Baudelaire’s ‘gentleman
stroller of city streets’ plays a double role in city life: he is a detached
observer, and as such, has a key role in understanding, participating in and
portraying the city. The concept is French, so I can’t help but think of
Paris. To be a flâneur in Paris is dead easy.
I emerge from my hotel, look
left or right and simply make a series of random choices about where to
proceed. A distant landmark attracts my attention, or the immediacy of what is
going on in a side street. The result is not-quite-aimless wandering. I stumble
into the wonderful rue Mouffetard Sunday market entirely by accident.
The modern flâneur always has a
camera. Susan Sontag, the American essayist, says in her 1977 essay On
Photography that the photographer is “an armed solitary walker reconnoitring,
stalking, cruising the urban inferno, the voyeuristic stroller who discovers
the city as a landscape of voluptuous extremes. Adept of the joys of watching,
connoisseur of empathy, the flâneur finds the world picturesque.” She’s nailed
it.
The art of the flâneur is to
come across the unexpected. Nothing major or of great moment might arise, in
which case the trick is to be alert for small delights, hidden beauty. But always
the next move is unknown until it reveals itself. A map is essential, but only
consulted in order to find a way back to your lodging when the random
sauntering is done.
Can one be a flâneur in other
places, risky places? Kolkata, Chicago, Capetown? When in Alice Springs my
daughter goes running with her dog Indie, no map, no idea where she’s going. She blunders into a town ‘camp’ and the
unfettered Indigenous curs attack her.
My new job has taken me to
Newcastle, Sydney, Adelaide and Darwin, but with little time to play the
flâneur. Time is crucial. Strolling cannot be hurried and a spare twenty
minutes or even an hour is insufficient for a proper reflective ramble, or
photography.
The early morning, including
dawn, or an entire afternoon are the best times to be a flâneur.
Rock on.
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