'Joy Is Not in Things; It Is in Us,'

said Richard Wagner and perhaps, in his staunch Teutonicity, dying in Venice sufficed and he never regretted not having built a 'sun-drenched Tuscan villa' in Bayreuth. It doesn't matter; it isn't 'Tuscany' that is the problem. The houses, and their bathrooms, and their greatrooms, their wall treatments, thematic toilet-brush holders, disguised three-car garages, incongruous media centers and 'authentic details' could all equally well be replaced by 'Hobbit' or 'Siheyuan' or 'Iroquois Longhouse' style with the principle remaining the same. Part of the problem, as I mentioned before, is the lack of hope these buildings signify, but there are other disturbing aspects.

Yes, in a perverse sense, these homes are all about hope, or American optimism, at least in its basest form. They are a testament to material success, to the fulfillment, in all caps, of The American Dream of home ownership. But what appears to me bleak in this reading is the notion that anyone's American Dream reaches its dramatic finale in a tract home rather than an alpaca farm in the mountains or a high-tech ultra-green penthouse condo or a craftsman bungalow with a beautifully, lovingly, tended garden. Your visitors will know you have money -- but will they suspect you have a soul?

A more troubling aspect for me is that the 'Tuscan' home and all its necessary 'Tuscan' appurtenances represent the recent widespread conflation of 'lifestyle' with Life, which then gave rise to the current tendency to disprivilege or ignore the latter in favor of the more comprehensible and convenient former. The problem with Life, I suspect, is that invariably it must be lived. We fall into it sodden with drool and incontinence, often leave it in much the same manner, and in between --

Well, in between we stammer at countless beginnings, stare at the creeping minute hand through lots of tedious middles and cry to ourselves over unfortunate endings; we get punched, sacked, ridiculed, betrayed, lied to, and cut off mid-sentence just before brilliant ripostes. We give our hearts away, we sing babies to sleep, we take up astronomy, then Jung, then Uilleann pipes; we take photographs lest we forget it really was just that beautiful, once. We have one too many, we don't get the promotion, we sit on the edge of the dance floor waiting; we practice kissing with a pillow and proposing with a mirror, we sometimes get the girl and we sometimes get the grippe.

None of that can be purchased. Much of it wouldn't be a very good deal, anyway, at any price, and I suppose that is the point: better to try to ignore it, and then perhaps the breathtaking crescendo of life, what all those clogged sinuses and broken heels and soothing kisses have been leading up to - death, in other words - might get distracted and not disturb us, after all. Life can be boring, painful, taxing, and too long or too short. And it always ends poorly.

Lifestyle, by contrast, is a narrative the user can control. It begins and ends as you wish, and you can leave out any of the parts that don't suit your desired image. Lifestyle, moreover, is nothing but a commodity, and an imaginary one at that. It consists in the things a consumer buys to convey to others and to himself the persona he wishes to inhabit. It is cosmetic surgery for your life, and just as there is a code of conduct regarding what should and should not be said to the obviously pulled, pleated, and plumped, so, too, will your posture as suburbia-dwelling daimyo, pasha, doge, or Indian Chief remain unquestioned by your neighbors. After all, you didn't neglect to include thematic outlet covers.

I suppose part of the problem for me is that it's just all so rickety. They are in the main not nice houses, just expensive ones. The majority tend to have a distinctly Disney feel, as though around the next cul-de-sac our little boat will sail past Olde Siam. There is an attempt at wholesale replication on the one hand, and a jarring failure in execution on the other. Neither is appealing; both together are horrifying. All art incorporates older elements, some art cross-cultural references; nothing man-made can ever be wholly new. That fact notwithstanding, history, geography, and culture along with form give a work its content, its meaning. The meaning of these tract homes is simply 'Tuscan sells.'

Why is that more troubling than an older neighborhood filled with bungalows or ranch-style homes? Are not all houses, since the dawn of modern real estate, designed to sell, to appeal to the buying public? And what's more, was not the Atomic Age as executed in the American home a perfectly articulated lifestyle, as detailed and complete as the 'Tuscan' variety, down to its Saturn-shaped lamps, spiky, Sputnik table legs, and galactic-design curtain fabrics?

Okay, yes, in theory, but in the case of the 1950s, few people kitted out their entire house in space-age furnishings, and there were plenty of other 1950s looks that mixed with the outright futuristic ones harmoniously. One could have an up-to-the-minute television lamp atop a table from 1947 with no grave sensation of aesthetic malaise nor expectation of scorn from the neighbors. Additionally, the house would not come with an actual satellite in the front yard, which is as good an equivalent as I can imagine for faux-cracked walls, faux-aged fake beams, faux-ruined paint jobs, and murals in the toilet of someplace you are not but which the entire house contrives to make you believe you are. And, yes, too, houses and minimalls and BP stations reflect the aesthetics of the time, but there is the additional problem that the aesthetics of earlier times demanded better craftsmanship and genuine materials. Moreover, people bought furniture differently decades ago, as companies realized they could sell more over time if they offered 'sets' that could be acquired slowly as finances allowed: even the counterparts of today's neo-Tuscans would not have bought a whole new household worth of thematically-congruent furniture, appliances, and accessories when they moved up in the world and bought a better house.

Lastly, 1950s style didn't seem thematic in the 1950s, because it wasn't thematic. It was simply up-to-date. Muddled, forced and fauxed tract-home half-iterations of a Tuscan fantasy lifestyle seem tragic to me because they hold out a series of promises they can never keep. The garish, kooky exuberance of Atomic Age decor cohabited in its enthusiasts' hearts with the very real fear of nuclear annihilation. Gratitude for the end of the War was balanced with the grim knowledge of how the War ended and what that could portend for future conflicts. Satellite table lamp and cars shaped like rockets were symbols not only of the power of technology, but of the hope that with proper stewardship it would lead humanity to more good than ill. It hurts my soul to contemplate the hopes these McMansions encapsulate.

The Virgin, the Blanket, and the Wardrobe

I love this. This is someone's ad for selling their wardrobe. But, because it is mirrored, it looks like it has the Virgin of Guadalupe in it. Of course, if it did, as with all the Blessed Virgin pieces of toast and Blessed Virgin soap fragments and Blessed Virgin potato chips on Ebay, they could make significantly more than they are asking.

It Has a Brother!

"Whitewash picket fence wall-hanging plant holder, can be hung inside or outside."

Or, preferably, burned inside or outside, its noxious leaden fumes gassing into oblivion the perpetrators destroying this piece's potential for inspiring other misguided and impressionable DIYers to replicate its purported folksy charm.

All That Is Wrong with the World

It's a chair! No, no, no, it's a fence! Wait, no, it's a table! Yes, no, a...birdhouse? Not quite, not quite, no, em, a desk? No, couldn't get the legs in there, between all the shelves...

What is this thing? What preternatural evilll was responsible for its design; what inhuman, diabolic insensitivity to reason and decency enabled its execution? Why was it made, and does it go indoors or out, this white-picket birdhouse desktablebookshelf étagère-seat?

Blowin' in the Wind

I was finally brave enough to tackle the wine cabinet redo, and I don't know what to think. I do know I did as best I could. As you can see in the 'after' pictures, the cabinet is covered in nice marquetry veneers. I say 'nice' because it looks nice and took some time to do, but also because the piece is old so the depth of the veneer exceeds that of paper.

However.

I have a deep-seated and possibly pathological desire to be polite, commingled with a distaste for shopping. These two tendencies taken together (and so far, I haven't been able to take them apart) mean that I sometimes encounter great difficulties when trying to buy things. I don't go into stores to browse: I go in stores to get the one, or three, or six things I know in advance I want or need to get from the store. If it turns out they do not have the items, I leave. I am not, in other words, tempted to buy a bathtub because there are no more pruning shears, nor a new lampshade because the store ran out of my brand of stockings. I recently went to a lot of antique stores looking for a particular type of settee, and one with upholstery I would not have to change immediately, as well. The settee still eludes me, but I did not turn to dining sets or hall stands to anesthetize my feelings of setteelessness.

Still, though.

The situation is different when in response to an advertisement for an item I go to someone's house. I cannot contemplate the horror of a day spent going to several strangers' houses to look at various single items. If you place an ad and I call you, it means that I want to come your house, buy the item, and take it away, assuming the photos and description are more or less accurate. However, once I am there those conditions shift. I realize I am in your house and in that house I am passing judgment on an item you own. Yes, I am not a guest; yes, this is, despite the surroundings, a business transaction -- but I don't want to be mean. Rude. And I don't want to have got your hopes up for nothing.

Moreover.

By this point, as well, I have driven, at great risk to myself and other travelers, to wherever it is that you have your house and your possibly-unattractive-in-person piece of furniture. Perhaps, as was the case with the wine cabinet, I did so in the dark and was in the process nearly driven into a cow pasture at the urging of a less-than-inerrant GPS. At some point -- and almost four-wheeling in a farmyard is as solid a point as any other -- it is simply the case that I am 'all in': I am going to buy that hideous piece of Bombay Company MDF loathsomeness photographed through Vaseline and described as 'gorgeous settee 1880s Victorian Eastlake must see xlnt cond' no matter how much it hurts to do so, for to do otherwise would make me look like a fool for having driven so far for nothing. At least to myself it would make me look like a fool. And since, as you all know, I'm a) the only one who has to live with me and b) not one to suffer fools gladly, I can't afford that sort of rancor between me.

But still also I don't want to hurt your feelings.

So, prior to looking at the wine cabinet in person, I asked what were those 'designs' on the front in the two faraway photos, and what were they made of. The very nice lady said she thought one was a flower, and the other, well, she couldn't quite tell. She was happy enough to send me photos of them, but they were huge and I was as ignorant as her as to how to scale them down for viewing from within this solar system, at least on a then-dying computer with about three programs left on it. Fair enough, I thought, the rest of it looks quite sexy, and I've never been out to that village (but I bet they have livestock nearby!).

In short, the cabinet was unusable in its state at the time. The Seventies were a challenging period, I realize: so much change, tumult, and uncertainty, as though all the moorings were coming loose everywhere, equally, fully. Fashion, popular music, design, and graphic art reflected the confusion. By the middle of the decade, 'hippie look' design was mainstream in clothing as well as home decor. Housewives sewed granny dresses and quilted skirts, découpaged and scalloped-edged everything in sight, and stuck cork embellishments on anything not actively running away from them.

Such was my cabinet's fate.

This unlucky chump had been the victim of the Seventies hat trick of cork, scalloped edges, and the ubiquitous mushroom-as-decorative-motif. The mushroom, moreover, and the 'flower,' which turned out to be a leaf, appeared to be products of a Ladies' Intro to Metalwork class. Plucking the metallic flora merely solved the glare problem; there was still the issue of the incongruous texture, shape, depth and appearance of the cork appliqués, which were painted in shades ranging from black, brown, and 'natural' to metallic gold.

I first thought of taking the hacksaw to it, and getting the depth of the appliqués to a sliver, over which I would simply paste something more in line with the original lines and look of the piece. They would still protrude a bit, but not two inches and, more importantly, not hideously. Then, positioning the tool first one way and then another, I realized there was no way that attack would be possible as the plane of the front is interrupted by molding at the top and base. I could have someone else do it, of course, someone who knew about these things, someone with expertise, but that would be cheating.

Now, I don't receive much child support from my exhusband, so it is a good thing he came in handy on a Christmas visit when he stuck his penknife a bit under one of the cork bits and emboldened me terrifically by his revelation that the adhesive was loose and elastic, as well as by his prediction that removing the grisly duo would be simple and quick. Still, he is an exhusband, and it took me a few more weeks before I grew the confidence to begin to test what I still considered to be no more than a hypothesis about the state of my glue.

My glue, it turned out, was quite healthy.

Accordingly, I slathered both doors with copious amounts of oil in hopes of loosening it and the cork ovals without damaging the veneer unduly. The scheme largely succeeded, and no veneer ripped off, but once the cork was removed it turned out that the final embellishment to the ovals, the dark brown paint around the outermost edge, was applied after they had already been glued on. Additionally, although I hadn't damaged the veneer, there were in fact gouges in it which appeared to have been what precipitated the 1970s modifications. I sanded enough to even out most of the surface, but there would have been no way to get below the absorbed paint and the deeper gouges.


So, I decided on two-tone gold leaf under stain in a geometric pattern that echoed the existing geometric pattern. Yes, it is not original, but not much about this cabinet was by the point of making that decision. I know it is not more authentic, and I am not sure it is much better, but I am absolutely certain it is not as bad.