{"id":65933,"date":"2024-09-16T11:07:09","date_gmt":"2024-09-16T16:07:09","guid":{"rendered":"https:\/\/languagelog.ldc.upenn.edu\/nll\/?p=65933"},"modified":"2024-09-16T11:07:09","modified_gmt":"2024-09-16T16:07:09","slug":"the-city-of-angels-in-latin","status":"publish","type":"post","link":"https:\/\/languagelog.ldc.upenn.edu\/nll\/?p=65933","title":{"rendered":"The City of Angels in Latin"},"content":{"rendered":"

\"The Best New Book Written Entirely in Latin You\u2019ll Try to Read This Year:\u00a0 Why Donatien Grau, an adviser at the Louvre, decided to write 'De Civitate Angelorum,' a book about Los Angeles, the Roman way.\"\u00a0 By Fergus McIntosh, New Yorker (September 16, 2024)<\/p>\r\n

Since even elite schools like Penn and Princeton no longer have a language requirement in their Classics departments, I doubt that many people, other than a few extraordinarily conscientious lawyers and biological taxonomists, will understand much of what Grau has written.\u00a0 Still, it's an interesting experiment to see how much of his book fluent speakers of French, Spanish, and Italian comprehend.<\/p>\r\n

<\/p>\r\n

Donatien Grau, an adviser on contemporary programming at the Louvre, was in town from Paris to do a reading from his book \u201cDe Civitate Angelorum,\u201d a treatise on Los Angeles written entirely in Latin. He wore an intellectual\u2019s patterned scarf and a too-heavy blue blazer, and was fortifying himself with a pre-reading iced tea.<\/p>\r\n

…<\/p>\r\n

In 2018, Grau was curating an exhibition about Plato at the Getty Villa, in Los Angeles, when he had an idea. \u201cFor Jean Paul Getty, the United States were the new Roman Empire, and the Pacific Palisades were the new Amalfi Coast,\u201d he said. \u201cThe way the villa was received, in the seventies\u2014it was very strongly criticized as being, you know, Miami. But a lot of scholars, they spoke to archeologists who said that it actually was a fairly accurate rendition of what a Roman villa would have been.\u201d He mopped his brow. \u201cSo I thought, What if I do this silly thing and write a book on L.A. in Latin?\u201d<\/p>\r\n

The project soon turned serious. A numismatist by training, Grau took inspiration from fourth- and fifth-century Latin literary texts. An art-house publisher in Paris agreed to print a few hundred copies. For a title, he borrowed from St. Augustine\u2019s \u201cCity of God\u201d (\u201cDe Civitate Dei\u201d), written when the Roman Empire was in its decline. \u201cIn the late fourth century, a number of writers and aristocrats and members of the \u00e9lite thought that their time was over,\u201d he said. \u201cChristianity had arrived, and would erase the heritage of paganism.\u201d<\/p>\r\n

He wondered: Could Los Angeles be at a similar juncture? Perhaps writing in Latin would help him decide. \u201cLatin was, of course, an imperial language,\u201d he said. \u201cAnd now it\u2019s a non-hegemonic language. Whereas English is an imperial language that still has that sense of hegemony.\u201d He went on, \u201cWe have to accept the foreignness of Latin in order to be able to understand it again.\u201d<\/p>\r\n

After Fergus McIntosh has described the cognoscenti who had gathered for the reading at 192 Books, on Tenth Avenue, \"to hear Grau declaim in a dead language\", the author begins:<\/p>\r\n

\u201cIn ultima terra Civitas Angelorum locata est. Nam inter solitudines et mare, montes et caelum, silvas et urbem, posita est<\/em>.\u201d So far so good: The City of Angels is at the end of the earth, amid deserts and sea, mountains and sky, forests and sprawl. The next bit was trickier: The city is diverse (\u201cCivitas varia est<\/em>\u201d), crossed by raised freeways (\u201cviae altae liberae<\/em>\u201d), prone to earthquakes (\u201cmotus terrae<\/em>\u201d); everyone always thinks that they\u2019re young and happy (\u201cOmnes semper se iuvenes ac beatos esse putant<\/em>\u201d). Some people frowned in concentration; others looked out the window. Occasionally, Grau slipped in a familiar name\u2014Venice Beach, Topanga, the Oscars\u2014to grateful chuckles. The last section was about David Hockney. \u201cAd civitatem pictor e Britannia venit<\/em>,\u201d Grau intoned: A painter came from Britain.<\/p>\r\n

Afterward, fans waited for Grau to finish stacking chairs. \u201cOddly, I could follow certain parts,\u201d Aisha Butt, who works for the Guggenheim, said. \u201cI think I ended my Latin education at sixteen, but there are little parts you keep.\u201d<\/p>\r\n

For some, it was more about vibes. \u201cHe read it without one hint of irony,\u201d Ernesto Estrella, a poet and a philologist, said. \u201cIt was beautiful. He read it as if everybody would understand everything, and that makes you understand.\u201d<\/p>\r\n

Magnifique!<\/span><\/span><\/span><\/p>\r\n

We do this all the time when we listen to operas in languages we don't know.<\/p>\r\n

 <\/p>\r\n

Selected readings<\/b><\/p>\r\n