[...] the experience of the city is the fictional method; or the fictional method is the experience of the city. What matters is that the vision – no single vision either, but a continual dramatisation – is the form of the writing. We can show this first in one decisive way. As we stand and look back at a Dickens novel the general movement we remember [...] is a hurrying seemingly random passing of men and women, each heard in some fixed phrase, seen in some fixed expression: in a way of seeing men and women that belongs to the street. There is an absence of ordinary connection and development [...] then as the action develops, unknown and unacknowledged relationships, profound and decisive connections, definite and committing recognitions and avowals are as it were forced into consciousness. These are the real and inevitable relationships and connections, the necessary recognitions and avowals of any human society. But they are of a kind that are obscured, complicated, mystified, by the sheer rush and noise and miscellaneity of this new and complex social order. 
- Raymond Williams (1973) Country and City









- images: Robin Hood Gardens, East London