Skip to main content

Haunting

This is one of my own photographs from my time in Paris that I've altered quite a bit, trying to get it to look something like the photographs by Eugene Atget that I saw at an exhibit at the Musée Carnavalet.  Its close, but not perfect.

The Atgets were remarkable for the sense they gave of the historicity of the city - of its past as both distant and somehow present at the same time.   Of the city, then, as somehow haunted by its past.  Many of the sights he photographed no longer exist after a century or more of urban renewal projects.  And yet the Marais - the area right around the Carnavalet - escaped most of that and so looks more like Atget's Paris than much of the rest of the city.  So you can walk out of that museum and still see something like what you saw in his photographs inside.  The photographs were intended to document the old city even as it disappeared and so to capture it for the future.  But they are now visibly old too, sepia toned and mounted on grey cardboard.  And so you have these old things, documenting a still older city, but a city that you can still see around you in parts of the city as it stands today.

One aspect of the Atget photographs that I was not able to replicate here is the presence of the blurred forms of people who must have passed by during their relatively long exposures.   Atget's images, and so the city as represented by them, seem haunted by these fleeting Parisians.  Their presence makes these photographs become images of time as well as space or place.  And that time has passed, even if the places still exist, at least in part.  Seeing them just barely there in the photographs is like seeing the past made present, and seeing it disappear, both at the same time.

I would have liked to somehow include myself in this image as one of those blurred forms, first because it would do well in capturing my experience of this actual place.   Its the doorway into a church, Notre Dame des Blancs-Manteau, which has a statue of the Virgin and Child in a niche above the doorway.  I had walked by here several times without noticing it, until: on the Sunday before my last week there, walking to a yoga class in the rain, I heard the sound of voices intoning something together, coming out of the open doorway.   I looked to find the source of the sound and then looked up and saw Virgin and Child.  It was a perfect moment.  I went back later to take photographs of the doorway, but had a hard time finding it again at first, and then never was able to get that perfect moment back - of course.  The city was still there, but the moment had passed, except for the traces it left, this time in my memory.  I feel haunted by it.

At the same time I feel like part of me is now haunting this place and Paris in general.  And so I'd also like to insert myself as a blurred form into the photograph to show that part of me that got left behind there. 

Comments

Popular posts from this blog

The Virgin at Chartres, White Supremacy, and Medieval Studies

Medieval Studies blew up online this past weekend when a Rachel Fulton Brown, an Associate Professor in the History Department at the University of Chicago (my graduate institution, although I did not study with her), published a few pieces on her blog aimed at Dorothy Kim (an Assistant Professor at Vassar College, who I know from the Society for Medieval Feminist Scholarship) for her insistence that medieval studies as a field needs to grapple with the way its materials have been and are currently being used by white supremacists to support their ideology and that those of us who teach medieval materials need to signal our rejection of white supremacist beliefs to our students. While the first post begins (and the second continues) an attack on Kim, the bulk of it is given over to an argument about the Virgin Mary that is framed around a famous window from Chartres Cathedral, known as Notre Dame de la Belle Verriere (our lady of the beautiful window).  According to Fulton Brown, th

À mon seul désir

This post has been brewing for a while - since my Spring Break trip to Paris.  It springs from one of my visits to the Cluny during that trip, when I ended up in the Unicorn tapestries room. I've been in there before of course, if only because it is the only air-conditioned space in the museum.  My first month-long trip summer trip to Paris I took in July instead of June and it was hot (and a little smelly).  I was spending my afternoons in museums looking at Virgin and Child statues and most of the Cluny's are gathered in a gallery right next to the tapestries room, so I would duck in there to sit in the a.c. for a bit whenever I got just too uncomfortable.  On this most recent trip, in March, it was freezing cold and I got routed through the room because that space with the Virgins was briefly closed for some reason. And for some other reason I was struck by the panel above, sometimes labelled as the Lady and the Unicorn.  Struck not so much by its imagery, as by its

Dobbs and Abortion in the European Middle Ages

A New Yorker article on abortion in the U.S. written prior to the Supreme Court’s Dobbs decision but anticipating its overthrow of Roe vs. Wade, quotes a gynecologist named Franz Theard as saying “I cannot believe that people who were born after ’73 are going back to the Middle Ages” (June 20, 2022, p. 21). Even before I read that, I had expected someone, somewhere, to make a medievalizing reference to describe a post-Roe America, given how often the European Middle Ages are used today to represent the “bad old days.”  What surprised me was the actual medieval reference in Justice Alito’s opinion in Dobbs. In claiming that English common law treated abortion after “quickening” as a crime, he quotes “Henry de Bracton’s 13th-century treatise” as stating that if someone has “struck a pregnant woman, or given her poison, whereby he has caused abortion, if the foetus be formed and animated, and particularly if it be animated, he commits homicide” (p. 17). This reference to the Middle Ages