Sometimes the way I write and think makes me decidedly British. They know Rust Belt Chic through history, sentiment, aesthetic, and desire. Well, many do at least. Like Jonathan Meades from the Guardian. Read it here. Below, an excerpt:
The development [the 2012 Olympic Village] has, regrettably, proved to be an almost caricatural illustration of the chasmic gulf that exists between the needs of writers and the aspirations of architects. A writer, at least this writer – and I am hardly alone – sees entropic beauty, roads to nowhere whose gravel aggregate is that of ad hoc second world war fighter runways, decrepit Victorian oriental pumping stations, rats, supermarket trolleys in toxic canals, rotting foxes, used condoms, pitta bread with green mould, polythene bags caught on branches and billowing like windsocks, greasy carpet tiles, countless gauges of wire, flaking private/keep-out signs that have been ignored since the day they were erected, goose grass, shacks built out of doors and car panels, skeins of torn tights in milky puddles, burnt-out cars, burnt-out houses, abandoned chemical drums, abandoned cooking oil drums, abandoned washing machine drums, squashed feathers, tidal mud, an embanked former railway line, a shoe, vestigial lanes lined with may bushes, a hawser, soggy burlap sacks, ground elder, a wheelless buggy, perished underlay, buddleia, a pavement blocked by a container, cracked plastic pipes, a ceramic rheostat, a car battery warehouse constellated with CCTV cameras, a couple of scraggy horses on a patch of mud, the Germolene-pink premises of a salmon smoker, bricked-up windows, travellers’ caravans and washing lines, a ravine filled with worn car tyres, jackdaws, herons, jays, a petrol pump pitted and crisp as an overcooked biscuit, a bridge made of railway sleepers across duckweed, an oasis of scrupulously tended allotments.