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completely uninhibited technophiles. She was talking about those odds and
mysterious energy, the dime stores faced with fluted aluminum, the
chrome-tube chairs gathering dust in the lobbies of transient hotels. She
saw these things as segments of a dreamworld, abandoned in the uncaring
present; she wanted me to photograph them for her.
designers; until the Thirties, all pencil sharpeners had looked like pencil
sharpeners your basic Victorian mechanism, perhaps with a curlicue of
decorative trim. After the advent of the designers, some pencil sharpeners
looked as though they'd been put together in wind tunnels. For the most
part, the change was only skin-deep; under the streamlined chrome shell,
you'd find the same Victorian mechanism. Which made a certain kind of sense,
ranks of Broadway theater designers. It was all a stage set, a series of
elaborate props for playing at living in the future.
Over coffee, Cohen produced a fat manila envelope full of glossies. I
saw the winged statues that guard the Hoover Dam, forty-foot concrete hood
ornaments leaning steadfastly into an imaginary hurricane. I saw a dozen
shots of Frank Lloyd Wright's Johnson's Wax Building, juxtaposed with the
covers of old Amazing Stories pulps, by an artist named Frank R. Paul; the
one of Paul's spray-paint pulp utopias. Wright's building looked as though
it had been designed for people who wore white togas and Lucite sandals. I
hesitated over one sketch of a particularly grandiose prop-driven airliner,
all wing, like a fat symmetrical boomerang with windows in unlikely places.
courts. It was dated 1936.
"This thing couldn't have flown. . . ?" I looked at Dialta Downes.
"Oh, no, quite impossible, even with those twelve giant props; but they
loved the look, don't you see? New York to London in less than two days,
first-class dining rooms, private cabins, sun decks, dancing to jazz in the
evening... The designers were populists, you see; they were trying to give
the public what it wanted. What the public wanted was the future."
I'd been in Burbank for three days, trying to suffuse a really
dull-looking rocker with charisma, when I got the package from Cohen. It is
possible to photograph what isn't there; it's damned hard to do, and
consequently a very marketable talent. While I'm not bad at it, I'm not
exactly the best, either, and this poor guy strained my Nikon's credibility.
I got out, depressed because I do like to do a good job, but not totally
depressed, because I did make sure I'd gotten the check for the job, and I
assignment. Cohen had sent me some books on Thirties design, more photos of
streamlined buildings, and a list of Dialta Downes's fifty favorite examples
of the style in California.
becomes a kind of sundial, while you wait for a shadow to crawl away from a
detail you want, or for the mass and balance of the structure to reveal
itself in a certain way. While I was waiting, I thought myself in Dialta
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