Two weeks ago my cousin Juli came for a weekend visit. Earlier that day, before she arrived, I’d seen a post on Facebook lamenting the loss of CELLspace, which exists now in partial form at 2050 Bryant street: the east-facing wall is now totally demolished and the rest will follow soon.
I knew CELLspace was being ripped down and that the end was near, but like everyone, thought I had more time with it. I walk by the site almost everyday, and had lately been making mental note to take pictures, for (you know) posterity’s sake. Tristan Tzara’s impudent face had been painted on one of the walls. I loved seeing it. In Tom Stoppard’s play “Travesties”, Stoppard has Tzara yell “Dada! Dada, dada, dada!” like the bratty punk he probably was.
There was a similar sense of surreal unreason guiding the destruction of CELLspace and the surrounding buildings. We who live in the city are now minus a community space. Taking its place will be a six-story building with market-rate condos that most people will not be able to afford. A second eight-story building with 136 units of affordable housing will stand next to it. There had been impassioned attempts to save CELLspace, but in the end, belief in market-driven solutions to the housing crisis and this sentence “C – No Historic Resource Present / Not Age Eligible”, condemned it. The Facebook post made it clear that the end was nigh and that the demolition was proceeding. It was now or never.
“Juli,” I said after dinner, “we’re going for a walk.”
“Ok!” she replied brightly.
We sipped the last of our mead, collected ourselves and walked around the corner to a scene of great finality. Rubble lay in heaps and the dank odor of newly exposed basements filled the air. The entire corner of Bryant and 18th street was gone.
Juli and I let ourselves in to “see”, which was silly. The point of demolition is to take away the thing that used to be there. There was nothing to see. When cities change quickly, individual memory changes too and is included in the act of demolition itself. The construction equipment ripped down the buildings, and my memory, too.
The large brick building that housed CELLspace was still standing that night, now almost two weeks ago, but so bereft of human energy that it already felt gone. There was nothing inside the vast hall, except things with no value: a chair, some kind of light fixture, and so many things on the floor that they became nothing, a midden pile of twentieth century plastic trash.
Two years ago, I stood with about 100 people in this hall. There was low flat table supporting a large, wide-mouthed cauldron. A fire was made inside the cauldron because it was St Bridget’s day, Lá Fhéile Bríd, and we had gathered to make promises to each other communally and individually to the Goddess of the forge.
As we moved to the center and made a vow, another ritual participant raised a iron hammer and struck an anvil, which rang out loudly and clearly. There was every kind of person in the space that night, which was usual for that place. It hosted communities that gave the Mission –O horrible word that has ruined my home!—vibrancy. The people who congregated there, made culture there and took it out into the city.
The San Francisco Bicycle Coalition once held a fundraiser at Cell Space: I know because I helped organize it. Another night, another group, another memory: Rainforest Action Network threw a Christmas party and I danced like a madwoman with my friend Krikor, improvising pseudo-swing moves and having the time of my life.
At the end of the night, someone convinced me to take a hit off a joint. I did so and immediately recognized my mistake. I need to leave, I thought. I can’t be around these dazzling people with my mind on fire. So I walked down Bryant street leaving the confident organizers behind me happy and voluble, standing outside the brick building, gossiping and celebrating their successes even as they plotted their next brilliant campaign.
In all, there are five structures that have been torn down so that the two buildings, known collectively as the Beast on Bryant (The Monster on Mission is a different creature, though no less loathed) may be built. Here are their obituaries.
2000 Bryant street, a two storied, redwood-clad building, unprepossessing and downright homely sat directly on the corner of Bryant and 18th. I knew it as Tortilla Flats. I never ate there. Before that, it was the White Front Lunch Room. Before that it was a saloon, owned first man named Drewes and later by two men named Jopp and Siebe . Both establishments, which were held up by robbers in 1909 and 1913, catered to the German community. Mr. Drewes often ran ads looking for cooks in the San Francisco Call. “Wanted: German woman for lunch cooking”. This makes me think of my great-great Grandmother Mary Wellendorf who cooked at my great-great grandfather’s “chop house” on Fillmore street during the turn of the century. What solid German lunches were cooked in this space? Schnitzel, probably, cutlets of meat pounded flat and pan-fried with onions and cabbage. (What were the women’s names? Why was Drewes always looking for cooks?)
2010 and 2014 Bryant street: both properties constituted the Korbel Box Factory, which manufactured cigar boxes. Before that, 2014 was home to a 16-year old girl named Annie Couthurst. In March 1903, Annie was declared missing by her frantic mother. She appeared two days later “in a hysterical condition”, declaring that she had been induced to stay out past her curfew by a friend. She feared the wrath of her mother so much, she told the SF Call reporter, that she did not want to return home.
2028 Bryant: this was a two-story Italianate apartment building located directly next to Cell Space. It was constructed in 1885. In 1927, a woman named Kitty McManus lived there with her eight-year old daughter. Kitty was the victim of a charming bigamist named John Kearney, who had nine other wives. She didn’t know, she said. She planned on getting a divorce. Almost thirty years later, a Patrick McManus still lived there. A brother? Her father? A bachelor uncle? What happened to Kitty? Disgrace?
2070 Bryant: This building, which housed Cell Space, looked like another monumental auto livery of the type that sprung up in the city after the 1906 earthquake. However, it was not: it was a foundry called the Central Iron Works, a funny coincidence considering the ritual devotion that was shown to Bridget and her forge in this space.
In 1913, John O. McAuliffe sold a parcel of land to Central Iron works on Florida street; in 1911 manager A. A. Devoto appeared before the San Francisco Board of Supervisors, promising to stop the pounding of the steam hammer at night which “disturbed the slumbers of residents” in the neighborhood. Is this story of neighborly discontent also the history of 2028, which was next door? (What was it like living next to an iron works, with belching smoke, and hissing, grinding, pounding sounds such that a dragon might wonder if kin had settled in a barrow nearby?)
These histories, and others I’ll never know, represent the “past” of 2000-2050 Bryant street. I recite them to myself as I write, a monotonous string of words, and I think I must sound very much like poor Lady Pole from the book “Jonathan Strange and Mr. Norrell”, who tries to explain to anyone who will listen that fairies have imprisoned her, and that she is not living in the same world that most people are. She can’t tell the story, because there is a rose at her lips preventing her, and also maybe because of the utter strangeness of it all.
This is how it feels to walk around in the litter of the ruined houses on Bryant street, the old warehouses and box factories of the Northeast Mission knowing that you could tell people some kind of story about who lived in them and what happened there, but that the stories are so wholly free of matters of national import or global impact, that what would come out of your mouth would only be a list of mundane events involving German cooks, workers laboring in a box factory, broken arms, missing children, lover’s quarrels and a burglary or two. It is all just dust in the wind, so to speak.
From the ruins of the buildings, new vistas have been liberated. I can now see the red neon sign of Heath Ceramics glowing in the foggy night air and the far more of the San Miguel range.
This holds true until the Beast is built. Then I will see far less.