City of screams Quotes
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“In the streets of Cecilia, an illustrious city, I met once a goatherd, driving a tinkling flock along the walls."Man blessed by heaven," he asked me, stopping, "can you tell me the name of the city in which we are?""May the gods accompany you!" I cried. "How can you fail to recognise the illustrious city of Cecilia?""Bear with me," that man answered. "I am a wandering herdsman. Sometimes my goats and I have to pass through cities; but we are unable to distinguish them. Ask me the names of the grazing lands: I know them all, the Meadow between the Cliffs, the Green Slope, the Shadowed Grass. Cities have no name for me: they are places without leaves, separating one pasture from another, and where the goats are frightened at street corners and scatter. The dog and I run to keep the flock together.""I am the opposite of you," I said. "I recognise only cities and cannot distinguish what is outside them. In uninhabited places each stone and each clump of grass mingles, in my eyes, with every stone and clump.”
Italo Calvino
“Cities were always like people, showing their varying personalities to the traveler. Depending on the city and on the traveler, there might begin a mutual love, or dislike, friendship, or enmity. Where one city will rise a certain individual to glory, it will destroy another who is not suited to its personality. Only through travel can we know where we belong or not, where we are loved and where we are rejected.”
Roman Payne, Cities & Countries“This was how it was with travel: one city gives you gifts, another robs you. One gives you the heart’s affections, the other destroys your soul. Cities and countries are as alive, as feeling, as fickle and uncertain as people. Their degrees of love and devotion are as varying as with any human relation. Just as one is good, another is bad.”
Roman Payne, Cities & Countries“Each neighborhood of the city appeared to be made of a different substance, each seemed to have a different air pressure, a different psychic weight: the bright lights and shuttered shops, the housing projects and luxury hotels, the fire escapes and city parks.”
Teju Cole, Open City“Under the seeming disorder of the old city, wherever the old city is working successfully, is a marvelous order for maintaining the safety of the streets and the freedom of the city. It is a complex order. Its essence is intricacy of sidewalk use, bringing with it a constant succession of eyes. This order is all composed of movement and change, and although it is life, not art, we may fancifully call it the art form of the city and liken it to the dance — not to a simple-minded precision dance with everyone kicking up at the same time, twirling in unison and bowing off en masse, but to an intricate ballet in which the individual dancers and ensembles all have distinctive parts which miraculously reinforce each other and compose an orderly whole. The ballet of the good city sidewalk never repeats itself from place to place, and in any once place is always replete with new improvisations.”
Jane Jacobs, The Death and Life of Great American Cities“Cities also believe they are the work of the mind or of chance, but neither the one nor the other suffices to hold up their walls. You take delight not in a city's seven or seventy wonders, but in the answer it gives to a question of yours. or to the question it asks you, forcing you to answer, like Thebes through the mouth of the Sphinx.”
Italo Calvino, Invisible Cities“Hello. It is Monday. I live in Sun City. Sun City is a city that is entirely contained inside an enormous concrete building in the shape of a sun. Its rays house our living quarters”
its circular centre is where we work and shop. No one has ever been outside of the city“I have been dwelling upon downtowns. This is not because mixtures of primary uses are unneeded elsewhere in cities. On the contrary they are needed, and the success of mixtures downtown (on in the most intensive portions of cities, whatever they are called) is related to the mixture possible in other part of cities.”
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“From the ruins, lonely and inexplicable as the sphinx, rose the Empire State Building. And just as it had been tradition of mine to climb to the Plaza roof to take leave of the beautiful city extending as far as the eyes could see, so now I went to the roof of that last and most magnificent of towers.Then I understood. Everything was explained. I had discovered the crowning error of the city. Its Pandora's box.Full of vaunting pride, the New Yorker had climbed here, and seen with dismay what he had never suspected. That the city was not the endless sucession of canyons that he had supposed, but that it had limits, fading out into the country on all sides into an expanse of green and blue. That alone was limitless. And with the awful realization that New York was a city after all and not a universe, the whole shining ediface that he had reared in his mind came crashing down.That was the gift of Alfred Smith to the citizens of New York.”
F. Scott Fitzgerald, My Lost City: Personal Essays 1920-40All in One Creative & Marketing Platform to tell stories at scale
