At least for the first half of the book. The second half veers off into
the realm of metaphorical fable. Perhaps, it could be argued by the
PhD student that this fable, which involves a biblical exodus of the
rich owners’ pets, presages the way in which the city would be stripped
of its vibrant, animal life over decades to come. Although, as is the
way with metaphorical fables, it could be read in many other ways.
Needless to say, Arenas’ novel is something of a tale of two halves,
and the first Wolfeian half is the one that engaged this reader more
effectively than the second. The Doorman is one of those books which
is perhaps more interesting for the position it takes up within a cannon
than the text itself, but its a fine example of the author’s Swiftian aesthetic,
capable of mixing extreme satire with what might pass for a children’s book.
A long, long time ago, New York felt like it had to be the centre of the universe.
On both a political and personal level. Even though I’d never been there.
It was culturally dominant. The films, Scorsese, Allen, natch, and a whole
lot more besides. The music, The Velvets, Dylan, Lou Reed, Laurie Anderson
and what the kids now call post-punk. Blondie, Richard Hell, Johnny Thunders,
all that jazz. The art. Warhol, Basquiat, Schnabel. The club scene, which to
the ears of a curious youth sounded like the apogee of a new Roman Empire
(And from subsequent accounts it probably was.) The literature.
Interesting to note that this periodemerged before NY became ‘gentrified’ to the
extent that it supposedly has today. When there were still no-go areas. Also
interesting to note the role that a type like Kushner has occupied in this
cleansing of the city. Kushner, the mini-me Trump, the bruiser who will also
have played his part in the process of remodelling it as a sanitised, deracinated
environment which has little to do with its earlier incarnation.
On both a political and personal level. Even though I’d never been there.
It was culturally dominant. The films, Scorsese, Allen, natch, and a whole
lot more besides. The music, The Velvets, Dylan, Lou Reed, Laurie Anderson
and what the kids now call post-punk. Blondie, Richard Hell, Johnny Thunders,
all that jazz. The art. Warhol, Basquiat, Schnabel. The club scene, which to
the ears of a curious youth sounded like the apogee of a new Roman Empire
(And from subsequent accounts it probably was.) The literature.
Interesting to note that this periodemerged before NY became ‘gentrified’ to the
extent that it supposedly has today. When there were still no-go areas. Also
interesting to note the role that a type like Kushner has occupied in this
cleansing of the city. Kushner, the mini-me Trump, the bruiser who will also
have played his part in the process of remodelling it as a sanitised, deracinated
environment which has little to do with its earlier incarnation.
The literature was spearheaded at that time, by Tom Wolfe’s Bonfire of the
Vanities. A vast book which we read with avid expectation. One of those
books which is no longer in fashion, but, in its moment, felt as though it
defined the shape of the world.
Vanities. A vast book which we read with avid expectation. One of those
books which is no longer in fashion, but, in its moment, felt as though it
defined the shape of the world.
The first half of Arenas’ novel, which is a profoundly New York novel,
reminded me of Bonfire of the Vanities. Its premise is the travails of a
spiritual doorman in a high-end NY block of flats, and his interactions
with the residents, who seduce him, abuse him and ignore him. The
clash of cultures, which made the city seem so vital, is present in
spades. Juan, the doorman, is the beautiful immigrant ingenue, the
type who will go on to help construct the city. Although many of the
characters have a Cuban connection - Juan is a recently arrived Cuban
immigrant, others have been there longer or have more tenuous links to
the old country, Arenas succeeds in keeping this theme and his personal
issues regarding Castro’s regime in the background. In the foreground
is the satirical vision of the city.
reminded me of Bonfire of the Vanities. Its premise is the travails of a
spiritual doorman in a high-end NY block of flats, and his interactions
with the residents, who seduce him, abuse him and ignore him. The
clash of cultures, which made the city seem so vital, is present in
spades. Juan, the doorman, is the beautiful immigrant ingenue, the
type who will go on to help construct the city. Although many of the
characters have a Cuban connection - Juan is a recently arrived Cuban
immigrant, others have been there longer or have more tenuous links to
the old country, Arenas succeeds in keeping this theme and his personal
issues regarding Castro’s regime in the background. In the foreground
is the satirical vision of the city.
At least for the first half of the book. The second half veers off into
the realm of metaphorical fable. Perhaps, it could be argued by the
PhD student that this fable, which involves a biblical exodus of the
rich owners’ pets, presages the way in which the city would be stripped
of its vibrant, animal life over decades to come. Although, as is the
way with metaphorical fables, it could be read in many other ways.
Needless to say, Arenas’ novel is something of a tale of two halves,
and the first Wolfeian half is the one that engaged this reader more
effectively than the second. The Doorman is one of those books which
is perhaps more interesting for the position it takes up within a cannon
than the text itself, but its a fine example of the author’s Swiftian aesthetic,
capable of mixing extreme satire with what might pass for a children’s book.
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