t afford a Murakami Louis Vuitton monogram bag or the Miu Miu pleated micro mini, you could pacify yourself with their bogus cousins for a fraction of the price, and not feel bad tossing them when the trends shifted in a month or two. I spotted the store’s golden logo overhead. Forever 21. The name alone was pure poetry written in the California sand. Forever 21—like the spirit of a roller-skating bikini girl riding into the Venice Beach dusk. Forever 21—like Madonna, like Angelyne—faces and bodies sculpted into youthful approximations of their aging corporal forms. Forever 21—the true spirit of Los Angeles. I felt it enter me, I was possessed.

from the upcoming novel, Agent White: A figure dressed all in black ran across the rooftops in the rain. A black cloak fluttered behind him as he ran two and sometimes three stories above the sidewalk where Ezra Beckitt stood. Long silver hair tied back in a ponytail flew out behind him, exposing ears that came to sharp points. His left ear was pierced with a silver ring, high up in the cartilage. Like the old man, this black figure wore a sword; but this weapon was long and thin, slightly curved. The blade stuck out behind him for three and a half feet, almost seeming to glow against the grey backdrop of the rain-soaked cityscape. Suddenly, the figure in black looked down into the street and saw Ezra there. More, he saw Ezra seeing him. Startled, he lost his sure footing and slid down the steep incline of an older building’s metal roof, the busy street below waiting to catch him in an asphalt embrace. The figure in black got his feet under himself and pushed, flying out into space above the street. For an eternity Ezra watched him, suspended in the air and the rain with his cloak spread in midnight ripples around him, and then the figure in black flipped neatly and landed on the sidewalk half a block away. The pavement cracked, pushing up in twisted humps around the figure in black’s tall leather boots. Before the sound of this impact even reached Ezra the figure was up and gone, dashing through the morning throngs waiting for buses or headed to the ‘tram station. Ezra saw a girl’s hair blow back in the wind created by his passing, but she never noticed him. A young techie blinked his 20-20’s (Ezra’s own enhanced senses picked up the augmented eyes because of a strange, silvery glow in the pupils) and turned halfway around, almost seeing him. And then the figure in black darted into an alley, gone. Ezra drew his service weapon and ran after, pushing his way through the sidewalk traffic. Turning into the alley he skidded to a stop, stunned; the figure in black was still there. The alley was just wide enough to accommodate Ezra’s shoulders- he couldn’t have held his arms out at his sides. Dumpsters spilled their trash out onto the wet pavement. The alley ended in a fire door, the back exit of a store on the next street over. Even if it was locked, Ezra didn’t think it would pose a real problem for the figure in black. No, he was waiting for him. Ezra advanced with his gun out in front of him, and his eyes locked with the figure in black’s. His were completely black- no pupils, no corneas, only solid black that held no light. The figure in black smiled, exposing teeth that looked very sharp, and laid his hand on the hilt of his sword. He wore leather gloves with the fingers cut off. His fingers were very long and very white. “Don’t even think about it,” Ezra said, clicking the safety off his weapon. “I am a Hatis City Guard, an if you move I will put you down.” This only seemed to amuse the figure in black, whose smiled widened as he drew his sword. Ezra opened fire.

From the rubble of their fallen predecessors, the mega-hotel/casinos rose up, towering higher and higher over either side of the boulevard - glittering amnesiacs with the memories of what had come before hidden deep within their foundations.

His lips brushed a warm caress against the hollow of my neck. His grip tightened. We rocketed up into the sky, high above the towering buildings and cityscape. My heart soared even higher.

If we all conceptualize the reality and possibility of the city uniquely, how can we be on the same page when it comes to building an equitable future? To the person just moving to New Orleans, all the white hipsters biking around the Bywater is not the sign of the displacement of 100,000 black people; to someone moving to Williamsburg now, the glass condos are as much a natural part of the cityscape as anything else. In this way, gentrification suppresses and displaces memory, and makes it harder to build lasting justice. This ignorance benefits the powerful - a new resident who has no memory of the old Mission District in San Francisco is much less likely to protest what others may see as its destruction when a condo comes along. So if we are committed to fighting for an ungentrified future, the first step is to build consensus about what a city should be.

My dad wants to go for a run with you,” I said when he picked up. “Are you coming?” “Me? I’m going for a breakfast burrito.

You are impossible to read if you’re not paying attention, but I am. And I may not know the details yet but I know you.

I am afraid. I’ve never touched a married woman. You might not believe me, but this has been hard for me too because it goes against all of my beliefs. My parents, who are my world, have been happily married for thirty-seven years. I would kill anyone who tried to come between them. But it’s nothing compared to keeping it inside. I can’t hide it like you. And if I honestly thought he was the right person for you, I would walk away right now.

But kids who are meant to one day go to expensive American universities don't need to learn about Hong Kong. The physical cityscape of Hong Kong exists but for your amusement. You need to know only enough so that when you are an adult, you can make clever memes about which section of the minibus to sit in so that the driver can hear you when you need to alight, or what spice level of broth to get at our most beloved noodle joint.

Jonduri at night was a red how of lanterns, a fume of spoiled drinks,a raucous, too-loud conversation over spicy food

She looked out at the city. All of Tevanne was smeared with starlit smoke and steam, a ghostly cityscape sinking into the fog. The huge white campo walls surfaced among the ramble of the Commons like the bones ofa bleached whale. Behind them stood the towers of the campos, which glowed with soft, colorful luminescence. Among them was the Michiel clock tower, its face a bright, cheery pink, and beyond that was the Mountain of the Candianos, the biggest structure in all of Tevanne, a huge dome that reminded her of a fat, swollen tick, sitting in the center of the Candiano campo. She felt lonely, and small. Sancia had always been alone. But feeling lonely was different from just being alone.

These questions came to her lips as she watched the other her in the glass window, hovering out over the cityscape. Her other self simply opened and closed her mouth, floating silently in the nothingness. She reached out her hand towards the glass and her other self moved closer too, until their palms were touching. The glass spread its coolness through her body. The clouds that floated over the mass of office buildings seemed nothing more than masses of turbid ash. She sighed. The warmth clouded the glass, obscuring her other face.

Worlds that have faded into hills or cityscapes. This is a story about girlhood, and artists, and a town in West Tennessee that keeps on dying. I suppose I tell it because when you find so much comfort in dead things, you know the worst part is that they are only alive in your head.

Where are we? This isn’t where you live.” He steeled himself, locking down his emotions behind an unreachable wall. “No, this is where you live.” Kira glanced around again, her eyes widening as she recognized the cityscape surrounding her apartment building. “Did you want me to pick up some of my things before we go back?” she asked in confusion. “I don’t have my keys with me . . .” “You aren’t going back,” Mencheres said in a cool, steady voice as he handed her the keys she’d left in her backpack the day they first met. Then with a mental push, the roof door gaped open. “I still cannot hear anything from your mind or control it, so it is obvious you are naturally immune to my power. I told you at the hospital that my blood came with a price. My price for healing your sister is your silence on all things you’ve learned in the past week. Speak of me, and them, to no one.” Her mouth opened in disbelief, those naturally red lips taunting him with their fullness. “But you said as long as I knew, I could never leave—

I decided, long ago, back-room negotiations with a nine iron and a pen, witness tampering, and suppression of evidence weren’t for me. That’s what was expected of an independent lawyer hired by Louis Fernoza. I wanted the corner office overlooking a cityscape, the fine car and house, and the ability to sleep at night with a clear conscience. I’d say I achieved it all but not without a price.

In Paris there are wide cityscapes like nowhere else. Habit has made us indifferent to them. But those who wander around the city—keenly sniffing the air, looking to be moved, to be amazed—are very familiar with these places.

So if you don’t show, I’m going to come up and drag you downstairs.” “I can almost assure you that that plan would backfire,” he said. “Next time I get you alone in my apartment, I won’t let you off so easy,” he said levelly, staring ahead.

Don’t forget the most basic reason we read: to discover what happens next. Make certain your devotion to pretty sentences and flesh-and-blood characters and cityscapes and exquisitely crafted metaphors works in service of story, contributing to the momentum that will propel your readers forward.

After what felt like an eternity, he turned slowly. Pain etched his face. For a heartbreaking moment, I thought I was too late. But then he stepped forward, and suddenly I was running. He opened his arms, and I jumped, and I was home.

After Billy’s dragon, Spark, had betrayed them and joined the Dragon of Death, giving her the eight pearls she needed to choose her own destiny, the world around them had disappeared. When it had come back, it was completely different. Billy, Ling-Fei, Charlotte and Dylan had woken in a dark and distant future. One where the Dragon of Death ruled with a fearsome and terrible might. One where somehow she had been ruling for years and years already, even though it felt like only moments had passed between their lives in the past, in the Dragon Realm, and this version of the future where there was no Dragon Realm and Human Realm, only Dragon City and the Void beyond. Both the Dragon and the Human Realms had been decimated and devoured by the Dragon of Death and the Noxious and their never-ending quest for power, leaving Dragon City as the only habitable place for dragons and humans. But at least Billy and his friends had been together, and they still had their memories of their lives before. And even though they had been separated from their dragons, they had heard them when they had first arrived in Dragon City and had found themselves in chains in an unfamiliar and terrifying cityscape. Knowing that their dragons were alive had given them hope. Because the dragons were more than just friends. Deep in Dragon Mountain, the four children had each heart-bonded with a dragon, connecting them for ever. Dylan had bonded with Buttons, a healer dragon who cared deeply for humans. Ling-Fei’s dragon was Xing, a dragon with the ability to seek out magic and power, and whose tough exterior hid a kind heart. The fierce warrior dragon Tank was Charlotte’s heart-bonded dragon, and the two of them together could take on almost any opponent. As for Billy… He didn’t like thinking about his dragon, Spark, with her electricity powers and ability to see into the future. He had trusted her more than anyone and she’d let him down. Despite everything, part of him hoped that they were still connected through the heart bond. But when he tried to reach down their bond, there was nothing. It made him feel empty inside, like something was missing. Even though they had been separated from their dragons, they weren’t alone in the terrifying world of Dragon City. The tiny gold flying pig had been sucked into this future alongside them. And even though it couldn’t speak, Billy knew it could understand them, so when they’d needed help escaping their shackles, he’d asked the pig to find the key. It was a big ask for a tiny pig, but the pig had brought him Dylan’s Claddagh ring, after all, and it had led Billy and the others to where Dylan was trapped in a tree by dark magic. Surely it could find a key to open their chains. Hours had gone by during which the four friends had watched in horror as nox-wings swooped down on unsuspecting human workers and tossed them up into the air in some sort of twisted game, laughing as they did.

Morning's Serenade by Stewart Stafford Stirred by a magpie's auction bids, I opened up our curtained eyelids, To pale dawn's reverential blinking, Beyond my lady's distant inkling. Anointed by the infant sun's rays, I stand in regal morning’s praise; Surveying virgin domain’s expanse, Before the hatchling public dance. The early-risen owl hoots carried far, The songbirds played off fading stars, Cockcrow drew in a loping red fox, Scattering fawns and sheep flocks. My lady spent, sports a drowsy crown, Her chest rises, then slowly down, Cityscape visions to last night's desire, Golden tresses tossed in oriole fire. To the kitchen, a connoisseur's start, A lover's labour, a chef's work of art, Crack avian treasures, new life's motif. Ground coffee, perfumed weekend relief. © Stewart Stafford, 2024. All rights reserved.

In October, Louise showed several new paintings at the Panoras Gallery on Fifty-Sixth Street. During this period, she painted nudes, interiors, several versions of MacDuff, many portraits, at least two paintings set in public buses, and other New York street-life subjects. Her stylized figures were often inspired by random encounters and eavesdropping. Observing underdogs and outsiders in action, she was drawn to faces and to cityscapes and to a style that incorporated storytelling and allegory. Louise’s new work was influenced by the scene painting of the Works Progress Administration and Mexican muralists; by Käthe Kollwitz and German expressionists like Max Beckmann, Oskar Kokoschka, and Egon Schiele; by Alice Neel, Francis Bacon, and other portraitists—and, to an increasing extent, by medieval tapestries and frescoes by Bolognese Renaissance artists such as Pellegrino Tibaldi. Louise kept working to reveal the lives behind the faces she portrayed—their backstory—and began to introduce some southern imagery from her own memories. She was fascinated by the story beneath the surface and whatever metaphysical qualities she could draw from the depths of her subject.

If the portraitist Chuck Close cannot remember faces, the artist Stephen Wiltshire sees and remembers everything. Wiltshire has an eidetic, or photographic, memory. He can look at a cityscape or scene in London, New York, Rome, Dubai, or Tokyo just once, for twenty minutes or so, and later meticulously replicate what he has seen in every detail.

...It's an atemporal verb, like the universe is rational. The universe is not currently being rational; it is rational despite the time. Eternity is coming, not like a wave about to crash over a cityscape, but like a wave in which we all are and always have been drowning.

The bedsheets chilled their bodies with sweat-soak, rumpled beneath them. They lay side by side, David and Jonthan, and, behind their blindfolds, they traced the arc their drones made over earth. Lux levels rose in golden bars just outside their vision as the drones dipped through clouds cover and flew past domed cityscapes. Chicago glowed through a blanket of clouds. The drones swooped upward and dwarf galaxies turned from cosmic smudges into multihued ninja shurikens.

At its most resplendent, parts of the city merge into a single, diverse and historic cityscape that encompasses time immemorial, through a subtle, delicate, nuanced tapestry of cultures.

La ciudad, hija mía, es un infierno. Y en toda España no hay una ciudad que se parezca más al infierno que Barcelona…

i started to feel less embarrassed about all the weird things i did, like suddenly singing songs with absolutely no context, and my bottomless database of random encyclopaedic facts and that one time i started a four-hour-long text conversation about why cheese was a food. i kept teasing him for having such long hair until he said one day, quite decisively, that he actually wanted it to be long, so i stopped teasing him after that. we played video games or board games or watched youtube videos or films or tv shows, we baked cakes and biscuits and ordered takeaway. we could only do stuff at his house when his mum wasn’t in, so we were at my house most of the time. he’d sit through me screaming along to moulin rouge and i'd sit through him reciting every line from back to the future. i tried to learn the guitar using his guitar, but gave up because i was shit. he helped me paint a night-time cityscape mural on my bedroom wall. we watched four seasons of the office. we sat in each other’s rooms with our laptops on our legs; he kept falling asleep at random times of the day; i kept persuading him that just dance sessions were a good idea; we discovered that we were both very passionate about monopoly. i didn’t do any homework when i was with him. he didn’t do any uni reading when he was with me. but at the heart of it was universe city. 

i started to feel less embarrassed about all the weird things i did, like suddenly singing songs with absolutely no context, and my bottomless database of random encyclopaedic facts and that one time i started a four-hour-long text conversation about why cheese was a food. i kept teasing him for having such long hair until he said one day, quite decisively, that he actually wanted it to be long, so i stopped teasing him after that. we played video games or board games or watched youtube videos or films or tv shows, we baked cakes and biscuits and ordered takeaway. we could only do stuff at his house when his mum wasn’t in, so we were at my house most of the time. he’d sit through me screaming along to moulin rouge and i'd sit through him reciting every line from back to the future. i tried to learn the guitar using his guitar, but gave up because i was shit. he helped me paint a night-time cityscape mural on my bedroom wall. we watched four seasons of the office. we sat in each other’s rooms with our laptops on our legs; he kept falling asleep at random times of the day; i kept persuading him that just dance sessions were a good idea; we discovered that we were both very passionate about monopoly. i didn’t do any homework when i was with him. he didn’t do any uni reading when he was with me. but at the heart of it was universe city. 

Augustus himself is reported to have boasted that he found Rome a ‘city of brick’ and left (some of) it ‘a city of marble’. But these architectural developments were often part of a more significant project, to reconfigure the cityscape around the idea of the emperor, to make his presence seem inevitable, even ‘natural’.

Let us turn to Harriet Jacobs for guidance in imagining. Jacobs masterminded her family’s escape from North Carolina to New York. From her room in the home of an employer in upstate New York in the 1850s, Jacobs penned a penetrating memoir of social critique. Hers was the first autobiography by a Black woman to reveal the insidious culture of sexual harassment and assault in slavery as well as to confront the gender double standard between white women and Black women in Victorian society, which always categorized Black women as impure. She expressed, pointedly, that those who have not experienced legalized bondage can never know “what it is to be a slave; to be entirely unprotected by law or custom; to have the laws reduce you to the condition of a chattel, entirely subject to the will of another.” We cannot enter the consciousness of a girl born into slavery who matures to give birth into slavery and can have no reasonable hope of rescue.30 We cannot know Rose, but we can draw on the resources at our disposal—documents, cityscapes, architectural records and the built environment she inhabited, slave narratives, and Ruth’s inscription on the sack—to picture the woman she might have been and summon the shape of her daily life.

Black Studies guru Houston Baker has defended rap music in the same terms. “Rap is like a rich stock garnered from the sudden simmering of titanic B-boy/B-girl energies. Such energies were diffused over black cityscapes.” Baker also describes the same energy in “wilding,” and in the murderous mass rape of a white female jogger in Central Park in 1987, as the vital overthrow of the white man’s attempt to tame nature by constructing a park in the first place. Just as in The Genealogy of Morals Nietzsche’s blond beast emerges “from a disgusting procession of murder, arson, rape, and torture, exhilarated and undisturbed of soul, as if it were no more than a student’s prank,” so do young blacks joyfully bring the reality of terror to the white power structure (as Nietzsche wrote, “That lambs dislike great birds of prey does not seem strange”).56

Seeing David was a full-body experience. I felt heavy and light at the same time. He gives me butterflies, but they aren’t butterflies. They’re bigger and darker and scarier, like crows. They’re dangerous.

The tall cityscape that was Anchorage encroached on the wide skies. It was like a giant walking and uninhabited, unclaimed land.

Car, vois-tu, chaque jour je t’aime davantage, aujourd’hui plus qu’hier et bien moins que demain.” I smiled and looked at him, waiting. He covered my hand that held the delicate disk. “For, you see, each day I love you more, today more than yesterday and less than tomorrow.

Rastignac’s story speaks to an age of revolution and counterrevolution, of blurred and reasserted class boundaries, a turbulent age in which the pursuit of wealth has taken on stark new importance. Success requires learning to read subtle distinctions of class and the meanings embodied in the Paris cityscape. In this bourgeois century where everyone looks alike you are going to have to find out for yourself who’s who. If you are ambitious and if you are out for love, you will need to choose wisely to advance your career. You need to understand both the social hierarchy and the economic substratum that lies hidden beneath it.

Instead of asking what can we add to our roads to make them safer, they began asking, in the counterintuitive style of IDEO, what would a safer road look like? What they discovered astonished them. It turns out conventional wisdom about traffic is wrong. Often, the less you tell motorists how to behave, the more safely they drive. Think about it. Most accidents occur near school gates and crosswalks or around bus and cycle lanes, which all tend to be regulated by a dense forest of signs, lights, and road markings. That barrage of instruction can distract drivers. It can also lull them into a false sense of security, making them more likely to race through without paying attention. Minimize the lights, the signage, the visual cues, and motorists must think for themselves. They have to make eye contact with pedestrians and cyclists, negotiate their passage through the cityscape, plan their next move. Result: traffic flows more freely and safely. Ripping out the signage along Kensington High Street, one of the busiest shopping strips in London, helped slash the accident rate by 47 percent.