I guess I would value the perspective afforded by
Foreign Policy Magazine, which ranks Chicago as the 6th leading city in the world, over that of a bloviating New Yorker who apparently lacks the historical sensibility to comprehend the massive cultural and economic transformation New York has undergone in the past 35 years:
http://www.foreignpolicy.com/node/373401. If Chicago has entered an irreversible state of decline, can you imagine the psychological trauma residents of Los Angeles, Houston, Boston and Philadelphia must endure as a condition of their very existence? They all rank lower on the list than our hapless burgh.
In all seriousness, the reviewer eviscerates Chicago in part for its corruption, debt, subservience to corporate overlords and faltering economy. One might ask if Chicago is anomalous in any of these regards. Chicago's economic outlook may be bleak, but so is the nation's. Chicago may be a cesspool of corruption, but our national political system hasn't sunk to its current level of debasement since the Gilded Age. Chicago may lie prostrate before massive corporations, but guess who owns our federal government? It sure isn't Ma and Pa Kettle.
The remarkable aspect of Chicago's recent history isn't, as the NYT reviewer argues, the manner in which the city has followed Detroit on a path toward social and economic implosion. Rather, it is--as Good Dolphin and others suggest--the extent to which it has defied this trend. Beginning shortly after World War II, Chicago reinvented itself, making the transformation from one of the world's great industrial metropolises to a leading force in the "creative" postindustrial economy of the late 20th and 21st centuries.
Incidentally, as Richard LLoyd documents in his excellent book
Neo-Bohemia: Art and Commerce in the Postindustrial City, this transmogrification has been completed through the infusion of "alternative" or bohemian artistic cultures into the city's mainstream economy. In this close examination of Chicago's economic development at the dawn of the 21st century, Lloyd shows how monopoly capitalism and oppositional aesthetics are deeply intertwined. Thus the NYT reviewer's assertion that Chicago is intellectually and artistically stultified by its obsequiousness to international capital fails to grasp contemporary economic dynamics: Neoliberalism has succeeded not because it has destroyed "alternative" aesthetics and ideas, but because it has absorbed them. In other words, it is precisely because Chicago has remained a "Neo-Bohemian utopia," a haven for a new "creative class", that it has thrived within the world economy (over a period of several decades). As a major cultural and artistic locus within global society, Chicago is likely to continue attracting the kind of young intellectual laborers that will further propel capitalist innovation in the immediate future.
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Antonio Gramsci wrote:
The crisis consists precisely in the fact that the old is dying and the new cannot be born; in this interregnum a great variety of morbid symptoms appear.