Anna Novakov and T. Novakov
like a yellow silken scarf, the thick fog hangs along the quay[1]
In the 1880s, London’s frequent and well-documented episodes of fog were a phenomenon unique to England’s most densely populated, diverse, and industrialized urban center. The spectacular nature of the embankment fog, often described by eyewitnesses as changeable and even colorful, caught the imagination of many artists and writers who saw in these atmospheric manifestations a symbol of modernity and the role of industrialization on an evolving urban space. While the illusive city, shrouded in winter fog, created the perfect backdrop for mysterious, criminal activity, it also proved to be a compelling inspiration for those who read the fog as a more positive symbol of London’s cosmopolitan status. In this essay, we seek to interrelate some artistic and literary references to the fog with contemporary explanations addressing the causes of this atmospheric phenomenon. Through this inte
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Credit: Tanya Rosen-Jones
Kazim Ali was born in the United Kingdom and has lived transnationally in the United States, Canada, India, France, and the Middle East. His books encompass multiple genres, including the volumes of poetry
Inquisition,
The Far Mosque, winner of Alice James Books’ New England/New York Award;
The Fortieth Day;
Bright Felon and
Wind Instrument. His novels include the recently published
The Secret Room: A String Quartet and among his books of essays are the hybrid memoir
Silver Road: Essays, Maps & Calligraphies and
Fasting for Ramadan: Notes from a Spiritual Practice. He is also an accomplished translator (of Marguerite Duras, Sohrab Sepehri, Ananda Devi, Mahmoud Chokrollahi and others) and an editor of several anthologies and books of criticism. After a career in public policy and organizing, Ali taught at various colleges and universities, including Oberlin College, Davidson College, St. Mary’s College of California, and
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