The City in Imagination: Vitasta Raina’s ‘Chalet’
Architect Vitasta Raina clearly spent a lot of time observing and worrying about life around her, the life of cities, the life that millions had chosen. Here’s an extract from her published fictional novel Writer’s Block that is woven around the imaginary city of Chalet that, with its class wars and segregated living, disconcertingly resembles the cities we live in today.
Vitasta’s writing reminds me that the city is often a metaphor for the society we live in. It’s a mirror, a visual representation of the chaos that we create and experience. All the imagination of urbanists and policymakers is channelised into imposing order on this temerous chaotic creature, The City. Yet it demands so much more than rules and regulations. Love? Belonging? Tolerance?
Ok, time to shut up and let you read….. And do send in that entry to #TheCityasMuse contest to email@example.com by 15th September 2015
Extract: From ‘Writer’s Block’
My name is Roma but in the Chalet City Census 2017 I am listed as C-PUE7/RI/WB6. I am a poet though they often say that I am a cynic. Well, if you spend your childhood questioning the universe and all things therein, by the time you are twenty-eight you are quite enlightened and then you cannot understand why people are pretend puppets. Then as you grow older still you see they only pretend to be puppets because they can exercise free will at any given time. I am only pretending to be a puppet because the multiple choices of Chalet’s free will scare me.
Chalet—the city of numbers. Massive and expansive, her sheer statistics can drive you to acute paranoia.
There are a billion beauty shops in the streets of Chalet and a billion billboards display beautiful people playing blind man’s bluff in a world perpetually riding on Prozac. Smiling, hedonistic and narcissistic, I see Chalet.
There are a billion blue tin roofs below badly built flyovers that connect Chalet to her sorry peri-urban sprawl, and a billion headlights tail each other like electric snakes on her highways. Always moving, north to south, south to north, disturbed, dislocated, with a violent entrance and a volatile exodus, I see Chalet.
I see her billion lights shine from makeshift footpath novelty stores and desperately silent watching windows of her penthouses night after night. Lonely, isolated and abandoned, I see Chalet.
Every second or every hour, I see Chalet as her billion sexless lovers lick the pus of her festering body, feeding on her lemonade-soaked sweat running down the gutters of her gothic churches and the sewers of her stale slums. Every day, as I make mad love to her cold corpse covered in the filth of her billions, I see Chalet.
Chalet’s urban culture is embracing and engulfing; it can consume you whole and then sometimes for no perceptible reason it can cast you aside. We are misguided into believing that the space we occupy on Chalet is defined by us. The truth is that we are distinguished by our place on Chalet. The only options Chalet gives are murder or migration, suicide or suburbia.
Chalet is governed by the Group Housing Builders’ Consortium and by RUMP, the Reformed Urban Manual for Planning. Chalet’s billions are efficiently classified according to their “ability to pay” and “willingness to conform” into three categories: Elegant, Indigent and Parasite. Needless to explain the pecking order, lesser the need to outline the characteristics of the categories.
The RUMP, by application of various anthropometric calculations and architectural standards, has made it possible to establish the degree of differentiation of basic amenities that each category should be provided. Chalet’s Elegants live in high-rise gated estates, while the Indigents are shifted into typecast social housing projects. The Parasites live everywhere in between, along every traffic corridor, in the gutters and the garbage dumps, below the flyovers and on the railway platforms.
I am part of a special category the RUMP has classified as “Refined Indigent.” We are the outcasts of Chalet, misfits because we are educated but not moneyed, scholars but strugglers, not rich enough to be put among the Elegants, and far too genteel to belong with the Indigents. We remain on the fringes of Chalet’s sociology. We have knowledge but we have no voice. We have observations but we must remain without opinions.
For the little things that form the parts and parcels of a huge whole, we are specs floating through the linear networks of this stratified city. I think of myself as a gutter rose. I exist superficially untainted on the surface of the filth but my roots are embedded deep in the many layers of human refuge, trembling when cars zoom past at high speeds, shying away from the men who govern this concentration camp.
I breathe the poison fumes of the traffic and my petals, dust-covered, no longer have any trace of their original color. I think I used to be pink or orange once, but my leaves were definitely green. In Chalet’s concrete jungle, I have spent the better part of my life undoing my original self. And I am not alone. I am not the only one watching her nightmare world unfold day by day gloriously and brazenly corrupt and calculated; nor am I a solitary witness of the games her billions play on her regional sprawl, and I will also not be the sole observer of the game that one day Chalet will play with her billions.
You can check the book out on Amazon
Posted on September 9, 2015, in #TheCityasMuse and tagged chaos, cities, fiction, imagination. Bookmark the permalink. 1 Comment.
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A point of view on city planning