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but I ran out of time"

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route99west.com/addendum
is an occasional journal of Oregon, from arts and books to public policy & transportation.


All content © 2006- by Alexander B. Craghead, except where otherwise noted.

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Book Reviews



Previous Posts

Review: Approaching Nowhere

Housekeeping Note

Review: The Call of Trains: Railroad Photographs b...

Review: Here There Nowhere

The Ephemeral 'Net

Meet the G9

Portland Streetcar Obamamania

Bachelor's Special #1: Instant Noodles Review

Week in Review... in review.

Week in Review, Vol. XI



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Other Notable Blogs

Cafe Unknown
Travel, History and Portland Oregon by Dan Haneckow

Jack Bog's Blog
By Jack Bogdanski of Portland, Oregon. (Like he needs any other introduction by now? -- A.B.C.)

For Portlanders Only
"Why buy a mattress anywhere else?"

Good Stuff NW
Featuring stuff that is good in the NW

LOST Magazine
LOST Magazine is an online monthly magazine that combines elements of many other literary, online, and national magazines with a singular mission--to reclaim in writing lost people, places, and things.

Mapes on Politics
Way West of the Beltway

Outside Is America
A journal about photography, roadtrips, trains and life, with occasional detours into movies, baseball, music, family and more.

The Photographers' Railroad Page
Good photos usually have good stories to go with them.... The goal of The Photographers' Railroad Page is to provide an outlet for top quality photographs and their story.

Portland Food & Drink
Throwing Ourselves on the Grenade of Bad Food to Save You

Portland Transport Blog
A Conversation About Access & Mobility in the Portland/Vancouver Region

PowellsBooks.Blog
Authors, readers, critics, media -- and booksellers

RailPixCritic
One person's musings on railroad photography, focusing on discussions of specific images or groups of same

Rambling West
The musings of a farmer with a typewriter and camera

Stumptown Confidential
Documenting Portland, Oregon architecture, history, and culture through photos, postcards, and words.

The Unauthorized Observer
Observations on faith, photography, trains, baseball, the city where I live (Fullerton, Calif.), anything that I find funny (a lot of things) or irritating (some things) and various incidents involving friends and family.

Under the Weather
...the open road, fatherhood, family life, music, railroads, photography, popular and unpopular culture, sex, violence, religion, the oppression of consumerism and capitalism and the general bullshit that makes up modern life.

Urban Planning Overlord
A blog to counter the myths, lies, and demagoguery others use against sound city planning to further their own ends, fair and foul - but also to urge the profession itself to pull back from the occasional wretched PC exces.

VanPortlander
Living in Vancouver; working in Portland. I have some thoughts.

Whiskey, Texas
...life and experiences in Texas and the Southwest. Recurring themes: Photography, railroads, fading ads / ghost signs, fallen-flag railroad logos, boxcars, bicycling, Texas music, pop culture, sports, road trips, literature, kids and family.

World Scott
The Travel Writing and Photography of Scott Lothes


Blegs & Bargains

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Tuesday, September 9, 2008


Review: Approaching Nowhere



Approaching Nowhere
Photography by Jeff Brouws with essays by William L. Fox and Jeff Brouws. W.W. Norton, 500 Fifth Avenue, New York, NY 10110; http://www.wwnorton.com/; 12.3 x 11.6 x 0.8 in; hardbound; 160 pages, 112 color photos, 1 illustration; $50.00

It is one of the fundamental facts of the 20th century that Americans came to live in their cars. Thanks to cheap gas, a government subsidized highway system, and what seemed like growth without natural limits, the roadside became the face of "modern" America. Much of this has become part of the country's romantic self-image. Big finned steel behemoths cruising small downtowns; throaty muscle cars roaring down stretches of two-lane tarmac in the boonies; drive through everything, from restaurants to coffee stands to banks to liquor stores. As the century ended, however, some of the gloss came off. Car culture always looked ahead, and thus never cared what it left behind it: neglected city centers, unwalkable suburbs, abandoned mom-and-pop retailers, and a cheap attitude of disposable mediocrity. In Approaching Nowhere (published by W. W. Norton in 2006), photographer Jeff Brouws turns his camera on this detritus, and shows us a lonely, haunting, melancholy world.

The book is first and foremost a photographer's monograph. All the images are Brouws', and tellingly at he end of the volume is a curriculum vitae -- one wonders if this isn't jumping the gun considering that Brouws is still very much alive and producing. The photos take up the over-whelming majority of the book, and are divided into three sections. The first, titled "The Highway Landscape", primarily consists of images of roadside America. This section contains the bulk of the photographs in the book. The second is titled "The Franchised Landscape", and concentrates on the corporatized strip-mall and drive through landscape. Lastly is "The Discarded Landscape", concentrating primarily on urban decay. Following the photo sections are two essays, the first by noted writer William L. Fox, and the second by Brouws himself. Both Fox and Brouws write about the American landscape and how the development of "freeway culture" has effected it. Brouws includes a page of footnotes for his essay, and then the aforementioned c.v. and some acknowledgements.

With no preamble, introduction, or preface, the book launches right from the title pages and into the images. One of the most haunting for me is one of the first, Plate 11, Exit 66 off I-80, near Little America, Wyoming, 1995. To the left is a lonely and empty stretch of freeway, dimly lit by alien sodium-vapor streetlights in their sickly metallic orange pall. Above them glow green US-DOT highway signs, while in the distance beyond is a murky, snow-covered landscape of nothingness. It is the blue hour, after twilight, and the sky still glows faintly. The scene is bleak, remote, empty, and yet there is something majestic about it.

This brings up a troubling point. Skimming through the book, or skipping ahead to the essays, (which appear at the back, after one has been deluged in the imagery,) it becomes clear that this work is a critical one in nature. Brouws seems to be holding up to us a mirror, showing us the world we have made for ourselves. A theme of vacancy runs throughout. Many photographers try and find the scenes that make a location unique, the sense of place, but Brouws has done the opposite, photographing the things that make every American place the same. Yet critical tone or not, some images -- like Plate 11 -- are in spite of this moving and beautiful. Not for the first time this brings up the conundrum: how can an artist can apply arts meant to bring visual harmony and pleasure -- composition -- to a scene in which he or she finds folly? That Brouws shows us beauty as well as folly is either a signal that he also has been unable to reconcile this contradiction, or that he finds beauty even in the things that trouble him.

One thing that stands out in this body of work is the lack of people. Not for the first time, Brouws has shown an Hopperesque aversion to the human form. Of the over 100 images in the volume, only eight show signs of humanity in the frame. While Brouws clearly has a point he is trying to convey, is this fair? Sure, all art is biased, but I wonder if the work is slighting the landscape just a little bit by skin-flintingly erasing the human form from it. Who amongst us could love a world unpeopled? We see empty diners, empty sidewalks, empty streets. It should be no wonder that we find the scenes soulless and a little bit scary: we're facing them alone.

The Hopper influence is especially strong with plates 127 and 137, the former of which much resembles Early Sunday Morning, and the latter of which seems to be recalling Approaching a City.

From the more technical side, Brouws likes to clip things off a lot. We see signs, cars, and (more rarely) body parts all clipped off and extended beyond the frame. He seems less interested in the place than the spaces between, often taking images of the voids than the forms that frame them. Most of the plates are richly colored, and when they aren't, they are full of vast tonal ranges of subtle colors; although I am a big fan of black-and-white imagery, I can't imagine any of these frames in monochrome. There's a film noir influence too, with lots of murky, moody night images, with the edges of the picture disappearing into shadow and black.

The overriding sensation of the images in Approaching Nowhere is a sense of void, of nothingness. The decay and the bleakness has a certain beauty at times, but little of it is memorable. Even the most striking images -- the night scenes -- are forgotten once the book is closed. In their place is a sensation, rather than a visual, that sticks in the mind. It's a kind of numbness. It is only then that it becomes evident: there is no single image that sums up Brouws' work in Approaching Nowhere, because there is no single portrait of a place within the book. Rather, the entire book is one single portrait of a nowhere-land -- the "nowhere" of the title.

The first of two essays in the back of the book is penned by William L. Fox. Fox gives us a brief and informative overview of the cultural geography of the book, as well as the photographic history of recording such landscapes.

Fox's essay is followed by a longer one written by Brouws himself. Brouws writes with a knowledge and take on the landscape that places him more into the realm of social critic or urban planner pundit than photographer. He says little or nothing about the image making process, and a lot about his motives or vision. His essay is erudite and moving, although he occasionally slips too far into academia: Brouws may be one of the few writers I know to use the word "simulacrum" in a work meant for general readers. (It means, essentially, a front or a visual fake).

I can't help but compare what Brouws writes here with David Plowden's comments about his photography, and his awe of great machines or great bridges. With Brouws, however, there is little inspiration, little awe and wonder. Instead there is a drive to document a bitter reality. I am reminded, however, of Plowden's reasons for quitting photography, his statement that the world he photographed is no longer there, and that this broke his heart. Perhaps Brouws' bitter determination is but a reflection of this world.

The book is large and square format, so it will be a real pain to fit it on any normal bookshelf. It's also just a tad uncomfortable to hold and flip through, making it more of a table book; this is disappointing, because my first instinct with these lonely images is to sit back and thimb through them in my lap, intimately. The upside of the size, however, is that you can truly get lost in the images, which for the most part are well reproduced. I do feel that some of the more subtle plates have a muddy look to them on closer inspection, but this is not to the point that it ruins the experience.

While I can't state that the volume is a definitive portrait of America at the Millennium, it is without doubt a significant building block of work in the same vein as the photography of Robert Adams or even some of David Plowden's grittier images, and a huge leap forward from Brouws' previous books. Anyone who is serious about photographing the American landscape would be strongly advised to become familiar with this book.

Approaching Nowhere is available from Amazon as well as Powell's Books.

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Friday, February 22, 2008


Week in Review, Vol. XI

Pronouncements of doom for various car styles have always amused me. Some time ago, my mother covered a screen with newspaper clippings of British sports cars -- the covers of magazines, newspaper articles, even classified advertisements. One of the articles is written in the late 1970s, and predicted the doom of the convertible. New U.S. safety standards, you see, made them inherently unsafe, and therefore it was only a matter of time before they would be gone from the market, a memory from the past.

Yeah. Right.

Well, now it's the muscle car's turn.

* * *

While in the world of transportation, it appears the Washington State Ferries sytem is in trouble. WS-DOT is even proposing a restructuring.

The mess gave me one of those "what ever happened to" moments regarding Mike Thorne. You might recall that Thorne used to be director of Port of Portland and quit to run for governor. When he dropped out of the race, he went to run the ferries in Washington.

So what's become of Mike? And can he be blamed (rightly or wrongly) for any of Washington's water-borne mess? Well he quit the ferry job in 2004 and returneed to Pendleton. As Seattle Times staff writer Susan Gilmore put it in 2004,
"He said he came into the job with huge expectations, that he'd be able to achieve financial footing with no plan how to get there. Raising ferry fares drove away customers, voters rejected Referendum 51, which would have dumped billions of dollars into state transportation projects, and there were no plans how to replace the aging state ferries, some 70 years old."
And now? Notice that "Big Look" land use review that the legislature wants to fund? Thorne's a member. That may or may not mean anything -- put your tinfoil conspiracy hats on now if you wish -- but I find it an interesting path for someone who thought themselves a gubernatorial contender.

Which brings up another question: what ever happened to Ron Saxton?

* * *

Also up in Seattle, the Big O reports that it may only be a matter of time before the Sonics move to Oklahoma. The single commenter on the Big O's story says "who cares".

I have a question for you, ladies and gentleman. Who owns the Blazers? Where does he live? And what might he do if Seattle no longer had a pro basketball team?

* * *

Lastly, a food related story. Author Michael Pollan has been making the local circuit here lately, sending parts of the Portland food blogosphere into titters. Why? Pollan has written a book that dares to suggest that we should eat food, not "food substitutes".

Pollan has some interesting things to say, and Edible Portland sat down and did a video interview with him. The first part is here. I found Pollan's comments about Sour Cream and tofu-based meat substitutes to be so common-sense based that I had to pinch myself that I was hearing these words at all. Can it be? Might sugar and butter be... acceptable? It's so sad to think that Julia Child -- who seemed to improve any recipe by adding either butter or "booze" to it -- didn't live to see this day.

That's all for now.

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Thursday, January 31, 2008


Week in Review, Vol. VIII

There's been a lot of infrastructure news this week. First up, Seattle's Sound Transit might get an expanded authority to oversee general road projects in the region. I'm not sure if this idea is a boon of synergy or a monopolistic boondoggle.

Rail has been front and center in a lot of the news. In Oregon, Governor Kulongowski has told the Central Oregon and Pacific that there will be no discussion of helping out with maintenance or rehabilitation costs unless the company reopens the Coos Bay line first. (Good for Ted!) Meanwhile, the Port of Tillamook Bay's coastal line has until February 7th to get their FEMA request in. I don't know if this means they need their 25% share by then, or just a pledge towards it, or what, but I can hear a loud ticking reminiscent of the intro to 60 Minutes. Lastly, a proposal to restore the Amtrak Pioneer continues to drag along.

Then there's the continuing saga of the bridges. Of note: Salem wants $680 million for a new one, while the Portland metro area's new Columbia River crossing just may not pencil out.

At the rate that infrastructure costs are climbing, we'd either better start flooding the market with steel to bring prices down, or face the possibility of reduced weight capacities and a reduced flow of people and commerce.

* * *

Meanwhile developments in cellulosic ethanol may make this plan obsolete before it's finished. Hat tip to Bojack.

In related auto news, Autoblog gets a first drive of the Tesla, and reports that speed bumps aren't green! Finally, a PC reason to get rid of those bone-shakers!

Oh, and one more via Autoblog: the strangest cooking contraption ever. If George Foreman endorses it, watch out America.

Lastly, news that Jaguar may be planning a hard-core sportscar. I'm drooling already.

* * *

Lewis County was hit pretty hard by the flooding on December 5th. Among the victims of the rising waters was the Black Sheep Creamery. Irony of ironies, while the local residents hand-wring over the reopening of the local Wal-Mart, the creamery is relying on rebuild money from a fundraiser in -- guess where? -- Portland.

Am I the only one who finds it strange that it's the cities of the region that may be the salvation of small family farms?

* * *

Speaking of food, Good Stuff NW reports of the rebirth of a local grocery store. My only question, can I have one in my neighborhood? Please?

And in Seattle, things aren't all they are cracked up to be. Says Portland Food & Drink's "Food Dude", "No wonder our washed up restaurateurs are ending up in Seattle."

Ouch.

* * *

Before I go, a two photographic notables around the web this week include a photo essay by Martin Burwash the decline of rural Washington, and a nice collection of images from Elrond Lawrence on the vintage signs of Salinas. Love the neon, El.

Take care, all.

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Thursday, January 24, 2008


Week in Review, Vol. VII

Well can anyone remember a stretch of cold weather thats lasted as long as this? Sure, we've had colder winters, and more snow, and more ice. However, I cannot recall a winter in my (relatively short) lifetime thats been as cold for as long. It's enough to make me want to stock up on things like scarves, gloves, and flannel-lined pants. What is this... Ohio?

* * *

Let's dig right into the big stuff: OHSU. Following a ruling that removed indemnification for OHSU employees, the educational hospital announced closures and major service cuts.

Local blogger extraordinaire Jack Bogdanski doesn't buy it, and he's not alone. Big O columnist Steve Duin more-or-less agrees.

* * *

The TriMet security saga continues. Following a rather botched public hearing on their proposal to reduce Fareless Square hours of operation, the agency withdrew the plan. (See the Trib's take here).

Of course the proposal is not quite dead yet. Instead it's going to be "studied" more. Some, however, are of the opinion that the supposed link between farebox recovery and violent crime is a farce.

I must agree. The crime problem on TriMet is real, but it's more widespread than MAX and it's not primarily downtown!!. Indeed I had a discussion with a friend at one of the major newspapers in town, and he did a bit of research on the MAX attacks. Guess what? Most of the criminals involved in the crimes lived within 1-2 miles of where the crimes had been committed.

We need to have a serious discussion about security -- system-wide and in all modes -- not about Fareless Square. This isn't to say we won't be looking at fares as part of a solution, after all security must be funded, and costs are not going down for the bus system. But our first concern needs to be security personnel on the ground, and probably station redesigns to eliminate security hazards like brick walls people can hide behind.

TriMet's Mary Fetsch on today's Lars Larson show has mentioned that the agency is re-adjusting its security to put security officers on transit vehicles at least 75% of the time. Yet the agency is still proposing that Fareless Square's elimination is a tool towards increasing security. To be fair, she did mention the disconnect with the Fareless proposal and the large number of incidents occurring in Gresham.

* * *

Sam Adam's street maintenance plan won't be split into three proposals after all. The reason offered: advice of legal counsel to the City. Willamette Week, however, reports a different take: it's all about a deal with the Oregon Petroleum Association that gives them a lower rate.
"They didn't get what they wanted, but we compromised on their rate," Adams said.... "Now that they've agreed not to pursue a referral, I feel comfortable moving forward with one ordinance," said Adams, who's running for mayor."
Gotta love Portland politics.

* * *

Meanwhile, the Columbia River Crossing is in the midst of proposing a toll for the new Interstate 5 bridge. (Hat tip to Portland Transport).

I am actually, amazingly, in favor of tolling on freeways. However, I can't see how tolling just this bridge will work. And I am highly skeptical of all these electronic tolling systems. One of the points of this project was supposed to be to remove an alleged choke-point on I-5. As the project proceeds further and further, it's becoming more and more apparent that the new bridge will itself be a choke point, and a highly overpriced one at that.

I think we have now reached the point where the law of diminishing returns kicks in. Lets just maintain the current, perfectly safe bridge, and forget it. I won't dare mention the idea of a supplemental bridge cutting across Sauvie's Island to connect Washington County to Clark County, of course....

* * *

Rounding out the news, the Daily Astorian has an update on the Port of Tillamook Bay Railroad. The line, which links rural Tillamook with national markets, experienced major damage during early December 2007, and remains out of service. Reading the tea leaves, it's really starting to look like the Tillamook Branch may be gone for good.

This is a major challenge for how the state addresses the needs of low-volume rural areas. If the rail line is not rebuilt, it will have a major impact on Tillamook County's economy. And if the state does not provide some alternate solution, it will be telling rural areas across Oregon that they are not a priority in Salem -- a mixed message at a time when ODOT is promoting the Connect Oregon project.

* * *

I have a soft spot for British automobiles, having grown up in the back seat of a 1959 Triumph TR3. Thus the future of the Jaguar marquee has been of great interest, which is why this report about difficulties between current owner Ford and future owner Tata Motors is slightly disturbing. Lets hope this doesn't mean the deal falls off.

* * *

Strange things amuse me, and perhaps this is too obscure. However, it appears Union Pacific does have a sense of humor about itself.

Heh.

* * *

Once upon a time in Public-Broadcasting-Land, there was a show called Masterpiece Theater. It was a variety drama show, much like the old "Carnation Milk Presents" shows that aired on broadcast television in the U.S. throughout the '50s. (In fact, oil giant Mobile used to sponsor Masterpiece, and it was known as "Mobile Masterpiece Theater"). Each week the host -- first Alistair Cook, later New York Times columnist Russell Baker -- would introduce a classic work of literature (and occasionally an original screenplay) that had been made into a film. In some ways this series was the ultimate intellectual feather-in-the-cap for PBS.

Apparently that's not so much the case anymore. PBS has re-branded the series as "Masterpiece Classics" -- a case of painfully obvious duplicative phrasing if ever there was one -- and has replaced Baker with actress Gillian Anderson. The move is reminiscent of NBC's recent decision to use the actor Micheal Douglas as voice talent for the NBC Nightly News. As the Ellen & Jim blog put it:
"The appearance and demeanor of the introducer, Gillian Anderson, her talks and inset commercials (if we needed more evidence) show how little respect the PBS stations now have for their audience. Their original goal which was to have an alternative place for intelligent talk and decent art. Anderson is made up grotesquely; she leers at the audience; I expect she knows little of Austen for real or the 18th century, but the people who wrote the speeches clearly also know little. I didn’t stay for her closing one -- it actually comes after a commercial. PBS now puts commercials inside their shows. They assume the audience will sit through the commercial for the sake of watching and listening to this woman again."
Ouch.

They're also getting heat for having cut up the recent Jane Austen film adaptations so much to have made a joke of the original material. (Hat tip via the Chronicle Blog).

* * *

Kevin Scanlon sends along notice of an interview on Public Radio International's Studio 360 with the photographer David Plowden. Plowden has recently published a retrospective book titled David Plowden: Vanishing Point: Fifty Years of Photography. (I will be reviewing it sometime next week). Studio 360 took the time to visit with Plowden in New York and has made their interview available in audio format. The interview is about 12 minutes long, and in it you can hear Plowden's sense of wonder and personal curiosity shining through. For an admirer of Plowden's work, I found the interview informative and inspiring:



In addition to the main interview, Studio 360 has made available a 4-minute bonus interview with Plowden on his fascination with bridges:



If the embedded players do not work for you, the interviews are available as downloadable .mp3 formats from their issue archive page. (It's on the right).

* * *

One last note before I go. While we're discussing photography, Martin Burwash has another photo essay up. Check it out.

Have a great weekend, and look for some book reviews before the next Week in Review.

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Friday, January 4, 2008


Week in Review, Vol. IV

It's been long enough since my last Week-in-Review that maybe I should call this a "Three Weeks in Review". In that time, I managed to pick up some new (to me) books, so there should be some book reviews in the near future. Stay tuned.

* * *

Today's windy weather had some interesting effects. Check out this slideshow of trucks blown over on I-84 in eastern Oregon. All I can say is, wow.

* * *

Last time I mentioned the continuing plight of the Oregon Rail Heritage Foundation. Over the course of my break, the Trib put up a story.

* * *

Here is a wonderful online photo gallery of the now gone Penn Station in New York City. Hat tip to Kelly Lynch for that.

* * *

Aaron Hockley points us to For Portlanders Only, a hilarious page of images & video about what makes Portland unique. I have to say that Les Scwhab's free beef campaign and Bob the Weather Cat scared some of my non-Oregonian friends. More amusing to me is the anti-tourism campaign:
"Tom McCall, ex-governor of the great state of Oregon, cordially invites you to visit Idaho, Washington, Wyoming, Utah, Arizona, California, Hawaii, or Afghanistan."
If nothing else explains the Oregon psyche, that does.

Though I suspect top honors for oddest-true-story is this coverage of the one-year anniversary of the eruption of Mount St. Helens. All I can say is, wow.

* * *

I've added two blogs to the blogroll on the left.

The first is the Portland history based site Stumptown Confidential. If your a history nut you should enjoy the image laden posty goodness there.

The second is Blair Kooistra's Under the Weather. Blair's blog has a bit of railfan photography, but it is much more than that and is quite well rounded. Fans of BoJack will probably like his non-railfan content.

* * *

Speaking of blogs, many of my fellow photographers seem to be getting active in the Blogosphere all the sudden. Scott Lothes has a new post, now brought to you from North America. Scott, here's hoping you have the time and inclination to keep this up. Meanwhile, Martin Burwash is trying his hand at photoblogging too; check out his homage to the railroad and Little Bighorn here.

* * *

The paper in Mac has a video story on the return of their galloping goose. (Warning, it took a while to load even on DSL. Slow connection...?) Good luck to them, but I kind of doubt that a stuffed-and-mounted, obscure piece of rail history is going to draw people off the highway to tour Willamina.

It is nice to see a piece of local history come home, however. It's by far preferable to the shotgun-approach many museums have towards old equipment. You know, the "get anything old while you can" approach that lacks any semblance of context.

On a marginally related note, I don't think I've ever seen a newspaper website before that has a department titled "Who's In Jail".

* * *

Lastly, Autoblog brings us this story about Steve McQueen's review of eight sports cars in 1966. As a friend of mine says, "all kinds of awesome".

'till next time.

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Saturday, October 20, 2007


The Cat and Her Nine Lives

My love of British cars -- or at least those that were deemed worthy of export to the United States -- should be no secret. I grew up in the back seat of a heavily modified red 1959 Triumph TR3. Over the years, members of my family have owned TR4's, TR6's, MGBs, MGB-GTs, Sunbeam Alpines, Austin-Healy Sprites... and that's all just in my lifetime! The car I perhaps have heard the most about, however -- after the TR3 anyway -- was a Mark II 3.8 Jaguar saloon. Made most famous as the car that BBC/PBS' Inspector Morse drove, my parents owned a Burgundy red model until the late 1970s. It fell victim to the expanding family disease, and my only first-hand knowledge of it comes from a burled wood dashboard spare that my father has kept ever since. It is a very nice dashboard.

So it shouldn't be a surprise that growing up, I lusted after Jaguars, first the XJS, then later the XK. It's perhaps because of this that I've always held a soft spot for the Jaguar car company, and cheered it on even while knowing I was far from likely to be able to own one anytime in the foreseeable future. When the troubled maker announced the new C-XF concept, I was fascinated, and wrote about it here. Stylish, ultra-modern, and shapely, the car broke many Jaguar traditions in an attempt to hold up one very crucial one, the notion of a sedan that had guts, what Jag designer Ian Callum called, in typically British jargon, a "sports saloon".

Jaguar's in a deep bind, and its troubles are much the same as Cadillac's had been for the last twenty years, namely being the "fuddy-duddy" car, with little excitement or passion. Result? Declining sales and a shrinking, increasingly geriatric buyer base. Not exactly a growth formula. Some of the U.S. executives of the company hatched a plan to save the company in 2004 that would have seen the maker return to it's racing-inspired roots. The plan, however, was killed by defenders of the status-quo.

Now, however, the upper echelon at the Cat seems to have learned the hard lesson. Sales of the X-Type, meant to be an All-Wheel-Drive BMW-killer, never met expectations, while time has shown the S-Type to be an over-styled poor substitute for the Mark II whose styling it more parodies than parrots. Ford has put the company up for sale, placing all the more pressure on the company to prove itself healthy enough to be bought for more than just a Chinese name-badge grab.

Make no mistake. Jaguar needs the XF. Since revealing the C-XF, (Concept, XF), Jaguar removed the X-Type from the U.S. market; the XF production variant of the C-XF will, once it hits the market, replace both of Jaguar's middle-market sedans. If it succeeds, Jaguar will prove itself a viable investment. If it fails, it may sink the company.

But what would it look like? Production cars, industry wide, are rarely as exciting as the concept cars they are based upon. Despite raising pulse rates, concepts are usually far watered down, in fear of the risk of aggressive styling losing the pre-existing customer base for the product. Caddy's angular transition was perhaps one of the rare exceptions to this rule. (It's also one that's paying off well -- the CTS has proven a winner for Cadillac owner GM). Would Jaguar follow the rule, and water down the C-XF to a milquetoast sedan?

Recently, Jaguar revealed the new XF. The exterior styling is by far more conservative than the C-XF, most notably reducing the radical headlight shapes and toning the overall body shape into a more submissive shape. Ironically like the Cadillac CTS, in some ways photos do not do justice to the styling. At first, this was a disappointment, but I have to admit the styling has grown on me. This photo alone sells me on the heartbeat racing Jaguar feel the car has, in a way that no XJ series sedan, even the original XJ-6 of 1968, has had.

And the interior? While not quite as dramatic as the neon-glow infused C-XF interior, it still sports a clean minimal look heralded by some as the best luxury sports sedan interior on the market. Indeed, from a functional standpoint, it was designed with Apple Computer, known for their elegant interfaces. Note, too, the return of that Jaguar standby, burled wood trim. While a step into the past, the treatment appears to me modern enough not to be an anchor, while traditional enough to satisfy the need for some warmth as well as brand continuity.

What does it translate to for Jaguar? With such an iconic brand, any step away from the inertia of conservative, backward-looking designs will be met with a love-hate reaction. As Car Magazine UK states, "some insiders call it a Marmite design -- one whose flavour you'll either love or hate." The maker has rolled its dice... and it looks promising. Early reports indicate that there are now more U.S. pre-orders for the XF than supply; in short the XF appears to be on the path to selling out its first batch on U.S. soil.

And if you're Jaguar, you're hoping that's going to last more than a few months.

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Sunday, May 6, 2007


Jaguar's 21st Century Gamble

Jaguar is perhaps one of the most respected British car makers. It is also one of the few traditional British makers to have survived the dark years of British Leyland and arrived in the 21st century. Since 1989, Jaguar has been owned by U.S. automaker Ford Motor Company. Ford has for the most part avoided direct involvement in the company, but Jaguar has utilized Ford technology in recent designs such as the XK8.

The Ford era ushered in an era of nostalgia at Jaguar. The car that is most symbolic of this is Jag's "S-Type". The car was meant to hearken back to the classic lines of the Mark II, one of the icons of Jaguar's "sports saloon" heritage. Unfortunately, the car's design was more like a cartoon of its inspiration. Execution was rather tame and conventional, instead of exciting.

While browsing the net the other night, I discovered Jaguar's promotional site for its advanced design concept. Called the CXF, its is a prototype for the the to-be-launched Jaguar XF, a 4 door sports sedan. The car is meant to break with every trapping of Jaguar tradition -- burled woods, cream leather, &c -- while at the same time honoring the brand's spirit of speed, modernism, and design excellence.

The CXF is distinctively like no car ever produced by Jaguar. The exterior uses a stretched, athletic shape that is erotically fast without sacrificing elegance. It hearkens slightly to the XK, although one might be inclined to view the latter as more having a kinship than being an inspiration for the former. Yet the radically different shape does have some subtle Jaguar "notes". The CXF has an overall arc shape that is like a metaphor for the leaping cat logo. It also has a subtle horizontal curvature when viewed from each end. But again, these are subtleties. The interior is almost spartan in simplicity, and yet is flowing, elegant, and radically modern. Overall, the car exhibits what Julian Thomson, Chief Designer for Jaguar Advanced Design, calls a more "aggressive" side of the brand.

Does it succeed? I think it does, though that is not the same thing as me liking the car. I'm not yet sure how I feel about the CXF. I can say this: I do get excited when I look at the car. It is a breathtaking change with the past. It cannot be confused for the milktoast of the S-Type or the suburban boredom of the X-Type. It makes every other luxury car on the market or planned for the market look boring, conventional, stone age. I wonder though if it breaks too far from the Jaguar mould, whether the Jaguar base will embrace it as a "true" Jag. Yet even if the brand loses some of the traditionalists, I suspect that the design of the CXF is so advanced that it will prove a formidable opponent for other luxury automobile companies.

The CXF's design concept website can be viewed here.

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