
My recent interests in geography and how geography influences who we are has been informed largely by the work of Ed Panar. Golden Palms by Ed Panar explores that same idea. More precisely, it is a book about how geography shaped his initial encounter with southern California upon moving to Los Angeles some years ago. As the story goes, Panar moved to the land of motor vehicle transportation without such means of travel and thusly had to make his way by foot. This took place in a city, as the movie Who Framed Roger Rabbit taught us, that was designed for the car. Public transit is not even really all that viable a means of transportation as Judge Doom in Who Framed Roger Rabbit told us,
“I see a place where people get on and off the freeway. On and off, off and on all day, all night. Soon, where Toon Town once stood will be a string of gas stations, inexpensive motels, restaurants that serve rapidly prepared food. Tire salons, automobile dealerships and wonderful, wonderful billboards reaching as far as the eye can see. My God, it’ll be beautiful.”
Admittedly Judge Doom was right. Los Angeles is, despite its destructive and sprawling growth, uniquely beautiful in a very American way. However, if one has ever traveled through LA the dependence upon the freeway quickly becomes evident and so how different an experience it must have been for Panar.
This is evidenced in such images included in Golden Palms as one of my favorites, shot from an overpass of the 101 freeway. The image is printed occupying no more than a quarter of the page, suggesting that while it might be indispensable to most, to Panar it was distant and other worldly. Another favorite image is that of a bright red car shot from the other side of a brightly yellow painted guard rail. If Golden Palms is predicated upon this pedestrian experience in Los Angeles then Ed Panar does a great job of maintaining that while this might be from a unique perspective it is still LA. As I mentioned in my post here about Panar’s Out West/Back East I am fascinated by how a place can be defined by the mundane landmarks and fauna that occupy it and those things: the palm trees, the painted curbs, and low slung southern Californian architecture are all there in Golden Palms.
When we first moved to southern California and I had the opportunity to visit Los Angeles one of the first realizations I had was that The Big Lebowski was about Los Angeles as much as it was about the dude. The Big Lebowski looks like Los Angeles. The Coen brothers visualized LA but did so through their perspective. This is perhaps what we mean by artistic vision or voice; that any body of work from a particular artist has a common thread. For the Coen brothers, Raising Arizona and No Country for Old Men, despite being very different movies have many of the same characteristics.

photo by Ed Panar from Golden Palms
One of my favorite cartoons as a kid was The Jetsons Meet the Flintstones. Looking back I believe the reason it was so fascinating was because although these characters were from the stone age and the space age they were very similar. They were drawn similarly, their voices similar, and the plot lines and experiences were similar too. Perhaps this is why the movie was made. At least that is what I choose to believe. In reality however, I imagine it was some marketing decision. But sticking with my notion as to why it was done, perhaps it was because they originated from the same place: the minds of the Hanna-Barbera. And perhaps the Hanna-Barbera team believed in the story that they were trying to tell and that story span from pre-historic times to the future.
Golden Palms tells a story as well, Ed Panar meets Los Angeles. It is a sincere story and an interesting one. And it is told from the author’s perspective and it seems to align with a bigger story that Panar is attempting to tell. Geography influences our perspective and be it expansive freeways or painted curbs those places inform who we are.