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“
Just past the war monument the park tilted towards Brooklyn’s edge, the crumpled waterfront: parking lots, garbage scows, city scrap yards. The Brooklyn-Queens Expressway was a vibrating shadow, beneath it the streets still showed cobblestone in places, elsewhere old trolley tracks lay half buried in the new tar.
They circled under the on-ramp to find stone stairs up into the sunlight of the bridge’s walkway, then started across, over the river, traffic howling in cages at their feet, the gray clotted sky clinging to the bridge’s veins, Manhattan’s dinosaur spine rotating into view as they mounted the great curve above the river. The walkway’s slats were uneven, some rotten. Just an armature of bolted wire lay between their sneaker tips and the pulsing, glittering water. The bridge was an argument or plea with space.
The cars rushing below knew nothing. People in cars weren’t New Yorkers anyway, they’d suffered some basic misunderstanding.
” — Fortress of Solitude // Jonathan Lethem[video]
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(Source: cobramar)
What I like about the Japanese kids in Memphis is, if you think about tourists visiting Italy, the way the Romantic poets went to Italy to visit the remnants of a past culture, and then if you imagine America in the future, when people from the East or wherever visit our culture after the decline of the American empire – which is certainly in progress – all they’ll really have to visit will be the homes of rock’n’roll stars and movie stars. That’s all our culture ultimately represents. So going to Memphis is a kind of pilgrimage to the birthplace of a certain part of our culture.
—Jim Jarmusch on Mystery Train, Interview, November 1989
(Source: youmightfindyourself)
(Source: perricatherine, via ratherbeontheice)
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