Seeing Los Angeles after ten years away, one realizes all over again that America is an unhappy contract between the East (that Faustian thrust of a most determined human will which reaches up and out above the eye into the skyscrapers of New York) and those flat lands of compromise and mediocre self-expression, those endless half-pretty repetitive small towns of the Middle and the West whose spirit is forever horizontal and whose marrow comes to rendezvous in the pastel monotonies of Los Angeles architecture.

So far as America has a history, one can see it in the severe heights of New York City, in the glare from the Pittsburgh mills, by the color in the brick of Louisburg Square, along the knotted greedy facades of the small mansions on Chicago’s North Side, in Natchez’ antebellum homes, the wrought-iron balconies off Bourbon Street, a captain’s house in Nantucket, by the curve of Commercial Street in Provincetown. One can make a list; it is probably finite. What culture we have made and what history has collected to it can be found in those few hard examples of an architecture which came to its artistic term, was born, lived and so collected some history about it. Not all the roots of American life are uprooted, but almost all, and the spirit of the supermarket, that homogeneous extension of stainless surfaces and psychoanalyzed people, packaged commodities and ranch homes, interchangeable, geographically unrecognizable, that essence of a new postwar SuperAmerica is found nowhere so perfectly as in Los Angeles’ ubiquitous acres. One gets the impression that people come to Los Angeles in order to divorce themselves from the past, here to live or try to live in the rootless pleasure world of an adult child. One knows that if the cities of the world were destroyed by a new war, the architecture of the rebuilding would create a landscape which looked, subject to specifications of climate, exactly and entirely like the San Fernando Valley.