Raederle Phoenix

“It is possible in a city street neighborhood to know all kinds of people without unwelcome entanglements, without boredom, necessity for excuses, explanations, fears of giving offense, embarrassments respecting impositions or commitments, and all such paraphernalia of obligations which can accompany less limited relationships. It is possible to be on excellent sidewalk terms with people who are very different from oneself, and even, as time passes, on familiar public terms with them. Such relationships can, and do, endure for many years, for decades; they could never have formed without that line, much less endured. The form precisely because they are by-the-way to people’s normal public sorties.

‘Togetherness’ is a fittingly nauseating name for an old ideal in planning theory. This ideal is that if anything is shared among people, much should be shared. ‘Togetherness,’ apparently a spiritual resource of the new suburbs, works destructively in cities. The requirement that much shall be shared drives city people apart. When an area of a city lacks a sidewalk life, the people of the place must enlarge their private lives is they are to have anything approaching equivalent contact with their neighbors. They must settle for some form of ‘togetherness,’ in which more is shared with one another than in the life of the sidewalks, or else they must settle for lack of contact. Inevitably the outcome is one or the other; it has to be, and either has distressing results. In the case of the first outcome, where people do share much, they become exceedingly choosy as to who their neighbors are, or with whom they associate at all. They have to become so.”
― Jane Jacobs, The Death and Life of Great American Cities

“To approach a city, or even a city neighborhood, as if it were a larger architectural problem, capable of being given order by converting it into a disciplined work of art, is to make the mistake of attempting to substitute art for life. The results of such profound confusion between art and life are neither life nor art. They are taxidermy. In its place, taxidermy can be a useful and decent craft. However, it goes too far when the specimens put on display are exhibitions of dead, stuffed cities.”
― Jane Jacobs, The Death and Life of Great American Cities

“If the sameness of use is shown candidly for what it is—sameness—it looks monotonous. Superficially, this monotony might be thought of as a sort of order, however dull. But esthetically, it unfortunately also carries with it a deep disorder: the disorder of conveying no direction. In places stamped with the monotony and repetition of sameness you move, but in moving you seem to have gotten nowhere. North is the same as south, or east as west. Sometimes north, south, east and west are all alike, as they are when you stand within the grounds of a large project. It takes differences—many differences—cropping up in different directions to keep us oriented. Scenes of thoroughgoing sameness lack these natural announcements of direction and movement, or are scantly furnished with them, and so they are deeply confusing. This is a kind of chaos.”
― Jane Jacobs, The Death and Life of Great American Cities

“Advice? I don’t have advice. Stop aspiring and start writing. If you’re writing, you’re a writer. Write like you’re a goddamn death row inmate and the governor is out of the country and there’s no chance for a pardon. Write like you’re clinging to the edge of a cliff, white knuckles, on your last breath, and you’ve got just one last thing to say, like you’re a bird flying over us and you can see everything, and please, for God’s sake, tell us something that will save us from ourselves. Take a deep breath and tell us your deepest, darkest secret, so we can wipe our brow and know that we’re not alone. Write like you have a message from the king. Or don’t. Who knows, maybe you’re one of the lucky ones who doesn’t have to.”
― Alan Wilson Watts