Sunday, August 01, 2021

Predictably enough, this continues from the previous post 

It was getting hotter. 
Frank May got off his mat and padded over to look out the window. Umber stucco walls and tiles, the color of the local clay. Square apartment blocks like the one he was in, rooftop patios occupied by residents who had moved up there in the night, it being too hot to sleep inside. Now quite a few of them were standing behind their chest-high walls looking east. Sky the color of the buildings, mixed with white where the sun would soon rise. Frank took a deep breath. It reminded him of the air in a sauna. This the coolest part of the day. In his entire life he had spent less than five minutes in saunas, he didn’t like the sensation. Hot water, maybe; hot humid air, no. He didn’t see why anyone would seek out such a stifling sweaty feeling.

Howard Roark laughed

He stood naked at the edge of a cliff. The lake lay far below him. A frozen explosion of granite burst in flight to the sky over motionless water. The water seemed immovable, the stone–flowing. The stone had the stillness of one brief moment in battle when thrust meets thrust and the currents are held in a pause more dynamic than motion. The stone glowed, wet with sunrays. 

The lake below was only a thin steel ring that cut the rocks in half. The rocks went on into the depth, unchanged. They began and ended in the sky. So that the world seemed suspended in space, an island floating on nothing, anchored to the feet of the man on the cliff.

And predictably enough Ryan Cooper fits in perfectly with the old crew.

More on the decay of vanguardism and historical memory. Appended to an earlier post.

Especially for young kids first getting into the scene, punk purity is a powerful draw. I remember, as a disaffected teen, my sense was that everything sucked so completely that whatever could save me from the suckiness must feel, at least, as totalizing. The same teenage tendency to view the world as a monolithic either/or that turned me on to college radio and 7" records also made The Fountainhead my favorite book when I was 16. When we find out as punkish adults about the ghastliness of Ayn Rand's politics, it's easy enough to disavow our teen dalliances with Objectivism. But what do we do about punk when we realize that that purity to which we were so drawn was, in fact, homogenizing, exclusionary? That's the question, I realize, of a white punkish adult, as I am, and as are the editors of White Riot. For punks of color, that realization may have clouded the promise of punk from the beginning.

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