As I child I was scared of the dark, of the imaginary and the real that lurked within it. So afraid was I that every night I slept with the blankets pulled up over my head and risked a spanking as punishment for wetting the bed that was my sanctuary. Then I grew up. Then I went to pubs, followed by nightclubs and often found myself walking home – sometimes staggering more than a little, in an advanced state of inebriation – the eight miles or so from the city to where I lived. The darkness in the city never frightened me. If I became detached from the crowd I had begun the evening with, comforting noises seeping out from the bars and clubs – American soul music (Stevie Wonder, Marvin Gaye), British rock (David Bowie, Roxy Music) – and looking in through the plate glass windows of the bustling open-late eateries let me know that I was not alone. The further I walked, the more the lights dimmed, the less I could see, the more the familiar ghosts from my childhood reared up from the dark shadows that gradually grew and deepened around me. Once, at around 2 am, a friend took me via a short cut that reduced our walking time by about five minutes. He had not mentioned beforehand that it passed through a graveyard. He was not letting on but I knew he was as afraid as I was. Then all at once we started singing: She says baby ev’rything is alright, uptight, out of sight. Baby, ev’rything is alright, uptight, clean out of sight. And, well, it somehow just was…
©Pedro Silmon 2011
Highlights of the Met’s exhibition include classic 20th Century, black and white, night photography by Berenice Abbot, Bill Brandt, Brassaï,Robert Frank, André Kertész, William Klein, Weegee and Diane Arbus, among many others.
Image above by Sid Grossman (American, 1913–1955)
Image title: Mulberry Street, 1948
Gelatin silver print. The Metropolitan Museum of Art, Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 1990 (1990.1139.2). © Estate of Sid Grossman/Courtesy Howard Greenberg Gallery, NYC
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