by Conroy
This week
Grantland.com, ESPN’s self-styled “sports and pop-culture” offshoot, is hosting
Smacketology [1] an interactive March-madness-style tournament where readers vote on matchups of 32 of the most memorable characters from the acclaimed HBO series
The Wire. This tournament exists, I suppose, as a pop-culture anticipation of the upcoming
NCAA Men’s Basketball Tournament [2], but also because so many of the Grantland senior staff are semi-obsessed with the show, which to be fair, does boast an undeniably impressive roster of realistic, interesting characters. Why else invent this completely meaningless tournament based on a show that’s been off the air for several years?
Of course, just because it’s meaningless doesn’t mean
people don’t have strong opinions. From who will prevail (the odds-on favorite
[3] is
Omar, the homosexual street vigilante), to who was “snubbed” (no
Ellis Carver or
Rhonda Pearlman?!), to how each character was seeded (
Jimmy McNulty is just a “3” seed?). For me, this tournament is nothing more than a curiosity, but I do have one beef. It seems that the tournament committee (or whoever at Grantland put this thing together) made one massive, unforgivable omission, the biggest character of all, the show’s beating heart, the city of Baltimore.
Place as Character
And that leads me to two separate but related thoughts. First, the idea of place, of setting, as a principal character. The Baltimore shown in
The Wire is as inseparable from the show as the main criminals and cops. We see the decaying underbelly of the city. The characters inhabit it; they create and are the products of its devitalized social milieu. Dirty streets, boarded-up houses, depressed stores, corners surrendered to thugs and drug dealers. We see the violence that rots the city’s poor (and largely black) neighborhoods. We see the effects of the corruption and bureaucratic malaise, the numbing inertia of large institutions that are incapable of arresting the long social and economic decline of huge parts of the city. This may all seem rather bleak, but the show is vibrant because of its universe of characters and because all those characters lived in a “real” place. A great deal of the show takes place outside, on the city streets, at the port, on rooftops, at neighborhood bars and parks. If the city plays a central role it’s because the show was almost entirely shot on location
[4].
David Simon, a former
Baltimore Sun writer and the show’s creator, knows Baltimore and its criminal street scene intimately. That realism is transferred to the screen. This is only one view of Baltimore, the saddest parts of the city, but what’s seen on the screen is more or less true.
 |
| Joyce immortalized in his Dublin |
This reminds me of the way other places have been used to emphasize and enliven great art. A prime example is the Dublin of James Joyce’s stories and novels; Dublin is as much a character in
Ulysses as Leopold Bloom or Stephan Dedalus. Joyce famously said, and I’m paraphrasing, that if Dublin were to vanish from the Earth he hoped it could be reconstructed brick-by-brick from the pages of his book. Just note the intricacy of how the Dubliners traverse and inhabit the city in the novel. Even if you’ve never seen Dublin, as I hadn’t when I first read the book, Joyce’s prose renders powerful images and especially powerful impressions in the mind; in the end, the story is inseparable from the place. Joyce’s stories and characters are universal, they convey the human condition, but they’re grounded in a time and place. They’re intertwined with the Dublin of the author’s youth. There are countless authors who, like Joyce, create character from setting, Faulkner’s Mississippi and Dickens’ London are a couple of prominent examples.
Jumping to a different medium, think of Martin Scorsese’s best films, they take place in New York, from
Taxi Driver, to
Raging Bull, and
Goodfellas. And it’s not the glamorous high-rises of Wall Street or midtown Manhattan or the wealthy neighborhoods of the Upper West Side, but working-class sections of the Bronx and Queens; the rough, lonely night streets. His characters are New Yorkers. It’s hard to imagine
Travis Bickle, the anonymous taxi driver, prowling the streets of any other city, and of any other city being as hostile and hard on him as 1970s New York. And as Henry Hill says in
Goodfellas, “We grew up near the airport
[5], it belonged to us.” Indeed the mid-level crimes and
heists of Hill and his gangster friends never rise above or beyond the streets of their neighborhood.
Baltimore on Screen
But this leads me to my second thought. As effective as
The Wire is in incorporating Baltimore into the story, it shows a pretty grim side of the city. My hometown appears simultaneously dysfunctional, dangerous, and genuinely soul-crushing. Realistic or not, it’s not really how I want the image of the city conveyed to the rest of the world. I admit to a certain possessiveness and defensiveness in how Baltimore is depicted in the media. I suspect this is true of a great many people who take pride in their cities but who live in places that are only sporadically shown in the mass media. Some cities are used so commonly as settings for shows, movies, novels, any fiction, that you can gain a fair appreciation for the nuances of the place: New York and Los Angeles most obviously. Other common settings include Chicago, Washington, Miami, Boston, and San Francisco. London and Paris are popular international locales. But for cities like Baltimore, such exposure is intermittent and shows like
The Wire cast an incomplete perspective.