On a recent visit to San Francisco I discovered,
among other things, that the city on a hill is a city of

light.
Vistas and light.
Hills, vistas, and light.
Brake shops, hills, vistas, and light.
Bay windows, brake shops, hills, vistas and light.
Human diversity, bay windows, brake shops, hills, vistas, and light.
San Francisco has it all. Even earthquakes, but everything good has a downside.
As for hills and vistas, everywhere you turn in San Francisco there’s a hill to climb and a view to see. A view with a bay. However, I discovered that the “San Francisco Bay” area is not named after San Francisco Bay, but after what must be a city ordinance that every building have a bizillion bay windows. Without buildings with bay windows San Francisco would literally not exist. Take ‘em away and all you’ve got are inclines and Alcatraz. San Franciscan openess to diversity could be explained by the fact that all dwellers are forced to see in triptych. Every view is of three parts when you’re looking through a bay window; you must look in three directions at once if you want to get the whole story. There are few single points of view in San Francisco. This must have contributed to the wide ethnic and cultural diversity found there. Asians, Anglos, Latinos, Blacks, straights and gays, mingle in general good will as a result of an architectural conceit! And you thought architecture was about the aesthetic stacking of bricks and lumber.
It’s not obvious except by deduction, but you’ve got to figure that any city with the abundance and extremity of hills such as San Francisco must have a thriving market for brake jobs. While there I drove down some hills so close to vertical my mind was flooded with thoughts of the sanctity of calipers, discs, and drums. “May the Tao be in my brake linings. May these discs be in tip-top shape,” I muttered. “May the mechanic who adjusted these calipers have been the apotheosis of meticulous craftsmanship. May the manufacturer of these drums not have been of the same ethical caliber as Chinese entrepreneurs that coat kid’s toys with lead-based paint.” When we reached bottom on those occasions I jumped out and kissed the cable car tracks.
(On a nostalgic note, plodding up and down the hills through my host’s neighborhood I kept expecting Steve McQueen, careening in a downhill chase, to be launched from a cross street flat and crash before my eyes in a hail of sparks and zip out of sight around the corner of Polk and Sutter.)
The light’s fantastic in the city in which Tony Bennet left his heart. Brilliant. This abundance of light must be the result of the relative lack of skyscrapers coupled with reflected rays bouncing off the embracing bay. I’m used to New York and its deep canyons. In New York the sky’s arrayed in strips. Uptown-downtown strips as wide as 5th Ave. or Broadway. And east side-west side strips no wider than, at best, Grand St. or Houston. Most of the time most of NY is cast in shadow. But SF is awash in light. Biking along the bay with my dear companions, bay on the right, city on the left, in a constant breeze, was like cycling on the surface of a diamond while being cooled by the breath of god. Ok, maybe that’s a little hyperbolic, but not so far off the mark.
The biking I just mentioned started at the carnivally commercial circus around Fisherman’s wharf and proceeded through Fort Mason (intimating the 1940s and another war), along the marina with its stark-white boats bobbing and smelling of saltiness and bucks, out to Fort Point where Kim Novak being stalked by Jimmy Stewart once hurled herself to the rocks below at the direction of Alfred Hitchcok, across the Golden Gate bridge under its rust-red towers and over a departing container ship probably laden with weak-dollar American lumber heading to Japan, into Marin County, and ending with an easy coast into chic Sauselito and ferry ride return, plunging back into a vista of lights seething through a billion bay windows arrayed up and down impossible hills.
Nice, nice city.