“Something Unexpected About Being Here Near the Sea”

Yesterday work resumed toward removing the cottages on Long Beach West. Demolition had been halted since April 15 due to the shorebird nesting season. But over the summer, the ghost town saw some new residents: vagabond artists who made the desolation of the place their canvas.

Ben Wolf, 27, the organizing member of the artist brigade, said the project is worth the application of the more than 30 gallons of paint used thus far, despite the sealed fate of the dilapidated ghost town.

“Life is ephemeral,” he said. “Art in a gallery only lasts for one month, but the chance of this lasting longer than a month is at least possible.”

Caledonia Curry, 32, Wolf’s girlfriend, said the natural landscape at Long Beach West is a force of inspiration for many artists in the retreat.

“There is something unexpected about being here near the sea,” she said. “It’s a little bit of a paradise, but at the same time you get the juxtaposition with the broken cottages. …”

Skinny-dipping, star-gazing and storytelling occupy the artists’ downtime. But often, they work all day and use flashlights to continue into the night.

Camping on the beach? Co-ed skinny-dipping? Dude! Why didn’t anybody call me?

Anyway, I hustled out there to take some photos of the art before it was gone. I wasn’t surprised to find the po-po stationed at the beginning of the construction road going through the dunes. I asked an officer about the artists. He said they didn’t know how long the artists had been camping on Long Beach West but the place was deserted now. He also said a lot of people had recently been ticketed for trespassing out there. He added that while it was acceptable for me to take pictures of the cottages from below the high-tide mark (which in Connecticut is open-access land), if I or anybody else went above it, we would be “jackpotted.” Does anybody really believe a main function of the police isn’t revenue collection?

I thanked him, then drove to a paddleboard launch far from his prying eyes. I paddled up Lewis Gut and used one of the still-existent docks to access the cottages. There was no one about; the workers were only doing preparation work on the road, with the actual demolition days away. I surreptitiously took my photos (exteriors only, since this cat has an aversion to treeing himself) and then paddled away. Mischief managed.

My favorites by far were the murals. The scale of the collages and their composition out of the environment made them fun too. I wish artists had been out there every summer since 2007. Having to commit a crime just to experience the exhibit is another demonstration of the ridiculousness that is Long Beach West and Pleasure Beach.

I’ve updated my photo essay on LBW, with some more pics of the artwork at the end. The narrative also includes new research and the events of the failed land deal.

Blaming the Good Guys

Randall Beach, columnist for the New Haven Register, writes about the unbearable loneliness of the Pirelli Building, and before reaching the end of the second paragraph, I can already guess who the villains are: those evil Swedish furniture makers.

Thousands upon thousands of us drive by the vacant Pirelli Building every day; its forlorn billboardy presence prompts wistfulness, curiosity and concern.

When will Marcel Breuer’s historic yet modernist creation be used for something more than to provide free advertising for its current owner, Ikea, to hawk its products?

Robert Grzywacz, the [New Haven Preservation Trust]’s second vice president, said Ikea officials “have no incentive to fix it up, which is unfortunate.”

This raises the troubling question of whether Ikea’s strategy might be “demolition by neglect” — allowing a building to be unused for so long that the owner finally says it can’t be saved.

That would be a convincing argument if it had any correlation to reality. When I interviewed the sales manager of IKEA New Haven and the public affairs rep for IKEA US in late 2008 for a piece about the Pirelli Building, both made it clear to me that it’s a white elephant they would love to sell. The historic status prevents demolition and IKEA has no interest in managing a rental property. They only bought it because no other parcel of land that large existed within New Haven for them to build upon.

The reasons why no one has purchased the Pirelli Building from IKEA aren’t conspiratorial. It’s a large structure, meaning a small company isn’t going to buy it, especially when office space is otherwise readily available. It has flaws, including asbestos, and seeing as it’s been empty since 1997, very likely lacks the internal infrastructure necessary for a modern business. A large company is better off building from scratch. Even in the mid-90s (when I lived in New Haven) the building was only partially occupied, suggesting the deterioration of the upper levels was well underway before it was completely abandoned. If the Pirelli Building is so attractive, why wasn’t it more fully occupied — or occupied at all — before IKEA purchased it in 2002? Why doesn’t Beach blame its decline on the previous owners?

Oh, right. Because the multinational corporation is the Snidely Whiplash in Beach’s preconceived story template.

The only possible futures I foresee for the Pirelli Building are either the city buying it to appease preservationists; or IKEA selling it at a loss to a developer just to get it off their hands. Until then, it’s preposterous to point fingers at the same people who are sustaining the building in the absence of any civic or commercial interest.

How to Not Preserve a Historic Building

A compromise has been reached between the owners of the Norwalk Inn and the Norwalk Preservation Trust to do something — anything — with the severely damaged house at 93 East Avenue in Norwalk:

That agreement will allow the Inn — which owns the dilapidated G-SJ House at 93 East Ave. — to renovate the building that has been on the National Register of Historic Places since 1986 as part of the Norwalk Green Historic District, provided the proposed improvements make it through the city’s zoning process.

Zoning approvals will allow the Inn to restore the house to its Revolutionary War-era grandeur and convert it into seven or eight extended-stay, suite-type rooms, give permission for the Inn to expand to a third floor and add up to 40 more rooms, and provide visual buffering around the Inn from neighbors on surrounding streets.

Some background: the Inn bought the house at 93 East Avenue, which is adjacent to the Inn’s parking lot, to demolish as part of an expansion (the house is often referred to as “The Grumman-St. John House,” but there are no records of it ever having been called that prior to the legal battle; the name originates with the Norwalk Preservation Trust and its personification of the building). Zoning laws prevented the Inn from expanding upwards with a third floor, so they sought to expand outwards. The house had been most recently owned by two elderly sisters who ran it as a boarding house, but their age apparently prevented them from keeping the facility in good order. When the Inn bought it, 93 East Avenue was in serious disrepair.

When the Inn applied for demolition permits, however, the Norwalk Preservation Trust filed suit to prevent the work, claiming the house was listed on the Register of Historic Places. This is somewhat misleading. The house is not specifically identified on the Register; rather, a broad swath of downtown Norwalk is listed (as the “Norwalk Green Historic District”), which includes 93 East Avenue and dozens of other structures as well. Regardless, the state of Connecticut agreed with the Trust, and litigation ended with a judge ordering an injunction against the demolition of the house.

This led to the house crumbling further, an eyesore to anyone traveling down busy East Avenue. In November 2008, I interviewed Chris Handrinos, a manager at the Inn and co-principal of the LLC formed to purchase and demolish 93 East Avenue, for a magazine article. He interpreted the injunction as preventing any kind of repairs since refurbishment would necessarily require some removal of rotten materials and thereby constitute “demolition.” Meanwhile, the Preservation Trust, which was so hot to litigate, has never offered so much as a penny toward either buying the house or restoring it (I would share their perspective with you, but back in 2008, when I was writing that article, they never returned any of my e-mails or phone calls). And there the matter stood, with the house falling apart, until yesterday’s agreement.

All sides can claim this as a win, although it should be stressed that this agreement can only happen through the town making an exemption for the Inn from its own zoning laws. None of this would have happened if the Inn had been allowed to expand with a third floor from the beginning.

But the impasse could have also lasted indefinitely, with the house eventually collapsing or catching fire. The Norwalk Preservation Trust exemplifies how not to preserve old structures. Rather than assuming responsibility for the house themselves, they chose to litigate instead, creating a stalemate where the incentive was to do nothing to the house rather than preserving it.

Let me contrast this with an anecdote about an unrelated property. Once upon a time, I was doing research at my local historical society when a man came in to complain. A developer in town sought to disturb an area the man believed to be historic and he wanted the society to do something about it. The archivist on duty politely told him that while they would be happy to assist the man in researching the area as foundation for his argument, legal or otherwise, against the development, the society did not directly involve themselves in these kinds of issues. Faced with the prospect of having to do, you know, some actual work, the man left. He wanted somebody else to spend their time and money to fulfill his wishes.

This is why I admire my historical society and why we’re members: they are circumspect in their mission. They maintain their library and museum, as well as two historic buildings in town, but they know very well that preserving a building requires labor and funds — something they wouldn’t have if they dove into every dispute over every colonial tool shed or sea captain’s homestead in town. They pick their battles and put their money where their mouths are. That’s how you do preservation.

A Pirate’s Life for Me

Seas of BloodOver at Black Gate, I’ve scrawled a couple of reviews of the most recent Fighting Fantasy reprints coming out of England.

For the uninitiated: Fighting Fantasy was a 1980s series of choose-your-own-adventure novels with a simple dice mechanic to simulate combat and other physical challenges. Most were written and illustrated by British authors and artists, with all of the off-kilter and macabre sensibility expected from the sons of Albion. I loved Fighting Fantasy as a kid and nowadays read them to my boys, allowing them to make the decisions as they explore ruins, loot tombs, and slay man and monster alike.

In 2009, Wizard Books began reprinting the Fighting Fantasy line. Several of the best from my childhood, like City of Thieves and Deathtrap Dungeon, are included in this latest series. Other memorable entries, like Scorpion Swamp — the first FF with a non-linear narrative, allowing you to solve it any which way — haven’t appeared yet.

But if I had to pick a favorite, all-time best Fighting Fantasy, it would be the one I know will never be reprinted: Seas of Blood.

Seas of Blood revels in villainy and sheer callousness. The scenario is established in less than two pages: you, a pirate captain, wager with another cutthroat named Abdul the Butcher to see who can accumulate the most swag in fifty days. The winner will be declared king of pirates. And just like that, you’re off, tearing through an imaginary Mediterranean Sea on a binge of rapine and terror.

Did I mention this is a book aimed at children?

Clearly inspired by the Harryhausen/Schneer films of the ’60s and ’70s, Seas of Blood is a mish-mash of Greek triremes and Arabic dhows, of cyclops-haunted isles and giant rocs swooping from the skies, of The Odyssey and A Thousand and One Nights — minus any sense of morality.

Like all Fighting Fantasy gamebooks, you have personal statistics, but here you also have group scores to indicate the strength of your crew and soundness of your vessel. Booty is acquired through ship-to-ship combat, yes, but you can also venture ashore alone to explore abandoned temples or with your men to ransack towns or fortresses. A particular sequence has your band of scalawags climb a mountain to attack a Tibetan-like monastery and seize their golden idols.

Yet wealth in Seas of Blood is not measured in lucre alone. Remember those peaceful monks you despoiled a few pages back? You didn’t actually think you’d just leave them to rebuild their lives, did you? Survivors are thrown into the ship’s hold, to be sold at auction the next time you reach port.

Even then it’s not so simple. You soon learn the slave markets in various cities pay different amounts, making prices dependent on the available supply. One city, for example, has been victorious in a war with its neighbor, flooding the marketplace with prisoners and depressing prices. Thus you have to carefully choose where to sell so that you receive the highest bids for your human chattel. Hooray market economics!

Having retained my 1985 edition, I recently played it again with my sons, chortling to myself the whole time. We ended just shy of the amount needed to beat Abdul the Butcher and win the title. A shame. All those people murdered and sold into bondage for mere sport.

Oh well. I wonder what’s for dinner?

Cast Away on Pleasure Beach

I have a short article on Pleasure Beach, accompanied by two of my photos, in this month’s Connecticut Magazine.

In early July I paddled out to Pleasure Beach to take the photographs. It was my first approach by water, and as such, my first up-close experience with the peninsula’s western shore. There was the usual trash — bottles, plastic bags, wrappers, unmatched flip-flops — but I was astounded by the large items thrown onto the beach. Fifty-five-gallon drums. Traffic beacons. Long lengths of containment booms. Tires — not car tires, but the kind from wheel loaders or other construction vehicles that are as tall as I am. Many of these have been half-buried by the tide, rising out of the sand like sphinx heads and temple columns in a David Roberts painting.

The western end of Pleasure Beach fronts Bridgeport Harbor, so it’s reasonable to assume this detritus originates from the barges and tankers trafficking through the area. Pleasure Beach, depending on how you look at it, is either a desert island pockmarked by the relics of civilization or a desolate landfill.