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"Indeed, Southern Californians seem to have ingested too much of their own propaganda about the 'weather–beaten, cyclone–lashed' Midwest. Our cultural immune system, adapted to dealing with earthquakes, floods, and wildfires, autonomically rejects the equally inevitable probability of tornadoes and occasional hurricanes. They are categorized as exotic events whose existence requires radically different environmental contexts. 'It just doesn't happen here' could be the Golden State's motto. Tornadoes, therefore, are a fascinating index of a larger problem in our cultural psyche: the occlusion of natural history by landscape ideology. They are, so to speak, a periodic litmus test of Southern California's environmental memory" (pg. 155).
"This hugely complex system of shifting biological interactions along Los Angeles's wild edge is only episodically visible to most suburban residents, and then in a phantasmagorical mode. The unexpected appearance of large wildlife in the city's backyards is occasionally charming, but more often threatening. Coyotes and cougars, in particular, have become symbols of urban disorder. These tsatsnitsam are unwelcome heralds of a breakdown in the clear-cut, impermeable, but essentially imaginary boundary between the human and the wild. The ideal suburb is adjacent to nature but never directly implicated in it. Wild creatures are no more welcome across the crabgrass threshold of a subdivision than are urban ones. Indeed, in the minds of most suburbanites, the unruliness in the center of the metropolis is figuratively recapitulated at it periphery. It is not surprising that predators are criminalized as trespassers and discursively assimilated to 'serial killers' or 'gangbangers.' Reciprocally, the urban underclass is incessantly bestialized as 'predators,' 'wilding youth,' and 'wolf packs' in an urban 'wilderness'" (pgs. 207-208).
"Ridley Scott's caricature may have captured ethnocentric anxieties about multiculturalism run amok, but it failed to engage the real Los Angeles—especially the great unbroken plains of aging bungalows, stucco apartments, and range–style homes—as it erodes socially and physically into the twenty–first century. In fact, his hypertrophied Art Deco Downtown seems little more than a romantic conceit when compared to the savage slums actually being born in the city's inner belt of decaying postwar suburbs. Blade Runner is not so much the future of the city as the ghost of past imaginations" (pg. 361).
"This hugely complex system of shifting biological interactions along Los Angeles's wild edge is only episodically visible to most suburban residents, and then in a phantasmagorical mode. The unexpected appearance of large wildlife in the city's backyards is occasionally charming, but more often threatening. Coyotes and cougars, in particular, have become symbols of urban disorder. These tsatsnitsam are unwelcome heralds of a breakdown in the clear-cut, impermeable, but essentially imaginary boundary between the human and the wild. The ideal suburb is adjacent to nature but never directly implicated in it. Wild creatures are no more welcome across the crabgrass threshold of a subdivision than are urban ones. Indeed, in the minds of most suburbanites, the unruliness in the center of the metropolis is figuratively recapitulated at it periphery. It is not surprising that predators are criminalized as trespassers and discursively assimilated to 'serial killers' or 'gangbangers.' Reciprocally, the urban underclass is incessantly bestialized as 'predators,' 'wilding youth,' and 'wolf packs' in an urban 'wilderness'" (pgs. 207-208).
"Ridley Scott's caricature may have captured ethnocentric anxieties about multiculturalism run amok, but it failed to engage the real Los Angeles—especially the great unbroken plains of aging bungalows, stucco apartments, and range–style homes—as it erodes socially and physically into the twenty–first century. In fact, his hypertrophied Art Deco Downtown seems little more than a romantic conceit when compared to the savage slums actually being born in the city's inner belt of decaying postwar suburbs. Blade Runner is not so much the future of the city as the ghost of past imaginations" (pg. 361).