The news of Space X building its big effing rocket in San Pedro has gone national, global even. It, along with some hot property deals, also led to the predictable headlines about an “upturn for San Pedro.” Maybe, maybe not. As “Marina del Pedro,” an info-rich exhibit currently at the Angels Gate Cultural Center, shows, the efforts to develop this community are as old as the port itself. Curator and artist Tim Maxeiner (discloser: he’s a friend) turned to both historical archives and the contemporary local community to tell the tale of the Port of Los Angeles’s push and pull relationship to nature, industry, people, and business. The German-born egalitarian pulls work from both teens he taught at the Boys and Girls Club and such local artists as Phoebe Barnum and Beth Elliott. I even wrote an essay for it, about waterfront adventures in this whale of a town. The exhibit closes Saturday, with festivities from 3 to 6 p.m. Below is my essay, which will also be in the catalog, available this weekend.
By Evelyn McDonnell
I live on the edge of a forest. It’s five acres large, a potential home to 700 species, and it thrives in winter, when its trunks and leaves stretch high to the sky, swaying back and forth in the ocean currents. Animals feed and hide here in the Giant Kelp: mammals as big as you, who will swim up to your kayak and look you straight in the eye or roll in the water underneath, showing off, or maybe even nursing their young. Schools of fish — sardines or Spanish mackerels — flash silver in the sun, and bright orange garibaldi dart nervously around rock outcroppings, having been pushed out of their nests by crustacean bullies: armored lobsters and their sideway cousins, the crabs.
I live next to one of the busiest ports in the world. Ships laden with containers slip in and out of Angels Gate, like multi-colored skyscrapers moving sideways across the sea. Towering cranes await them, a forest of metal redwoods silhouetted against the mountains, ready to pluck the rectangular boxes off the cargo decks like so many toothpicks hundreds of feet in the air, then stack them neatly on the dock, where they’ll continue their voyage via trains, or trucks — the atoms of the neoliberal capitalist organism continuing their global orbit. Refineries belch smoke in the background, processing the crude black oil pumped up from the bottom of the ocean by the rigs that loom like watchtowers on the southern most edge of my view — the rigs are the south poles, the refineries the north. Between them lie the kelp and the commerce, the dolphins and the dock workers, the whales and the freighters — the urban wild landscape of San Pedro, my adopted home.