Book contents
- Frontmatter
- Dedication
- Epigraph
- Contents
- List of photos, figures and tables
- About the authors
- Acknowledgements
- Preface
- Foreword
- Glossary of terms
- 1 Introduction: Welcome to Valdemingómez
- 2 Politics, ‘democracy’ and the ideology of the postmodern city
- 3 Madrid: History, social processes and the growth in inequality
- 4 Drugs, cultural change and drug markets
- 5 Journeys to dependence
- 6 Life in the city shadows: Work, identity and social status
- 7 The council, police and health services: An impasse to solutions
- 8 Post dependency: What next?
- 9 Not really the conclusion
- 10 Epilogue
- References
- Index
2 - Politics, ‘democracy’ and the ideology of the postmodern city
Published online by Cambridge University Press: 08 April 2022
- Frontmatter
- Dedication
- Epigraph
- Contents
- List of photos, figures and tables
- About the authors
- Acknowledgements
- Preface
- Foreword
- Glossary of terms
- 1 Introduction: Welcome to Valdemingómez
- 2 Politics, ‘democracy’ and the ideology of the postmodern city
- 3 Madrid: History, social processes and the growth in inequality
- 4 Drugs, cultural change and drug markets
- 5 Journeys to dependence
- 6 Life in the city shadows: Work, identity and social status
- 7 The council, police and health services: An impasse to solutions
- 8 Post dependency: What next?
- 9 Not really the conclusion
- 10 Epilogue
- References
- Index
Summary
After 50 minutes of the interview, a dog jogs past us, and from time to time, other forlorn drug addicts start to drift over to beg for cigarettes or greet us. Mario then draws in the sand his ‘map of society’. He sketches out two circles: one he names “society” and places his plastic cup in it and the other he labels “people like gitanos and us”. First, at this circle he points, saying how “the blame is put on us” when it is “society who does the damage” and points at the cup. Suddenly, he then scrubs out the circle of “gypsies and us” before proceeding to prepare a few cocaine pipes and thereafter recites poetry he wrote when he was young. Soon after he reaches in his pocket and pulls out a small heroin package and sprinkles it into the pipe, before he inhales and lights it at the same time. It is all gone, just like half of his ‘map of society’.
Introduction
Mario's understanding of his own predicament is emblematic of precisely the processes we want to address in this chapter: a structural and social exclusion that has spatial dimensions. Mario comes from a large family who lived in a poor urban area of south Madrid, very much exposed to the diminishing industrial economies and increased urban poverty that rendered redundant much of the urban working class in Spanish cities (see Chapter 3). Here, however, he goes a step further in not only describing the social and structural exclusion of people like him, but also their spatial exclusion: the two different maps making reference to the physical separation between them reflective of the proximity of the capital city and Valdemingómez on the outskirts. The other interesting aspect of Mario's map is that he draws two circles that refer to two very different populations, neither of which come out of their circle – they never encounter each other, and thus their realities are detached from each other. In one are the people of the city, and in the other are people like him. Lastly, the action of erasing the circle where he had identified himself and the gitanos is also illustrative of attempts to dispose and eradicate people like him from public consciousness.
- Type
- Chapter
- Information
- Dead-End LivesDrugs and Violence in the City Shadows, pp. 31 - 50Publisher: Bristol University PressPrint publication year: 2017