Cherchez la femme: In this prose poem, Dean Kyte visits Chinatown, meditating on its exotic mystery.

The one compromised pleasure that a man used to moving his gams as energetically as yours truly can take in the current, prison-like atmosphere of Melbourne is that forced confinement focuses the flâneur’s gaze inward.

Like Xavier de Maistre, who, in Voyage autour de ma chambre (1794), takes the reader on a six-week walking tour around the room of a young officer under arrest in Turin, during the Melbourne lockdown, I’ve been taking flâneries through the footage I’ve shot in the course of my travels.

Today’s video on The Melbourne Flâneur is the product of one such prostrate promenade undertaken in bed as I flick through the files on my laptop.

One tires, after a time, of the narrow view afforded onto King street, and in such a blank, impersonal setting, eyes which are used to scanning the streets for occult meaning turn inward. Except in Paris, my introverted intuition has never been stronger than during this time: forced to look within myself for the visual stimulation I would usually seek externally in walking through the world, these days when I write or fool around with my old footage, new syntheses of memories and dreams emerge, new crystallizations of thought and image kaleidoscopically collide in miraculous revelations.

The prose poem I intone in the video above, “Chinatown(s)”, is one such synthesis of dream and memory, one such crystallization of thought and image.

I shot the raw footage on a rainy night in Little Bourke street a couple of years ago. Melbourne’s Chinatown is a particularly photogenic sight to see on nights when it’s raining hard, the red lanterns and the neon signs reflected viciously and viscously by the treacherous slate sidewalks.

Initially, I shot the footage with the intention of using it as the basis for one of the interactive menus on my latest Blu-ray Disc, Cinescritos: Writings in Image & Sound (2018). I set the camera up at a particular site in Little Bourke street which was as near as I could recall to the exact spot where I had tied into an attractive-looking dame whose life—and body—had briefly intersected with mine.

The dark and teary sky weeping on the camera lens, creating kaleidoscopic aureoles around the lanterns, had been intended to silently suggest what that spot means to me now.

But in looking back at the footage from the distance of two years hence, I suddenly recalled that this spot in Chinatown was significant to me for another brief but flaming intersection of bodies and lives: A deux pas behind the camera is Tattersalls lane, where, on another rainy day even further back in time, I had been lugged by a girl I had just as randomly picked up at my ‘office’ in Centre place.

One of the fun things for couples to do in Melbourne is to take a dérive around the city on a rainy winter’s day. Clinging to each other, flâneur and flâneuse, we took a random randonnée in the vicinity of Chinatown, escalating each other all the while.

In the course of our dérive, she steered me into Section 8, one of the more unusual Melbourne bars. It’s a popup bar cobbled together out of shipping pallets and packing containers in a carpark off Tattersalls lane. It’s not an ideal intimacy venue, but on an overcast, drizzly weekday morning when no one else is game to sit outside, you can end up going pretty far with a girl at Section 8—if the vibe between you is right.

We ended up going very far indeed that day—though not, the management will be relieved to hear, at Section 8. The place where she parted from my arms, a block east of Chinatown, was even more exposed than that, and again, the gentle rain that fell upon us as we inhaled each other’s kisses would seem, an eternity of minutes later, like a curtain of tears before my eyes as I watched her walk away forever.

I wrote in another post that I feel, after all my aventures, like the victim of a ‘baffling crime’: every femme is fatal for me, pumping a slug in my heart. And as I watched this one exit behind the curtain of tears that Melbourne lowered over the back-alley stage of our brief encounter, the mystery of the real, the way that what is external to us seems somehow to uncannily reflect the inner landscape of our consciousness, was an appropriate metaphor to mirror my perplexity at her départ.

So there is, as I evoke in the prose poem above, a sense of ‘oneiric encounter’, of sensual threat and promise for me about Melbourne’s Chinatown. It’s a place I tend to avoid in my flâneries, for the unbelievable successes in Daygame I’ve enjoyed there—(like dreams, they seem, in rational retrospect, almost too good to be true)—have left a couple of scars upon my heart.

Those two blocks of Little Bourke street evoke for me the ineffable yet dagger-like douleur au cœur I call the spleen of Melbourne.

And because of the fragrant odour of sensual threat and promise they evoke, Chinatowns more generally arouse this acute, erotic melancholy in me. The last night I spent in Paris, a girl hauled me back to her apartment in the Chinese quartier of Belleville. I remember standing at her balcony that late summer evening as she showered off the day’s work. Snoop that I am, I was looking across the street—as narrow as Little Bourke street—at the little dollhouse lives of the Asian families in the apartment-house opposite.

Their quotidian reality seemed as sensual to me as the wooden railing beneath my hands, the image of them before my eyes as sensual as the image in my mind of the girl, as magnificent as a bather by Ingres, sudsing her pearl-like belly in a room behind me.

And like her, like the railing, like tout Paris, they too would disappear from before my eyes in a couple of hours.

In the prose poem, I refer to these enclaves of sensual mystery as ‘Chinese embassies’, for there is a sense of autonomy about Chinatowns, in whatever city you encounter them.

They are privileged zones. The Chinatown of a city is like an arcade without a roof: it has all the phantasmagoric characteristics of the ‘dream street’ that Walter Benjamin identified with the passage.

Their friendship arches, like the two polychrome portals which bracket the approach to Chinatown in Swanston and Exhibition streets, serve to delimit the zone of foreign exclusivity just as the entrances of an arcade delimit its exclusivity from the street. Their lanterns hang above the street like the gas-lamps which hang in serried rows around the peristyle of the arcade.

The only difference is that, instead of internalizing the external by putting a roof over the street, Chinatowns externalize the internal, by unroofing the multi-storey rue-galerie of shops, exposing these ‘cathedrals of commerce’, with their naves and side-chapels, to the scrutiny of heaven.

As Gary W. McDonogh and Cindy Hing-Yuk Wong observe in their journal article “The Flaneur Looks Up: Reading Chinatown Verticalities” (2019), this organization of the street upon different levels, mixing the commercial with the residential, the public space with the private, is more semantically crucial to how we interpret the architecture of global Chinatowns than in other built-up urban areas.

‘While Chinatowns worldwide vary in their histories, configurations, peoples, power, and imagery,’ McDonogh and Wong write, ‘they are invariably lived at street level …. [T]hese street-level interactions mean that our eyes stray upwards only momentarily to arches, signs, or cornices or downward to half-hidden shops….’

Franz Hessel, in his book Walking in Berlin: A Flaneur in the Capital (1929), declared emphatically that ‘[t]he flaneur reads the street, and human faces, displays, window dressings, cafe terraces, trains, cars, and trees become letters that yield words, sentences, and pages of a book that is always new.’

McDonogh and Wong touch upon the fact (although it seems to me that they miss its fundamental significance) that the verticality of Chinese calligraphy in neon signage attached, over several storeys, to the façades of buildings is key to the unique way in which the flâneur ‘reads the street’ of global Chinatowns.

With a pinch of Japanese and Chinese at my disposal, the lurid neon swooshes of Hànzì leering in the night is a little less obscure to me than to most occidental barbarians. Nevertheless, as a cunning linguist, the pleasure I derive from ‘reading the streets’ of Chinatowns is not unlike the difficult pleasure I derive from attempting to read a book written in a language I am not yet proficient in: the words, sentences and pages formed by the hieroglyphs of all those things Herr Hessel enumerates are not just fragrantly ‘new’, but however bright the Sinograms beam, there are still lacunas in my understanding as vast and dark as the night itself.

You can perhaps intuit why I equate the quotidian yet mysterious banality of Chinatowns with the matter-of-fact mysteries of female behaviour.

This admixture of clarity and obscurity is the exclusive province of those ‘zones of mystery and ambiguity’ we call Chinatowns, and they seem an environmental metaphor for the ‘trade’ (deniable as such because it is plausibly deniable) that women make of love. As McDonogh and Wong observe, the Chinese genius for commerce in a hostile environment locates what is readable by the barbarian with a minimum of interpretation squarely at street level. The exotic mysteries of the Orient, however, are discreetly concealed in storeys above or below.

The intrepid—or foolish—flâneur who ventures into Chinatown must cast his eyes in the direction of his desires, must read the promises or threats opaquely veiled behind façades, just as a man must read a woman’s essential character behind the glittering mask she puts up as a front. As McDonogh and Wong observe, the ‘resolutely ordinary’ character of actual Chinatown streets interacts with our imaginary of them as ‘mythic’ and ‘mystical’ places. Likewise, behind the smoke and mirrors, the prosaic banality of women interacts with our ‘pedestalization’ of them as idols of virtue or of vice.

The ‘walk on the wild side’ afforded by Australian Chinatowns is a pretty tepid flirtation with vice. Brisbane’s Chinatown is now—like the rest of Fortitude Valley—a desert of gentrification. Sydney’s is a very shabby affair. Adelaide’s seems like an appendix to the Central Markets—which is where the real flâneurial action lies.

Only in Melbourne, it seems to me, can some vestigial sense of exotic danger still be experienced in Chinatown, and it is, I think, a function of Victoria’s more intimate and symbiotic historical relationship with China. Melbourne’s Chinatown isn’t an ‘historical Disneyland’ of a Chinatown, a ‘World’s Fair’ pavilion set down between Swanston and Exhibition streets; that much of its history has mercifully been erased.

No, it’s part of the historical fabric of Melbourne itself as a nineteenth-century city, a Gold Rush city, with all the cosmopolitan grandeur of fabulous wealth built on the corrupt grasping of international chancers.

Though he makes no direct allusion to Chinatown, in The Mystery of a Hansom Cab (1886), the great nineteenth-century novel of ‘Marvellous Melbourne’, Fergus Hume situates Little Bourke street as the epicentre of poverty and vice. After a dazzling tour of its big brother (as busy as its proverbial reputation), he leads us into Little Bourke street, whose lineaments we can still vaguely discern in Chinatown to this day:

‘But his guide, with whom familiarity with the proletarians had, in a great measure, bred indifference, hurried him away to Little Bourke Street, where the narrowness of the street, with the high buildings on each side, the dim light of the sparsely scattered gas lamps, and the few ragged looking figures slouching along, formed a strong contrast to the brilliant and crowded scene they had just left.’

San Francisco is another of these ‘nouveau riche’ nineteenth-century Gold Rush cities whose tony veneer of sophistication is like so much gilt over its foundations built on the hard graft and grasping for gold, and like Melbourne, it is famous for its Chinatown.

The symbiotic relationship that the Chinatowns of these cities have to their circumambient urban fabric is, I would contend, a function of the historical symbiosis of Orientals and Occidentals in San Francisco and Melbourne.

Their Chinatowns are more than ‘Eastern embassies’ that have failed to really take root on Western soil: they are, through their Gold Rush heritage, thoroughly assimilated into the fabric of their cities. The piquant charm of the Far East they add to the gaudy neoclassical architecture pining for the respectability of a European capital is part of the peculiar native charm of San Francisco and Melbourne.

The similarity between these two cities separated by an ocean is striking. In his story “Dead Yellow Women” (1925), the quintessential writer of San Francisco, Dashiell Hammett, has the Continental Op loosen his laconic tongue just enough to provide this vivid description:

‘San Francisco’s Chinatown jumps out of the shopping district at California Street and runs north to the Latin Quarter—a strip two blocks wide by six long….

‘Grant Avenue, the main street and spine of the strip, is for most of its length a street of gaudy shops and flashy chop-suey houses catering to the tourist trade, where the racket of American jazz orchestras drowns the occasional squeak of a Chinese flute. Farther out, there isn’t so much paint and gilt, and you can catch the proper Chinese smell of spices and vinegar and dried things. If you leave the main thoroughfares and showplaces and start poking around in alleys and dark corners, and nothing happens to you, the chances are you’ll find some interesting things—though you won’t like some of them.’

Swap Swanston for California street, and Little Bourke street for Grant avenue, and the description might almost hold for Melbourne—including the final, stinging remark. For if I have found the femmes I’ve stumbled over in the laneways leading off Little Bourke street to be ‘interesting specimens’, in my bafflement after the fact, when I’ve woken up from the opium dream of their seductive charms, I haven’t liked the feeling that I’ve just had my breast pocket picked.

As an operative of the Continental Detective Agency’s San Francisco branch, the Op is what we might call a ‘professional flâneur’ in Chinatown, though he would prefer the title he often gives himself of ‘manhunter’. I might occasionally tail some quail in Chinatown, but the Op is a big game hunter, after birds of any feather who are up to their necks in bad juju.

McDonogh and Wong state: ‘Chinatowns as mythic places often are linked to icons … of underground mysteries from film and literature that contribute to the global imaginary of Chinatowns.’ They remark ‘how powerfully Chinatown is an imagined space in popular culture, where truth and fiction mingle and images flow from cinema to history to tourism.’

Which leads me to the greatest depiction of this fluid, feminine zone of mystery and ambiguity in literature and film—Roman Polanski’s flâneur movie par excellence, Chinatown (1974), in which the eponymous, putative setting hardly figures as a physical place.

Robert Towne, who won the picture’s only Oscar for an original screenplay that has become legendary as the pinnacle of screenwriting perfection, has said that he always conceived Chinatown as a ‘state of mind’, and that he never intended the real location, in Los Angeles, to be shown.

Chinatown, to which the movie’s hero, Angeleno private eye J.J. Gittes (Jack Nicholson), makes constant, obsessive reference, is the primal scene of sexual trauma from which he cannot escape. Gittes, with his sharp suits, Florsheim shoes, and polished Hollywood manner, may have transcended his days as a flatfoot in L.A.’s Chinatown, but his profession as a ‘bedroom dick’ puts him right back in the torrid zone of fluid, feminine ambiguity.

He tells his paramour, black widow Evelyn Mulwray (Faye Dunaway), that Chinatown is a place that bothers everyone who works there. ‘You can’t always tell what’s going on,’ he says to this dame who’s as difficult to read as a Chinese newspaper. ‘Like with you.’

When you’re playing spoon with such a dish, it’s best to follow the advice the District Attorney gives his men in Chinatown and do ‘as little as possible’—for, as Evelyn’s father, Noah Cross (John Huston), tells Gittes, while ‘you may think you know what you’re dealing with, … believe me, you don’t.’

Gittes is the flâneur figure-cum-detective: his social mobility gives him a unique droit de cité in L.A., transcending the strata of society from grand monde to demi-monde, allowing him to read the tenor of the streets with the same vertical orientation that the flâneur must use as his compass in Chinatown.

In this world turned on its side, one might almost say that in the all-encompassing diffuseness of the criminal and sexual conspiracy he finds himself drowning in, ‘Chinatown’, for Gittes, is hardly a localized place but a state of doubleness, of recursive multiplicity that constitutes the whole of L.A.—a fluid nexus of evil whose centre is everywhere and whose circumference is nowhere.

And, of course, at the heart of Gittes’ fearful yet fascinated relationship with Chinatown, there is his relationship with a woman—or women, rather. ‘Cherchez la femme,’ Mrs. Mulwray philosophically says as they lay abed after exertions, echoing the demands and directives of Gittes’ clients—and other interested parties—that he should ‘find the girl’ if he wants to get to the bottom of the mystery.

But like water, there is no bottom to women’s mystery, and the alluring vessel is as arbitrary a beginning or ending point as the portals set over Chinatowns worldwide.

These are some of the thoughts I attempted to express in the video and prose poem above. In these times when contact with the outer world of Melbourne is forbidden to me, I turn my gaze inward and meditate on the mysteries of the women I have known in my flâneries around town, whose painful memories and perplexing dreams I thought I had drowned in the heart of me.

But, like the Lady in the Lake, they are not drowned, merely sleeping, and can be awoken once again by a pure heart.

I’ve made the soundtrack of this video available for purchase on my Bandcamp profile. If you would like to shout me half a coffee, you can download “Chinatown(s)” for $A2.00 and have the pleasure of my dulcet tones intoning the prose poem in your lugs pour toujours. Just click the link below.

A page from the manuscript of Dean Kyte’s forthcoming book, “Letter to My Niece”.
A page from the manuscript of Dean Kyte’s forthcoming book, Letter to My Niece. Listen to Dean read the page below.

What’s Melbourne like to live in at the moment? Grim, Jack. Very grim.

The world’s most liveable city has descended into something like the Mexican hell that Jim Thompson describes at the end of The Getaway: once you’re in the gulag, baby, there ain’t no way of getting out.

Except via the wooden kimono.

It was a little less than three months ago that I announced to you that long-term parking during Lockdown 1.0 had not been wasted time for yours truly. In this post, I announced that, besides having time to pen 27,000 words of commentary on the Coronavirus crisis, I had had time to write five complete drafts of a 6,000-7,000-word book on same for my seven-year-old niece.

Well, today I can announce that another massive step towards publishing this book has been accomplished: During Lockdown 2.0, I’ve had time to completely edit the audiobook version of my next book, recorded while I was ‘on parole’ between incarcerations.

You can listen to a sample of the audiobook above.

I am also pleased to announce the title of my forthcoming book: Letter to My Niece: Reflections during Lockdown on COVID, Technology, and the Next Generation’s Future.

It took me nearly 66 hours to research and write five complete drafts of this letter in which I attempt to explain the Coronavirus situation to my little niece; discuss the rôle I think that technology—particularly artificial intelligence—will play in her future; set forth some principles for moral comportment which I hope will serve her in times of existential uncertainty; and try to impart to her some spiritual message of hope, despite the darkness I foresee.

It was, as I said in the post where I discussed the process of writing this letter, an unexpectedly emotional experience for me. There were times when tears were streaming down my face as I penned the final, handwritten draft of the 31-page letter to her.

When I finished writing the letter on June 2, stay-at-home restrictions in Victoria were tentatively easing: we were at the end of our first week of post-lockdown liberty, although I, in a fever of literary activity, had still not left my little room at The Miami Hotel in West Melbourne.

I had my first housesit in two months scheduled for two days later in Bacchus Marsh, and I was determined the finish the manuscript before booking to Bacchus, so I could record the audiobook whilst there.

I said it took me nearly 66 hours to research and write the book from end to end. Well, to give you some comparison, it took me 5 ½ hours to record it and 48 ½ hours to edit it—a total of 54 hours.

In other words, it took me nearly as much time to record and edit what I wrote as it took me to write it.

But if you had told me at the beginning of June that five weeks later, after a brief flirtation with freedom, Melbourne would be slammed back in the slammer, and I would be editing—for weeks on end—the audio version of what I had written in the same little cell where I wrote it for weeks on end, I would hope, Señor, that you are—how you say?—loco.

No estás loco.

Copying the mail of chatter from states to the north and west of us, I doubt that anybody outside Victoria can really appreciate how dark the last two months have been for us—especially for those of us here in Melbourne.

We’re in a Stasi state: we’ve been jailed by our government for their incompetence during Lockdown #1.

When I announced the completion of Letter to My Niece to you in June, I said that I felt privileged to be a writer during the first lockdown, that the process of writing a book by hand for my little niece under such circumstances had felt like a reconnection with my ancient avocation: As the greatest minds have passed the lessons of their experience down to us by hand, their words surviving wars, pandemics and other catastrophes, so I was passing on a few sign posts gleaned from my own experience to the next generation.

But in Lockdown #2, there have been nights when I have sat in the little hotel room I am obliged by law not to leave and have literally cried at the unbelievable and escalating horror of Soviet-style repression I am ‘privileged’ to live through and bear witness to as a writer.

When I hear the horrendous tales of people’s despair in Melbourne during this second lockdown, I don’t feel privileged to be a writer, I feel fortunate.

I feel fortunate to have spent 37 years of life honing the mastercraft of focusing one’s mind and directing it, day after day, towards the realization of a distant goal: the translation of abstract thought into crystallized words on paper.

But for honing the mastercraft of focusing my mind and striving each day of this second incarceration to create—and re-create—the words I wrote three months ago in Letter to My Niece as an audiobook, I might easily be one of the heart-breaking number of people in Melbourne who, imprisoned by the Government, have ended their empty days in despair.

As I argued in this post, in understanding the situation here in Melbourne which precipitated a second lockdown, you cannot underestimate the rôle that boredom, that ennui, that a society of the spectacle suddenly relieved of all its levers of distraction played in metastasizing the discontent Melburnians feel with the Andrews Government.

A vacuum was created―and into lives and minds made suddenly empty, the Devil can find plenty of work to fill idle hands.

Fortunately, as a writer, I have work that occupies both mind and hands, and as much of an unendurable grind as I found it to edit 5 ½ hours of my own voice down to 67 minutes and 12 seconds, to turn up each day and winnow four more minutes of audio out of three hours’ work was as satisfying as that feeling a writer gets when the unenvisageable end of his book is finally glimmering on the horizon.

Don’t get me wrong: it wasn’t the pleasure of hearing my own voice for three hours a day that kept my bird up!

No, it was a repetition of the effect I had experienced in writing the words during Lockdown #1.

It happens very, very rarely, but occasionally I write words that move me to tears, and being as merciless a critic of my own work as I am, when that all too rare event happens, I know the words are good.

Getting no words of hope from the Premier, I got them from myself.

When I recorded the voice track at Bacchus, I wasn’t aiming for anything except to get through what I knew would be an all-day slog of reading as efficiently as possible.

But when, several weeks later, I began to assemble and edit the raw tracks on the timeline and cobble together ‘perfect takes’ of each sentence, much as, when writing my books, I edit my sentences down to their final, ‘perfect’ form, I was astonished to hear something in my voice I was too exhausted to notice as I was recording it.

As I edited the voice track, I was occasionally moved to tears to hear my message to my little niece delivered with an intensity, and a sincerity, and a sternness of conviction we don’t often hear from so-called ‘leaders’, and other public speakers, today.

There isn’t a parental—let alone a paternal—bone in my body, and yet I was surprised to hear an almost ‘fatherly’ tone of intense, stern conviction—as of a man setting forth an uncompromising vision with the rectitude of absolute candour—in my voice, a tone which I hardly recognized as my own.

In keeping with the bespoke æsthetic of Letter to My Niece, it was important to me that my little niece should not only be able to read my words to her in my own hand, but that she should be able to hear my voice speaking the message of hope I had written to her.

The number of times I’ve spoken to her on the telephone could be counted on less than five fingers, so she has no knowledge of who her uncle is, what kind of character that man has, or what he believes in. The audiobook, as a kind of ‘read-along’ accompaniment to the text, was intended to give her as bespoke a reading experience and as intimate an introduction to her uncle as it’s possible for so intimate a medium for communicating thought to give.

So, having got through the grind of editing the audiobook, I’m up to the design and layout phase of my Artisanal Desktop Publishing process. I hope to be able to post one more update on my progress, giving you a glimpse of what I envision for the handwritten manuscript in book form, before I officially release Letter to My Niece in the Dean Kyte Bookstore.

I can hardly wait to add a fresh product to the Bookstore, but as I tell my clients, the working of writing and publishing is ‘a work of many days’, and wait I must—at least for a few more days yet.

Have you checked out my Bookstore lately? It’s undergoing a renovation and revamp, and I’m very pleased with how it’s progressing.

I’ve added new internal product pages for four out of five of my books, as at the time of this post. If you click on Flowers Red and Black, Brazen Gifts for Gold, Things we do for Love, or Follow Me, My Lovely…, you will be taken directly to internal pages for these books, where you can now preview them online in their available formats, hear and watch me read excerpts, and order copies from me directly.

I’ve also instituted a new ‘custom order’ service, so each product page has a contact form whereby you can inquire with me directly about bespoke orders.

If you have any special requests, such as that you would like me to write a specific, personalised message when I sign and dedicate the book to you, or if you would like to purchase a number of books as gifts and want me to take care of distribution on your behalf, you can drop me a line via these contact forms and I can negotiate a custom deal with you, bespoke to your needs.

You will find me very willing to accommodate you as best I can. Particularly if you know someone down here who could use the company of a good book, I’ll go out of my way to write an encouraging dedication and prepare a thoughtful package for them.

Self-portrait of Dean Kyte.
In captivity:  Self-portrait of Dean Kyte, locked down in his West Melbourne hotel room.

Turning and turning in the widening gyre   
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere   
The ceremony of innocence is drowned;
The best lack all conviction, while the worst   
Are full of passionate intensity.
— W.B. Yeats,
“The Second Coming”

 

Your Melbourne Flâneur has been conspicuously quiet the past few weeks, despite events in Melbourne which demand urgent comment and analysis.

The reason for the buttoned-up bouche is very simple: I’ve been trying to keep the little barque of my small business afloat—in spite of the unconscionable economic vandalism being visited upon Victoria from week to week by Daniel Andrews and his government.

So I may as well throw in a plug for myself at the start.  If you’ve been following my critiques of the Coronavirus situation with interest, you might also be interested in the personal services I can provide to you.  If you’re a creative writer and you’re seeking to self-publish a thoroughly bespoke book, my Artisanal Desktop Publishing service is probably the ticket for you.  I can bring the same critical scrutiny to editing your work as I’ve brought to analysing the Coronavirus crisis.

And while I aim to be unfailingly courteous and considerate of my clients’ feelings in framing my criticisms, as you know by now if you have followed me this far in my critique, I don’t pull any punches, so if there are weaknesses in your writing, you can trust me to tell you so, and I will also suggest some strategies, techniques and approaches to strengthen your message so it lands well with your intended audience.

My special skill is providing what I call ‘content strategy’ to my clients: I can counsel you on how to logically organize your writing at its deepest level so as to ensure maximal comprehension on the part of your readers.

Of course, it would be a much more pleasant experience for both of us to work together face-to-face, but that’s not an option at the moment.  Nevertheless, we can get a good rap going over Zoom, so if you’re further afield than Melbourne—parbleu! if you happen to be overseas, even—there’s no obstacle to us working together remotely as we edit, design and lay out your book.

Visit the Contact page to get in touch with me or to book a consultation.

All right, enough with the word from our sponsors.  Let’s unbottle the tough talk.

So in my last post on the Coronavirus, I made some predictions that rapidly proved to be prescient.  Principally, I said that the next frontier in the battle about the deadly reality of this invisible belief would be fought over masks, and I noted that Victorian premier Daniel Andrews—while not making the wearing of face coverings compulsory in Melbourne at that time—had strongly lent the colour of his support to them, which suggested an imminent move towards mandating masks.

A week later, the Premier announced that you could not put your snoot outside your door in Melbourne without a muzzle over it, under pain of a $200 fine.

There are times I hate being right, particularly when it comes to my occupational talent for reading the characters of people and predicting what they will do.

Mr. Andrews couldn’t win a hand in a poker game: he telegraphs his tells a week in advance of his play.

I was sincerely hoping he would not prove me right because I knew what it would mean for his character, and for the consequential state of play of this crisis in Victoria.

It would mean that the Premier was not capable of strategic thinking, merely tactical, and that he was prepared to risk plunging not just Melbourne or Victoria but the whole country into a Hobbesian state of nature for the sake of one ill-defined goal on the health dimension.

Thomas Hobbes (1588-1679) was a political philosopher who lived through the English Civil War.  He observed to what a spectacular extent civil society can break down into a naked competition for individual power and resources.  Hobbes defined this condition as ‘the state of nature’—a multi-polar environment of mutual fear and distrust in which individuals leverage whatever tools, tactics and strategies of violence they have at their disposal to extractively centralize power and resources to themselves in a zero-sum game.

In his book Leviathan (1651), Hobbes described this state of nature as a ‘war of every man against every man’, and he said that the life of the individual in the state of nature would be ‘solitary, poor, nasty, brutish, and short.’

The zero-sum dynamics which underwrite our Faustian civilization in decline tend necessarily to drive us towards a Hobbesian state of nature: the fallacy of infinite derivatives in a world of finite resources must eventually lead to a societal collapse as our civilizational Ponzi scheme folds under its own unsustainable exponent.

You can’t keep Hoovering resources up to the top of the pyramid without the foundations collapsing under the weight.  And when that happens, alienated individuals start taking resources for themselves.

If you want to see what a state of nature might look like, take a glance across the pond at Portland and Seattle: the looting and rioting in those cities should be read as a cautionary tale of the civilizational collapse humanity is courting.

We’ve been slowly sliding towards the abyss of an all-out war of all against all for a very long time.  But it took the Coronavirus to expose just how weak the veneer of civility—and civilization—is in Western society.

Way back in March I raised the alarm with you in my first post on the Coronavirus, stating unequivocally that a global systems collapse had been triggered by the pandemic which would cascade through the economic system, through the political system, and ultimately through the geopolitical system.

I would propose that the more a civilization in its late period of senescent decadence tends towards a Hobbesian state of nature, the more one sees a quality I would call ‘mediocrity’ emerge—not only in the macro-character of its social and political institutions, but in the micro-character of the people who comprise them.

More specifically, in the descent towards a Hobbesian state of nature, we begin to more conspicuously notice in failing institutions such as governments the progressive emergence of individuals who are adept at playing the Hobbesian zero-sum power game of resource centralization and extraction from the commons.

Indeed, in the Hobbesian state of nature, I would argue, these mediocre individuals are naturally selected for by the mediocre conditions of the system.

In other words, mediocre individuals whose only genius is the tactical animal cunning which enables an organism to more or less optimally negotiate a salience landscape of risks and rewards in a state of nature begin to populate social and political institutions with increasing conspicuousness.

In the Western Anglosphere, for instance, it is hardly controversial to notice that the leaders of the four major English-speaking democracies—Mr. Trump in the United States, Mr. Johnson in Great Britain, Mr. Trudeau in Canada, and Mr. Morrison here in Australia—are all men who, prior to entering political life, had careers in the public sphere involving pretence, mendacity, deception or dissimulation—qualities which, if we were not living in conditions of an escalating state of nature, would have disqualified them for public office.

As an entrepreneur, Mr. Trump was an unashamed con man.  Mr. Johnson debased the profession of journalism with his lies.  Mr. Morrison had a career in ‘marketing’, and Mr. Trudeau was, of all things, a drama teacher.

In the Hobbesian state of nature, a capacity to pretend, to deceive, to dissemble, dissimulate or outright lie with bravura is not a political liability but a positive asset—for in a multi-polar environment of mutual distrust, in order to maximize one’s personal resources, one must be able to forge alliances of a temporary and contingent nature with other actors.

There are some resources which cannot be extracted from powerful rivals by main force but which require the subtle dissimulation of allyship in order for one to gain access to them.  These men at the apices of the pyramids of power in their respective countries are currently the most adept exemplars of the socially pathological phenomenon I call ‘mediocrity’.

Daniel Andrews is also a mediocre person.

But as, when I apply the word ‘mediocre’ to somebody, I mean it as a term of art which describes the integral quality of their character, its capacity under pressure, not as an insulting epithet, it would be as well to provide a technical definition of mediocrity, of the maladaptive, pathological traits which I believe the mediocre person typically possesses in the state of nature where he or she thrives—for the state of nature is the ‘ecological niche’ of the mediocre person.

In essence, my definition of the mediocre person is a conflation of Spengler’s Megalopolitan man and Flaubert’s bourgeois.  Spengler describes the pathology of this human phenomenon in The Decline of the West, while Flaubert, in Madame Bovary and in Bouvard et Pécuchet, illustrates the character of the mediocre person in action.

The mediocre person is a creature of the city in a civilization’s senescent period of decline, and as, in our Faustian Western civilization, the Megalopolis of ‘the City’ is now the World Wide Web, a global caliphate that is everywhere, we are all creatures of the city, and therefore more or less mediocre.

I’ll leave it to Spengler to describe the mediocre late-City man:  ‘They are the market-place loungers of Alexandria and Rome, the newspaper-readers of our own corresponding time; the “educated” man who then and now makes a cult of intellectual mediocrity and a church of advertisement; the man of the theatres and places of amusement, of sport and “best-sellers”.’

It’s perhaps worth noticing that in that short sentence, Spengler identifies all the métiers practiced by the four conspicuous examples of political mediocrity I identified above—journalism (Mr. Johnson), advertising (Mr. Morrison), theatre (Mr. Trudeau) and sport and other places of amusement, such as casinos, wrestling and television (Mr. Trump).

In its feminine manifestation, the mediocre person is Emma Bovary, indefatigably fatigued with ennui, and hence the constant victim of fashion.  And in its masculine form, the mediocre person is la Bovary’s nemesis, the progressive, pragmatically materialist pharmacist M. Homais, whom Flaubert later reprised as his two hapless copy-clerks, Bouvard and Pécuchet.

Flaubert, in his pathological hatred for his own class, the bourgeoisie, delineates the essential qualities of the mediocre person, whom Spengler defines as ‘small and shrewd’, amply possessed of the animal cunning of the trading class.  Let us not forget that the etymology of the word ‘mediocre’ stems in part from the Latin medius—‘of middle degree, quality or rank.’

The mediocre person, by Flaubert’s lights, is eminently ‘middle-class’.

And the thing about the mediocre person is that he is not unintelligent.  You don’t get very far in the game of mercantile resource centralization and extraction if you don’t have an edge of intelligence over your competitors.  But I consider this form of ‘tactical’ intelligence to be ‘mere animal cunning’, the application of the predatory instinct to the social realm which is the human equivalent to the pure state of nature.

This form of predatory intelligence is purely middle of the range.  The life of the bourgeois, citified person is entirely geared towards the goal of maximal personal resource centralization and extraction from the commons, and his education system is necessarily geared towards facilitating this practical end.

But intelligence is really an index of one’s problem-solving faculties.  It’s true that ‘making a living’ in the social realm, extracting the resources from it that supports one’s life, is as much a demonstration of the human capacity to solve problems as the tactics and techniques that other organisms have evolved to extract resources from their environments.

But at the human level of intelligence, there are higher order problems to be solved than merely extracting the resources that one needs to make a living—particularly when the problems are of a species-wide, existential nature.

The most conspicuous aspect of the mediocre person is what Spengler calls his ‘intellectual mediocrity’, his relatively modest cognitive capacity to perform these higher order mental operations of abstract problem solving.

The mediocre person is narrowly educated to be ‘fit for purpose’ in the economic domain of resource extraction, but he is conspicuously poor in his capacity to perform sovereign sensemaking.  Thus, he is the continual prey of ideological possession: the mediocre person doesn’t have ideas of his own; ideas have him.  He is their spokesperson.

This is the ‘deindividuated memetic possession’ I spoke of in an earlier post on the Coronavirus as being a characteristic of low internal individualism, the deprecation of individual freedom of thought in favour of individual freedom of action.

And it was this characterological flaw of the bourgeoisie that Flaubert mercilessly satirized at the end of his life with his Dictionnaire des idées reçues, recognizing that mediocre people imbibe their ideas from the air exhaled by those around them.

I would submit that, en revanche, genuine intelligence is a capacity to handle complexity at a sufficiently high level of resolution; to tease all the relevant variables of a problem apart, like the strands of a great tapestry; to hold them separate yet relative in their dynamic relations with one another for as long as possible as one negotiates a solution which strategically balances these variables.

Except in the STEM fields, where we have scientists working tirelessly to discover a vaccine for the Coronavirus, that kind of intelligence, that kind of strategic thinking does not appear to be in very great supply to us in negotiating the aspects of this crisis which touch most directly on people—on the social, political and economic variables of this problem.

The short-term, tactical response of mediocre leaders such as Daniel Andrews is more to throw oneself bodily on the brake of one dimension—the health aspect of this crisis—and say, ‘Well, we will sort out all the long-term damage done on the other dimensions after we have got numbers under control.’

Yet it’s precisely that approach of looking to tactically solve one salient variable in the short term by ignoring, delaying or commuting the long-term strategic solution of tangential variables which has weakened our entangled global systems to the point of civilizational collapse.

The sensemaking capacities of our socio-political institutions—including governments—are found wanting in this crisis, and in Victoria, from day to day new evidence emerges—despite the Government’s efforts to keep mum—that both the institutions responsible for the state’s response to the Coronavirus and the individuals who comprise them are mediocre thinkers—tacticians whose short-term problem-solving skills backfired in the long term.

One of the major problems for collective sensemaking in negotiating the incomputable number of variables associated with our existential crises lies in the realization that democratized universal education—the Western model of mercantile education for narrow economic purpose—has failed our civilization.

We have three generations of the most educated human beings in history currently alive, and their pieces of parchment ostensibly credential these people as the most intelligent cohort of human beings who have ever lived at any one time in history.

But education is a Hobbesian resource extraction game too.  In the civilizational Ponzi scheme of infinite derivatives extracted from finite resources, democratized education is another numbers game:  You’ve got to get a lot of suckers through the doors of the universities; soak the value out of them; pass them (since that is what they’re paying you for in exchange for the exorbitant debt you’re saddling them with); and credential them—no matter how mediocre the quality of their thought.

And because, in the Western model of mercantile education for narrow economic purpose, universities are the gateways to the professions, you don’t have to follow this Ponzi logic many steps along the chain before you realize the dire consequences for collective sensemaking in all the institutions we depend upon for a civilized life—from law, to banking, to media, to education, and to public policy.

As the Peter Principle famously predicts, everyone in a Scientific Managerial hierarchy rises to a position just beyond the level of his competence.

But in this competitive landscape of personal advancement, the capability to rise to an ultimate position of hierarchical eminence which is beyond one’s sensemaking capacity to properly serve in represents one’s optimal capacity to fraudulently extract resources from the economy and centralize them to oneself.

And when all our institutions are populated by people who are not well-placed to serve our collective sensemaking and problem-solving needs, but are excellently placed to serve their own private interests, we are primed for a Hobbesian state of nature to ensue under conditions of common existential crisis and civilizational collapse.

Public life in these periods when the cultural paradigm is in decline attracts only mediocre people—short-term tactical thinkers like Mr. Andrews in Victoria, and Messrs. Trump, Johnson, Trudeau, Morrison et al. on the world stage.  It doesn’t attract the long-term strategic thinkers, for ‘The best lack all conviction, while the worst / Are full of passionate intensity.’

Spengler, co-opting the name given to that sanguinary epoch of ancient Chinese history, calls the Hobbesian state of nature in which mediocre individuals vie for political power the Period of Contending States.  He says: ‘In the degree in which the nations cease to be politically in “condition,” in that degree possibilities open up for the energetic private person who means to be politically creative, who will have power at any price, and who as a phenomenon of force becomes the Destiny of an entire people…. [W]e have now the accident of great fact-men.  The accident of their rise brings a weak people … to the peak of events overnight, and the accident of their death … can immediately plunge a world from personally secured order into chaos.’

Tactical thinking is about maximizing short-term benefits by negotiating a salience landscape of long-term costs.  Like a pinball glancing off an array of scoring targets, you negotiate a chancy path through this valley of consequential hazards which involves trying to maximize your current resources in the hopes that you will have enough of them at your disposal to eventually deal with the long-terms costs you are ignoring, delaying, or commuting.

The worst leaders are those who are the most brilliant at tactics, for, as Mr. Trump demonstrates, their agile, impulsive responsiveness to the random windfalls of chance in a rapidly evolving situation is often in temperamental contrast to the skill of predictively calculating long-term consequences and orienting micro-actions towards macro-goals.

It’s the difference between playing checkers and go.

Like all the so-called ‘leaders’ of our time, Daniel Andrews, by the evidence of his decisions, amply demonstrates that he is not capable of strategic thinking, the balanced negotiation of short-term costs to ensure the achievement of a long-term goal, because he is, like all the so-called ‘leaders’ of our time, a mediocre person.

The evidence of his decisions demonstrates that he has risen to a position beyond the level of his sensemaking competence, but not beyond the level of his capacity to play the Hobbesian social game for fun and profit.

The quality of Mr. Andrews’ thought is mediocre.  His manipulation of the ‘algebra of thought’—human language—to express his tactical calculations is mediocre.

Strategic leadership, the capacity to inspire social coherence by virally communicating a vivid, memetic sense of the situation which can be shared by a population, cannot emerge from tactical mediocrity in conditions of existential crisis.

Statesmen are poets in their thinking and speech: they communicate ‘the big picture’ so that the population can share their strategic vision and get behind it.

In the late period of civilizational decline, however, the politicians who emerge to seize power are small and mean prosateurs—eminently bourgeois in their mediocre thinking and speech.

Mr. Andrews cannot bring the Victorian people together behind a shared sense of what the Coronavirus situation is and what it means because, in his own mediocrity of thought and expression, he himself lacks the strategic capacity to visualize the landscape of salient hazards thrown up by the lurgy at a sufficiently high level of resolution and predictively calculate alternate pathways through it.

The aim of strategy in this situation is to find a pathway which balances the endurance of acceptable costs by the population on all relevant dimensions—not merely the health variable—so as to maximize the long-term benefits for the society from the short-term costs of their temporary distress.

The decisions that the Premier has made on the social, political and economic dimensions of this problem have the hollow, panicky ring of tactics about them rather the solid, reassuring ring of strategy.

Mr. Andrews’ government has lost its legitimacy as a prescriptive authority.  The authoritarian, Scientific Managerial approach the Premier has taken to this networkcentric problem—the dictates on mandatory masks, the escalation of repressive restrictions, the imposition of draconian curfews—is evidence that, due to his mediocrity as thinker, speaker, and leader, Mr. Andrews’ has, as I predicted at the end of my last post, lost the capacity to inspire endogenous compliance by Melburnians.

When you take an authoritarian, hierarchical Scientific Management approach to a networkcentric problem, you only attempt to impose more overt control on the problem when it is already clear that you have lost it.

Take, for instance, the issue of masks.

It’s well-known that transmission of the Coronavirus is not principally a function of whether one’s face is uncovered or not: transmission is principally a function of human mobility.  Hence the justification for repressive stay-at-home measures and social distancing.

So to anyone studying the science, when the Premier mandated the wearing of masks in Melbourne on 22 July, three weeks into the Stage 3 lockdown when everyone ought properly to have been at home, he was making the tacit admission that the Government had lost control of social distancing, had lost its monopoly on violence to restrict the movement of its citizens, and had therefore lost its legitimacy as a prescriptive authority.

Melburnians were refusing to keep apart from one another by staying at home.  In effect, when he mandated the compulsory wearing of masks in public, the Premier, having lost control of the people, was throwing up his hands and saying: ‘If you insist on breaking the rules by going outside and mingling, at least wear a mask while you’re doing it.’

There are calls for Mr. Andrews to resign, but in my view, that too is an example of short-term tactical thinking.

There is nothing to be strategically gained, as far as I can tell, from removing Mr. Andrews now:  Despite the revelations of his thoroughgoing incompetence, no challenger has stepped forward who demonstrates that he has a better familiarity with this crisis as it is relevant to Victoria at the macro-level than the Premier has acquired in the past five months, so it makes no sense to change horses mid-race.

The Premier must seek to undo the damage he has done.

Moreover, in the Hobbesian state of nature into which we are entering, you have more to fear in the long term from the person who demonstrates a more exquisite degree of mediocrity by dispatching the present incumbent in a coup than from the incumbent himself.

But if our democracy endures to another election, Mr. Andrews will have to step aside from the leadership of his party.  Unless he can tactically capitalize upon some extraordinary and inconceivable stroke of good fortune which entirely cancels out the record of his incompetence in this crisis and puts his reputation with the electorate into surplus, he is unsalvageably tainted and a political liability to his party.

They can’t retain political hold of resources with Lurch at the helm.

But whoever follows Daniel Andrews as premier, from whatever side of politics he or she comes, the odds are six, two and even that his successor will be of even more mediocre character than the Chairman of the Hoard himself.

Better put your seatbelt on.  There’s turbulence up ahead.

Antique shop, Brunswick street, Fitzroy, photographed by Dean Kyte.
Closed:  Antique shop, Brunswick street, Fitzroy.

It’s time once again to take up my pen and make some pragmatic appraisals of the current situation vis-à-vis the Coronavirus here on The Melbourne Flâneur.

As the world’s most liveable city is filed in the deep freeze yet again, your correspondent is embedded in a trench à deux pas from the front line: I have merely to turn my head and take a hinge out the window and I’m nez-à-nez with North Melbourne.

Your Melbourne Flâneur’s much-vaunted capacity to exercise his gams more dexterously than a Las Vegas showgirl is not even tested in this situation: a twenty-minute stroll would take me to 33 Alfred street, the North Melbourne tower block where 500 souls are battened down while the Coronavirus creeps among them.

So, what brought Melbourne to the extraordinary pass where the Premier was forced to reinstitute a metro-wide lockdown last Thursday?

Victorian Premier Daniel Andrews didn’t exactly fall on his sword in his self-denouncing copping to culpability over the State’s handling of hotel quarantine.  It was, methinks, more an energetic probing of one’s innards with a poniard.

It will be for the State and Commonwealth inquiries to ultimately determine to what extent mishandling of Victoria’s hotel quarantine procedures was causative in the increase of community transmission we saw throughout June.  But to the snoopy snout of yours truly, the smoking pistol doesn’t seem to lie in this direction.

The breeze seems to my sniffer to be blowing from another direction, and I don’t buy the official line set forth by the Government and the media.

This is unfortunate, as it highlights the problems in schematic collective sensemaking of the Coronavirus which I have been at pains to parse in this series.

A number of factors, psychological and political—not all of them obvious—seem to me to have more directly caused the escalation in cases which led to the Melbourne lockdown.

Let’s take a range at the timeline of events.

In Victoria, to my eye at least, the graph line tracking the total number of confirmed cases appears to take on a distinct but shallow gradient around 3 May, coincident with the Cedar Meats outbreak in Brooklyn, in the City of Brimbank.

Now, of course, we should bear in mind—(for the Premier has bored us to tears with the repetition of this fact)—that Victoria has had one of the highest rates of testing for Coronavirus anywhere in the world, and the markedly different numbers in Victoria as compared to the rest of the country are in some sense a function of the fact that the testing regimen here has been so thorough.

But, as I’m going to argue throughout this article, Melbourne is once again under lockdown because of what might be called the ‘convenience of invisibility’ associated with this virus, and the more or less arbitrary response people can make in orienting their behaviour towards the reality of it due to its invisibility and its latency of manifestation.

On 8 May, following a meeting of the National Cabinet, Prime Minister Scott Morrison announced a three-step plan for the gradual easing of Coronavirus restrictions in Australia.  Each step would be implemented approximately four weeks apart commencing in May, but the precise timetable for rollout would be at the discretion of individual states and territories.

In Victoria, the decision was taken to delay the easing of lockdown restrictions and the phased re-opening of the economy by a week or two, until more testing had been done.

One can debate the virtue of caution demonstrated in this decision, but as regards the rigorous attitude taken towards testing and data aggregation in Victoria with respect to the rest of the nation, the question for collective sensemaking seems to me to hinge on this point:

Given that the enemy is invisible; given its paradoxical speed of transmission and latency of manifestation; given its astonishing breadth of manifestation—from no symptoms at all right through to mortal respiratory failure—if one chooses to believe in the reality of a foe who reconciles all these contradictions in itself, such that it beggars the common sense and credulity of ordinary people to believe in it, and then one tests accordingly for this foe on the premises that it exists, that it is widespread, and that it is a clear and present danger to the community, one is going to find—as in the case of Victoria—more of what one is looking for than if one takes a less rigorous approach based on more limited credulity.

The cautious decisions taken by the State Government seem to reflect these assumptions in sensemaking.

Yet even within Victoria, the competition of credence and scepticism about the reality and severity of the Coronavirus, and the necessity for the hard economic measures which were taken to check it, was gathering political and social momentum.

By the middle of May, the Premier was under pressure for his apparent feet-dragging over the implementation of the COVIDSafe Roadmap.  The sedative of cash injections, which had kept people safely closeted on their fainting couches at home, was starting to wear off, and the natives were now getting restless, both physically and morally.

They wanted to get out of the house, and those with any financial stake in the economy wanted to get Victoria, the engine-room of the nation, firing on all four cylinders again.

In an egregious example of what I called, in an earlier article in this series, online viral incivility, Tim Smith, an Opposition front-bencher, tweeted that the Premier was a ‘friendless loser’ for his lenteur in opening up the state again to free movement and trade, and compared him to Lurch from The Addams Family.

But the criticism that the Premier’s approach to the easing of restrictions during the month of May was contradictory and inconsistent is valid.  On 24 May, with daily cases wrestled back down to ‘sustainable’ levels, Mr. Andrews announced that on Tuesday 26 May, the state would slowly begin to unzip the kimono in earnest.

The strategy was to join other states in territories at step 2 of the three-step recovery roadmap on 1 June, but with some modifications.  Restaurants, pubs and cafés—the agoras of Melbourne life—which were assumed, under the national roadmap, to be already open, would only be allowed to open their doors to sit-in patrons on 1 June, though at the capacity commensurate with step 2.

Tuesday 26 May is a very significant date on the Coronavirus timeline.  For as we were taking our first fresh breaths of the changeable Melbourne climate, fifteen hours behind us in Minneapolis, Minnesota, a man named George Floyd was taking his last breaths of life.

The significance of this event for the metastasis of the Coronavirus situation has not been properly appreciated.  This distant event, which would have been hardly remarked in Melbourne if the equilibrium of life had not been so thoroughly knocked off its axis by the world-historical disruption of a global pandemic, is more central to our current local crisis than many people realize, or the institutional authorities of government and media care to admit.

This unfortunate incident took preponderant hold of the public imaginary all over the world, and it also took hold in Melbourne, erasing from memory events in the media cycle which were much more locally relevant and had equally exercised the outrage of Melburnians only a month before.

A Spenglerian view of history is required to appreciate what is not even an irony but a deep morphological accord of nature, a ‘rhyme’ in the poetry of time which connects events in Melbourne and Minneapolis across miles and a month.

It’s a deep synchronicity of history that on 22 April, four police officers should be killed on Melbourne’s Eastern Freeway, the driver allegedly responsible for their deaths videoing and crowing over their final moments before fleeing the scene, and that on 25 May, one man in Minneapolis should be just as outrageously killed by four police officers, his final moments also obscenely videoed.

These two events are mirrors, inversions of each other, beats in the exponentially accelerating tattoo which time, in the 21st century, is undergoing as we cycle at ever-shortening revolutions towards existential catastrophe and civilizational collapse.

In the Spenglerian view, they are, in fact, the same event repeated: only in the superficial details, the ‘manifest content’ of the news stories, are they different from one another.  In their deepest morphology, they subscribe in all essentials to the structure and pattern of events which is characteristic of our post-Faustian times.

Both are manifestations of the principle of networkcentricity which I stated, in an earlier post, as being not only the fundamental characteristic of the Coronavirus, but of the conditions of life in the 21st century.

So why, then, should one event as horrific, as callous, and as contemptuous of human life as another, separated only by the beat of a month, have inspired a global phase shift of viral incivility online, the wave of which swept to engulf Melbourne, and the other, closer to home, should not?

The answer, I would submit, is that the exponent of belief, of credulity in the reality of the Coronavirus and the necessity of containing it, was higher in the month of April than it was in the month of May, and served to constrain the exponent of metastasizing viral incivility, which had itself undergone a step function in April and May due to the enforced idleness of a global lockdown.

Though the deaths of the four police officers on the Eastern Freeway, and the alleged behaviour of Richard Pusey, the man responsible for their deaths, was equally as outrageous as the death of George Floyd and the behaviour of Derek Chauvin and the other police officers responsible for his death, the response of Melburnians in April was not to stage a ‘peaceful riot’ to protest the outrageous behaviour of Mr. Pusey.

In compliance with what can only be considered (whether justified or unjustified) as the repressive measures of the Victorian Government to constrain freedom of expression and freedom of movement during a global pandemic, Melburnians stayed in their homes, and the extent of their demonstration against this local tragedy was to burn blue lights on their doorsteps, fly blue balloons, and tie blue ribbons to their mailboxes.

This too was an example of the viral spread of imitative behaviour in a networked world, an appropriation of the doorstep demonstrations Britons had lately made in applauding their National Health Service.

The spread of this positive behaviour was a rare example of viral civility: the synchronicity of the tragedy in Melbourne with the gratitude lately evinced towards front-line workers in Britain provided Melburnians not merely with a model for peaceful demonstration against an outrageous tragedy under conditions of social restriction, but it coincided with a positive global sentiment towards so-called ‘essential workers’ who were ‘on the front line’ of the pandemic protecting our health and safety—including police officers.

By contrast, after the death of Mr. Floyd on 25 May, there would be no global sentiment of gratitude towards the police.  In a mere month, they would go from being ‘essential workers’ to agents of state repression who ought to be ‘defunded’.

There’s no historical coincidence, no political irony in the fact that on the same day that Mr. Floyd was dying in outrageous circumstances, Melburnians were moving headlong to re-embrace their heavily restricted freedom with more alacrity than caution.  In this networked world on fast forward, the global mood, the whole tenor of feeling towards the Coronavirus had changed materially in a month, morphing, metastasizing just as fast as the virus itself via the global network of media.

What I am suggesting is that, by the time the first cautious easing of lockdown restrictions commenced in Victoria on 26 May, a critical threshold of disbelief in the reality of the Coronavirus, and of boredom with the novelty of circumstances which it had brought in its train, had taken hold of the public imaginary, not merely in Melbourne, but all over the world.

As regards the Australian scene, the sedative of cash injections and other bribes to stay at home could no longer placate the plebs.  More than two months of enforced idleness where the only social exposure was to a polluted global sensemaking architecture, a cognitive commons which had itself undergone a profound metastasis in viral incivility during that time, now had people hyped up and edgy.

They wanted to get out of the house.  They wanted to be near other people again—whatever the risk or consequence.

Moreover, it had taken more than two months of watching the Titanic of the economy sink from the safety of their living rooms for people to grok to some of n-th order infinite impact consequences of the Coronavirus which I alerted you to in my first post on this topic on 17 March.  Dimly, people began to compute that the medical component of this crisis was not even the most important aspect of this affair; that there were economic, political—and even geo-political—consequences which had been set in train in Wuhan months ago.

One of the most interesting trends I began to detect in the public conversation about the Coronavirus towards the end of the Victorian lockdown was the degree to which this nexus of crises was constellating itself on the dimension of age demographics.

The young people who would shortly throw social distancing to the wind were beginning to question the moral advisability of the decision taken by governments to preserve the lives of older people, who have done comparatively very well out of our broken politico-economic paradigm, by sacrificing the livelihoods of their impoverished offspring.

The rhetoric in April was that millennials were happy to make that sacrifice, that however atrophied their sense of civic responsibility towards their elders was by the successive deceits of Boomer governments, the fund of generational goodwill was still not entirely bankrupted.

I never believed that rhetoric.  A writer is a kind of ‘applied psychologist’, and once you’re cognizant of the psycho-social laws which govern human behaviour, you’re not deceived by such wishful thinking.

I could see a backlash coming promptly.  I knew that millennial bitterness over the betrayals of our current politico-economic paradigm ran too deeply to be materially altered by such a novel event—even one of global proportions—particularly as this world-historical event is the direct product of the extractive economic policies of successive Boomer governments, who have kicked the can of debt down the road to their children and grandchildren.

By the time the ABC broadcast their Q&A program focusing on the impact of the Coronavirus on young people on 18 May, just one week before the death of Mr. Floyd, it was impossible for a sensitive observer not to perceive that the tenor of sentiment towards the measures taken by state and Commonwealth governments, valuing human life above economic livelihood, had subtly changed.

In fine, credulity and credence in the reality of the Coronavirus had been corroded by two months of enforced idleness and exposure to a polluted cognitive commons.

The spectacle of our economy is a spectacle of distraction: almost all economic levers in a leisure-class society are pushed in the direction of maximally distracting individuals from thought.  With the mechanism largely on pause, people, in their invidious game-theoretic strategizing, began to catch up in their computations and calculate forward to the probable consequences of this crisis which I alerted you to in March.

In the case of the Coronavirus, the political problem for a government who enjoins a responsibility of idleness upon an able-bodied workforce that is normally distracted from civil unrest by the mechanics of an operating economy is that, if people are locked in their homes against an invisible enemy constellated of paradoxical contradictions, and if the government’s stay-at-home directives are successful in driving down mortality (thus rendering the virus even more ‘invisible’), people begin to question the reality of a foe they can’t see, and which beggars their common sense.

As regards the current situation in Melbourne, I argue that the Government’s success in driving down mortality during the first lockdown by miraculously engaging a willing compliance from a populace whose fund of trust they had utterly overdrawn prior to this crisis was instrumental in creating conditions whereby a second lockdown would become necessary, one in which compliance can only be engaged by overt coercion.

The issue for maintaining civil order is this:  The vacuum created by a cessation of economic activity which would have ordinarily distracted people from demonstrating their antipathies towards the Government, and the directive to stay at home so that the mortal consequences of the virus were rendered invisible to people, created conditions whereby an idle populace had time to imbibe counter-propaganda about the Coronavirus via a polluted cognitive commons.

Moreover, to put it in Realpolitik terms, if a government doesn’t set a sufficiently high benchmark on the levels of mortality it is prepared to tolerate among the population it is governing, it cannot make the clear and present threat to the public’s health sufficiently visible to encourage endogenous compliance with its stay-at-home directives.

I suspect that the majority of Western democratic governments—including Australia’s—rejected the herd immunity strategy (which would have favoured the economy) and chose suppression instead not out of any principled moral stance about ‘the sanctity of human life’, but because allowing a percentage of your population to die in peacetime not only makes you unelectable at the party-political level, but opens the state up to public liability issues in the future.

In Max Weber’s terms, killing a percentage of your population in peacetime amounts to an abuse of the monopoly of violence which the state arrogates to itself.

As far as I can see, there’s no way, in a liberal, enlightened, Western democratic society, for a government to get the balance right, and in favouring life over livelihood through a strategy of suppression, the National Cabinet opted to create conditions whereby the preservation of one demographic which was mortally vulnerable to the Coronavirus metastasized civil disaffection in another demographic which was vulnerable to its politico-economic effects.

This, I contend, was the nexus of factors which crystallized in the conjunction of George Floyd’s death and the easing of restrictions in Victoria on 26 May, and it was this conjunction which led to a phase shift, a further metastasis of the Coronavirus crisis, ultimately resulting in the present lockdown in Melbourne.

By 26 May, the distracting novelty of the situation and the one carrot the Government had at its disposal to encourage short-term compliance, the sedative of cash injections, had worn off, and the paranoid counter-narratives imbibed through the polluted cognitive commons of legacy media, Internet and social media had taken unconscious hold of the public imaginary.

I submit that when the Premier released us from lockdown, a critical threshold of incredulity had been passed in the public imaginary: people were ‘bored’ with the Coronavirus, and the successful insulation against its visibility which resulted from the Government’s suppression strategy had, during lockdown, given them time to think, to imbibe paranoid, conspiratorial counter-narratives, and to question the reality of this invisible, contradictory foe with whom very few of them had had direct contact and experience.

The rôle that boredom played in the resurgence of cases here in Melbourne cannot be overstated.

For it is one of the most salient contradictions in the behaviour of this paradoxical virus that it should spread exponentially within hours and yet take two to three weeks to become manifest in a population.  And in an economy of distraction which is operating on as advanced an exponent as ours, the tempo of which is being continually accelerated by the metastasis of the media cycle, that period of latency is now outside the scope of most people’s patience or memory.

Moreover, for those who were the least physically vulnerable to the Coronavirus but the most economically impacted by it, apart from having their goodwill towards their elders overdrawn, their patience for social distancing was also exhausted.  The exercise of liberty which had been severely restricted probably led to an over-compensation in free movement, and the high spirits of youth naturally drew people who had been physically apart more closely together than social distancing allowed.

Those are two of the more ‘innocent’ factors which contributed to the increase in cases during June.

But if one of the fault-lines of social inequality which this virus has exposed is age-based, it’s more than ironic bad luck for the Victorian Government that the death of Mr. Floyd should coincide with the political and economic anxieties of millennials, who have been agitated to civil unrest by a generation who is susceptible to the Coronavirus.

I could not have predicted that the death of a man in Minneapolis would be the catalyst to the backlash I was expecting against the severe social restrictions enjoined on us by governments as measures against the Coronavirus, but I knew that in this networked world it would require only a small historical incident to set the spark to the tinder of discontent that was primed to explode in a cascade of viral incivility all around the world—even in Melbourne.

Despite being equal in its tawdry, banal horror to the event in Minneapolis—and more locally relevant—the outrageous behaviour of Richard Pusey could not have gotten people into Swanston street en masse in late April for two reasons: their patient forbearance with the Government’s social distancing measures was not yet exhausted, and they still believed in the reality of the Coronavirus.

Those factors served to constrain civil unrest.  But the death of Mr. Floyd a month later coincided with a moment when the Government had to release people from their homes because willing, endogenous compliance with social restrictions was on the verge of faltering—if it had not already begun to do so.

In such cases, a government, if it is to preserve its legitimacy, must be seen to ‘give’ people back their liberty—for if they choose to take it back in spite of a government’s edicts, that government cannot maintain social order and cohesion in the long run.

And in a world where the legitimacy of all Western democratic governments is now being questioned by their populations, in its caution over the easing of restrictions, the Victorian Government, in mid-May, was entering a more delicate—and perhaps dangerous—period for the maintenance of social cohesion than is perhaps realized.

I doubt they could have averted the defiance of their edicts on public assembly and social distancing at the Black Lives Matter protest on 6 June by easing restrictions earlier, but they certainly judged the balance poorly by waiting until the unlucky date of 26 May.

Like the potential energy contained in an explosive charge, the kinetic impetus to exercise freedom of movement rather more than was permitted after such strict containment, and for atomized agents all feeling this release simultaneously to come closer together than social distancing allowed, coincided with an historical event which had no relevance to Melbourne, but which activated the political and economic angst of people who were bored with the Coronavirus, who were sick of the ‘holiday from life’ it had foisted upon them, and who, having been shut up in their homes, had been successfully insulated from local scenes of horror similar to those in Italy which might have convinced them of its reality.

For these reasons, I would characterize the protest in Melbourne on 6 June as a ‘peaceful riot’;—for it was, if anything, a rebellion against the governmental repression of stay-at-home restrictions and social distancing.

It was peaceful in the sense that there was—mercifully—no violence or property damage such as occurred at other protests around the world, but it was a ‘riot’ in the sense that the participants mutinied against the Government’s restrictions on public assembly and social distancing as set forth in the COVIDSafe Roadmap.

Moreover, they defied the Government deliberately and with forethought, for they had two weeks, between 26 May and 6 June, to organize the protest.

To regard the protest at a deeper level of morphological recursion, it was a deliberate rebellion against the Coronavirus itself—an emphatic statement of disbelief in it by those who were not demographically vulnerable to it, and whose economic futures had been wrecked by the Government’s response to it.

When the decision was taken to stage that protest in Melbourne, it was as imitative an instance of viral incivility in a networked world as the behaviour of Melburnians had been an instance of viral civility a month earlier, when they had imitated the behaviour of Britons by protesting the deaths of the four police officers on the Eastern Freeway from their doorsteps.

They had believed in the reality of the Coronavirus then, and the necessity to keep socially distant from one another even in a moment of communal grief and outrage.  That belief had corroded by 6 June to the point where only a demonstration of overt repression on the Government’s part could have prevented the contravention of its edicts regarding social distancing at the Black Lives Matter protest.

The morphological significance of that protest for the metastasis of the Coronavirus situation in Melbourne has not been properly understood because commentary has addressed itself to the manifest content of the protest.

It is a mistake to regard the protest in Melbourne—or any of the worldwide protests which metastasized from the incident in Minneapolis—as anything other than an unconscious movement of people together who no longer believed in the invisible reason they had lately believed in as a legitimate reason to stay apart.

What actually happened in Melbourne on 6 June, I contend, is something in line with the historical principles that Tolstoy sets forth at the end of War and Peace—some unconscious, psycho-social transmission of memetic virality.

As Tolstoy argues in his account of the campaign of 1812, unconscious beliefs command masses, and so long as those beliefs hold, an army can be swept from Paris to Moscow, carrying all before it.  But as soon as that common belief fails, as soon as a critical threshold of people no longer believe in the motive idea that was driving it, the social coherence of a people, their unity in decision and action, dissolves messily.

On 6 June, an unconscious decision was taken by a great mass of people in and around Melbourne to no longer believe wholeheartedly in the reality of the Coronavirus.  They did so in deliberate, premeditated imitation of other people they had seen take this same unconscious decision in America because another belief had supplanted the Coronavirus in the hierarchy of urgency and importance through the viral memetic transmission of social media.

This was an example of the imitative behaviour which attends the viral metastasis of incivility in a networked world which is now preponderantly tending towards a Nash equilibrium of global chaos.

In the morphological view, the protest was merely a convenient cover for the global disbelief, the global doubt in the reality of this invisible enemy that beggars belief in its weird contradictions and requires too much undistracted patience to observe its reality as visible effects.  It was the desperate searching for an excuse—any excuse at all—to shuck off the shackles of repressive restrictions and social distancing enjoined on restless people by governments they know do not have their best interests at heart.

Mr. Floyd’s unfortunate death provided a convenient excuse to get out of the house en masse.

Let us not read too deeply into the demographic makeup of attendees of the protest.  Except on the dimension of age, I think it’s a much less important factor in why this event was so key to the lockdown of Melbourne a month later than the fact that a mass communal event which defied social distancing acted unconsciously to set a visible—and to some observers, legitimate—precedent for less and less social distancing in the month of June.

The rise in cases in northern and western Melbourne throughout that month is less a function of the protest per se than it is a consequence of the implicit licence that event gave to Melburnians to become (as the Premier said with understandable exasperation) ‘complacent’ in their attitude towards social distancing.

Until a vaccine is rolled out, control of this virus will always be a function of the population’s endogenous compliance with social distancing.

The particular virulence of outbreaks in northern and western parts of Melbourne—the City of Hume, the City of Brimbank, the City of Moreland—is in some part a function of socio-economic levels in the northern and western suburbs which have been inordinately affected.

Socio-economic level as a function of education implies that in conditions of enforced idleness where the only constant social contact is via a polluted cognitive commons undergoing a metastasis in psychosis, people in these communities are more vulnerable to paranoid, conspiratorial counter-narratives to the Government’s propaganda, and therefore less likely to heed or trust its haranguings about the need for social distancing.

And it is precisely in these lower socio-economic suburbs of Melbourne where a more casual attitude towards social distancing is likely to manifest itself as an increase in cases.

In my flâneries, I have had a wide experience of Melbourne and Victoria since the beginning of June.  I’ve ventured into the City of Port Phillip and the City of Yarra; I’ve been to Sunbury, in the City of Hume; I was in Bacchus Marsh, in Moorabool Shire, at the time of the protest; and I’ve lately come back from Sale, in Wellington Shire.

In greater Melbourne, at least, my anecdotal observation in June and July was that, wherever I went, people had utterly abandoned the idea of social distancing.  It’s been rather vexing to endure people trying to sit in your lap while you’re standing up the last several weeks, practically draping themselves over you like a mink stole as you wait at traffic lights.

In the acceleration of the media cycle, the Coronavirus, in the minds of Melburnians, was ‘over’ weeks ago.

By means of online viral incivility, the outrageousness of the death of Mr. Floyd hijacked a sufficient threshold of attention in this economy of distraction as to push the Coronavirus down the news feed in people’s minds.

My prediction is that the next phase shift, the next level of metastasis that the Coronavirus will undergo is as a tool of overt coercion and repression by governments around the world.  In Australia, at least, our Government had a honeymoon period of trust with people which had more to do with self-interest than goodwill towards the Government: as long as people believed their lives to be threatened by this invisible foe, they were prepared to go along with the repressive measures prescribed.

But as Professor Liam Smith, a behavioural psychologist at Monash University who has been advising the Victorian Government, stated on the ABC’s 7:30 program, it is probable that we will see lower levels of compliance with a second lockdown in Melbourne.

This is because people are exhausted and bored with this pandemic, which is no longer a novel experience, and in their distractibility, their minds have become hardened and resistant to the Government’s message of social distancing.

Having heard Mr. Andrews’ uninspiring rhetoric all before, they’re tuning ‘Lurch’ out this time around.

Throughout human history, institutional authorities have used invisible beliefs to coerce endogenous compliance with their policies in the populations they govern.  The principle is that the belief is invisible but immanent within the population: the evil walks among us.  It is probably even within our own hearts and minds.

But unlike ‘the Devil’ in medieval times, the threat of ‘Communism’ during the Cold War, the threat of ‘terrorism’ after 9/11, or even the threat of systemic ‘racism’ that has undergone a phase shift in metastasis since the death of Mr. Floyd, the Coronavirus is the most ‘made-to-order’ invisible belief that governments have had to coerce endogenous compliance from their populations in a long time, because unlike the examples cited, the actual mortality of this invisible belief means that there is less room for doubt and plausible deniability by naysayers.

Moreover, if you don’t think the Coronavirus is a carpet-bagging gold rush on coercive data collection, another tool by governments to track and surveil your movements each time you enter a shop or sit down at a café, you’re not thinking about the long-term ramifications of the short-term justifications for ‘contact tracing’.

I’ll wager that the next front in the metastasis of the Coronavirus as an invisible belief to justify coercive endogenous compliance is the wearing of masks.

Just as a global dissolution of credulity in the Coronavirus began in America with the unfortunate death of Mr. Floyd, we already begin to see that societal fault-line manifesting itself in America.  While the Victorian Government hasn’t made the wearing of masks mandatory, the Premier leant the colour of his support to the wearing of masks over the weekend.

As an identitarian flag identifying those who subscribe to the faith and those who don’t, the wearing or not wearing of masks, I wager, will soon become weaponized as another convenient tool of governments to divide populations and keep them distracted from the carpet-bagging data-grab.  Mask-wearers will be suborned by their sense of duty into policing the infidels, shaming them into compliance through viral incivility on social media.

That’s my bet.  Anyone care to take that action?

Today The Melbourne Flâneur comes to you from Sydney!

Well, the video above does, anyway.  The footage—and the story contained in the brief essay I regale you with in the video—comes from a weekend stay in the inner-city suburb of Paddington some eighteen months ago.

I had just finished a housesit in Gosford.  I had been invited to stay a couple of nights in one of those beautiful old terrace houses which are so common in Sydney, looking after a couple of dogs for the weekend before I booked back to Melbourne.

The terrace house was a couple-three blocks back from Oxford street, overlooking the Art and Design campus of the University of NSW, housed in an old brick schoolhouse.  The terrace was two storeys and a sous-sol, one of those gloriously perverse constructions with Escher-like staircases, mashed in a block of similar houses on a slight slope.

When I have a housesit, I don’t usually go out at night.  As a flâneur, the street is my home, and I feel like I spend enough time on it, spinning my wheels ça et là in search of romance and adventure.

But to be so perfectly placed in Sydney for 48 hours was too good an opportunity to pass up.

Night #1 I ambled up Darlinghurst road to Kings Cross for dinner.  I was armed with my trusty Pentax K1000 and Minolta XL-401 Super 8 camera, both loaded for bear with Kodak Tri-X film.

My mission was to scout and clout some suitably seedy Sydney scenes on celluloid.

I chowed down in an Italian joint in Potts Point; took a tour of the lighted windows of the handsome homes in that part of town; dipped the bill on the terrace of Darlo as I scratched a dispatch to myself in the pages of my journal; and bopped back towards the pad.

My bowtie drew some comment as I crossed Oxford street, but I managed to make it to the other side without being assaulted.  As I was mainlining it down South Dowling street, my eagle œil de flâneur clocked something curious in Taylor street, a narrow, one-way artery branching off the Eastern Distributor.

That’s the footage you see in the video above.  My eye was caught by the gentle, teasing undulation of the verdant leaves veiling and unveiling the moon-like gleam of the streetlamp.  I set up my camera on the corner to capture it.

I sauntered back to the terrace house and ambulated the hounds, first one and then the other, before we all reported for sack duty.  The dogs were staffies, but the older one, Bella, was weak on her pins and only needed to go as far as the corner and back.  Buster was young and vigorous, and I was under orders to give him a tour of the whole block before retiring.

I got him on the lead.  The eerie, pregnant peacefulness of Paddington after midnight, an inchoate intimation of which I had scoped in Taylor street, symbolized for me in the striptease played by the leaves and the streetlamp, took hold of me as we passed the dark terrace houses.

I tried to imagine the inconceivable lives behind these elegant façades, the way you might take the front off a doll’s house to get a glim of the works inside.  I couldn’t do it.  The lives of Sydneysiders seemed too rich and strange.

We turned the corner into Josephson street, another narrow, one-way thoroughfare similar to Taylor street.  Buster got the snoot down to do some deep investigating while yours truly lounged idly by, doing some snooping of his own.

I took a hinge on the quiet street, attempting to penetrate the poetic mood of this friendly darkness which was in Josephson street too.  This ‘mood’ seemed to be general all over this part of Paddington.  I patted the pockets of my memory.  What did this place remind me of…?

It was then that ‘The Girl’ tied into us, and if you want to know what happens next—you’ll have to scroll up and watch the video essay!

It’s adapted from a couple of paragraphs I scribbled in my journal a couple of nights later, when I was on the train back to Melbourne, meditating on my weekend as a ‘Sydney flâneur’.  As the familiar scenes unspooled beside me on the XPT, taking me away from that brief oasis of unexpected experience, a nice coda to my Central Coast ‘holiday’, I got some perspective on what that poetic mood—which possesses me in all my photographs and videos—might be.

Nothing refreshes the flâneur, that restless spirit perpetually in search ‘du nouveau’, more than a fresh city to test his navigatory chops on.  My experience traipsing the streets of Paris has given me a navigatory nonchalance in any new urban environment which often astonishes—and sometimes even alarms—people.  Put a map in front of me and I’ll betray my bamboozlement by turning it ça et là, but my sense of topographical orientation—the map I make of places in my mind—is very good indeed.  I don’t have to be in a place very long before I’m naming streets to locals as though I’ve lived there all my life.

Sydney, however, still poses a challenge for me.  One of my readers, James O’Brien, put me on to the trick.  According to James, the secret to navigating Sydney is to think of it in terms of hills and Harbour: if you’re going uphill, you’re heading towards the Blue Mountains; if you’re going downhill, you’re heading towards Sydney Harbour.

It’s a neat trick.  I wish I had known it during my 48-hour furlough in Paddington.

On the Saturday, I decided to test my mastery of Sydney in a walk which will no doubt leave my Sydney readers wondering how I managed to do it without map or compass, a tent and several days’ provisions, and the assistance of a sherpa.

And indeed, as I look at my parcours in retrospect on Google Maps, the rather incredible breadth of that expedition (which included a few wrong turns) does seem to show up the difference between a ‘Melbourne flâneur’, like yours truly, and a ‘Sydney flâneur’.

A Sydney flâneur, I dare say, would never have attempted it, because the main difference between Melbourne and Sydney is that the former is a much more ‘walkable’ city.

In Melbourne, you can walk quite a distance, if you’re inclined to.  To walk from the city to Brunswick, or from the city to St Kilda, is not a wearisome proposition.  The streets are logically arranged, the terrain is not fatiguing, and the experience is altogether a pleasurable one.

But to be a Sydney flâneur requires strategy rather than rugged endurance.

To walk from Paddington to Green Square via Bourke street, then back up to Redfern via Elizabeth street, and finally across to Newtown, with no map and nothing but the sketchy guidance of the bicycle lane to orient you, probably strikes my Sydney readers as the flânerie d’un fou.

With time out for coffee at Bourke Street Bakery and diversions for the dispensing of dosh on vintage bowties and button suspenders at Mitchell Road Antiques, how on earth did I accomplish such a trajet in one day with hardly an idea where I was going?

Je ne sais pas.  But it was a thrilling experience to walk a city which I don’t think any city planner ever intended to be seriously trod.  You may be able to travel through Melbourne without a car, but Sydney?

Though I cheated on the way back, training from Newtown to Central, and bussing from Central to Flinders street, I wasn’t done filing down the heels on my handmade Italian shoes that day.

Night #2, heavily armed with cameras, tripod and paraphernalia, I attempted an even more ambitious nocturnal sortie for a flâneur who isn’t altogether au fait with Sydney.  My plan was to make a massive foot-tour to Circular Quay and back.

I struck out along Oxford street and rambled through Hyde Park around dusk.  I inhaled a digestif at Jet, in the Queen Victoria Building, while I unburdened myself to my journal.  Then I went on the prowl, Pentax primed, tacking stealthily towards Sydney Harbour by way of George street.

There was some sort of to-do in George street between the QVB and Martin place—I forget what, but a lot of revellers and rubberneckers.  My cat-like spirit bristled at the noise and lights and I was glad to get clear of them as I stalked north.

There was a full moon set to scale the sky over the Opera House that night.  Having purchased a fresh cartridge of Tri-X from Sydney Super 8, I set up my Super 8 camera by Circular Quay, counting off a long timelapse of the Harbour under my breath and remembering how I had once, on a disastrous second date, walked past this spot, arguing about the comparative architectural merits of the Harbour Bridge vis-à-vis the Opera House with a French girl I had picked up at Darling Harbour two days earlier.

We had not been able to agree on that or on anything else that day, and I had been glad to get my luggage out of her apartment, get rid of her, and get on a train back to Melbourne.

It was getting on towards midnight.  I retraced my way back to Town Hall via Pitt street, the lunacy of the high moon and the memory of past amours working their poetic powers upon my spirit, inspiring me to squeeze off a shadowy shot with the Pentax here and there.

I was too foot-sore to trudge on to Central.  I had been on my dogs all day, so I saved some Tuscan shoe leather and shouted myself a trip on the Opal card at Town Hall station.  On the short train ride, tired as I was, I had my senses sufficiently about me to admire the hard, shiny Sydney girls, hot and fast as the slug from a Saturday night special.

Once I had had it in me to cut across their frames and charm even the hardest chica, but I was beginning to think my days as a pocket-edition Casanova were over.

I thought of the girl in Josephson street.  Was I getting fussy in my encroaching middle age?  Or was I just developing belated good taste?

When I got back to the terrace around one a.m., I got the hounds out for their third and final walk of the day, but lightning did not strike twice:  I did not see the girl in Josephson street again.

I hope you enjoyed this reminiscence of one of my flâneries.  I received a lot of positive feedback from followers and visitors to this vlog saying that they enjoyed listening to me reading the audio versions of articles I wrote on the subject of the Coronavirus.  So I decided to start releasing the soundtracks of my videos—like the one at the head of this post—for purchase via my Bandcamp profile.

For $2.00, less than the cost of a coffee, you can have my dulcet tones on your pod pour toujours.  Just click the link below to support me.

“The Melbourne Flâneur”: “The Poetics of Noir”, by Dean Kyte
“The Poetics of Noir” (2020)

Dean Kyte, as photographed by Alfonso Perez (@alfonsoperezphotography on Instagram).
Hors des ombres: Portrait of Dean Kyte, photographed by Alfonso Perez de Velasco.

Being a Daygamer myself (albeit one who considers himself ‘retired’ from the Game), your Melbourne Flâneur is a very tough cookie to crack: knowing every trick and technique for stopping a stranger in the street, you can’t arrest the flow of my flânerie if I don’t want to stop for you.

But photographer Alfonso Perez de Velasco (@alfonsoperezphotography on Instagram), ‘loitering with intent’ near the corner of Lonsdale street, caught me on a good day as I sailed confidently down Elizabeth street, and I couldn’t turn down his sincere and complimentary request to snap a portrait of me, the photo you see above.

It’s perhaps too much of a cliché to say that this talented Madrileño now living and working in Melbourne has painted me in a typically Spanish light, with shades of Ribera about me, but I think he’s captured something essential about your sombre, sombrero’d scribe, that blend of light and dark inside a single look which is eminently Goyesque.

With my humour and melancholy, my Machiavellianism and my empathy, I am nothing if not contradictory, and I think Alfonso captures that ambiguity nicely.

It’s a handsome portrait, and very much in keeping with the moody Melbourne style of Alfonso’s street scenes, which really resonate with me. Though he works in muted colour, if you check out his photos on Instagram, I think you will agree there’s a certain similarity with my own black-and-white flânographs around town.

I was feeling ‘everything plus’ that day, all suited up and sharp enough to shave with as I recovered my mantle as a man about town.

As you can just make out in the photograph, I had my chalk-stripe, slightly zootish, suit on—what I call my ‘Big Sleep suit’. It’s my take on that handsome double-breasted chalk-stripe suit that Bogart sports in The Big Sleep (1946) while he’s flirting outrageously with Lauren Bacall.

I was wearing a black shirt with a grey-and-white floral pattern, dark silver tie, black display kerchief with grey Martini glasses on it (courtesy of Fine And Dandy and Brisbane Hatters), and a dark grey vintage Stetson Whippet to cap the ensemble. The slightly clashing touch of chocolate-coloured scarf and gloves was my only concession to the tardy onset of the Melbourne winter. I had my Dunn & Co. trenchcoat slung casually over my Czechoslovakian officer’s map-case, which serves as a stylish satchel for porting my tablet.

I was everything the well-dressed writer-about-town ought to be.

I wasn’t, as Raymond Chandler says, ‘calling on four million dollars’—(tant pis)—but I was just about to call on Elite Office Machines Co. in Carlton to pick up my freshly serviced Silver Reed typewriter.

So I was feeling O.K. that day.

Dean Kyte, as photographed by Alfonso Perez (@alfonsoperezphotography on Instagram).
Light and dark inside a single look: Humorous and melancholic, Machiavellian and empathetic, writers are ambiguous characters.

During lockdown, I had a chance to catch up on some reading, and one of the books that came my way was Jocks and Nerds: Men’s Style in the Twentieth Century (1989), by Richard Martin and Harold Koda. It was written at the tail end of the ‘Greed is Good’ eighties, so there’s a touch of quaintness about the authors’ commentary: though acknowledging that standards have slipped since the 1960s, Messrs. Martin and Koda have no clue as to how far they will descend in the thirty years up to the present day.

Their thesis is simple yet compelling: ‘We believe that men are knowing in making choices among style options, and that they dress to create or recreate social roles. Both men and women seek to realize roles and identities, but since men’s options in dress would appear to be the more acutely restricted, perhaps selecting a role has assumed more importance for them than it has for women. A man’s role is his operative identity; style choices follow therefrom.’

I like the phrase ‘operative identity’, for it points to the fundamental ‘uniformity’ of men’s style, the basis of almost every garment in the masculine wardrobe in an historical military analogue.

Indeed, Martin and Koda identify twelve such ‘operative identities’ that we men tend to take on as the social rôles by which we choose to be known, and their book is arranged in an ascending hierarchy of these ‘types’, from the ‘Jocks’ and ‘Nerds’ of the title, through the ‘Military Man’, ‘Hunter’ and ‘Sportsman’, up to the ‘Businessman’, ‘Man about Town’ and ‘Dandy’.

The argument seems true that, due to the mobility of action that is the masculine prerogative, at a certain point early in a man’s life, he chooses the rôle that he is going to play, the branch of ‘the Services’ he is going to go into.

Is he going to be a soldier? a blue-collar worker? a white-collar worker? a professor? There’s a ‘uniform’ for every métier that men undertake, and even the most récherché uniform, that of a literary dandy like yours truly, is thoroughly—albeit subtly—based in a military antecedent.

Martin and Koda go on to say: ‘Conventional wisdom has it that men dress to be conventional, but those with insight into male dress might hold that men dress to realize dreams, to be themselves through being someone other than themselves. If, as Shakespeare would have it, “apparel oft proclaims the man,” perhaps it is true that it both claims and proclaims him.’

I agree, for not only do we know a man by the uniform he wears, but the key point is that, unlike for the dames, our trade, boulot or profession is our operative identity: a man is the job he does, and in subscribing to the uniform, he subscribes equally to the professional etiquette of the rôle.

We have certain expectations of the cowboy, just as we have certain others of the lawyer, and the man who inhabits the uniform of either trade will seek earnestly to inhabit the professional expectations we have of him.

Indeed, for most men, it is a point of honour that their behaviour and comportment is congruent with the deportment of their life’s rôle.

But is there, you may ask, really a ‘uniform’ for a writer?

Well, Martin and Koda are instructive on this point, for not only is their book liberally seasoned with pictures of men of letters, but it opens with a spread lifted from the pages of Harper’s Bazaar Uomo in which a contemporary spin is placed on the ‘looks’ of such literary giants as James Joyce, F. Scott Fitzgerald, and Henry Miller, among others, demonstrating that men who spend their lives ‘off the stage of life’, cloistered in their studies, may be equally ‘leaders of fashion’ to other men.

‘Would a businessman care to walk in the shoes of James Joyce?’ Martin and Koda ask. ‘In the intimacy of a clothing decision, he might, signalling an affinity with the writer. … [T]he male chooses a family tree, a heritage, a sense of identity or likeness that is most compelling because it is not enunciated but simply visually implied.’

And indeed, surveying this spread and the other portraits of writers in this book, one sees a subtle uniform ‘visually implied’: the rakish chapeau, the tie—whether straight or bow—which is more alluring than the usual garotted neckwear, the suit of emphatic cut, or of bold stripes or mysterious patterns, the raincoat which is ported quixotically in all weathers.

I have observed elsewhere on this vlog the unusual number of writers who tend to be dandies. Why should we men of letters, cloistered away from celebrity-hungry eyes in our airy towers of intellect, be so passionate about such an ephemeral subject as fashion?

Well, as I said in my post on ‘What is a flâneur?’, there is no better prima facie indication of an orderly mind than the attention to detail that a man pays to his deportment. If a man cannot order the outer world of his person—(or, worse still, declines to do so, for this betrays a manque of strategy in his thinking)—it is doubtful whether he possesses the energies to order his abstract inner world through words.

In his book Legendary Authors and the Clothes They Wore (2017), fashion journalist Terry Newman made a close reading of thirty authors and their sartorial style, arguing that the distinction between the ‘outer’ and ‘inner’ man of letters is not really as invidious as one might think at first glance, with an analogue of the writer’s unique literary style manifesting in the arena of his personal style.

Reversing the lens, is there anything that could be divined about my style as a writer from how I dress?

Dean Kyte, as photographed by Alfonso Perez (@alfonsoperezphotography on Instagram).
Dandy in the underworld: The dandy and the gangster both appropriate and subvert the businessman’s style.

Well, judging from Alfonso’s pictures, I probably look like the man who runs the Melbourne underworld. More than once have others compared my sartorial style—the love of loud pinstripes and clashing contrasts of dark shirts and light-coloured ties—with that of Al Capone.

As Philip Mann observes in The Dandy at Dusk: Taste and Melancholy in the Twentieth Century (2017), the gangster, like the dandy, masters the sober uniform of the Businessman and pushes it to a récherché extreme, beyond the conventions of conservative rectitude, to the point of parody. The gangster, like the dandy, is the rebellious ‘inversion’ of the rôle of the Businessman. But whereas the dandy in some sense ‘satirizes’ the hypocrisy of the bourgeois Establishment, the gangster savagely exposes the blood on the Businessman’s hands, making no bones about the fact that the easy wealth of his ill-gotten gains comes from ‘making a killing’.

Certainly, the rather Italianate character of my prose, full of mannerist touches, might have an analogue in my Medicean love of outrageous intrigue.

It’s interesting to note that the Businessman eschews black in his wardrobe, whereas the gangster and the dandy both revel in it. As Martin and Koda say, ‘The rebel wears black. … Black serves as a sign of social militancy and provocation for men in a way that it does not for women. … [M]en in this century have worn gray or a limited palette of colors in deliberate avoidance of black. When black enters the wardrobe, it arrives with arresting authority and with a social goad.’

It’s the colour not merely of the transgressive Businessman personified by the gangster, but the colour of artists and poets, according to Martin and Koda. Citing Valerie Steele’s Paris Fashion (1988), they describe the ‘triumph of black’ habitually ported by Charles Baudelaire as a ‘bohemian black’ which synthesizes the poet’s aspirations towards the Establishment of the French Academy with his inescapable outcast nature as an unreconstructable renegade.

And in its rebellious association with men who are intellectual threats to the established order of their societies, there is not merely something ‘clerical’ in the nature of black, according to Martin and Koda, but something perversely ‘spiritual’ about this most abjured colour: there is an almost satanic ‘purity’ and ‘cleanliness’ about black, and the man who takes on the rebellious rôle of artist or poet takes on the uniform of an heretical priesthood, dedicating himself to ‘l’art pour l’art’.

I don’t know that I’m so habitually ensconced in black as I am in Alfonso’s photos, but certainly the Velázquean voluptuousness and elegance of black, its noirish, tenebrist radiance—with all the ambiguity and contradictions it suggests—makes it a staple of my wardrobe, a colour that synæsthetically resonates with my nature.

It’s a colour which symbolically connotes a man—whether he be gangster, spy, priest or poet—engaged in some shadowy enterprise, and as I said above, a writer’s work takes place ‘off-stage’, in the ‘backstage’ of life.

Nevertheless, there is a subdued ‘flamboyance’ about the writer: taking the stage only retroactively in the imagination of his readers, the deeply introverted, dandified man of letters perhaps sublimates his repressed performativity in the dark radiance of his uniform.

The trenchcoat, that outrageously démodé relic of the First World War has, ‘[i]n an almost inexplicable combination of meanings and implications,’ according to Martin and Koda, become inextricably associated with men who make their living by the pen and the typewriter, whether they are reporters or writers.

It has transformed itself, they say, from its weatherable functionality as a dependable part of an officer’s uniform, to the ‘sign of the individualist’ in civilian life.

‘It has since come to be identified with good taste,’ Martin and Koda write, ‘but with romantic overtones associated with writers, artists, and individualists…. Defying the convention of the wool overcoat, some men have insisted on wearing the trench coat as standard outer wear, not waiting for rain to justify the versatile and quixotic coat of the visionary….’

On the day Alfonso snapped me, I had just conveyed my freshly relined woollen overcoat to the dry-cleaner in anticipation of the Melbourne winter, so I just had my trenchcoat with me as a potential topcoat.

I would have had it anyway, for in Melbourne, one needs to be prepared for any eventuality—even at the risk of appearing ‘quixotic’—and I rarely step out the door without my trusty Dunn & Co. raincoat, which can equally serve as sufficient insulation against an autumnal Melbourne breeze.

I think the ‘visionary’ nature of this article of apparel probably stems from the ‘quixotic’ tendency of certain careful men (as any man of letters should be) to port it in all weathers, as a dependable, respectable, all-weather topcoat.

Winston Churchill, visionary individualist as a statesman, though quixotic to his contemporaries, was the writer not only prescient enough to foresee ‘the gathering storm’ of the Second World War from a long way off, but was the historian capable of compassing its complexity in retrospect, and he stubbornly ported his Aquascutum in fair weather as in foul.

With certain American writers—Henry Miller and William S. Burroughs among them—the trenchcoat has attained to the status of a signature element in their wardrobes, its patrician associations with officer’s garb and its democratic appropriation after the First World War suggesting a reversal of these writers’ pulpy American origins and their take-up by sophisticated Parisian publishers.

The trenchcoat’s style, like their literary styles, suggests the ‘down-at-heels’ elegance of a declassed gentleman.

For myself, being fundamentally a Parisian at heart, the trenchcoat is an ‘incontournable’ part of my uniform as a flâneur. It’s both strange and a testament to its hardiness and adaptability that this fundamentally British article should undergo so many transatlantic crossings, becoming indissociably associated in the public imaginary first with America, as the garment-of-trade of the intrepid reporter and gumshoe, and then with the French capital, as the grey flag of world-weary existentialists like Camus and Sartre, the tails of their raincoats flapping against the grey Parisian sky.

More than London, the trenchcoat, as article of choice of both Philip Marlowe and Jef Costello, seems as much the symbol of rainless L.A. as of perennially grey Paris, and Melbourne, sharing something of the atmospheric effects of the latter, is also a city in which the incognito camouflage of its mysterious greyness is appropriate for the writer-flâneur, a man whose profession is to be an ‘undercover reporter’ of life.

The thing about a trenchcoat is that, like a hat or a good pair of shoes, it requires the patina of age to look elegant. As Messrs. Miller and Burroughs demonstrate, a trenchcoat needs to look fashionably rumpled—like those gents themselves.

I’ve had my dun-coloured Dunn & Co. almost all my adult life—and it’s probably older than I am, since I acquired it in an op-shop on the Gold Coast when I was a mere gamin of twenty, by which time the venerable British brand had gone the way of all fashion.

It has traipsed with me through the jardin du Luxembourg, as my sole insulation against miserable days in Paris, just as it has served as an improvised blanket under which to do some fooling around with demoiselles Daygamed in Melbourne’s Treasury Gardens.

The Fedora and the trenchcoat, as the crown and the gown of your Melbourne Flâneur, this ‘prince qui jouit partout de son incognito’, as M. Baudelaire says, are probably the key symbols of my style, both personal and literary.

I’m most grateful to Alfonso Perez de Velasco for his handsome portraits of me, and I recommend that you check out his Instagram or visit his website to see more of his photographs, including Melbourne street scenes, other denizens of our fair city, and interesting travel pictures from around Asia.

As Coronavirus restrictions ease, today on The Melbourne Flâneur, I get out and about for the first time in two months, taking a flânerie to Bacchus Marsh.

Don’t be deceived by the boggy name: Bacchus Marsh is actually quite a nice place to visit, particularly at the start of winter, when all the trees along Grant street, leading from the station to the township, set up an arcade of red and yellow leaves for you to amble under.

At Maddingley Park, I take a breather at the rotunda to share with you a sneak preview of the manuscript for my next book—a 31-page handwritten letter to my seven-year-old niece, which I wrote during lockdown.

As soon as things got too hairy on the streets, your Melbourne Flâneur, that aristocrat of the gutter, folded up pack, shack and stack and got his handmade Italian brogues parked in more private and stable accommodation than he is used to treating himself to.

For two months, I was sequestered in a West Melbourne hotel room, my world reduced to a single window looking out on a narrow sliver of upper King street.  If I crowded into the left side of the window and craned my neck, I could entertain myself by trying to work out on what streets all the tall buildings in the Melbourne CBD were planted.

To say (as I do in the video) that I felt like I was in a ‘gilded prison’ is not to deprecate the kind folks at the Miami Hotel, who I’m very happy to recommend to any visitors to our fair city, but rather to suggest what a strange and vivid time it was to be a writer of a peripatetic persuasion, one who finds his home in the crowd.

In Australia, in the early days of the lockdown, we saw scenes of people returning from overseas being bundled and bullied into suites at Crown, on the government’s tab, and exercising, like les bons bourgeois that they are, their privilege to grouse on Instagram that their confinement in palatial conditions was not up to scratch.

These people enjoyed little sympathy from me.  As a writer, the argument that such palatial prison conditions were doing a permanent injury to their mental health cut no ice.  Rather, if the mental health of people forced to enjoy such self-isolation at Her Majesty’s expense deteriorates, it is evidence of how little developed are the mental resources of a chattering class to whom every ease and privilege is given in a society that clamours after more and more leisure aided and abetted by technology.

Harsh words, I’ll admit, but as a writer, I found my more modest confinement at the Miami a unique historical privilege which reconnected me with the ancient heritage of my craft and profession.

As soon as I was undercover, as those of you who followed my commentary on the Coronavirus crisis know, fearing the worst, I went straight to work and tried to scratch out every idea and cobble together every piece of research I could find in an effort to make good sense of what the continental was going on outside my little room.

For reasons of historical precedent I’ll explain, I felt—and feel—that the moral responsibility of the writer in a time of crisis is to throw the skills of his profession at the task of collective sensemaking.

And so, while my confrères at Crown faffed and fapped on Facebook and engaged in other acts of mental masturbation with their mobiles, I wrote.

And in fact, apart from penning six long articles on the Coronavirus (which, collectively, could constitute a book on their own), I wrote an entire book—five drafts in two months—for my little niece, attempting to explain the situation to her.

The fifth and final draft takes the form of a 31-page handwritten letter to my niece.  It took 25 hours to write, and you can see in the video what the entire manuscript looks like.  When spread out in three rows across a table capable of comfortably seating eight people, the manuscript is still wider than the tabletop.

It was an extraordinary experience to ‘write a book by hand’.  I thought, when I sat down to handwrite the final draft, that it was simply going to be a ‘copy job’, that I was not going to add anything new or creative to what I had worked up in the previous four drafts.

But when I got in front of the first page of my personalised stationery, when I had my two Montblanc Noblesse fountain pens (one filled with Mystery Black, the other with Corn Poppy Red ink) primed, the experience of committing myself to the words I intended to publish felt like no other book I have written.

Suddenly, the page became a ‘stage’ for me.  I was on the stage, and this was the performance.  The four previous drafts were mere ‘rehearsals’ for the Big Night, and having learnt my ‘script’, I felt free to improvise upon it, to add and change things as I spontaneously wrote the message of hope and support I intended to communicate to my niece.

Sometimes my eyes even filled with tears as I wrote.

If you know what a ‘Flaubertian’ writer I am, how much I bleed to get a single word onto the page that I am even provisionally satisfied with, you can imagine what an experience it is to write a book that is a ‘spontaneous performance’, where the words I ultimately committed myself to as the words I intended to say for all time to my niece about the Coronavirus, about the rôle of technology in human development, about the future of her generation, were as ‘humanly imperfect’ as only the words of a handwritten letter can be.

If you’re intrigued to know what I had to say to my niece, I give you a sample of the first few pages in the video above.

And it’s not simply the fact that the ‘spontaneity’ of a handwritten letter gives the book a sense of the ‘humanly imperfect’;—it’s in the fact of writing the text by hand itself.

It’s hard to remember, at our technological remove, that for most of human history, most writers have actually written—by hand.  No typewriters, and certainly no computers.  Truman Capote’s disparaging remark of Jack Kerouac—‘That’s not writing; that’s just typing’—could, regrettably, be applied to most so-called ‘writers’ of the 20th and 21st centuries.

This isn’t merely an élitist distinction.  There’s a qualitatively different experience to writing a complex work by hand.  The genius-level cognitive co-ordination of hand, eye and brain that James Joyce and Marcel Proust enjoyed would not have produced the greatest novels of the 20th century if these gents had been trained to peck out their thoughts—even at the touch-typist level of virtuosity—rather than guide a fountain pen fluidly across a page.

Moreover, I don’t think it’s coincidental that James Ellroy, who I regard as the greatest living writer, works a mano, has never used a computer, and reportedly doesn’t own a mobile phone.  This is a man who eschews distraction and espouses deep focus.  The density of his plotting and the inventiveness of his language are testaments to the profound cognitive relationship between writing by hand and the capacity to compass complexity through the abstract symbology of written language.

And though I often get compliments on my handwriting, when I look in awe at the handsome copperplate of some 18th- and 19th-century writers, so perfect-seeming and consistent as to appear to be machine-etched, I feel like the Queensland Modern Cursive of the words I have committed to the page for all time in this book are less ‘elegant’ than I should have liked my niece to read.

But, en revanche, writing a book where the final printed text will be ‘by my own hand’—in the most literal sense—gave me a feeling of reconnecting to the ancient art of my profession—dating back to those scribes whose elegant calligraphy has communicated such ancient books as Genji Monogatari down through ten centuries to us.

We’re too acclimatized to the profound revolution in writing which Gutenberg’s invention of movable type opened up for us nearly 600 years ago.  We don’t remember that most books—the Bible or Les Très Riches Heures du duc de Berry—were handwritten, illuminated manuscripts.  Our over-familiarity with type and font, the uniformity of letters and ‘standardization’ of print, has fundamentally changed the nature of what we mean, in the 21st century, by the word ‘writing’, forgetting that machine-printed words are not, as Truman Capote observed, writing at all (in the sense of creative human agency), but typing.

And so, although my handwriting in this book is less than consistent from first page to last, the letters being less ‘uniform’ and ‘standard’ than we are used to expect in a book made since Gutenberg’s time, I quite like the notion of having written a book for my niece which I hope will have the feel of an illuminated manuscript, like an ancient spiritual text, something that connects her, in this hour of crisis for humanity, with all the crises the generations of humanity have endured before her.

For it’s equally hard to remember, let alone imagine, in the 21st century, that most human beings have not known how to read or to write.  The profession of ‘scribe’ has always been a noble one—at least until the failed experiment of universal education depreciated it.

If any subtle message might be shaken out of the long articles I wrote on the Coronavirus during lockdown, perhaps it is the conviction that, in the most educated era that humanity has never known, this unnecessary débâcle could—and should—have been avoided.  That it wasn’t can be laid squarely at the feet of universal education, which has manifestly failed to realize its promise of making each successive generation more intelligent and engaged with the world than the last.

When you master written language, your capacity to verbally reason, to accurately perceive and interpret the pattern within chaotic events, is increased.  If you can write, if you can corral your thoughts in words, you become profoundly dangerous.

Is it any wonder that writers are always the first folks to be housed in the hoosegow when some authoritarian jefe comes to power?

It’s for this reason that the art of the scribe was kept out of the paws of the plebs for so many centuries.  To write—to really write—is to think, and I look with disgust—for my niece’s sake—upon a world where people are increasingly put through sixteen to twenty years of formal education and yet are still peasants in their thinking, giving no more evidence of being able to marshal and master their thoughts in a coherent, complex, logical argument than our magickal-thinking forebears.

As I say to my niece in the book, we are no more ‘advanced’ than our earliest ancestors.  It is simply that we are habituated to more complicated conditions of life.

The lockdown was a period when it was easy—too easy—for people to succumb to boredom and ennui, to indulge digitally in the lassitude and laziness which is the Shadow of our speed-mad species.  Prey to ‘the vultures of the mind’, undistracted by our manifold distractions, and oppressed by the very leisure that we clamour for, most people probably tried to drown themselves all the more in the delusive fakery and shallow abyss of screens during their ‘holiday from life’.

But—thank God—I am a writer, which means I was not wigged out at being locked in a hotel room with only my thoughts for company for two months.  Like William Blake, through my self-isolation I had mental health and mental wealth to sustain me.  Instead of seeking distraction, I was able to pour out the very resources of thought as ink onto paper.

Most writers, I realized as I stood at my window, looking, it seemed, at an invisible tempest swirling through the streets of Melbourne, have lived in times of profound chaos and unrest.  The privilege of education, the noble calling of their profession, enjoins upon them the moral responsibility to be ‘a witness to chaos’.

Whether natural disasters have disrupted the times they live in, or whether their societies have undergone enormous upheavals due to war or political division, the writer is the ‘journalist’, the faithful witness and reporter on ‘what life was like’ at these moments of history.

If you can write, by which I mean, if you can really think; if you have mastered, through the long apprenticeship of education, the abstract symbology of written language to the point where you can make dexterous calculations in the algebra of verbal reasoning, you cannot stand idly by at these moments, but the capacity to think, to reason, to explore ideas through language, and ultimately to shed some clarity on chaos by writing down the formula, the pattern of order you perceive in the disorder swirling all around you, is a moral mission arising from the competency of your professional cognitive skills.

As I stood at the window of my cell, I felt connected, in some spiritual way, with some of the great writers of history whose lives have passed in the midst of chaos.  Somehow their handwritten words have survived earthquakes, wars and plagues to guide humanity because some clarity in their delicate perceptions was worth preserving, despite the rending chaos which could easily have torn their words in shreds and scattered them to the winds.

Particularly, I felt a connection to that writer who is one of the most astute calculators of chaos in human affairs, il gran’ signor Machiavelli.  Many a time I stood at my window in those two months, blind, like Mr. Kurtz, to what I was looking at as I meditated on the horror of our time and the fears I have for my little niece’s future, and I felt like the divine, diabolical Niccolò avidly surveying the carnage of Florence as it continually changed hands.

He, I knew, would have loved to have been alive in this moment of global upheaval and naked power grabs.

This is not a situation I would wish on my niece.  But just as I feel privileged to have lived through such a crisis myself, I also think it’s a good thing for her to have experienced a world-historical event like a global pandemic so early in her life, and I hope the words I am going to give to her shortly will equally stand as an experiential guide for her going forward, something that will help to orient her as this event has done.

I am now at the design and layout stage, so the book will shortly be available for sale in the Dean Kyte Bookstore.  If you would like to register your interest in purchasing a copy when it becomes available, you can do so by dropping me a line via the Contact form, and I’ll be sure to get in touch with you as soon as it is ready for release.

Uniacke court, rainy evening, by Dean Kyte
Uniacke court, rainy evening. Shot on Kodak T-MAX 400 film.  Shutter speed: 60.  Aperture: f.2.82.  Focal range: infinity.

Achtung!  The track above is best heard through headphones.

It’s been a while since I have uploaded to The Melbourne Flâneur what I call an ‘amplified flânograph’, an analogue photograph taken in the course of my flâneries around Melbourne with a third dimension added to it—a suitably atmospheric prose poem read by yours truly.

I think you will agree that voice and soundscape add a dimension of depth to this image of Uniacke court, a laneway off Little Bourke street between Spencer and King streets famous to aficiónados of Melbourne street art.

It’s one of Melbourne’s ‘where to see’ places—and no more so than when it’s raining.

The image above was not my first attempt to capture Uniacke court on black-and-white film at a very specific time under particular weather conditions.

This shot, taken on a rainy Sunday evening at 6:00 p.m. during winter last year, was the second-to-last exposure on my roll of Kodak T-MAX.  It was something of a miracle, because not only did I want to capture this image on that day, at that time, under those conditions, but the laneway acts as service entrance for a number of bars and restaurants, so you have to judge the timing of the shot very well: Uniacke court tends to fill up with cars around 6:00 p.m., blocking the wonderful mural by Melbourne street artist Deb on the back wall.

I had attempted to nab the same shot less than two weeks earlier.  Knowing that I had only six shots left on the roll, and that it was unlikely that I would get my dream day, dream time, dream weather conditions, and a conspicuous absence of heaps heaped up in the court, I had come past on a Thursday evening, around 5:40.

Wrong day, wrong time, no rain, and plenty of jalopies jungling up the laneway all equalled a wasted shot I squeezed off reluctantly.

But when my dream day, time and weather conditions rolled around ten nights later, you can bet your bippy I hustled my bustle up Spencer street P.D.Q. against a curtain of driving rain to clip the redheaded cutie holding court over Uniacke court.

And only one car to mar my Hayworthian honey’s scaly embonpoint!

The short ficción I’ve added in the audio track accompanying the photograph is the feeling of that image, the feeling of ineffable mystery which initially drew me to Uniacke court and caused me to make a mental note that some fragrant essence of the place makes itself manifest on rainy Sunday evenings at 6:00 p.m., and that I ought to make the effort to haul out my ancient Pentax K1000 at precisely that time, under precisely those weather conditions, and try and capture that ethereal, ectoplasmic essence on black-and-white emulsion.

Like those weird ellipses in David Lynch’s films, I’ll leave it to you to imagine what dark aura I found emanating from the fatal femme’s breast.

In a recent post, I called flânography ‘the poetry of photography, and described it as an attempt to photograph the absent, the invisible, the unspeakable energy of places.  In many ways, the addition of an expressly poetic description of the laneway and the construction of an ambient soundscape intended to immerse you in my experience is the attempt to ‘amplify’ that absent, invisible, ‘indicible’ dimension of poetry I hear with my eyes in Uniacke court.

Last week I ran into Melbourne photographer Chris Cincotta (@melbourneiloveyou on Instagram) as he was swanning around Swanston street.  In the course of bumping gums about my passion for Super 8, Chris said that, while he had never tried the medium, he was all for ‘the romance’ of it.

Knowing his vibrant, super-saturated æsthetic as I do, I could see, with those same inward eyes of poetry which hear the colourful auras of Uniacke court, how Chris would handle a cartridge of Kodak Vision3 50d.  And that inward vision of Chris’s vision was a very different one indeed to my own.

That flash of insight got me thinking about the way that qualitatively different ways of seeing, based in differences of personality, ultimately transform external reality in a gradient that compounds, and how, moreover, two individuals like Chris and myself could have developed radically different visions of the same subject: Melbourne.

It could be argued that, if you spend as much time on the streets as Chris and I do, the urban reality of Melbourne could rapidly decline for you into drab banality.  But for both of us, Melbourne is a place of continual enchantment, though I think the nature of that enchantment is qualitatively different, based in fundamental differences of personality.

The individual’s artistic vision encompasses a ‘personal æsthetic’, based in one’s personality, which dictates preferences and choices in media which compound as they are made with more conscious intent and deliberation.

Where Chris prefers the crisp clarity of digital, which imparts a kind of hyper-lucidity and sense of speedy pace to his photos, I prefer the murky graininess of film—still compositions which develop slowly.

While Chris tends to prefer working in highly saturated colour that is chromatically well-suited to highlight Melbourne’s street art, I work exclusively in black-and-white.

And while I know that Chris labours with a perfectionist’s zeal in editing his photos so that the hyper-lucid clarity and super-vibrant colours of his images faithfully represent his vision of Melbourne, I prefer to do as little editing as possible, working with the limitations and unpredictability of film to try and capture my vision of Melbourne ‘in camera’ as much as possible.

If I were to offer an analogy of the æsthetic difference created by these cumulative preferences and choices in equipment, medium, and attitude to editing, I would say that Chris’s photographs feel more like the experience of Melbourne on an acid trip, whereas my own pictures give the impression of a sleepwalker wandering the streets in a dark dream.

The city is the same, but the two visions of it, produced by these cumulative technical preferences and choices, are very different.

But where does the vital æsthetic difference come from?

Ultimately, the personal æsthetic which dictates different preferences and choices in equipment, media, and attitudes to editing are couched in two different artistic visions of the same subject, and these inward visions produce two radically different ways of physically seeing Melbourne.

With his crisp, colourful, action-packed compositions, Chris, I think, has a very playful, ludic vision of Melbourne: he sees it as an urban wonderland or playground.

And this is perfectly consonant with his gregarious, extroverted character.  For those of us who are fortunate to know him, Chris is as much a beacon of light diffusing joyous colour over Melbourne as his own rainbow-coloured umbrella, and I notice that he effortlessly reflects the colourful energies of everyone he talks to.

If I am ‘the Melbourne Flâneur’, I would describe Chris Cincotta as—(to coin a Frenchism)—‘the Melbourne Dériveur’: his joyous, playful approach to exploring the urban wonderland of Melbourne with the people he shepherds on his tours seems to me to have more in common with Guy Debord’s theory of the dérive than with my own more flâneuristic approach.

Being an introvert and a lone wolf on the hunt for tales and tails, while I’m as much a ‘romantic’ as Chris, it’s perhaps little wonder that the ‘Dean Kyte æsthetic’ should be very different, more noirish as compared to Chris’s Technicolor take: the romance of Melbourne, for me, is dark, mysterious, and I see this city in black-and-white.

Melbourne is not a ‘high noir’ city like American metropolises such as New York and Los Angeles.  Rather, there is a strain of old-world Gothicism in Melbourne which, when I sight sites like Uniacke court through my lens, reminds me more of the bombed-out Vienna of The Third Man (1949), or the London of Night and the City (1950).

And if Chris is a beacon of colourful light to those of us who know him, the ambiguity of black-and-white is perhaps a good metaphor for my character, from whence my personal æsthetic proceeds.

If there is a ‘Third Man’ quality to Melbourne for me, it’s perhaps because there’s a touch of Harry Lime in me—the rakish rogue.  Like Lime, whose spirit animal, the kitten—an ‘innocent killer’—discovers him in the doorway, you might find me smirking and lurking in the shadows of a laneway, revelling, cat-like, in the mysterious ambience of ‘friendly menace’ in the milieu, what I call ‘the spleen of Melbourne’.

If you haven’t checked out Chris Cincotta’s work on Instagram, I invite you to make the comparison in styles.  It’s fascinating to see how two artists can view the same city so differently.  And being so generous with his energy, I know Chris will appreciate any comments or feedback you leave him.

Here’s a newsflash for those of you who have not been keeping up to date with the hourly drama that is the weather in Melbourne: it’s been a bit funny lately.

Melbourne is perhaps the only city in the world where the question, ‘What will I wear today?’ is an existential dilemma.

We’ve been having the ‘worst of both worlds’ these past couple of weeks: it’s been both muggy and cold, which means that if you dress for the humidity, you freeze, and if you dress for the rain, you sweat.

That was the uncomfortable dilemma I was living with when Melbourne photographer Tommy Backus (@writes_with_light on Instagram) caught me on the steps of the Nicholas Building in Flinders lane last week.

I first met Tommy in Frankston, where he took some handsome portraits of me, which you can check out here. It was a pleasure to run into him again, and a greater pleasure still to receive a compliment from him on my fashion. I had just come from a business meeting, and before that I had been cursing the ‘bloody Melbourne weather’: cold and rainy as it was, it was too damn muggy to be wearing a three-piece wool suit.

Such is the price of being a dandy, or ornate dresser, in Melbourne: your Melbourne Flâneur, dear readers, suffers on the crucifix of fashion.

You will doubtless recall that when I set forth my thoughts on what is a flâneur, I said that, in addition to being a pedestrian and the keenest possible observer of the æsthetic qualities latent in the urban environment, the flâneur must necessarily be a dandy.

This was the most controversial premise in my argument, but the logic was straightforward and sound: Charity, I said, begins at home, and a man who does not regard himself first and foremost as a worthy æsthetic object of investigation is highly unlikely to bring to bear that acute perspicacity to æsthetic detail in the external world which I attribute to the flâneur if he does not first of all attend to the details of his own person.

But let us not be in confusion about the dandy philosophy. As M. Baudelaire cautions us: ‘Dandyism is not, as many people who have hardly reflected on the subject appear to believe, an immoderate taste for clothes and material elegance. These things, for the perfect dandy, are merely symbols of the aristocratic superiority of his spirit.’

As Philip Mann discerned in his book The Dandy at Dusk: Taste and Melancholy in the Twentieth Century (2017), at heart, æsthetically-minded men who are accursed with the ‘pathology’ of dandyism seek to square the circle of life and art, of form and content, to unify self with the meaning that self creates. The dandy, says Mann, seeks ‘to become identical with himself’—that is, to become identical with his ideal of personality by applying the rigorous æsthetic of a work of art to his own life.

Thus, it is not difficult to see (as per Baudelaire) that the dandy’s outer person may be the canvas of his mind, and that the object of the ‘art’ of dandyism is to integrate the wood of character with the veneer, the outer being a platonic reflection of the inner.

But again, let us not fall precipitately into the error which would appear (superficially at least) to be the next logical steppingstone in our analysis of the dandy life: the dandy is not a ‘fop’.

Though he is androgynous by his very nature, arrogating to himself the feminine privilege of display, there is nothing ‘effeminate’ about the dandy.

As Beau Brummell—the first dandy, and an implacable foe of the kind of ‘peacockery’ in men’s fashion which he set himself to reform in the early nineteenth century—presciently divined, the essence of masculine beauty is of a ‘moral’ (that is, a spiritual) variety, in contradistinction to the physical quality of feminine beauty, and lies in masculine virtues, to wit:—simplicity, rectitude, honesty, discrimination, rigour and sobriety.

Along these classic lines, Brummell designed for himself the first modern ‘suit’—the perfection of masculine costume which, although it has been endlessly tinkered with, modified and refined since his day, will never be superseded by any masculine costume anywhere in the world, precisely because it gives the perfect outward form to the inner, spiritual qualities we associate with that being we call a ‘man’.

The dandy, in seeking to ‘become identical with himself’, identical with his ideal of personality, is not the epitome of masculine beauty because his clothes give him some special ‘aura’ he would otherwise lack, the way that dress, lingerie, makeup and jewellery heighten a woman’s allure and dissimulate her flaws; it is rather because he is at his ‘most transparent’—his most naked, even—when he is fully and perfectly dressed.

Any woman will tell you (by her behaviour, if not by her words) that the thing all women find most attractive in men is not their confidence, but their congruence—the transparent alignment of thoughts, words, and actions.

‘Honesty’ is a closely related quality in the constellation of masculine virtues which comprise congruence, and likewise, any woman will tell you (probably by her words, and certainly by her behaviour) that the thing she finds least attractive in a man is any whiff of ‘dishonesty’, any lack of transparent congruency in his thoughts, words and actions.

And it certainly does not go without saying that in adhering with especial scrupulousness to the rigorous and merciless rules of correct masculine attire which Mr. Brummell was the first to articulate, that a man cannot depart from the masculine virtues of simplicity, rectitude, discrimination and sobriety and still consider himself to be a dandy.

In other words, in contradistinction to what ‘many people who have hardly reflected on the subject appear to believe’, there is no place for the garish or the gaudy in the dandy’s wardrobe. Display for its own ebullient sake (that is, to ‘draw attention to oneself’) is exclusively a quality of the feminine.

The dandy does not ‘seek attention’. Rather, attention naturally finds him;—for we are always attracted to someone who shines with the aura of self-knowledge—including the knowledge of the ‘beauty’ of his own being, which he wears proudly, honestly, transparently for all the world to see, with modest confidence.

We are, in fine, attracted to anyone who gives evidence of being congruent with himself, for such a man, we know, is not easily found, and if he gives evidence of this, it is likely that he is in possession of other masculine virtues, such as honesty, reliability, dependability.

What distinguishes the dandy, however, from even the man who is very well-, very correctly, dressed with respect to ‘the details’ of his deportment, is that the dandy transcends the rules.

When anybody asks me, I tell them that if I were to define my personal style, it would be to say that I am ‘outrageously conservative’ in my approach to fashion.

That is, while I follow the rules scrupulously, as in the photograph above, some hint of my Aquarian nature always escapes the repressive, saturnine influence of Capricorn in me, whether that’s in the fine rainbow pinstripe of the otherwise sober black suit; the almost perfectly complimenting blue floral shirt and tie; or the bottle-green snapbrim Fedora, the Akubra I wore as a flâneur in Paris, with its jaunty red feather.

While perhaps outrageous in themselves, taken as an ensemble, they contribute to an effect of conservatism so extreme that they transcend sobriety in a rather unique way, one which conveys (if I am correctly interpreting the compliments I tend to get from people) the intense creativity and originality I bring to my work as a writer, which is always tempered by my equally intense adherence to precision, correctness, tradition, and ‘bonne forme’.

That is the vital æsthetic difference, the piquant je-ne-sais-quoi of exotic quality I bring to the bespoke writing, editorial and publishing concerns of my clients: like a tailor labouring in a noble and venerable tradition, they know that I will not only follow ‘the rules of good form’ scrupulously, but that, as an irrepressible artist, I will innovate to an unexpected degree within the very narrow latitude of creativity those rules allow to create a document unique to them.

What thinketh you, dear readers? Is the world ripe for a resurgence of dandyism—of ‘beautiful men’ who say and think and do in alignment with the highest versions of themselves? And do you agree that attention to the æsthetic essence of oneself is a cornerstone to being a flâneur?

I’m interested, as always, to contend, defend and generally converse with you in the comments below.

And I recommend you also check out Tommy Backus’s photographs on Instagram. As I said to him last week, it was nice to be able to put names to some of the kooky characters I’ve clocked around town.

The Skipping Girl, Abbotsford, photographed by Dean Kyte.
The Skipping Girl, Abbotsford.  Shot on Ilford XP2 Super 400 film.

One of the icons that Melbourne is known for is “The Skipping Girl”, Australia’s first animated neon sign, which formerly advertised the Skipping Girl Vinegar brand.

From the Art Deco rooftop of a converted factory in Victoria street, Abbotsford, she jumps rope over 16,000 times per night, and one of the most romantic things to do in Melbourne at night is to take the route 12 or 109 trams to Victoria Gardens and watch this 84-year-old icon repeat her nightly performance.

An icon is an image, a symbol which substitutes for an absent other whose spirit is supposed to reside in the icon, animating it, and receiving the adoration which would otherwise go directly to the sacred personage, if they were present.

It’s interesting, therefore, to reflect that the Skipping Girl, who was once the icon associated with a brand of vinegar which is no longer manufactured, has become the genius loci of Melbourne.  But when I took the ‘flânograph’ above with my vintage Pentax K1000, she did not represent for me so much a symbol of ‘old Melbourne’ which had disappeared, but someone who had disappeared, an absent other I will always associate with the Skipping Girl.

As I explain in the video below, the first time I encountered the Skipping Girl, I was stepping off the 109 tram with a Dutch girl I had picked up eight hours earlier.  We were about to go upstairs to her apartment, across the road in Richmond, and make love.

When I saw that neon icon beating time against the night, it was like seeing an X on a treasure map: this icon of Melbourne would always be, for me, a perpetual monument to a personal conquest, marking the spot of my greatest victory in Daygame.

In his essay “The Poetic Experience of Townscape and Landscape” (1982), documentary filmmaker Patrick Keiller describes the flâneur as a literary motif signifying two types of experience.  Following Schiller’s distinction between the naïve and sentimental poet, I think we can summarize Keiller’s two types of flâneur as likewise being ‘naïve’ and ‘sentimental’.

The ‘naïve flâneur’ is more like the classical, nineteenth-century dandy conceived by Baudelaire.  As Keiller says, he ‘takes the city as his salon’.  He’s a romantic adventurer—a Daygamer, in essence—whose ‘chance encounters are largely with people’ rather than with those architectural citizens of a city, buildings and monuments.  Whatever dreamlike quality there is in the encounter between this flâneur and the city derives from ‘his surrender to the randomness of urban life.’

The ‘sentimental flâneur’, en revanche, is a solitary dériveur who drifts through the city as though it were a petrified dream, experiencing the ‘long, immense et raisonné dérèglement de tous les sens’ which renders the banal street marvellous.  As Keiller says, this flâneur ‘may meet others, he may fall passionately in love, but this is not his motive, it merely enhances his experience by enabling it to be shared.’

As a Melbourne flâneur, I have always felt like a synthesis of these two figures, but tending more towards the latter.  I can ‘do’ Daygame, I can take adventitious advantage of the randomness of urban life to seize a romantic encounter; but, being a genuine introvert, I am more constitutionally inclined towards solitary drifting through the externalized ‘Forms’ of my thought which streets, parks, statues, monuments and buildings seem to symbolize for me.

Keiller cites Surrealist poet Louis Aragon, who, in Le paysan de Paris (1926), describes this paradoxical sensation of seeming to experience the platonic forms of things embodied in the constitutive elements of the city.

‘The way I saw it,’ Aragon writes, ‘an object became transfigured: it took on neither the allegorical aspect nor the character of the symbol, it did not so much manifest an idea as constitute that very idea.  Thus it extended deeply into the world’s mass…’

For Aragon, this sensation was a presentiment of ‘a feeling for nature’, but it would be more specific to say that it was a feeling for the ambiguity of urban nature.

‘I acquired the habit of constantly referring the whole matter to the judgement of a kind of frisson which guaranteed the soundness of this tricky operation,’ Aragon writes.

This ‘frisson’, as Keiller observes, is not dissimilar from that feeling of ‘rightness’ a photographer intuitively senses immediately before he presses the shutter release button.  This sensation is the moment when a swatch of street cuts itself out of the banal tableau of urban nature and quadrates itself in the abstract frame of a mental viewfinder as an ‘image’, as something marvellously photogenic.

The sentimental flâneur, Keiller contends, carries a camera to record these marvellous transfigurations.  But, sentimental soul that I am, when I went back to photograph the Skipping Girl, nearly a year after my conquest of the Dutch girl, I was not photographing the Skipping Girl and her miraculous transformation of the night.

I was attempting to photograph the absence of the Dutch girl, for whom she was an icon.

In his book with Jean Mohr, Another Way of Telling: A Possible Theory of Photography (1982), John Berger writes that ‘[b]etween the moment recorded and the present moment of looking at the photograph, there is an abyss.’  It is an abyss of absence, of ambiguity, which carries with it ‘a shock of discontinuity’.

‘The ambiguity of a photograph does not reside within the instant of the event photographed,’ Berger writes.  ‘The ambiguity arises out of that discontinuity which gives rise to … [t]he abyss between the moment recorded and the moment of looking.’

In my ‘flânograph’ of the Skipping Girl, that abyss was doubled:—for there would be an abyss between the moment of looking at the developed photograph and the moment I was now recording, just as there was, for me, an abyss between the moment I was recording and the moment the photograph was intended to record, some ten months earlier.

As a writer, I have long played with the idle idea (impossible to realize) of writing a book completely without words.  The flânograph of the Skipping Girl was one of a series of photographs I took with my battered Pentax for a ‘picture book’ I intended to compose for my little niece, a wordless collection of black and white images of things and places I had encountered in my flâneries, and which, in their silent ambiguity, might give a child an ineffable, inenarrable sense of the life of an uncle she had never met.

Was there an enduring, impalpable resonance of the unseen, unknown and unknowable event sensible, apprehensible by the viewer of the photograph of the Skipping Girl, démeublé of its ostensible subject, the Dutch girl?  Could the feeling—menacing; enigmatic; melancholy—of this particular square of urban nature—what we might call ‘the Spleen of Melbourne’—‘speak for itself’, eloquently and without words?

These were the questions I wanted answers to.  And like Eugène Atget, of whom Walter Benjamin said that he photographed the empty streets of Paris as though they were ‘scenes of crime’, I went back and photographed the scenes of my Melburnian conquests—the Skipping Girl, a sodden Windsor place, a certain tree in the Carlton Gardens—now eerily empty of myself and the lovers of a moment who had left mortal wounds in my heart.

This feeling for the menacing, enigmatic, melancholy ambiguity of urban nature which precedes the click of the shutter; this ineffable, inenarrable frisson is what I call ‘flânography’, and it’s something other than photography—something more than merely ‘writing with light’.

It’s a sensitivity to the absent, the invisible, the unspeakable.  It’s the poetic cry of the silent image which establishes historical evidence of the ‘baffling crime’ which is the  personal ‘situation of our time’, and which the asphalt jungle gives colour and cover to.

If there is a ‘noirishness’ in the flânograph of the Skipping Girl, it is because, when I look back on my brief encounter with the Dutch girl over that abyss of ambiguity which it records, I feel (as I do after all my amours) like the victim of a ‘baffling crime’ at the hands of a femme fatale.

Like a consummate con artist who gets his pocket picked, I gamed her and ended up getting gamed by her.

When writing with light starts to become ‘poetic’ instead of merely prosaic; when the weak intentionality that a photographer possesses to express himself through a box is leveraged to the maximum, such that the urban landscape is transfigured and transformed into an image that is personally expressionistic, then photography starts to become ‘flânography’.

If you are a photographer and would like to explore how I can provide you with bespoke assistance in sensitively curating your work into an artisanal-quality book through provision of my Artisanal Desktop Publishing service, I invite you to download this brochure, or to contact me directly.