BOOK REVIEW | Prisoners of Geography: Ten Maps That Tell You Everything You Need to Know About Global Politics by Tim Marshall Review by Dr. Mark David Major, AICP, CNU-A
… and you should have learned about in high school in the first place.
(Book blurb begins) Maps have a mysterious hold over us. Whether ancient, crumbling parchments or generated by Google, maps tell us things we want to know, not only about our current location or where we are going but about the world in general. And yet, when it comes to geo-politics, much of what we are told is generated by analysts and other experts who have neglected to refer to a map of the place in question. All leaders of nations are constrained by geography. Now updated to include 2016 geopolitical developments, journalist Tim Marshall examines Russia, China, the US, Latin America, the Middle East, Africa, Europe, Japan, Korea, and Greenland and the Arctic—their weather, seas, mountains, rivers, deserts, and borders—to provide a context often missing from our political reportage: how the physical characteristics of these countries affect their strengths and vulnerabilities and the decisions made by their leaders (Book blurb ends).
I have to admit to judging Prisoners of Geography by its cover… and it does have a great cover designed by David Wardle (see above). However, I should have paid much closer attention to the Tim Marshall’s author biography on the inside of the backcover when I purchased this book. He is only a BBC/Sky news reporter. I began reading with expectations for in-depth analysis about an issue with profound and widespread implications around the world. Instead, what I got was a high school geography lesson; presumably written for people who didn’t bother to listen the first time around in their high school geography class. On these terms, Prisoners of Geography is fine. However, if you are looking for something with more intellectual breadth and depth, then the shallow nature of Prisoners of Geography will be a disappointment. Mark’s Grade:
Prisoners of Geography: Ten Maps That Tell You Everything You Need to Know About Global Politics by Tim Marshall
Paperback, 320 pages, English
Scribner; Reprint edition (October 11, 2016)
You can purchase Prisoners of Geography: Ten Maps That Tell You Everything You Need to Know About Global Politics by Tim Marshall on Amazon here.
MORESO | Fire Walk with Me | David Lynch’s Twin Peaks Finale by Dr. Mark David Major, AICP, CNU-A
This Moreso article is a follow-up to an earlier one, “Generational Shame in David Lynch’s Twin Peaks (28 June 2017), available here.
Judging from the immediate response on Twitter and subsequent mainstream media recaps (with the exception of Dan Martin at The Guardian and a few others), many people seem perplexed about the open-ended finale of Twin Peaks: The Return. I am not. As with all things David Lynch, you have to appreciate the (weird) window-dressing but, nonetheless, ignore such affectations when it comes to explanations by focusing on the essential. When you do so, there is a lot of narrative meat to chew in the final two episodes, which seems to confirm our prior hypothesis that Twin Peaks is about Baby Boomer shame. We will not recap that argument now; you can read it here.
WARNING, SOME SPOILERS AHEAD IF YOU ARE NOT FAMILIAR AT ALL WITH TWIN PEAKS
What are the key points? Where do we keep our focus to interpret this bizarre, frightening, and even nihilist (i.e. spiritually bleak) ending? After all, it cannot be a coincidence that both episode 17 and 18 ended with Sheryl Lee’s blood-curdling scream, putting aside the end credit sequences: one musical and the other a super slow-motion replay of Laura Palmer whispering something disturbing in Agent Cooper’s ear in the Red Room of the Black Lodge during the first episode. Sidenote: Sheryl Lee (to the upper right as Laura Palmer) has to go down in cinematic history as one of the all-time great screamers, worthy of the leading ladies in the best Alfred Hitchcock films.
Let’s start here:
“The past dictates the future.” – Agent Cooper in Episode 17 of Twin Peaks: The Return
This is a truism reiterated by Twin Peaks. Let’s be honest: what would a ‘happy resolution’ for most viewers of any generation look like for the central storyline (e.g. the murder of a prom queen) in Twin Peaks? FBI Agent Cooper solves the murder? That already happened 25 years ago during Season 2. Laura’s Baby Boomer father Leland — possessed by the evil spirit BOB — raped and murdered her. The destruction of the evil spirit BOB? Lynch and Mark Frost provided this closure in the penultimate episode when BOB was defeated by a Millennial, no less, wearing a green garden glove that gave him supernatural strength… yeah, Twin Peaks is unconventional like much of the Millennial Generation itself in some ways. It is appropriate, if you ask me. No, for most viewers, the ‘happy resolution’ would be preventing the murder of Laura Palmer and subsequent emotional and social damage to the small Washington town of Twin Peaks in the first place. However, this is not possible. If Laura Palmer was never murdered, then there would not be any Twin Peaks for viewer to invest in the first place. The pain of the past dictates the consequences of the future.
Nonetheless, Lynch and Frost offer viewers this exact prospect. Somehow, Agent Cooper (Kyle MacLachlan) goes back in time and leads Laura away from her eventual murder. Laura’s dead body ‘disappears’ from where it was found on a shoreline next to a massive downed tree in the opening scenes of the original series (see the header image at the top). The results simmer throughout the final episode until the disturbing climax when a (perhaps changed) Cooper finds ‘Laura’ (who says her name is Carrie Page) in Odessa, Texas and tries to lead her home to her mother Sarah in Twin Peaks, Washington. The closing moments are characterized by confusion on the part of Agent Cooper and that last blood-curdling scream of Sheryl Lee as ‘Laura’ hears the echoes of her (now-remembered?) troubled past. To be sure, it is a bleak ending. This is reinforced by a replay of the scene of Laura in the Black Lodge whispering something horrifying to Agent Cooper, except this time Lynch allows the camera to linger on the disturbed expressions on MacLachlan’s face using super slow motion. Cooper cannot change the past any more than we can change our own pasts. Nonetheless, this is a tantalizing feature of several narratives in fiction (Peggy Sue Got Married, Back to the Future, Doctor Who, and so forth). Too many to recount here.
Interestingly, the name of Odessa is the feminine form of ‘odyssey,’ which suggests a key aspect of the story of Twin Peaks is the journey of its female characters. Mainly, I would argue this means Laura Palmer, Donna Hayward, and Audrey Horne. Shelly as a character, played with panache by the beautiful Madchen Amick, always seemed more about the soap opera aspects of David Lynch’s original concept for Twin Peaks than a key to its main story.
Many viewers seemed especially upset about the brief appearance and utter lack of resolution to the nonetheless emotionally draining story — if only for its obtuse nature— involving Audrey played by the wonderful and IMO still beautiful Sherilyn Fenn. Is Audrey in a coma? Is she in an insane asylum? Is she the ‘dreamer’ to which Gordon Cole (played by David Lynch) refers? The last seems unlikely, except perhaps in a very narrow sense related to her own story in Twin Peaks: The Return. The lack of a resolution is the point. Much of the story about Generation X is similarly unresolved though our past will dictate the consequences of our future.
I would argue there is a ‘holy trinity’ of Generation X females at the heart of Twin Peaks, each representing different aspects of my often-forgotten generation. The mainstream media is almost always all about the big demographic waves represented by the Baby Boomer and Millennial generations. There is the wasted potential of Laura Palmer: the bright, eager-to-help, beautiful prom queen, who was a victim of incest and murdered by a salacious Baby Boomer father unable to control himself or the evil spirit BOB.
There was Donna Hayward (famously played during the original Twin Peaks series by Lara Flynn Boyle). Much like the ‘lost’ nature of Generation X, Donna is missing from Twin Peaks: The Return. She represents our ‘lost generation’ by her absence. Then, there is Audrey Horne, who’s story is unresolved, still waiting to be written in history.
All of this is wrapped within the distinct but skewed perspective of a Baby Boomer filmmaker (David Lynch), who symbolically replicates much of the generational shame previously seen in Episode Eight, “Gotta Light?” The young-end-of-the-range-for-a-Baby Boomer Agent Cooper fails to fix the past. The disturbing abortion imagery reappears during the scene at the beginning of episode 17 when the evil spirit BOB emerges from the doppelgänger body of Mr. C to, in effect, become an evil fetus attacking the real Agent Cooper and our nondescript Millennial hero Freddie, who finally rids us of the evil once and for all. Baby Boomers just can’t get past their guilt about their unwanted ‘latchkey’ kids and excessive-to-extreme abortion culture. In any case, Freddie’s destruction of BOB symbolically points to Baby Boomers coming to believe what Generation X had always believe and intended for their children; namely, to save the world from the excesses of the ‘Me’ Generation represented by their grandparents.
I thought it was the most appropriate, even a perfect ending for Twin Peaks. The Baby Boomers cannot ever fix their past mistakes. They have to live with the shame of their many mistakes. The story of the much-abused, much-depleted Generation X is still being written, and the Millennials carry our collective hopes into the future. Let’s hope we haven’t managed to screw them up too much. They need to save the world. Get on with it.
Moreso is a new series of short ruminations or thoughts of the moment, usually of less than 500 words, from The Outlaw Urbanist.
“We’ll be standin’ on the corner of 12th in line With our Kansas City baby and our bottle of Kansas City wine.” — Kansas City, Little Richard
Urban Patterns | Kansas City, Missouri-Kansas USA by Dr. Mark David Major, AICP, CNU-A
Kansas City, Missouri is the largest city in the state and the sixth largest city in the American Midwest. According to the U.S. Census Bureau, the city had an estimated population of 481,420 in 2016, making it the 37th largest city by population in the United States. It is the anchor city of the Kansas City metropolitan area, which straddles the Kansas–Missouri border. Kansas City was founded in the 1830s as a Missouri River port at its confluence with the Kansas River. On June 1, 1850, the town of Kansas was incorporated; shortly after came the establishment of the Kansas Territory. Confusion between the two ensued and the name Kansas City was assigned to distinguish them soon thereafter. Kansas City, Kansas is the third-largest city in that state and the third-largest city (after Kansas City, Missouri and Overland Park, Kansas) of the Kansas City metropolitan area. The Kansas City metropolitan area is a 15-county metropolitan area that straddles the border between Missouri and Kansas. With a population of about 2,340,000, it ranks as the second largest metropolitan area in Missouri (after Greater St. Louis). Kansas City, Kansas is abbreviated as “KCK“ to differentiate it from Kansas City, Missouri. As of the 2010 census, Kansas City, Kansas had a population of 145,786 residents. (Source: Wikipedia).
There are two distinctive characteristics to the urban pattern of Kansas City at different scales of the city. The first is the series of large building footprints and urban blocks composing a series of small-scale (in relative terms) offset grids adjacent to the Missouri and Kansas Rivers. This is most apparent in the close-up satellite view from 15 km of Kansas City (see above). This is a direct result of its historical origins in water transportation, which remains important to this day for the city; namely, the laying out of street networks to ensure a rectangular shape to the plots on the most valuable land immediately adjacent to the rivers.
When examining the Kansas City urban pattern at the large-scale (see satellite view from 30 km above), the second distinctive characteristic becomes much more apparent; namely, a strong north-south and east-west structure in the street network of Kansas City. Initially, some people might think this occurred due to the stereotypical view about the ‘flatness’ of the American prairie. However, the topography in and around Kansas City is composed of gentle, rolling hills and river bluffs. Instead, this is evidence of the emergent pattern of the Jeffersonian grid in the 1785 Land Ordinance.
Urban Patterns is a series of posts from The Outlaw Urbanist presenting interesting examples of terrestrial patterns shaped by human intervention in the urban landscape over time.
Planning Naked | Cessation of a Feature by Dr. Mark David Major, AICP, CNU-A
For two-and-a-half years now, The Outlaw Urbanist has brought you a semi-regular feature — as regular as we can manage in the best interests of our mental health — called “Planning Naked.” It has been your (hopefully hilarious) guide to most everything about the latest issue of APA’s Planning Magazine.
Due to changing circumstances, we are announcing a cessation of the “Planning Naked” feature. Somehow, we think the editors and reporters of Planning Magazine will be relieved to hear this news.
However, The Outlaw Urbanist is open to this cessation being of temporary nature, if there are any readers who would like to take up the mantle of fighting the status quo and helping to police the underlying — often hidden — assumptions of the editors and reporters of APA’s Planning Magazine by volunteering to write new editions of “Planning Naked.”
“Ya’ know that, this town’s like a painted desert Dead heat, movin’ in the city, I’m lost in a painted desert.”
— Painted Desert, Pat Benatar
Urban Patterns | Doha, Qatar by Dr. Mark David Major, AICP, CNU-A
Doha (Arabic: الدوحة, ad-Dawḥa or ad-Dōḥa)— literally meaning “the big tree” but, locally, “rounded bays” — is the capital city and most populous city in the State of Qatar. Doha has a population of 1,351,000 in the city proper with a metropolitan population close to 1.5 million. The city is located on the coast of the Persian Gulf in the east of the country. It is Qatar’s fastest growing city with over 50% of the nation’s population living in Doha or its surrounding suburbs. It is the economic center of the country. Doha was founded in the 1820s as an offshoot of Al Bidda. It was officially declared as the country’s capital in 1971 when Qatar gained independence from being a British Protectorate. As the commercial capital of Qatar and one of the emergent financial centers in the Middle East, Doha is considered a world city by the Globalization and World Cities Research Network. The city of Doha was formed after seceding from another local settlement known as Al Bidda. The earliest documented mention of Al Bidda was made in 1681 by the Carmelite Convent in an account, which chronicles several settlements in Qatar. In the record, the ruler and a fort in the confines of Al Bidda are alluded to. Carsten Niebuhr, a European explorer who visited the Arabian Peninsula, created one of the first maps to depict the settlement in 1765 in which he labeled it as ‘Guttur’ (Source: Wikipedia).
Recently, UCL Qatar created a new interactive map to explore the history of Doha from the late 1940s to the present day here. The Origins of Doha is a UCL Qatar research project, supported by the Qatar National Research Fund, which aims to explore the foundation and historic growth of Doha, its transformation to a modern city, and the lives and experiences of its people through a combination of archaeological investigation, historical research, and oral testimony (Source: UCL Qatar).
What we see in this 1947 aerial photograph (see above) is a very compact settlement gathered along the shoreline of the Doha Port on the Persian Gulf. The settlement is so compact that it is difficult to discern its spatial structure. However, if you focus on the center of the image, then look slightly southwards and eastwards, you can see a clear ring of circulation around a large block possessing an intricate street network. From this ring of circulation, we can discern at least four (4) diagonal streets radiating outwards in all directions. Given the rapid growth in Doha over the last 30 years, it is extremely difficult to assign modern day names to these places but it appears, more or less, consistent with the modern ‘downtown’ area. The older town of Al Bidda appears to be eastward of this area.
If we examine the urban pattern of Doha at the large scale (see the satellite view from 15 km above), then there is a distinctive ‘deformed wheel’ structure of diagonal streets radiating outward in most directions from the port. This network is connected together by a series of orbital roads, which encircle the city based on an increasing radii, as measured from the shoreline of the port. At this scale, the Doha urban pattern appears to be composed of massive ‘super blocks.’ However, this is misleading. The network of publicly-accessible space is more intricate than this, indicating an attempt to somewhat separate large-scale vehicular traffic from more localized types of traffic in these ‘super blocks.’
This is more apparent if we zoom on one of these ‘super blocks’ (see the satellite view from 2 km above). We can discern the prototypical pattern you might in some older Middle Eastern settlements with narrower streets and a marginal offsetting of blocks, designed to subtly deter through traffic in the area. Functionally, this is more akin to Olmsted’s efforts to do the same in the Riverside suburb of Chicago, though representing a much different geometrical strategy. In fact, this is more practical than the modern suburbia model of massive blocks of nebulous shape and minimal street connections, which you will find in many post-war suburbs of the United States, especially those constructed over the last 40 years. It seems likely these attempts to retain a traditional type of urban pattern while still accommodating the requirements of a modern vehicular traffic system has resulted in a tension in the urban street network, especially due to the rapid growth during the early 21st century.
Urban Patterns is a series of posts from The Outlaw Urbanist presenting interesting examples of terrestrial patterns shaped by human intervention in the urban landscape over time.
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