City of Fears, City of Hopes by Zygmunt Bauman
By Zygmunt Bauman
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Extra info for City of Fears, City of Hopes
Variety is a promise of opportunities, many and different, fitting all skills and any taste – and so the bigger the city is, the most likely it is to attract the growing number of people who reject, or are refused accommodation 34 and life chances in, places that are smaller and therefore less tolerant to idiosyncrasy, and more closefisted in the opportunities they offer. It seems that mixophilia, just like mixophobia, is a self-propelling, self-propagating and self-invigorating tendency. None of the two is likely to exhaust itself, nor lose any of its vigour.
It will probably constitute a major preoccupation and fill most of the history of the just starting century. The drama will be staged and plotted in both spaces – on both the global and the local scenes. The denouements of the two stage-productions are closely intertwined and depend intimately on how deeply the script writers and the actors of each production are aware of that link and with what skill and with how much determination they contribute to the other production’s success.
The same kaleidoscoping twinkle and glimmer of urban scenery, never short of novelty and surprise, has, however, its difficult-to-resist charm and seductive power. Confronting the never-ending and constantly dazzling spectacle of the city is not therefore experienced, unambiguously, as a bane and a curse; nor does the sheltering from it feel as an un-mixed blessing. City prompts mixophilia as much as, and simultaneously with, mixophobia. City life is an intrinsically and irreparably ambivalent affair.