Suburbia Quotes

I automatically assume people won't like me, so I don't talk to them unless they approach me first. I can't become a part of a crowd because I can't get past that feeling that I don't belong.

It's my duty as a human being to be pissed off

Over the course of my life I've been to lots of places. Shadowed places where things have gone wrong. Sinister places where things still are. I always hate the sunlit towns, full of newly built developments with double-car garages in shades of pale eggshell, surrounded by green lawns and dotted with laughing children. Those towns aren't any less haunted than the others. They're just better liars.

The cruellest thing you can do to Kerouac is reread him at thirty-eight.

I feel, am mad as any writer must in one way be; why not make it real? I am too close to the bourgeois society of suburbia: too close to people I know I must sever my self from them, or be a part of their world: this half and half compromise is intolerable.

Do you realise that people die of boredom in London suburbs? It's the second biggest cause of death amongs the English in general. Sheer boredom...

Please remove your watch,' he said. 'In my domain time isn't a factor.

This is pretty much the answer to every problem you encounter in suburbia: plant a tree, and hope you don't see anyone's privates.

I don't feel any shame I won't apologize if there ain't nowhere you can go running away from pain when you've been victimized tales from another broken home.

After all, we were young. We were fourteen and fifteen, scornful of childhood, remote from the world of stern and ludicrous adults. We were bored, we were restless, we longed to be seized by any whim or passion and follow it to the farthest reaches of our natures. We wanted to live – to die – to burst into flame – to be transformed into angels or explosions. Only the mundane offended us, as if we secretly feared it was our destiny . By late afternoon our muscles ached, our eyelids grew heavy with obscure desires. And so we dreamed and did nothing, for what was there to do, played ping-pong and went to the beach, loafed in backyards, slept late into the morning – and always we craved adventures so extreme we could never imagine them. In the long dusks of summer we walked the suburban streets through scents of maple and cut grass, waiting for something to happen.

Yes, Eleanor loathed herself and yet required praise, which she then never believed.

Suburbia is too close to the country to have anything real to do and too close to the city to admit you have nothing real to do.

That thing the nature of which is totally unknown to you is usually what you need to find, and finding it is a matter of getting lost. The word ‘lost’ comes from the old Norse ‘los’ meaning the disbanding of an army…I worry now that people never disband their armies, never go beyond what they know. Advertising, alarmist news, technology, incessant busyness, and the design of public and private life conspire to make it so. A recent article about the return of wildlife to suburbia described snow-covered yards in which the footprints of animals are abundant and those of children are entirely absent. Children seldom roam, even in the safest places… I wonder what will come of placing this generation under house arrest.

Suburbia is where the developer bulldozes out the trees, then names the streets after them.

Suburbia is where the developer bulldozes out the trees then names the streets after them.

I pray for the kids in the suburbs… I pray that one day, we’ll all graduate from similarity.

As Ruth Franklin notes, “The underlying problem is that while women read books by male writers about male characters, men tend not to do the reverse. Men’s novels about suburbia (Franzen) are about society; women’s novels about suburbia (Wolitzer) are about women.

Walk some night on a suburban street and pass house after house on both sides of the same street each with the lamplight of the living room, shining golden, and inside the little blue square of the television, each living family riveting its attention on probably one show; nobody talking; silence in the yards; dogs barking at you because you pass on human feet instead of wheels.

A lot of ballads are about the mistakes we inevitably make while trying to figure out how to live our lives.

Middle-class prosperity is lapidary; the flow of cash rounds and smooths a person like water does riverbed stones.

Paradise is a state of being, more than just the name of a suburb or a home.

If love did not exist I would be so goddamn sane my poems would be billboards. Suburbia would be enough. I would not have to gut myself to find my spine crushed into powder and brushed on her cheekbones. My hair would not be a hummingbird’s nest. My mind would not have to move so fast to rest.

Museums are the anthropological screened porches of suburbia. You can be near something great, but not actually personally experience it.

For Mum, life was fundamentally hell. You went blind, you got raped, people forgot your birthday, Nixon got elected, your husband fled with a blonde from Beckenham, and then you got old, you couldn't walk and you died.

Suddenly I shouted into the night air. 'Yes, yes, yes, it is true!" And now the world had some tension in it; now it twanged and vibrated with meaning and possibility! 'Yes, yes, fucking yes!

People who were only ever half right about things drove me mad. I hated the flood of opinion, the certainty, the easy talk about Cuba and Russia and the economy, because beneath the hard structure of words was an abyss of ignorance and not-knowing; and, in a sense, of not wanting to know.

قد علمتني الحياة أنه حين يراك الآخرون متحمساً، تفتر حماستهم هم، والعكس صحيح . لذا كلما ازدادت رغبتي بأمر ما، تصنّعت بروداً أعظم حياله .

And so I sat in the centre of this old city that I loved, which itself sat at the bottom of a tiny island. I was surrounded by people I loved, and I felt happy and miserable at the same time. I thought of what a mess everything had been, but that it wouldn't always be this way.

The interesting people you wanted to be with - their minds were unusual, you saw things freshly with them and all was not deadness and repetition.

It's the ballads I like best, and I'm not talking about the clichéd ones where a diva hits her highest note or a rock band tones it down a couple of notches for the ladies. I mean a true ballad. Dictionary definition: a song that tells a story in short stanzas and simple words, with repetition, refrain, etc. My definition: the punk rocker or the country crooner telling the story of his life in three minutes, reminding us of the numerous ways to screw up.

Someone to whom jokes are never told soon contracts enthusiasm deficiency.

Maybe you never stop feeling like an eight-year-old in front of your parents. You resolve to be your mature self, to react in this considered way rather than that elemental way, to breathe evenly from the bottom of your stomach and to see your parents as equals, but within five minutes your intentions are blown to hell, and you're babbling and screaming in rage like an angry child.

But you're beautiful, and the beautiful should be given whatever they want." "Hey, what about the ugly ones?" "The ugly ones." She poked her tongue out. "It's their fault if their ugly. They're to be blamed, not pitied.

It's as if they take all our questions and offer them straight back: Who are you? Why are you here? What do you want?

I admired him more than anyone but I didn't wish him well. It was that I preferred him to me and wanted to be him. I coveted his talents, face, style. I wanted to wake up with them all transferred to me.

I began to enjoy my own generosity; I felt the pleasure of pleasing others, especially as this was accompanied by money-power. I was paying for them; they were grateful, they had to be; and they could no longer see me as a failure.

It's funny how these days, when every household has its own inter-continental ballistic missile, you hardly even think about them. . . . A lot of us, though, have started painting the missiles different colors, even decorating them with our own designs, like butterflies or stenciled flowers. They take up so much space in the backyard, they might as well look nice, and the government leaflets don't say that you have to use the paint they supply.

Yes, we all know that there's a good chance the missiles won't work properly when the government people finally come to get them, but over the years we've stopped worrying about that. Deep down, most of us feel it's probably better this way. After all, if there are families in faraway countries with their own backyard missiles, armed and pointed back at us, we would hope that they too have found a much better use for them.

Almost overnight it became laughable to read writers like Cheever or Updike, who wrote about the suburbia Madeleine and most of her friends had grown up in, in favor of reading the Marquis de Sade, who wrote about anally deflowering virgins in eighteenth-century France. The reason de Sade was preferable was that his shocking sex scenes weren't about sex but politics. They were therefore anti-imperialist, anti-bourgeois, anti-patriarchal, and anti-everything a smart young feminist should be against.

How young I seem; I am exceptional; I think of all I have. But really no one is exceptional, No one has anything, I'm anybody, I stand beside my grave Confused with my life, that is commonplace and solitary.

That was the ballad of suburbia: give me loud to drown out the silence.

O Suburbs of Despair where nothing but the weather ever changes!

Most of Arbus's work lies within the Warhol aesthetic, that is, defines itself in relation to the twin poles of boringness and freakishness; but it doesn't have the Warhol style. Arbus had neither Warhol's narcissism and genius for publicity nor the self-protective blandness with which he insulates himself from the freaky nor his sentimentality. It is unlikey that Warhol, who comes from a working-class family, ever felt any ambivalence toward success which afflicted the children of the Jewish upper middle classes in the 1960s. To someone raised as a Catholic, like Warhol (and virtually everyone in his gang), a fascination with evil comes much more genuinely than it does to someone from a Jewish background. Compared with Warhol, Arbus seems strikingly vulnerable, innocent--and certainly more pessimistic. Her Dantesque vision of the city (and the suburbs) has no reserves of irony. Although much of Arbus's material is the same as that depicted in, say, Warhol's Chelsea Girls (1966)...For Arbus, both freaks and Middle America were equally exotic: a boy marching in a pro-war parade and a Levittown housewife were as alien as a dwarf or a transvestite; lower-middle-class suburbia was as remote as Times Square, lunatic asylums, and gay bars. Arbus's work expressed her turn against what was public (as she experienced it), conventional, safe, reassuring--and boring--in favor of what was private, hidden, ugly, dangerous, and fascinating. These contrasts, now, seem almost quaint. What is safe no long monopolizes public imagery. The freakish is no longer a private zone, difficult of access. People who are bizarre, in sexual disgrace, emotionally vacant are seen daily on the newsstands, on TV, in the subways. Hobbesian man roams the streets, quite visible, with glitter in his hair.

This was the English passion, not for self-improvement or culture or wit, but for DIY, Do It Yourself, for bigger and better houses with more mod cons, the painstaking accumulation of comfort and, with it, status - the concrete display of earned cash.

Your positive thinker may do well in suburbia but I'd rather be with a lucid depressive in the Arctic, where survival depends on precision and not fooling yourself about your chances on the ice.

With lack of sleep and too much understanding I grow a little crazy, I think, like all men at sea who live too close to each other and too close thereby to all that is monstrous under the sun and moon.

How Opulent the building had felt after my own parents' bland box of suburbia - one day, I promise, I'm going to live in a house like this. Another promise I've broken; at least that one was only to myself.

Sometimes I felt the whole world was converging on this little room. And as I became more intoxicated and frustrated I'd throw open the bedroom window as the dawn came up, and look across the gardens, lawns, greenhouses, sheds and curtained windows. I wanted my life to begin now, at this instant, just when I was ready for it.

the immersive ugliness of the built environment in the USA is entropy made visible. It indicates not simple carelessness but a vivid drive toward destruction, decay and death: the stage-set of a literal “death trip,” of a society determined to commit suicide. Far from being a mere matter of aesthetics, suburbia represents a compound economic catastrophe, ecological debacle, political nightmare, and spiritual crisis — for a nation of people conditioned to spend their lives in places not worth caring about.

You see, I have come to believe in self-help, individual initiative, the love of what you do, and the full development of all individuals. I am constantly disappointed by how little we expect of ourselves and of the world.

Suburbia is too close to the country to have anything real to do and too close to the city to admit you have nothing real to do. It’s purpose is to make it so you can identify with everything. We obviously grew up identifying with nothing.

A revolutionary war of freedom, he said” Hiawatha responded crisply, “and I agree… does Superman ever fly to Thailand and free the kids slaving in the sweat shops owned by the rich corporations? No, he doesn’t. Does Batman ever break into prison and free the wrongfully convicted and over sentenced black man whose rights were trampled on when he was incarcerated? No, he doesn’t. Does Spider man ever break into a house in suburbia and beat up the abusive and violent husband? No, he doesn’t.” “Do the Fantastic Four ever fly out to third world countries and defend the rights of the poor civilians against greedy American corporations? No, they don’t,” said the Pirate, not to be outdone. “They’re all just tools used by the state to maintain the status quo,” said Hiawatha.

Her ideas were expressions of her inability to accept her own personal tragedy and her quest for some certainty on which she could rest a troubled spirit. Her her lack of education was a real handicap, because she had no historical or philosophical perspective from which to analyze her own experience of grief and loss. Because we lived in a cultural wasteland of suburbia, there were no schools or evening classes she might have attended which could offer an intellectually disciplined approach to her quest. Nor were there any churches which might have offered comfort through the beauty of their liturgy.

لا تكافح تحت أي ظرف كان . الكفاح جهل ! إنها حكمة فطرية . اتبع مشاعرك فقط و افعل ماتحبه. يرد تيد بيأس : إذا اتبعت مشاعري اللعينة سوف يفسد كل شيء

That was 1993 grunge in suburbia. This was 2003 hell in Harlem. (Dark City Lights)

A nice street, Fred. A nice neighborhood. Oh, I know how the intellectuals sneer at suburbia - it's not as romantic as the rat-infested tenements or the hale-and-hearty back-to-the-land stuff. There are no great museums in suburbia, no great forests, no great challenges.

The time of dangling insects arrived. White houses with caterpillars dangling from the eaves. White stones in driveways. You can walk at night down the middle of the street and hear women talking on the telephone. Warmer weather produces voices in the dark. They are talking about their adolescent sons. How big, how fast. The sons are almost frightening. The quantities they eat. The way they loom in doorways. These are the days that are full of wormy bugs. They are in the grass, stuck to the siding, hanging in the hair, hanging from the trees and eaves, stuck to the window screens. The women talk long-distance to grandparents of growing boys. They share the Trimline phone, beamish old folks in hand-knit sweaters on fixed incomes. What happens to them when the commercial ends?

The side effects of growing up ‘just outside of [insert major urban center here] are many but practically intangible. This is logical given the fact that suburbia itself is a side effect and practically intangible.

In 1995 Bank of America issued a famous report on sprawl in California. The bank pronounced: 'Urban job centers have decentralized to the suburbs. New housing tracts have moved even deeper into agriculturally and environmentally sensitive areas. Private auto use continues to rise. This acceleration of sprawl has surfaced enormous social, environmental, and economic costs, which until now have been hidden, ignored, or quietly borne by society.

Have you ever wondered What happens to all the poems people write? The poems they never let anyone else read? Perhaps they are Too private and personal Perhaps they are just not good enough. Perhaps the prospect of such a heartfelt expression being seen as clumsy shallow silly pretentious saccharine unoriginal sentimental trite boring overwrought obscure stupid pointless or simply embarrassing is enough to give any aspiring poet good reason to hide their work from public view. forever. Naturally many poems are IMMEDIATELY DESTROYED. Burnt shredded flushed away Occasionally they are folded Into little squares And wedged under the corner of An unstable piece of furniture (So actually quite useful) Others are hidden behind a loose brick or drainpipe or sealed into the back of an old alarm clock or put between the pages of AN OBSCURE BOOK that is unlikely to ever be opened. someone might find them one day, BUT PROBABLY NOT The truth is that unread poetry Will almost always be just that. DOOMED to join a vast invisible river of waste that flows out of suburbia. well Almost always. On rare occasions, Some especially insistent pieces of writing will escape into a backyard or a laneway be blown along a roadside embankment and finally come to rest in a shopping center parking lot as so many things do It is here that something quite Remarkable takes place two or more pieces of poetry drift toward each other through a strange force of attraction unknown to science and ever so slowly cling together to form a tiny, shapeless ball. Left undisturbed, this ball gradually becomes larger and rounder as other free verses confessions secrets stray musings wishes and unsent love letters attach themselves one by one. Such a ball creeps through the streets Like a tumbleweed for months even years If it comes out only at night it has a good Chance of surviving traffic and children and through a slow rolling motion AVOIDS SNAILS (its number one predator) At a certain size, it instinctively shelters from bad weather, unnoticed but otherwise roams the streets searching for scraps of forgotten thought and feeling. Given time and luck the poetry ball becomes large HUGE ENORMOUS: A vast accumulation of papery bits That ultimately takes to the air, levitating by The sheer force of so much unspoken emotion. It floats gently above suburban rooftops when everybody is asleep inspiring lonely dogs to bark in the middle of the night. Sadly a big ball of paper no matter how large and buoyant, is still a fragile thing. Sooner or LATER it will be surprised by a sudden gust of wind Beaten by driving rain and REDUCED in a matter of minutes to a billion soggy shreds. One morning everyone will wake up to find a pulpy mess covering front lawns clogging up gutters and plastering car windscreens. Traffic will be delayed children delighted adults baffled unable to figure out where it all came from Stranger still Will be the Discovery that Every lump of Wet paper Contains various faded words pressed into accidental verse. Barely visible but undeniably present To each reader they will whisper something different something joyful something sad truthful absurd hilarious profound and perfect No one will be able to explain the Strange feeling of weightlessness or the private smile that remains Long after the street sweepers have come and gone.

By 2000, Americans had built almost twice as much retail space per citizen as any other country in the world: over nineteen square feet per person. Most of it was in malls.

صرت مقتنعاً أن الفتنة الشخصية لا الرصانة ولا النزاهة ولا حتى اللياقة هي أولى المواهب الاجتماعية، حتى أنني صرت اعجب بالاشخاص الغلظاء أو الرذلاء شرط أن يكونوا مثيرين للاهتمام .

It was easy to see that he was clever and well read, but he was also boring.

Hate made sensible people do terrible things.

He died at the wrong time, when there was much to be clarified and established. They hadn’t even started to be grown-ups together. There was this piece of heaven, this little girl he’d carried around the shop on his shoulders; and then one day she was gone, replaced by a foreigner, an uncooperative woman he didn’t know how to speak to. Being so confused, so weak, so in love, he chose strength and drove her away from himself. The last years he spent wondering where she’d gone, and slowly came to realise that she would never return, and that the husband he’d chosen for her was an idiot.

Watching Jamila sometimes made me think the world was divided into three sorts of people: those who knew what they wanted to do; those (the unhappiest) who never knew what their purpose in life was; and those who found out later on. I was in the last category, I reckoned, which didn't stop me wishing I'd been born into the first.

The city blew the windows of my brain wide open. But being in a place so bright, fast and brilliant made you vertiginous with possibility: it didn't necessarily help you grasp those possibilities. I still had no idea what I was going to do. I felt directionless and lost in the crowd. I couldn't yet see how the city worked, but I began to find out.

In the wake of the tax bonanzas for new commercial projects, roadside strips boomed. Private developers responded to the lack of planned centers, public space, and public facilities in suburbs by building malls, office parks, and industrial parks as well as fast-food restaurants and motels.

By the mid-1950s real estate promoters of the commercial strip were attaching it to the centerless residential suburb. Both strips and tracts expanded under the impact of federal subsidies to developers, but since these subsidies were indirect, it was hard for many citizens or local officials to know what was happening.

It was clear that Eleanor had been to bed with a large and random collection of people, but when I suggested she go to bed with me, she said, 'I don't think we should, just at the moment, do you?' As a man I found this pretty fucking insulting.

I didn't want to be educated. It wasn't the right time of my life for concentration, it really wasn't. The spirit of the age among the people I knew manifested itself as general drift and idleness. We didn't want money. What for? We could get by, living off parents, friends or the State And if we were going to be bored, and we were usually bored, rarely being self-motivated, we could at least be bored on our own terms, lying smashed on mattresses in ruined houses rather than working in the machine. I didn't want to work in a place where I couldn't wear my fur coat.

England's a nice place if you're rich, but otherwise it's a fucking swamp of prejudice, class confusion, the whole thing.

London seemed like a house with five thousand rooms, all different; the kick was to work out how they connected, and eventually to walk through all of them.

I realise that this is exactly how inspirational artists work, and why we need them. They don’t inspire the brave (they’re fine already); they inspire the timid.

Suburbia: a place where they cut down trees and name streets in their memory.

I’d send Eleanor a dignified note. Then I’d have to fall out of love with her. That was the rough part. Everything in life is organized around people falling in love with each other. Falling is easy; but no one tells you how to fall out of love. I didn’t know where to begin.

Besides shopping at garage sales, I love hosting garage sales. Every year my mom and I dig through our houses and find a bunch of crap (I mean really terrific stuff) to sell so we can earn some money so we can go back out and buy some more crap (I mean really terrific stuff) that we’ll use for a bit and then turn around and garage-sale in a couple of years. It’s the circle of life suburban style.

The conclusion: killer drivers are so common in sprawl that the carnage they create far exceeds the damage done by killers who use other weapons. In fact, someone who walks out her door on the edges of sprawl suburbia is much more likely to die at the hands of a stranger than someone moving through most American central cities or inner suburbs. The only difference is that most of suburbia’s killers didn’t mean it.

their suburbia house in Brentwood" was how she referred to the house when we bought it, a twelve-year-old establishing that it was not her decision, not her taste, a child claiming the distance all children imagine themselves to need.

For him in India the British were ridiculous, stiff, unconfident, rule-bound. And he'd made me feel that we couldn't allow ourselves the shame of failure in front of these people. You couldn't let the ex-colonialists see you on your knees, for that was where they expected you to be. They were exhausted now; their Empire was gone; their day was done and it was our turn.

The lucid, rational part of Billie wanted to laugh. Here she was, out in the woods of middle-class suburbia, with a man’s fingers inside her panties, inside her, a climax of unimaginable force trembling at the edge of her grasp. And the man who now plied her and played her…a prostitute. A gigolo. A beloved brother and son and uncle, and a suspect, with too many secrets and too much sexual prowess. A man she was falling in love with. The impossibility of it, the crazy, twisted potential swept over her, then ebbed, lost in the surge of unbelievable pleasure that built and built within her like strings drawn too tightly across a fine-tuned instrument. She would die from this, die and scatter into a million fragments and drift like dust on the wind.

The paradox of this arrangement was not lost on Lewis Mumford, who described suburbia as “a collective effort to live a private life.” In many ways, this goes to the heart of the matter, for it is a project based on self-contradiction—the tragedy of American domestic

Roadways. The fifth component of sprawl consists of the miles of pavement that are necessary to connect the other four disassociated components. Since each piece of suburbia serves only one type of activity, and since daily life involves a wide variety of activities, the residents of suburbia spend an unprecedented amount of time and money moving from one place to the next. Since most of this motion takes place in singly occupied automobiles, even a sparsely populated area can generate the traffic of a much larger traditional town.

Do you remember the suburbs and the plaintive flock of landscapes The cypress trees projected their shadows under the moon That night when as summer waned I listened To a languorous bird forever wroth And the eternal noise of a river wide and dark (The Voyager)

One of the remarkable things about Life After Life is the way that this formal experimentation is combined with a consistently involving plot. It is as if the writing of B. S. Johnson had been crossed with the better novels of Anthony Trollope. An entire world emerges but shows itself again and again in different lights. It’s an unusual book in many ways: in part a tribute to England and to the resilience of the English character revealed under the stress of wartime; in part a book about love that doesn’t contain a love story but instead celebrates the bond between siblings. It’s a book full of horror vividly described, as in the repeated image of a dress with human arms still inside it, seen in a bombed building. Yet the most memorable passages are those which describe the prewar English countryside before suburbia encroached upon “the flowers that grew in the meadow beyond the copse—flax and larkspur, buttercups, corn poppies, red campion and oxeye daisies.” Above all, it’s a book about the act of reading itself. As you read it, it asks you to think about your expectations of plot and outcome. The reader desires happiness for certain characters, and Atkinson both challenges and rewards that tendency.

Although it has become the most visible of American suburban landscapes, the edge node has few architectural defenders. Even developers despair: 'Shopping centers built only in the 1960s are already being abandoned. Their abandonment brings down the values of nearby neighbourhoods. Wal-Marts built five years ago are already being abandoned for superstores. We have built a world of junk, a degraded environment. It may be profitable for a short-term, but its long-term economic prognosis is bleak.' -Dolores Hayden quoting Robert Davis, 'Postscript,' in Congress for the New Urbanism, Charter of the New Urbanism, 2002.

However angry I was with him, however much I wanted to humiliate Terry, I suddenly saw such humanity in his eyes, and in the way he tried to smile - such innocence in the way he wanted to understand me, and such possibility of pain, along with the implicit assumption that he wouldn't be harmed - that I pulled away.

And so the cycle of innocence found, lost, found again, and finally lost is complete. Just as a peanut is neither a pea nor a nut… and a thighmaster is neither a thigh nor a master… so our hero learned that Netflix and Chill means neither Netflix nor Chill. And if you’re just learning this for the first time, welcome to the end of your innocence.

Women are brought up to think of others. [...] When I start to think of myself I feel sick.

The green painted concrete out in front of the house, which at first seemed like a novel way to save money on lawn-moving, was now just plain depressing. The hot water came reluctantly to the kitchen sink as if from miles away, and even then without conviction, and sometimes a pale brownish color. Many of the windows wouldn't open properly to let flies out. Others wouldn't shut properly to stop them getting in. The newly planted fruit trees died in the sandy soil of a too-bright backyard and were left like grave-markers under the slack laundry lines, a small cemetery of disappointment. It appeared to be impossible to find the right kinds of food, or learn the right way to say even simple things. The children said very little that wasn't a complaint.

Since the Leeburg Pike [at Tyson's Corner] carries six to eight lanes of fast-moving traffic and the mall lacks an obvious pedestrian entrance, I decided to negotiate the street in my car rather than on foot. This is a problem planners call the 'drive to lunch syndrome,' typical of edge nodes where nothing is planned in advance and all the development takes place in isolated 'pods'.

He hated the blue platter his mother served from, and the salt and pepper shakers, which were glass with red tops, and he hated the silverware designed in flowers, some pieces scratched almost beyond recognition. He even hated the round table and the succession of tablecloths, one pale blue with yellow leaves, one white with red and orange squares. He hated the uncomfortable chairs, particularly his own, where he sat squirming, and he hated his family and the way they talked.

Yet, beneath the layers of conditioning there’s the buoyant wonderment of the child, who has never forgotten. That’s why the Gospels say the dominion of heaven belongs to a child (Luke 18:16). The point isn’t to revert to childishness, but to unlearn all the deadening adult scripting that suburbia and the market economy foist upon us. There’s a mystical child in each of us, wide-eyed with rapture at the dance of life; the child who sees the fabric of light that strings everything together.

In the 1954 Internal Revenue Code, a Republican Congress changed forty-year, straight-line depreciation for buildings to permit 'accelerated depreciation' of greenfield income-producing property in seven years. By enabling owners to depreciate or write off the value of a building in such a short time, the law created a gigantic hidden subsidy for the developers of cheap new commercial buildings located on strips. Accelerated depreciation not only encouraged poor construction, it also discouraged maintenance...After time, the result was abandonment.

Malls in the late forties and early fifties were risky. Suburban customers still believed in making major purchases in the central business districts of cities and towns, where they expected to find the greatest selection of merchandise and the most competitive prices. After the tax laws of 1954, this changed. Shopping mall developers were among the biggest beneficiaries of accelerated depreciation, and they most often located projects where the older strips met the new interchanges of major projects. With the new tax write-offs, over 98 percent of malls made money for their investors.

Jobs and commerce have moved to edge nodes, but few people want to live in them. The presence of housing in edge nodes is often the result of spot builders filling in leftover sites with 'affordable' housing units. Nearby freeways make many of these units undesirable. Occasionally expensive apartments for households without children are added near upscale mall areas...but most affluent families prefer to live elsewhere. Ugly environments, cheap gas, and subsidized freeways mean that workers commute to residences far outside the edge nodes, scattering into less dense areas, creating one more suburban pattern, the rural fringes.

without having to pay for them with your eyeteeth’, ‘All yours for $58. You’re a lucky man, Mr Veteran.’ The homes sold hand over fist. In that strange, intermediate world between country and city, men and women forged countless alliances, exploring peace together. ‘In front of almost every house along Levittown’s 100 miles of winding streets sits a tricycle or a baby carriage,’ a report for Time magazine noted in the summer of 1950. ‘In Levittown, all activity stops from 12 to 2 in the afternoon; that is nap time.’ Levittown marked the start of the explosive growth of suburbia, a concept that stands for an entire culture, a specific kind of life and society. To countless GIs suburbia was the beginning of modern life, of ‘time for things like

The dominant literary mode of the twentieth century has been the fantastic. This may appear a surprising claim, which would not have seemed even remotely conceivable at the start of the century and which is bound to encounter fierce resistance even now. However, when the time comes to look back at the century, it seems very likely that future literary historians, detached from the squabbles of our present, will see as its most representative and distinctive works books like J.R.R. Tolkien’s The Lord of the Rings, and also George Orwell’s Nineteen Eighty-Four and Animal Farm, William Golding’s Lord of the Flies and The Inheritors, Kurt Vonnegut’s Slaughterhouse-Five and Cat’s Cradle, Ursula Le Guin’s The Left Hand of Darkness and The Dispossessed, Thomas Pynchon’s The Crying of Lot-49 and Gravity’s Rainbow. The list could readily be extended, back to the late nineteenth century with H.G. Wells’s The Island of Dr Moreau and The War of the Worlds, and up to writers currently active like Stephen R. Donaldson and George R.R. Martin. It could take in authors as different, not to say opposed, as Kingsley and Martin Amis, Anthony Burgess, Stephen King, Terry Pratchett, Don DeLillo, and Julian Barnes. By the end of the century, even authors deeply committed to the realist novel have often found themselves unable to resist the gravitational pull of the fantastic as a literary mode. This is not the same, one should note, as fantasy as a literary genre – of the authors listed above, only four besides Tolkien would find their works regularly placed on the ‘fantasy’ shelves of bookshops, and ‘the fantastic’ includes many genres besides fantasy: allegory and parable, fairy-tale, horror and science fiction, modern ghost-story and medieval romance. Nevertheless, the point remains. Those authors of the twentieth century who have spoken most powerfully to and for their contemporaries have for some reason found it necessary to use the metaphoric mode of fantasy, to write about worlds and creatures which we know do not exist, whether Tolkien’s ‘Middle-earth’, Orwell’s ‘Ingsoc’, the remote islands of Golding and Wells, or the Martians and Tralfa-madorians who burst into peaceful English or American suburbia in Wells and Vonnegut. A ready explanation for this phenomenon is of course that it represents a kind of literary disease, whose sufferers – the millions of readers of fantasy – should be scorned, pitied, or rehabilitated back to correct and proper taste. Commonly the disease is said to be ‘escapism’: readers and writers of fantasy are fleeing from reality. The problem with this is that so many of the originators of the later twentieth-century fantastic mode, including all four of those first mentioned above (Tolkien, Orwell, Golding, Vonnegut) are combat veterans, present at or at least deeply involved in the most traumatically significant events of the century, such as the Battle of the Somme (Tolkien), the bombing of Dresden (Vonnegut), the rise and early victory of fascism (Orwell). Nor can anyone say that they turned their backs on these events. Rather, they had to find some way of communicating and commenting on them. It is strange that this had, for some reason, in so many cases to involve fantasy as well as realism, but that is what has happened.

Hurrying on, Barbee nodded to the workman as casually as he could. His skin felt goose-pimpled under the thin red robe, and he couldn't help shivering to a colder chill than he felt in the frosty air. For the quiet city, it seemed to him, was only a veil of painted illusion. Its air of sleepy peace concealed brooding horror, too frightful for sane minds to dwell upon. Even the cheery bricklayer with the lunch pail might - just might - be the monstrous Child of Night.

One thing he held against the bird force was the curse of knowing always which direction he was headed in, without the vaguest idea where he was going. He headed east this time, recalling as if it were yesterday every fifth or sixth mile of the road, where they hadn't torn it up, straightened it, bent it, laid it down again, and bordered it with regular houses planted eave-to-eave like an impenetrable, multicolored fence - soon a flag will wave from every antenna, we'll peek out at the savage world from a plaster fortress, nationwide.