My music-making moniker is Hebdomad, a strange word that means a period of seven days.
The name of my album is Borborygmus, an ugly word that means the rumbling/gurgling noise made by the movement of fluid and gas in the intestines.
I made most of this album as an undergrad in 2009 and 2010. The music utilizes found sounds, sound isolation and delay, sound loops, and various sonic tricks to produce cerebral and unsettling ambient textures. Or not. Give it a listen. Download it for free.
If and when I get more time in the future, I will make more. But this one still holds up, I think.
A dandelion grows in Cairo, but not where you’d expect.
I’m in Cairo, Illinois. Locals pronounce it care-oh. It’s a small town of 2,831 at the southernmost tip of the state, occupying the 9.08-square-mile interfluve at the confluence of the Ohio and Mississippi rivers. It’s a sweaty, summer afternoon, and I’m standing under the shade of the rusted marquee at the Gem Theater on 8th Street, the heart of Cairo’s historic district. The theater was built in 1910 and rehabbed in 1934, with a three-story red brick façade and Art Deco-style Terra Cotta finishes at the crown. The theater has been closed since 1978, and wilted plywood covers its windows. A ruddy strain of hairy crabgrass has forced itself through the decomposing sidewalk like alien patchwork.
Across the street, I face a block of shuttered storefronts, parti-walls sullied by water damage, mallows, and crawling spurges. A motley troupe of rotten saw horses sections off an entrance to an abandoned bank with a collapsed roof, but on the central eave of a second-story window, highlighted against the faded boards, a smiling spot of yellow dances in the humid breeze—a dandelion. Like much of Cairo, the street is silent, but for a brief moment, I sense joy from the weed.
And, I suppose, in the heart of this—the degradation of ‘Main Street’ (or 8th Street)—there is a victory, too. But for whom (or what)?
I’m a child of the American Midwest, and have never needed to venture far to glance at the future. Even a cursory stroll down Main Street (or 8th Street) portends decline, but this is a shortsighted view, without hope or aspiration. Alternately, though the melancholy of the dandelion on the eaves suggests the sublime beauty of nature’s persistence, it’s saturnine to merely sit by and wait for this transformation to erase the vestiges of our ‘civilized’ pretense. Our look to the future should thus be informed by our view of the present as it is suspended between the auspices of environmental progression and the self-congratulating vagaries of so-called forward thinking.
Looking in this way at the infrastructural tendrils and appendages of Small Town America, we first must understand that the constructed world also functions as a mirror. Does the devolution of Small Town America reflect a human regression? According to a 2007 study by the United Nations, seventy percent of all humans are expected to live in urban areas by 2050. Left behind are the effluvia of forsaken infrastructure and architecture; this, the supposed shrapnel of a shattered mirror. But suppose this is a myopic view? That is, what if the devolution of 8th Street describes this suspended view—this aspirational view?
With a view towards the future, Cairo is interesting in the dual sense that, as an old industrial city, its story is fairly representative of Small Town America’s rise and decline, though the city’s socially volatile background also casts it as an analogical synecdoche for the Large American City. To investigate, let’s stroll off 8th Street and take a bird’s eye view of the district:
In 1818, John G. Comegys, a St. Louis merchant by way of Baltimore—and avowed friend of Meriwether Lewis—purchased an 1,800-acre plot of land in the area that would be Cairo. He recognized the developmental possibilities of locating a commercial center at such a heavily trafficked confluence, though he died roughly a year after the purchase and when his family defaulted on the land payments, ownership reverted to the federal government.
The completion of the Erie Canal in 1825 and subsequent growth of cities like Rochester and Syracuse in the Northeast served as the impetus for other investors and land developers to look westward in an attempt to capitalize on the nascent waterway economy. This lead Boston-based investor Darius Holbrook to incorporate the Cairo City & Canal Company in 1837. Like Comegys, Holbrook saw the value of locating development on the interfluve, despite the fact that its low elevation rendered the land swampy and resistant to settlement. Holbrook thus sold bonds to improve the area with a levee system, shipyards, a dry dock, and other amenities. Over the next few years, Cairo’s population swelled to 1,000, though in 1840, the London investment firm holding Holbrook’s bonds failed and development immediately froze. Cairo shrunk eighty percent in the subsequent two years, and by 1845, the city had a population of 113.
Exacerbated by frequent flooding, Cairo’s early economic depression put it far behind where it wanted to be as it compared itself to other river cities like St. Louis and Memphis, which were then bustling with antebellum river travel. However, when the Illinois Central Railroad opened in 1855, Cairo saw new growth. The railroad entered Cairo latitudinally from the north and ran atop one of the levees flanking the city, successfully locating Cairo on the line from Chicago to the Gulf of Mexico. When the city officially incorporated in 1858, nearly 1,800 people called it home.
With the Civil War brewing, the Union thus identified Cairo as a strategic location for staging its campaign: Missouri was West across the Mississippi River, Kentucky, East, across the Ohio River, and both Arkansas and Tennessee were less than 60 miles downriver. The US Navy set up base along the Ohio River-side of town and the State of Illinois, along with the US Army, rounded up 2,000 volunteers to build Fort Prentiss at Cairo’s south end, which was then developed by Ulysses S. Grant into Fort Defiance. The New York Times called it, “The Gibraltar of the West.” And by the end of the war, over 40,000 Confederate prisoners had been processed and passed through Fort Defiance.
And, of course, with such close proximity to the South, Cairo also served as a major point of passage for escaped and emancipated slaves. Nearly 3,000 African Americans were living in Cairo by war’s end, and by 1870, with 6,267 people living in Cairo, there was an unusually high ratio of black to white citizens. And by 1900, respondent to continued growth, Cairo’s population had more than doubled, and approximately 5,000 of its 13,000 citizens were black, accounting for five percent of the state’s total black population. But even as Cairo grew, jobs remained competitive, and many local white groups weren’t exactly excited about having an integrated work force. Racial tensions were high.
That Cairo was attached to a Union state was not enough to inoculate racial prejudice. The relationship between economic stress and racial turmoil is often correlative, and though Cairo had grown, its economy was completely reliant on the rail and river industrial infrastructure, and the city itself was betting on the permanence of this industry. Economically, this is like betting the whole bank on red seven at the roulette table; it’s not sustainable. It was in this way that the completion of the Illinois Central Railroad Bridge over the Ohio River in 1889 marked the slow beginning of Cairo’s economic decline, cutting into the city’s prior load of passing as many as 500,000 rail cars per year across the rivers. Ferry traffic slowed, and the completion of a second rail bridge over the Mississippi River in 1905 in nearby Thebes, Illinois, the shipping industry in Cairo took another hard hit.
Growth in Cairo slowed and the city reached its peak population—15,203—in 1902. River barges were growing in size and capability and Cairo was no longer an essential port. And though the city still had an active hotel and restaurant industry, the completion of the Cairo Mississippi River Bridge in 1937 and the Cairo Ohio River Bridge in 1939, allowed travelers between Missouri and Kentucky to completely bypass Cairo. Between 1940 and 1960, Cairo’s population shrunk from 14,407 to 9,348.
Racial violence was a constant. The city was quickly heading towards depression, and with jobs and pay low, it made leaving Cairo just as difficult as staying. And for much of the working-class white population, it was easy to point fingers at the 39 percent of the city that was black. With the Civil Rights movement making waves by the close of the 1960s, Cairo became a hotbed of racial violence. The catalyst: on July 15, 1967, Robert Hunt—a 19-year-old black soldier home on leave—was found hanged from the rafters at the Cairo police station. The (white) police force called it a suicide. The black community called it a murder. Scores of riots broke out, leading the Cairo police to deputize a white citizens force (the “White Hats”) and further propagate violence and enforced segregation.
The violence became so bad that, in 1969, then-Illinois Governor Richard Ogilvie deployed a National Guard outfit to control the violence. Many of Cairo’s already struggling businesses were being protested, and some were burnt down. A ban was instated to prevent protests within twenty feet of business entrances, leading to further violent riots. And then, the completion of the Interstate 57 Bridge over the Mississippi River in 1978 delivered a final blow to Cairo by making passage through the city completely unnecessary. This, complemented by such a volatile social atmosphere, led to another period of flight, and by 1980, Cairo’s population shrunk to 5,931. Amtrak’s City of New Orleans line, which previously had Cairo as a stop, began bypassing the city in 1987—the same year Cairo’s only hospital shut down.
Between 1980 and 2010, Cairo’s population shrunk by an average of 21.9 percent per decade. In 2010, Cairo had an official population count of 2,831, with the ratio of black to white residents 2.5 to 1. Per capita, crime in Cairo is high, but with such high counts of burglary and assault, it’s clear that Cairo’s violence is now a matter of economic depression more than political aggrandizement. A drive down Washington Avenue—Cairo’s main stretch that intersects 8th Street—is like a tour through an apocalyptic movie set; welts of rusted industrial detritus and overgrown commercial debris like wreckage from a bygone era.
Despite Cairo’s ossifying economy, legislature continues to impose itself in the region. In 2010, Illinois Governor Pat Quinn signed a bill to create an Alexander-Cairo Port District, increasing Cairo’s federal grant eligibility and tax levy opportunities. This may also have been what saved Cairo during the Mississippi River floods in 2011, which rivaled the great floods of 1927, 1937, and 1993. As rising waters threatened to wash out Cairo, the US Army Corps of Engineers blew open a two-mile-wide gap in an earthen levee in Missouri, flooding 200 square miles of farmland and destroying nearly 100 homes. The effort spared Cairo but served as yet another iteration of the role human contrivance has had in obviating Cairo’s otherwise senescent ontogeny.
For better or worse, the story of Cairo is strictly a human story. Like all cities, its tribulations have transpired with nature on mute. It’s easy to wonder where that scalene slice of land would be without two centuries of infrastructure embedded in its swampy soil. When you wander the streets of Cairo today, you see that the violence that once ran rampant in the city has been erased and rendered senseless by the dandelion growing on the windowsill of the crumbling bank.
A view towards our ever-urbanizing future is impossible if our concrete scars—and the stories told be these scars—are completely erased nature’s aggressive incursions. Nature should not be contradicted, but neither should history. An ‘aspirational’ view of the future is suspended between pop-environmentalism and postmodern urbanism; it recognizes the primordial eminence of nature alongside the callow aspirations of ‘civilization.’ Understanding these two concepts thus creates a historically conscious context, allowing us at once to investigate the past and be critical of the present, and in this way, make decisions about the future of our selves, our cities, and the way we treat our dandelions.
[This was an essay I wrote in 2013 for the WOLF Essay Contest. I didn’t win, but the essay isn’t all that bad, I don’t think. Also, I’m pretty sure the contest was some kind of scam.]
You’re fifty miles north of Chicago, driving along Sheridan Road through the main drag of Zion, Illinois. Lake Michigan is a few hundred yards to your east, beyond the pot-holed parking lots, Taco Bells, and boarded-up bodegas. More than 24,400 people call Zion home, and according to the 2010 census, median household income tallies just under $52,000 ($1,500 above the national level). It’s a squarely middle-class city, with the requisite parades, community theaters, and ice cream shops that make it the kind of down-home place Joe Christian has in mind when he talks about God’s America. That the city is called ‘Zion’ is not entirely coincidental.
Incorporated in 1902, Zion was originally the Utopian brainchild of John Alexander Dowie, a bearded, eccentric faith-healer and founder of the Christian Catholic Apostolic Church (CCAC), an early Pentecostal forebear (‘catholic’ meaning ‘universal’). Considering the ‘averageness’ of Zion in this context, the city likewise serves as an ideal analog for Joe Christian’s America, because it’s also difficult to ignore the blight beyond the main drag, where the cityscape is darkened with foreclosed homes, an empty, decommissioned nuclear power plant, and a grossly high percentage of people living in poverty (17.5%).
On the other hand—weighing Zion’s blighted averageness against the word ‘Zion’ as the apex of Judeo-Christian mythology—you could say that ‘God’ has been in Zion all along, but not in the way Dowie or Joe Christian insists.
In 1888, at age 41, John Alexander Dowie—a Scotsman by way of Australia—arrived in America. Originally ordained in the Congregationalist Church, a Protestant denomination, Dowie became an independent faith healer in 1879. His penchant for showmanship drew a big following—and a lot of flack. So when things got tense, Dowie looked to America, then swelling with immigration and impoverished, struggling families. There the audience would be receptive to his apocalyptic dramaturgy and opportunities for ‘healing’ would be ripe.
Having cultivated a large flock as such, Dowie founded the CCAC in 1896. As it gained power (capital), Dowie sought a place, a Utopia, where the church could grow free from the travails (or critical eye) of the heathen world. Chicago was a den of sin, but nearby land was still unsullied—and cheap. Dowie purchased a 6,600-acre empty parcel of land north of Chicago. He would call it Zion City.
Dowie planned the streets in a grid, like Chicago, and drew main roadways diagonally across the city to mimic the Union Jack. Residents—mostly CCAC members and some working-class folk hired to build Zion—were required to sign a ‘Zion City Lease,’ which forbade medical doctors, dancing, tan-colored shoes, and other vices. Around 5,000 people were living in the city in 1902 when it was incorporated, and CCAC membership had grown to 30,000 worldwide. Zion was its capital.
Of course, Dowie’s actions did not always coincide with his doctrine. He had a bully’s reputation and punished criticism. He lived in a mansion and had penchant for gourmet food, fine clothing, and expensive ‘missions.’ Due largely to of Zion’s conservative moral policies, businesses struggled to take root. The city was losing money, and Dowie wasn’t helping. He was voted out of leadership in 1905 and with health fast declining, he died from a stroke in 1907 at the age of 60.
Zion survived Dowie, as did the CCAC, which is still headquartered there, operating as the Christ Community Church. Though membership has dwindled to 3,000, Zion itself grew throughout the 20th century, due to the suburban expansion and industry growth in the surrounding area. Now, with the few northeastern Illinois industry steadfasts having been outsourced or declared bankrupt, the local economy is depressed, employment is low, and despite having once fought to be ‘set apart,’ Zion is indistinguishable from its neighbors.
Within the space of a century, whatever lofty idealism went into the manufacture of Zion has been subsumed by the same steady flow of sprawl and abstract economic interests ultimately regulating all forms of contemporary material idealism. Joe Christian believes this is because God has been replaced by the Golden Calf of Greed. It’s what wrecked Zion, after all. This, Joe says, is the problem with America; it’s a Christian nation, built on Providence and corrupted by bad intentions.
But what if the Christian idea fosters its own malicious intention? What if we are indeed a ‘Christian Nation,’ but not in the way Joe means? That is, Joe’s Christ is a fat stack of Benjamins, but he doesn’t know it (and sometimes, neither do his critics). America pioneered Capitalism in its present form, and as Max Weber famously argues, its ethos is inseparable from the Protestant position. The God of the Christian Nation is the Golden Calf of Greed, but it’s hard to tell when the Calf is driving a Land Rover with a little white Ichthys sticker shimmering over the license plate.
Joe looks at the present condition of America and bids all good Christians to pray. What Joe doesn’t see is that a place like Zion, Illinois—with its blight, depression, and history of failure—is a picture of his God’s answer.
The following essay provides a street-level history of one of my favorite ‘secrets’ in Chicago: the LaBagh Woods. I wrote this at the beginning of 2013 and am putting it here because, fuck it, it’s my website and I can do what I want. Plus, I couldn’t find a good place to get this published. So here it is, Internet. Enjoy.
It’s not every day you find a pig’s head in the forest. And it’s not every day that forest is within Chicago’s city limits. But there I was, on my bike; a lime green, single-geared off-road beast built by me to weather Chicago’s most disagreeable aberrations. It was late summer turning to fall, and I’d been exploring the LaBagh Woods on Chicago’s northwest side for months by that point, and then, an overcast afternoon, muggy. Deep within LaBagh’s 600 acres, somewhere along the banks of the North Branch of the Chicago River cutting through the forest, a cadaverous vignette: Pig’s Head Atop Tree Stump. Not exactly a Carvaggio.
I was used to the broken bottles, the condom wrappers, the rotten rubber tires, the pseudo-Latin King graffiti, and the other urban ephemera coloring the forest paths, but the pig’s head was a new sort of eidolon. I imagined a cold breeze, and misty cover from an obscure 1980’s C-grade horror flick. I U-turned and took a fast way, but on my ride back, I kept looking back to see if the head was following me. And then I realized, no, that’s just a bus.
By that point, I’d not been in Chicago long. A year-and-a-half, tops. I was (and am) a suburban expat. I came to Chicago for school and since stayed to live. My university was in the North Park neighborhood (home to around 18,000 Chicagoans), where Foster Avenue meets Kedzie, roughly two miles west of the LaBagh Woods. I was studying philosophy, and most of my nights were filled with Ramen and Kierkegaard. And, inspired by Kierkegaard (as strange as that seems), I’d take study breaks and walk around the neighborhood, which was then still new to me.
I lived across the street from a place called Ronan Park. Not much happens there, which is why I usually walked over there to clear my head. Sometimes there are pick-up soccer games, impromptu track meets, or occasional stabbing, but that’s it. Most people go to Ronan Park to watch the waterfall, which is the best word us Chicagoans have to describe the six-foot-high concrete spillway where the serpentine North Branch of the Chicago River dumps into the unnaturally linear North Shore Channel.
It has been a few years since I’ve visited Ronan Park, but in the brume of my memory, a scene at the other side of the confluence, opposite the spillway. There, a weatherworn man with paint-stained jeans palming a brown-bagged 40-ouncer and watching the ducks bob amidst the Styrofoam cups and river foam. For a moment, with the sun hanging low and glowing orange over the city, I envision a Rockwellian picturesque, but the man soon reaches the bottom of his drink and chucks the empty glass at the brace of mallards. The bottle falls three strokes short and the man cursed the Universe, and his mother. The ducks pay the man and his malignancy no mind, because, really, what’s one more piece of trash in the river?
But I enjoyed the solace I found at Ronan Park. It pulled me back to Earth, in a way. In the midst of that busy neighborhood, Ronan Park is like a hole punched in the urban fabric. Sure, it has the city grit and dollar-store shrapnel, but birds gather there—sometimes a blue heron, sometimes a swift—and it’s quiet, too. I suppose it’s a more conceptual or microcosmic calm than you’d find in, say, rural Colorado, but still, there’s quiet, hemmed with dissonance though it may be. Lending to that is the idea that here, you have what the city is, and in the same place, what the city is not. The simultaneity is disconcerting: in its myriad forms, life somehow manages to persist and coexist in spite of itself.
Despite the quietude, the version of Chicago at Ronan Park is hardly a picture of The City As It Used To Be. But using the North Branch of the Chicago River as a guide, one can begin to understand the peculiar sort of life thriving in this simultaneity. The farther you travel upstream, this energy darkens, intensifies, and—in its own atavistic way—compels. It arouses a clairvoyant break from the banality of city life. And, part-time-employed and low-waged as I was when I lived in the neighborhood, banality abounded
North Park is a stolidly lower-middle-class neighborhood, and an ethnic hodge-podge to boot: large concentrations of Eastern European, Hispanic, Middle Eastern, Korean, and Caucasian folk filling out the generic streetscapes of walkup apartments, bungalows, and low-rise storage buildings. Aside from Ronan Park, the only feature breaking up the scene is the river running through the center of the neighborhood. There’s not much else happening there, and the more time I spent living that, the more my wanderlust itched. It might be the bleakness of the shuttered storefronts or the constant wail of a distant ambulance sirens, but when you look at the river, humming and swelling behind restaurants and repair shops and single-family homes, a picture forms: a prairie, spotted with wildflowers and maple groves, watered and whetted at the marshy riverbanks.
It was this pastoral scene that first attracted non-native settlers to the North Park area, then part of Jefferson Township, in 1855. With their agrarian senses tingling, immigrant German and Swedish Dream-seekers saw some prime, fecund potential in the land and promptly set up camp. And though there was busyness and progress and murder happening in Chicago nine miles south, Jefferson Township—and its little burgh of North Park—enjoyed a bucolic life until the area was subsumed in 1889 during a fit of gerrymandering by the City of Chicago as its politicians established an auspicious bid for the 1893 World’s Fair.
The gerrymandering, and the Fair itself, led to an exponential population boom in Chicago. Between 1890 and 1910, the city’s population doubled from 1.1 million to 2.2 million. The numbers looked good on paper, but the city’s infrastructure was weak, as evidenced by the growing pollution program and resulting sickness emanating from the Chicago River. Raw sewage was being dumped into the Chicago River, which was itself emptying into Lake Michigan—the fresh water supply.
The solution? Reverse the river. The effort, completed in 1900, utilized the Sanitary and Ship Canal (SSC), constructed on Chicago’s south side between 1892 and 1889, to cause the Chicago River to flow away from the lake, rather into it. All of the waste would be sent via the SSC to the Des Plaines River (a longitudinal river running parallel to the lake twelve miles west), and then the Illinois River, and finally the Mississippi River watershed—a bona fide American solution.
Though there was all this vivisection happening to the southern appendages of the Chicago River, the passage and flow of the North Branch running north of Ronan Park has remained relatively undisturbed since it was first ‘discovered’ by early, pre-19th-century, pre-Jefferson Township, non-indigenous Chicago settlers. They named the branch the Guarie River to supposedly honor a French trader who had a roughrider reputation in those sepia-hued days.
The eight-miles of Chicago River between Ronan Park and the Loop is still called the North Branch, but it’s swelled by the North Shore Channel, which connects to the river at Ronan Park. The channel was dug between 1907 and 1910 to complement the river reversal by drawing lake water from eight miles north in the suburb of Wilmette and sending the flow downstream (nowadays, it’s mostly used for kayaking and body dumping). Taking its Cartesian cues from the Chicago city grid, the channel runs a straight line, whereas the North Branch, upstream of Ronan Park, describes a more serpentine, northwesterly path. Its form is first used to shape the border between the neighborhoods of North Park on the north side of the river, and Albany Park on the south. From Ronan Park west to Pulaski Road, there are only a few areas of exposed riverbank, most of which are accessible by fence hopping or trespassing. But even if you were to risk the $250 fine, you wouldn’t find much in these havens aside from the debris of teenage debauchery and Krylon’d professions of everlasting love.
Where the North Branch meets Pulaski Road at the intersection of Foster Avenue and Pulaski, it forms the centerpiece of Gompers Park, a 39-acre park with crushed gravel paths and rainwater lagoons that straddles Foster Avenue. And then, it is beyond Gompers where most northsiders lose sight and thought of the Chicago River, as it leads past the northwest corner of the park.
There are two reasons us city-dwellers stop thinking about the river beyond this point. The first is that if you try to use Foster Avenue to loosely follow the direction of the river, you’ll hit Highway 94 after a few blocks past Gompers Park, and then beyond that, there’s endless residential sprawl all the way to O’Hare Airport. The second reason, and one that likely reflects on the disquiet of my own imagination, is that if you stay on the bank of the river and follow it through Gompers Park, you’ll eventually hit the shaded boundary line of the park, loosely indicated by a felled tree stump, fungal detritus, and a rusted chain-link fence being overtaken by an alien, slimy heath. A hole is cut in the fence, and beyond that, along the banks of the river, a rocky path wanders into the darkness of the sallow dell (flashes of Stand By Me).
For a time, I saw this boundary line as an end point. A place where the city stopped, and nature—or my citified notion of it—began. And for reasons callow or dogmatic, I felt no pull beyond this safety of the familiar. A city like Chicago penitently observes the ordered decorum of modernity, and I, its citizen, grant this as the natural order. The streets are set up like a grid, ordered alphabetically and numbered small to large. Electricity, gas lines, sewage, and fiberoptics run underfoot like bodily systems sheathed in a skin of concrete and steel. I have an address, a social security number, a tax ID number, an employee ID badge, a library card, a credit card, a driver’s license number, a passport; all of these the alphabetized and numbered effluvia of metropolitan self-consciousness.
Order of this sort is a semblance; a massive Potemkin framework. What we call order is nothing more than nature laid out in a Microsoft Excel spreadsheet. Much like the mind, nature abides by a more cryptic logic. The fearful call it chaos, but even this is a type of imposed order. It’s one thing to recognize the exoteric mystery of nature, but it’s another to dismiss it as mere pandemonium. Theological generalizations occlude wonder and violate the a priori structure of the natural world, which is and will forever be a mystery. This is the mystery drawing us into nature (or in my case, past the boundary line of Gompers Park), as if some vestigial fragment of our psyche longs, hears, speaks, and communes with this hidden world. It’s a conversation held at some pituitary corner of the subconscious; the place where awe is culled under the ancient dome of a Redwood canopy or sunset Rocky Mountain shadow.
There’s nothing in Chicago as grand as that, but even along the urbanized stretches of the North Branch, there’s a sense of the sublime, as if the boundary line where the city stops and ‘nature’ starts isn’t as dichotomous as us pseudocartographers would like it to be. Early in my Chicago days, I felt no curiosity beyond the boundary line, but I was still shedding my suburban skin and that dogmatism soon lost itself to gravity. I wanted to see what else the North Branch had to show, and that’s when I realized my bike could have value beyond grocery portage and beer runs. I threw on some knobby tires and splash guards, and kicked it into high gear (or, single gear, rather).
It’s beyond Gompers Park where the LaBagh Woods begin. Infrastructurally speaking, the woods comprise a remote and somewhat isolated arm of the Forest Preserve District of Cook County. Fifteen or sixteen versions of Gompers Park could fill the six hundred-acre forest, and though some rural Illinoisans might have backyards this size, in Chicago, undeveloped land is a rare commodity; especially a tract this large. The FPD has cut a few small groves and shaded picnic areas in the woods, but due to LaBagh’s proximity to the highway and relative isolation from neighboring residential areas, the public areas aren’t conveniently accessed and are underutilized as such. The parking lots adjacent to the groves are usually occupied by Toyota-driving, mid-level managers and unemployed state-college graduates seeking sylvan congress (link is NSFW).
And though it seems it, the location of the LaBagh Woods is not entirely incidental. At the turn of the 20th century, as neighborhoods and businesses on the northwest side of the city continued to grow, the woods (yet unnamed) were starting to shrink. Illinois legislature didn’t form a forest preserve district until 1915, and as such, land conservation went unregulated. The responsibility for that thus rested on the public, and it was in this conservationist spirit that in 1901, Ella LaBagh, a Chicago resident and small-time philanthropist, was riding her bike (!) along the North Branch and witnessed firsthand the destruction and shrinkage of the forest. As an active member of the Irving Park Women’s Association (est. 1888), LaBagh began photographing and presenting her concern. Her grassroots campaigning, as well as the efforts of other Illinois conservationists, led the Illinois legislature to create a forest preserve district in the following years. However, it wasn’t until 1940, when LaBagh was 85, that the forest was named in her honor. LaBagh died in five years after that, and though there is a stone erected at the edge of the woods with an etching honoring LaBagh, “as a pioneer in establishing forest preserves,” hers is a name relatively obscure in the annals of Chicago history.
True conservationists may argue that though LaBagh’s name doesn’t have a Daley-level notoriety, she nonetheless managed to help preserve some prime Chicago real estate. For them, that’s legacy enough; sticking it to the man in perpetuity. That the LaBagh Woods are there, rather than houses or highway—this means something, if only that the woods are there to provide a glimpse into the world that would be. But beyond this, the LaBagh Woods are also something of an anomaly. As the North Branch flows through the woods, transposing city scree, so too are the woods a type of permutation; not quite urbane, but not agrestal, either. What’s a gray zone like the LaBagh Woods supposed to say?
This question stewed. I’d ride my bike to various remote corners of the city: Douglas Monument Park in Bronzeville, the mansions of Austin, the Union Stockyard Gate in Bridgeport…all of these things interesting, but without the prescient beck of the North Branch. Perhaps there was or is some strange force in the river and the woods beyond Gompers Park, but for me, it was the lure of the question: what’s in them there woods? What’s that darkness?
By bike, I’ve found that getting into the LaBagh Woods the back way works best. Using Ronan Park as a starting point, I take Kedzie Avenue north to Bryn Mawr, and then take that west. I pass through a four-block area dubbed ‘Korea Town’ by locals. Past that, a solemn, pot-holed stretch of road running the north-end length of the sprawling Bohemian National Cemetery. There is a retirement village on the side of the road opposite the cemetery, which I have always found supercilious. The road narrows once you cross Pulaski, and there’s another graveyard followed quickly by a diminutive industrial park speckled with mid-century flourishes.
And then the road ends, as indicated by a foreboding Jersey barrier sheathed in yellow reflectors. In years past, this point would have marked the intersection of Bryn Mawr and the Weber Spur, a former Union Pacific Railroad right-of-way and part of the Chicago and North Western lines. The spur was used from 1897 into the 1980s, but fell into abandonment, with the tracks finally getting pulled up around 2010. In their place, a 20-foot wide gravel scar cutting through the heart of the LaBagh woods. The shoulders of the spur, as they open up into oak and hickory forest, are lined with goldenrod, milkweed, and aster, with teasels and saxifrage intermingled amongst the stacks of moss-covered ties and sun-bleached city trash left to decompose or disappear into the oblivion of earth.
A few hundred yards down the spur, the woods surrounding you will darken and obscure the fact that you’re in a city zip code. The forest diffuses the sounds of the highway, which lies just a few hundred yards to the west, and in place of this, a breeze ruffling through the treetops and the whistle of a passerine. But there also moments of reminder, as when the spur bridges the North Branch. The railings of the bridge have been plucked and pilfered, and in the dry months of the year, you can look 25 feet down to the river below. The spans of the bridge are covered in years of graffiti. Broken bottles, condoms, and rusted cans of spray paint pepper the steep riverbanks.
Various paths spin off the spur and wander into the forest. Some of these are used by cyclists or hikers, others by pleasure seekers and midnight partiers. But a human sighting in LaBagh is rarer than an encounter with, say, a deer. These aren’t the muscled deer of Northern Wisconsin lore, but the more cunning, auspicious cousins, who might snack just as well on a patch of clover as they would a bag of Doritos. I was once riding my bike through the woods on some sunny summer afternoon, and on rounding a sandy bend in the path, I came face-to-face with a six-point buck. He looked up at me for a moment, chewing quietly, and then pushed his nose back into his lunch. I told him to move, but his ears twitched; a deer’s version of a shrug. Eventually he let me pass, and I got the impression he learned this sort of passive aggression from other similar bipedal encounters.
The forest has the earthy smell of an older, pre-Chicago. I was never in this older world, but the woods somehow help me remember it, effervescing the vapors of the river life once teeming along these riparian riverbanks. Of course, life still teems along the North Branch, especially if you follow it farther north as it trifurcates at Morton Grove. But, that far north, the city gives way to the suburbs, and not far beyond there, the homogenous, agrarian expanse of the central Midwest. This progression reflects a type of transition, or blending, but it is microcosmic points such as the LaBagh woods that provide a more immediate evolutionary snapshot.
The North Branch is ligature from an earlier epoch, and the viridian tissues clinging to its polluted riverbanks, a testament to the obstinacy of creation, the surety of change. A white-tailed fawn dashing through a meadow of bluejoint grass shaded by a towering McDonalds billboard: what triumphs here? What will? Our interaction with nature, despite our ideological intentions, is one of arcane servility. Emma LaBagh saved the woods because she loved them. But why? Perhaps this is the same root emotion Christians have in mind when they equate love of God and fear of God.
In the LaBagh Woods, as I could feel at Ronan Park, I sense the insistence of life in all of its disconcerting simultaneity. Here and there an empty bottle of Olde English, and sometimes, somnambulant at the edge of the forest amidst the flowers and deer, a lonely, anonymous man. Not exactly the same one at Ronan, but his blood, and the blood of all, runs just as red. (I want to call this blood the ‘the river of mortality,’ because I’d really love to compare the North Branch to my own arterial flow. But the term sounds like it was stolen from a Star Wars novel, so I’ll keep it parenthetical.)
And now we’re back to that late summer afternoon. It was an uneventful ride into the forest, but that day, I took a different path, obscured by a shallow ditch of cattails and thistle. The path led to the riverbank, through a shaded glen. First, an anonymous man sat drinking a brown-bagged bottle (not uncommon on a summer afternoon in LaBagh). A dismantled, 35mm camera was slung incidentally or symbolically about his neck. He stared at me (or through me) in the same nonplused way as the buck. The sky overhead was glum and threatening rain. I rode on, following the path along the river, tires slipping over the damp, varicose roots cutting across the hard-packed dirt. As I approached the northern end of the forest, noticed what I thought was sand piled atop a small boulder near the apex of a trail spur leading to one of the public picnic areas.
I dismounted and went to investigate. I thought it might be sand, but the color was too tawny and the shape too unnatural. As I neared, it seemed that the sand was moving, as if someone had left a wedge of casu marzu cheese out to stew. But then rounding the boulder, the shape of a brow, the curve of an animal snout. A death smell. A pig’s head, its severed neck crawling with maggots and grub, its eyes plucked, mouth sagging and agape. Likely it was scrapped from a weekend barbecue, but I’ve seen enough movies to want suspect something more sinister. I looked through the trees for cloaked druids or naked Wiccans as such, but instead there was only the whisper of a mist beginning to fall and the ominous hum of wasps looking for a bit of ham-on-the-skull.
A century ago, pig’s heads might as well have been floating down the Chicago River like felled lumber sent to the mill. This encounter was uncanny, but likely not so phenomenal in this ambiguous realm. I think of writer and naturalist Loren Eiseley, at the beginning of his book, The Immense Journey, where he writes of his own encounter with an animal’s head. As he runs his hands along the walls of a dark sandstone crevasse, he finds a skull embedded in the walls of the canyon. He exchanges a blank stare with the ossified beast, and wonders, “The creature had never lived to see a man, and I, what was it I was never going to see?”
The pig’s rotten cadaver, perched on that rock in the gloom—it reminded me of Eiseley and his skull, but inverted: the creature had lived—and died—under human hands, and what’s in front of me that I’ll never understand? Two separate questions, maybe.
Since that day, the only other pig’s heads I’ve seen have been behind the meat counter at the Mexican grocery stores in Albany Park. And I’ve since moved away from North Park (but not to the suburbs, God help me), and farther from both Ronan Park and the LaBagh Woods as such, but I still walk to the river, and I still ride to the woods when the weather is agreeable. That tension is still there: the empty 40-ouncers, the used condoms, the water bottles, the diesel flatulence, the wailing sirens, the urban refuse. These things remind me of my place. And then there is river and the anomalies of its dissonant oases, the animals bathing on the river’s shores, the grasses and trees drinking from its damp shores, the soft whisper of it flowing through alleyways and parking lots, the obstinacy of its atavism. And in it, a rotten pig’s head; a convoluted mirror, this.
Hard to say if it’s been a successful year. I only read 69 books. But in the midst of all of this, I read countless essays, articles, and magazines—or there were some days where I just rode my bike instead. But still, 69 is a good county with some good visual symmetry. Plus, that some of my favorite books this year were from Nicholson Baker’s ‘sex trilogy,’ the number also seems to be analogical, somehow.
The biggest trends to note are that sometime in late spring, my reading choices took a more academic direction after I learned that I had been accepted to graduate school. And now that I’m done with my first semester of graduate school (with that four-point-oh), I’m fairly decided that I’m going to be writing a thesis with full intention of applying to and subsequently entering a PhD program. Most of my reading has been very focused since that point of realization, though I’m sane enough to add some ‘for fun’ interjections in that heady mix.
What follows is the full list of the books I’ve read, and a sentence or two about each reading, explaining why I read it or what I thought about it.
The Gangs of Chicago; Herbert Asbury, 1940/1986, Thunder’s Mouth Press.
A rebranding of an old journalistic text about the City of Chicago, which had clearly entered the public domain and some dude out there was trying to capitalize on the ‘success’ of Gangs of New York. Not a great book.
The Immense Journey; Loren Eiseley, 1957, Random House.
Discovered this author by way of conversation about Cormac McCarthy. Excellent scientific naturalism, with a healthy dose of poesy.
Speak; Laurie Halse Anderson, 1999, Puffin Books.
A book I read on recommendation from a friend.
The Woes of the True Policeman; Roberto Bolano, 2012, Farrar, Straus and Giroux.
Not Bolano’s best. Nothing will beat 2666.
Lionel Asbo; Martin Amis, 2012, Knopf.
My first introduction to Martin Amis. Pretty fun.
Life Sentences; William H. Gass, 2012, Knopf.
Great collection of essays from William Gass, whose headiness I can appreciate only in this non-fiction context.
Norwood; Charles Portis, 1966, The Overlook Press.
I think this book was funny, but I can’t remember.
Death Kit; Susan Sontag, 1967, Picador.
Speaking of headiness…
The Book of My Lives; Aleksandar Hemon, 2013, Farrar, Straus and Giroux.
Glad to have a good author who is happy to call Chicago ‘home,’ even if he’s not a native Chicagoan. Also, incredibly sad, at times.
Cosmopolis; Don DeLillo, 2003, Scribner.
Don DeLillo made a rare public appearance this year, this time at Harold Washington Library. In anticipation of the event, where I got a different book signed by DeLillo, I read this little ditty.
The Medium is the Massage; Marshall McLuhan, 1967, Jerome Agel.
In anticipation of starting school in the fall, I took it upon myself to begin a venture into the domain of media theory. McLuhan is a fixture in the field, and this book was supposedly revelational when it came out, but most of the criticisms in this specific text are ‘common sense’ by now.
Beyond Habitat; Moshe Safdie, 1970, MIT Press.
A little work of self-importance from Dov Charney’s uncle.
Martin van Buren and the Emergence of American Popular Politics; Joel H. Silbey, 2002, Rowman & Littlefield Publishers.
In 2012 I said I’d read a biography of each president. That didn’t happen in 2012, and in 2013, this was the only attempt I had made to continue on this promise. But, damn, some of these presidents are boring dudes.
The Book of Monelle; Marcel Schwob, 2012, Wakefield Press.
I don’t remember much of this one.
The Pale King; David Foster Wallace, 2012, Back Bay Books.
Framed by a great sadness.
Democracy in America; Alexis de Tocqueville, 2003, Penguin Classics.
Perhaps my favorite book from this year.
Going Clear; Lawrence Wright, 2013, Knopf.
The ‘truth’ of Scientology. Verifiable because it’s a New Yorker author, right?
State by State; Ed. Matt Weiland & Sean Wilsey, 2009, Ecco.
Read this on recommendation from a friend. A project well conceived, but not well executed.
The Year of Dreaming Dangerously; Slavoj Zizek, 2012, Verso.
Ways of Going Home; Alejandro Zambra, 2013, Farrar, Straus and Giroux.
I don’t remember much of this one.
Little Known Facts; Christine Sneed, 2013, Bloombury.
I don’t remember much of this one, either.
The Struggle for Utopia; Victor Margolin, 1997, University of Chicago Press.
Or this one.
Postmodernism, Or, The Logic of Late Capitalism; Frederic Jameson, 1991, Duke University Press.
Another book I considered to be necessary reading for graduate school. It has come in handy, thus far.
The Crying of Lot 49; Thomas Pynchon, 2006, Harper Perennial.
Child of God; Cormac McCarthy, 1973, Vintage International.
If Blood Meridian is an unmakeable movie, Child of God is inconceivable. Necrophilia isn’t a big seller. But this might be one of my favorite McCarthy books.
In Praise of Shadows; Jun-ichiro Tanizaki, 1977, Leete’s Island Books.
An obscure little musing on light and shadow.
Society of the Spectacle; Guy Debord, 1970, Black & Red.
More grad school anticipatory reading, though I also cited this one a lot in an essay on punk/powerviolence I wrote over the summer (and which will hopefully be included in a book getting published next year.
Learning from Las Vegas; Robert Venturi, Denise Scott Brown, Steven Izenour, 1977, The MIT Press.
A benchmark architecture text. Now I can say I’ve been there and done that. Now I want to go to Vegas and see America for itself.
Kinski Uncut; Klaus Kinski, 1996, Penguin.
I wrote an essay on Kinski over the summer as well, so I had to read this one. Hard to admire Kinski, though there’s something admirable about his brashness.
Twilight of the Idols; Friedrich Nietzsche, 1968, Penguin.
Also read for my Kinski essay.
Illuminations: Essays and Reflections; Walter Benjamin, 2007, Schocken Books.
More grad school anticipation, though I’m suspecting that Benjamin will end up being one of the people I well reference often as I delve deeper into media theory.
A Crackup at the Race Riots; Harmony Korine, 2013, Drag City.
Not any more or less meaningful than his movies.
Factory Towns of South China; Stefan Al, ed., 2013, Hong Kong University Press.
Not nearly as interesting as it sounds.
The Creative Mind; Henri Bergson, 2007, Dover Publications.
I think I understood about five percent of this book.
Witz; Joshua Cohen, 2011, Dalkey Archive Press.
One of the books that came out in the late 2000’s that’s one of the key ‘thick book’ works of that period. It’s difficult and Joycean, which for some is rewarding. For me, I was done after about 250 pages.
We Got the Neutron Bomb: The Untold Story of LA Punk; Marc Spitz & Brendan Mullen, 2001, Three Rivers Press.
Also for my punk essay. Research.
The Green Man; Kingsley Amis, 1986, Academy Chicago Publishers.
I supposed that if I had read Martin Amis, I might as well inspect the source, too.
Tough Guys Don’t Dance; Norman Mailer, 1984, Random House.
Legacy of Ashes: The History of the CIA; Tim Weiner, 2008, Anchor Books.
One of my favorite books from the year. The short of it: the CIA has just been one gigantic failure.
A Wilderness of Error; Errol Morris, 2012, The Penguin Press. Thin Blue Line in written form, though with a different story. Hello, hippie freaks.
Vox; Nicholson Baker, 1992, Granta Books.
For Adults Only.
The President and the Provocateur: The Parallel Lives of JFK and Lee Harvey Oswald; Alex Cox, 2013, Feral House.
If Alex Cox can direct Repo Man, he can write conspiracy theories.
The Third Policeman; Flann O’Brien, 1967/2002, Dalkey Archive Press.
The Fermata; Nicholson Baker, 1994, Vintage.
For Adults Only.
Cinema; Alain Badiou, 2013, Polity Press.
I don’t remember much of this one.
The Hare; Cesar Aira, 2013, New Directions.
Or this one.
The Moral Judgment of the Child; Jean Piaget, 1997, Free Press Paperbacks.
I was going to write an essay for an edited collection in ‘the child in post-apocalyptic’ cinema, and was going to use this book to talk about Michael Haneke’s Time of the Wolf, but the essay got to be too much work with too little time. So I just read the book.
You’re Not Doing it Right; Michael Ian Black, 2012, Gallery Books. Stella is funnier.
Eichmann in Jerusalem; Hannah Arendt, 2006, Penguin.
Was tired of hearing the phrase ‘the banality of evil’ out of context. So I read this for context, and now I get it. Evil is ordinary and likes paperwork.
Speaking Into the Air; John Durham Peters, 1999, University of Chicago Press.
Required graduate school reading, but will be a text I continue to re-read and reference throughout life.
Bird by Bird; Anne Lamott, 1995, Anchor.
Read it first as a young creative writing student. Read it later for graduate school.
The Gay Science; Friedrich Nietzsche, 1974, Vintage.
Also called ‘the Joyful Wisdom.’ The elation is palpable.
Films and Dreams; Thorsten Botz-Bornstein, 2007, Lexington Books.
For work on an essay about Tarkovsky, which I should actually be working on at this precise moment, rather than writing this post.
Andrei Tarkovsky’s Poetics of Cinema; Thomas Redwood, 2010, Cambridge Scholars Publishing.
More scholarly research.
Sculpting in Time; Andrei Tarkovsky, 1989, University of Texas Press.
More scholarly research.
Andrei Tarkovsky: Interviews; John Gianvito, ed., 2006, University Press of Mississippi.
More scholarly research.
The Urban Revolution; Henri Lefebvre, 2003, University of Minnesota Press.
I’m trying to figure out how to hone my thesis topic and was hoping this book, and others, would help with that. Whether that is true or not remains to be seen. But at least I’ve read Lefebvre (now I just need to be sure that if I drop his name in a verbal conversation, that I pronounce it right).
The Alphabet and the Algorithm: Mario Carpo, 2011, The MIT Press.
More thesis research. Getting closer.
House of Holes; Nicholson Baker, 2012, Simon & Schuster.
A little break for more Adults Only reading. And, unfortunately, the last book in Baker’s ‘sex trilogy.’
How Proust can Change Your Life; Alain de Botton, 1998, Vintage.
de Botton has been a name I’ve been seeing more and more, and I had recently learned about his ‘School of Life.’ So I picked this up to get a better idea of de Botton. And now I have it (a better idea, that is). Smart self-help? Literary psychology? Something like that.
Urban Nightmares: The Media, The Right, and the Moral Panic over the City; Steve Macek, 2006, University of Minnesota Press.
More thesis topic research.
The Death and Life of Great American Cities; Jane Jacobs, 1989, Vintage.
And some more.
Kierkegaard: Construction of the Aesthetic; Theodor W. Adorno, 1989, University of Minnesota Press.
And some more. Not an easy book.
The Virtue of Selfishness; Ayn Rand, 1964, Signet.
School was done and there were no unread books in my apartment, except for this one, which I read in two days and then threw out because it’s total shit.
Inherent Vice; Thomas Pynchon, 2010, Penguin.
Now I’m ready for the movie.
Blue Nights; Joan Didion, 2011, Vintage.
Always a picker-upper, that Didion.