Montreuil reminded me strongly of something: ah yes, I remember what it was, Eastern Europe in the good old days. It had that same air of inspissated gloom and ontological pointlessness; the architecture would have gladdened the heart (so to speak) of Elena Ceausescu. The bus passed through a wasteland of 1970s modernism, egalitarian doctrine made not so much flesh as concrete. The buildings did not age, they dilapidated; it was architecture that induced immediate thoughts of suicide. (Le Corbusier is still revered in France and treated as a hero, though it should be obvious to anyone who reads any of his voluminous writings that he was a psychopathic architectural delinquent of totalitarian pretensions whose talents belonged more to the field of propaganda than to those of architecture, in which his abilities were all negative.) The bus stops were in places such as Saint-Just, the patron saint of revolutionary terror, and Nouvelle France: new in the same sense that the New Man, so beloved of Mussolini and Che Guevara, was going to be new. Montreuil is, in fact, firmly communist, and it shows, although honesty compels me to admit that I don’t know which came first: the communism or the ugliness of everything. Probably the relationship is what Marxists used to call a dialectical one.
Theodore Dalrymple, “Museum of the Living Dead”, Taki’s Magazine, 2014-01-26
January 27, 2014
QotD: Montreuil and Le Corbusier
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