39 pages 1-hour read

City of Quartz: Excavating the Future in Los Angeles

Nonfiction | Book | Adult | Published in 1990

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Index of Terms

Boosterism

Boosterism was the myth that lured natives of the East Coast and Midwest to Los Angeles in the late 19th and early 20th centuries. Myth makers, such as Lummis, created a narrative of Southern California as a land of sunshine and high “land values and health cures” against the backdrop of historic Spanish missions (26). White, Protestant natives of the Eastern states, who were weary of cold winters and the influx of new Jewish and Catholic immigrants, were invited to try their fortune and invest in Southern Californian real estate. Davis argues that the Boosterism myth is responsible for the speculation that led to high property values and a building boom—phenomena that have lasted until this day. Boosterism, with its emphasis on the Spanish missions, “censored, and repressed from view” the period between 1821 and 1848 where California had been under Mexican rule, and the grim tale of how the ruling Mexican elite died paupers as the WASP version of California came into place (26).

Incorporation

Incorporation refers to the “separate incorporation of small populations” in Los Angeles (164). This gained momentum in wealthier zones of the city after the 1950s Korean War, when new laws “allowed suburban communities to reclaim control over zoning and land use without the burden of public expenditures” (166). The resulting 26 “minimal cities” in Los Angeles County could avoid paying for metropolitan public services, as well as passing laws that forbade the construction of the type of multifamily housing that low-income families typically lived in (166). This not only ensured that the populations of the incorporated cities were affluent but also contributed to social division and income inequality within the city as a whole. 

Noir

Noir, the French word for black, signified a cultural critique of Boosterism and flourished during the years following the 1930s Depression. Its famous authors, including James M. Cain and Raymond Chandler, deployed a “transformational grammar turning each charming ingredient of the Boosters’ arcadia into a sinister equivalent” (38). In both noir literature and film, lavish surroundings were rife with corruption, while former business districts had the aura of junkyards. Black noir writers, such as Langston Hughes, remarked their disillusionment with Los Angeles’ Boosterism myth after facing “the mental corrosion of race prejudice” (43) in the city of sunshine and oranges. Noir is a useful trope for Davis because it shows how the shadow side of the growth myth developed alongside the optimism and has become equally important in cultural myths about Los Angeles. 

Slow-Growth Movement

The slow-growth movement refers to middle-class homeowners’ campaign against “the most powerful economic interest in California today: the land development industry” (156). Instead of the developers’ rampant capitalism, the slow-growers preferred a more sustainable model, which allowed middle-class, suburban lifestyles to coexist with economic growth. While challenging the building of skyscrapers in suburban family areas, the slow-growers who were active from 1970s onwards protested the cause of environmentalism; however, they also wanted to retain control over the type of residents and activities in their neighborhoods. For Davis, their efforts enhance social division and detract from the more pressing issues of inner-city poverty and underinvestment. 

Utopia

Utopia, a word that derives from the Ancient Greek eu-topia (good place) is a common motif in Davis’ book. Both capitalists and leftist dissidents in Los Angeles have sought to create eu-topian versions of the city. Davis writes how the city “has come to play the double role of utopia and dystopia for advanced capitalism,” meaning that the same sunlit land of opportunity has become dehumanizing in the surveillance and restriction of its inhabitants’ movements (18). Davis ends his book with an analysis of his native town of Fontana, which has become the “junkyard” of the Southern California dream, and implies that the unchecked capitalism of Los Angeles has made it more dystopian than utopian (435). Meanwhile, he gives space in his text to leftist conglomerates, such as the Llano Socialists and the mid-century communards, who imagined artistic utopias that could evade the bourgeois incorporation and division of the city.

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