Mare’s-tails are out seething across the blue sky, but down here the Berliner Luft hangs still, with the odor of death inescapable. Thousands of corpses fallen back in the spring still lie underneath these mountains of debris, yellow mountains, red and yellow and pale. Where’s the city Slothrop used to see back in those newsreels and that National Geographic? Parabolas weren’t all that New German Architecture went in for—there were the spaces—the necropolism of blank alabaster in the staring sun, meant to be filled with human harvests rippling out of sight, making no sense without them. If
Mare’s-tails are out seething across the blue sky, but down here the Berliner Luft hangs still, with the odor of death inescapable. Thousands of corpses fallen back in the spring still lie underneath these mountains of debris, yellow mountains, red and yellow and pale. Where’s the city Slothrop used to see back in those newsreels and that National Geographic? Parabolas weren’t all that New German Architecture went in for—there were the spaces—the necropolism of blank alabaster in the staring sun, meant to be filled with human harvests rippling out of sight, making no sense without them. If there is such a thing as the City Sacramental, the city as outward and visible sign of inward and spiritual illness or health, then there may have been, even here, some continuity of sacrament, through the terrible surface of May. The emptiness of Berlin this morning is an inverse mapping of the white and geometric capital before the destruction—the fallow and long-strewn fields of rubble, the same weight of too much featureless concrete . . . except that here everything’s been turned inside out. The straight-ruled boulevards built to be marched along are now winding pathways through the waste-piles, their shapes organic now, responding, like goat trails, to laws of least discomfort. The civilians are outside now, the uniforms inside. Smooth facets of buildings have given way to cobbly insides of concrete blasted apart, all the endless-pebbled rococo just behind the shuttering. Inside is...
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