I’m sensing a theme here:
Cuban architects understood the need for air and shade in a climate such as Cuba’s, and they proportioned buildings and rooms accordingly. They created an urban environment that, with its arcades, columns, verandas, and balconies, was elegant, sophisticated, convenient, and joyful.”
But now it looks like a set on the History Channel’s show Life After People, only it’s still inhabited. Baghdad in the middle of the Iraq war was in better shape physically. I know because I spent months there and wrote a book about it.
— Michael J. Totten in his new article at World Affairs, “The Once Great City of Havana,” continuing his tour of Fidel Castro’s hellish prison island.
Its notional unemployment rate was 16 percent in April 2013; its real unemployment rate is probably closer to 50 percent. Its murder rate is about 11 times that of New York City. The median value of a home in the city is $9,000. When the Cold War classic Red Dawn was remade in 2012, the producers saved themselves some of the cost of creating a postapocalyptic United States by filming in Detroit, though filming had to be stopped when councilwoman JoAnn Watson, in a car with municipal plates, parked in the middle of a scene and refused to leave.
— Kevin D. Williamson, in his new book, What Doomed Detroit.
Until quite recently, I had assumed that the extreme ugliness of the city in which I live was attributable to the Luftwaffe. I imagined that the cheap and charmless high rise buildings which so disfigure the city-scape had been erected of necessity in great gaping holes left by Heinkel bombers. I had spent much of my childhood playing in deserted bomb shelters in public parks: and although I was born some years after the end of the war, that great conflagration still exerted a powerful hold on the imagination of British children of my generation.I discovered how wrong I was not long ago when I entered a store whose walls were decorated with large photographs of the city as it had been before the war. It was then a fine place, in a grandiloquent, Victorian kind of way. Every building had spoken of a bulging, no doubt slightly pompous and ridiculous, municipal pride. Industry and Labor were glorified in statuary, and a leavening of Greek temples and Italian Renaissance palaces lightened the prevailing mock-Venetian Gothic architecture.
“A great shame about the war,” I said to the store assistant, who was of an age to remember the old days. “Look at the city now.”
“The war?” she said. “The war had nothing to do with it. It was the council.”
The City Council—the people’s elected representatives it transpired, had done far more damage to the fabric of the city in the 1950s and 1960s than had Goering’s air force. Indeed, they had managed to turn it into a terrible visual ordeal for anyone with the most minimal visual sensibility.
— Theodore Dalrymple’s introduction to his tour of London’s low-income housing, in a 1995 City Journal article titled, “Do Sties Make Pigs?”