The city has been a lure for millions, but most of the great American minds have been appalled by its excesses. Here an eminent observer, who knows firsthand the city’s threat, surveys the subject.
Two blocks away on Broadway there is daily carnage. Drunks outside the single-room-occupancy hotel dazedly eye me, a professor laden with books and notes trudging past mounds of broken glass, hills of garbage. Even at eight in the morning a craps game is going on in front of the hydrant that now gives off only a trickle. It has been left open for so many weeks that even the cover has vanished. On the benches lining that poor polluted sliver of green that runs down the center of Broadway, each drunk has his and her bottle in the regulation brown paper bag. A woman on crutches, so battered looking that I can’t understand how she stands up, is whooping it up—totally ignored by the cars, trucks, and bicycles impatiently waiting at the red light. None of the proper people absorbed in their schedules has time to give the vagrants more than a glance. Anyway, it’s too dangerous. No eye contact is the current rule of the game.
I left all this many times, but the city has never left me. At many universities abroad—there was even one improbable afternoon lecturing in Moscow—I have found myself explaining the American city, tracing its history, reviewing its literature—and with a heavy heart, more and more having to defend it. The American city has a bad reputation now, though there was a time, as the violinist Yehudi Menuhin said during World War II, when one of the great war aims was to get to New York.
There is now general fear of the city. While sharing it, I resent it, for I have never ceased feeling myself to be one of the city’s people, even as I have labored in libraries to seize the full background to my life in the city. But when in American history has there not been fear of the city—and especially on the part of those who did not have to live in it?
Jefferson knew what the city mob had done to break down ancient Rome as well as feudal France. America was a fresh start, “the world’s best hope,” and must therefore start without great cities. As a universal savant of sorts, as well as a classicist and scientist, Jefferson knew that Athens and Rome, Florence and Venice, Paris and London, had created the culture that was his proudest possession. And since he was an eighteenth-century skeptic, this cosmopolitan world culture was his religion. But anticipating the damage that “manufactures” could inflict on the individual, he insisted that on an unsettled continent only the proudly self-sustaining American “cultivator” could retain his dignity in the face of the Industrial Revolution.
It is not easy now to appreciate all Jefferson’s claims for the rural life, and his ideas were not altogether popular with other great landowners and certainly not with such promoters of industry as Hamilton. Jefferson was a great traveler and world statesman who hardly limited himself to his country estate. Monticello, with its magnificent architecture, its great library, its array of inventions and musical and scientific instruments, more resembled a modern think tank (but imagine one this beautiful!) than the simple American farm he praised as a bastion of virtue.
But “virtue” was just what Jefferson sought for America. Whatever else they did, cities corrupted. The special virtue of rural folk rested on self-reliance, a quality unobtainable in “manufactures and handicraft arts” because these depended “on casualties and caprice of customers. Dependence begets subservience and venality, suffocates the germ of virtue, and prepares fit tools for the designs of ambition.”
A few years later Emerson had a more complicated view of his society. The Sage of Concord was no farmer (Thoreau was his handyman) and did riot particularly think the farmers in his neighborhood were the seat of all virtue. They were just of the earth, earthy. But believing in nothing so much as solitude, his right to solitude, his freedom only when alone to commune with Nature and his own soul (“Alone is wisdom. Alone is happiness.”), Emerson found the slightest group to be an obstruction to the perfect life.
There is an unintentionally funny account in Emerson’s journal for 1840 of just how irritating he found his fellow idealists. There was a gathering in some hotel—presumably in Boston, but one Emerson likened to New York’s Astor House—to discuss the “new Social Plans” for the Brook Farm commune: “And not once could I be inflamed, but sat aloof and thoughtless; my voice faltered and fell. It was not the cave of persecution which is the palace of spiritual power, but only a room in the Astor House hired for the Transcendentalists.… To join this body would be to traverse all my long trumpeted theory, and the instinct which spoke from it, that one man is a counterpoise to a city—that a man is stronger than a city, that his solitude is more prevalent and beneficent than the concert of crowds.”
Emerson finally agreed to help found Brook Farm but he could not have lived there. Hawthorne tried it for a while and turned his experiences into the wry novel The Blithedale Romance . Hawthorne was another Yankee grumpily insisting on his right to be alone but he did not take himself so seriously; he was a novelist and fascinated by the human comedy. A twentieth-century admirer of Emerson, John Jay Chapman, admitted that you can learn more from an Italian opera than from all the works of Emerson; in Italian opera there are always two sexes.
But Emerson is certainly impressive, bringing us back to the now forgotten meaning of “self-reliance” when he trumpets that “one man is a counterpoise to a city—that a man is stronger than a city.…” This was primary to many Americans in the nineteenth century and helped produce those great testaments to the individual spirit still found on the walls of American schoolrooms and libraries. Power is in the individual, not in numbers; in “soul,” not in matter or material conglomeration. And “soul” is found not in organized religion, which is an obedience to the past, but in the self-sufficient individual whose “reliance” is on his inborn connection, through Nature, with any God it pleases him to find in himself.
To which Edgar Allan Poe, born in Boston and fated to die in Baltimore, could have replied that Thoreau had nothing to look at but his reflection in Waiden Pond. Poe would have agreed with his European disciple Baudelaire on the cultural sacredness of great cities. He would have enjoyed Karl Marx’s contempt for “rural idiocy.” Poe was a great imagination and our greatest critic; as an inventor of the detective story and a storyteller, he was as dependent on the violence and scandal of New York in the 1840s as a police reporter. “The Mystery of Marie Roget,” based on the actual murder of a New York shop assistant named Mary Rogers who was found dead in the Hudson after what is now believed to have been a botched abortion, was the first detective story in which an attempt was made to solve a real crime. Even the more than usual drunkenness that led to his death in Baltimore on Election Day of 1849 was typical of his connection with “low” urban life. He was found in a delirious condition near a saloon that had been used for a voting place. He seems to have been captured by a political gang that voted him around the town, after which he collapsed and died.
Yet just as Abraham Lincoln was proud of having a slow, careful countryman’s mind, so Poe would have denied that his extraordinary mind owed anything to the cities in which he found his material. In the same spirit, John Adams from once rural Quincy, his gifted son John Quincy, and his even more gifted great-grandson Henry, all hated Boston and thought of the financial district on State Street as their antithesis. Herman Melville, born in New York, and forced to spend the last twenty-five years of his life as a customs inspector on the docks, hated New York as a symbol of his merchant father’s bankruptcy and of his own worldly failure as an author. In a poem about the Civil War, when the worst insurrection in American history broke out in New York as a protest against the Draft Act, Melville imagined himself standing on the rooftop of his house on East Twenty-sixth Street listening to the roar of the mob and despising it:
Whitman found himself by finding the city to be the great human stage. Unlike earlier and later antagonists of the city, who feared the masses, Whitman saw them as a boundless human fellowship, a wonderful spectacle, the great school of ambition. The masses, already visible in New York’s population of over a million, were the prime evidence Whitman needed to ground his gospel of American democracy as “comradeship.” Formerly a schoolteacher, printer, carpenter, a failure at many occupations who was born into a family of failures and psychic cripples, Whitman felt that the big anonymous city crowd had made it possible for him to rise out of it.
Whitman found the model and form of Leaves of Grass , the one book he wrote all his life, in the flux and mass of the city—he even compared his book to a city. He never reached his countrymen during his lifetime, and the Gilded Age took the foam off his enthusiasm for democracy, but in decline he could still write, “I can hardly tell why, but feel very positively that if anything can justify my revolutionary attempts & utterances, it is such ensemble —like a great city to modern civilization & a whole combined clustering paradoxical unity, a man, a woman.”
Whitman was that “paradoxical unity, a man, a woman.” His powerful and many-sided sexuality gave him friends that only a great city can provide; his constant expectation of love from some stranger in the street, on the ferryboat, even his future reader—“I stop somewhere waiting for you”—made stray intimacies in the city as sweet to him as they were repellent to most Americans.
The trouble with the city, said Henry James, Henry Adams, and Edith Wharton, is democracy, the influx of ignorant masses, their lack of manners, their lack of standards. The trouble with the city, said the angry Populist farmers and their free-silver standard-bearer Bryan in 1896, is Wall Street, the “moneyed East,” the concentration of capital, the banking system that keeps honest, simple farmers in debt. Before modern Los Angeles, before Dallas, Phoenix, and Houston, it was understood that “the terrible town,” as Henry James called New York, could exist only in the crowded East. The West, “wild” or not, was land of heart’s ease, nature itself. The East was the marketplace that corrupted Westerners who came East. There was corruption at the ballet box, behind the bank counter, in the “purlieus of vice.” The city was ugly by definition because it lacked the elemental harmony of nature. It lacked stability and relentlessly wrecked every monument of the past. It was dirt, slums, gangsters, violence.
Above all it was “dark.” The reporter and pioneer photographer Jacob Riis invaded the East Side for his book How the Other Half Lives (1890) because he was “bent on letting in the light where it was much needed.”
Look at Riis’s photograph “Bandit’s Roost,” 59½ Mulberry Street, taken February 12, 1888. “Bandit’s Roost” did not get its name for nothing, and you can still feel threatened as your eye travels down the narrow alley paved with grimy, irregularly paved stone blocks that glisten with wet and dirt. Tough-looking characters in derbies and slouch hats are lining both sides of the alley, staring straight at you; one of them presses a stick at the ground, and his left knee is bent as if he were ready, with that stick, to go into action at a moment’s notice. The women at the open windows are staring just as unhelpfully as the derbied young fellow in the right foreground, whose chin looks as aggressive as the long, stiff lines of his derby.
But here is Central Park, the first great public park in the New World, finally completed after decades of struggle to reclaim a horrid waste. Unlike the European parks that were once feudal estates, Central Park has been carved, landscaped, gardened, built, and ornamented from scratch and specifically for the people. And this by a Connecticut Yankee, Frederick Law Olmsted, the most far-seeing of democratic visionaries, who saw in the 1850s that New York would soon run out of places in which city dwellers could escape the city. Though he will never cease complaining that the width of his park is confined to the narrow space between Fifth Avenue and what is now Central Park West, he will create a wonderland of walks, “rambles,” lakes, gardens, meadows. All this is designed not for sport, political demonstrations, concerts, the imperial Metropolitan Museum, but for the contemplative walker. As early as 1858, before he was chosen superintendent but after having submitted the winning design, “Greensward,” in a competition, Olmsted wrote of his park: “The main object and justification is simply to produce a certain influence in the minds of the people and through this to make life in the city healthier and happier. The character of this influence is a poetic one, and it is to be produced by means of scenes, through observation of which the mind may be more or less lifted out of moods and habits in which it is, under the ordinary conditions of life in the city, likely to fall…”
Alas, Central Park is not enough to lift some of us out of the “moods and habits” into which we are likely to fall. Even Walt Whitman, who truly loved New York, acidly let it drop in Democratic Vistas (1871) that “the United States are destined either to surmount the gorgeous history of feudalism, or else prove the most tremendous failure of time.” The “great experiment,” as some English sardonically call the democratic Republic, may very well depend on the city into which nearly a million immigrants a year were to pour at the beginning of the next century. Whitman was not prepared to estimate the effect on America of the greatest volunteer migration recorded in history. It was the eclipse of virtue that surprised him at the end of the century. As if he were Jefferson, he wrote: “The great cities reek with respectable as much as nonrespectable robbery and scoundrelism. In fashionable life, flippancy, tepid amours, weak infidelism, small aims, or no aims at all, only to kill time. In business (this all-devouring modern word business), the one sole object is, by any means, pecuniary gain. The magician’s serpent in the fable ate up all the other serpents; and money-making is our magician’s serpent, remaining today sole master of the field.”
In the nineteenth century slums were the savage places Jacob Riis documented in his photographs, but on the whole the savagery was confined to the slums. The political scientist Andrew Hacker has shown that “there was actually little crime of the kind we know today and in hardly any cases were its victims middle class. The groups that had been violent— most notably the Irish—had by 1900 turned respectable. The next wave of immigrants, largely from Eastern Europe and southern Italy, were more passive to begin with and accepted the conditions they found on their arrival … they did not inflict their resentments on the rest of society …”
What has finally happened is that fear of the city on the part of those who live in it has caught up with the fear on the part of those who did not have to live in it.
American fear of the city may seem ungrateful, since so much of our social intelligence depends on it. But the tradition of fear persists, and added to it nowadays—since all concern with the city is concern with class—has been fear of the “underclass,” of blacks, of the youth gangs that first emerged in the mid-fifties. Vast housing projects have become worse than the slums they replaced and regularly produce situations of extreme peril for the inhabitants themselves. To the hosts of the uprooted and disordered in the city, hypnotized by the images of violence increasingly favored by the media, the city is nothing but a state of war. There is mounting vandalism, blood lust, and indiscriminate aggressiveness.
The mind reels, is soon exhausted, and turns indifferent to the hourly report of still another killing. In Brooklyn’s 77th precinct a minister is arrested for keeping a sa wed-off shotgun under his pulpit. On Easter Sunday uniformed police officers are assigned to protect churchgoers from muggers and purse snatchers. In parts of Crown Heights and Bedford-Stuy vesant, the Times reports that “there, among the boarded-up tenements, the gaudy little stores and the residential neighborhoods of old brownstones and small row houses, 88 people were killed in one year—16 in one three-block area. ” A hundred thousand people live and work in this precinct, but a local minister intones that “Life has become a mean and frightening struggle. ” Gunshots are heard all the time.
I was born and brought up alongside that neighborhood; the tenement in which my parents lived for half a century does not exist and nothing has replaced it. The whole block is a mass of rubble; the neighborhood has seen so much arson that the tops of the remaining structures are streaked with black. Alongside them whole buildings are boarded up but have been broken into; they look worse than London did after the blitz.
Democracy has been wonderful to me and for me, and in the teeth of the police state creeping up elsewhere in the world, I welcome every kind of freedom that leaves others free in the city. The endless conflict of races, classes, sexes, is raucous but educational. No other society on earth tolerates so many interest groups, all on the stage at once and all clamoring for attention.
Still, the subway car I take every day to the city university definitely contains a threat. Is it the young black outstretched across the aisle? The misplaced hilarity proceeding from the drinking group beating time to the ya-ya-ya that thumps out of their ghetto blaster? The sweetish marijuana fumes when the train halts too long in this inky tunnel and that make me laugh when I think that once there was no more absolute commandment in the subway than NO SMOKING ?
Definitely, there is a threat. Does it proceed from the unhelpful, unsmiling, unseeing strangers around me? The graffiti and aggressive smears of paint on which I have to sit, and which so thickly cover every partition, wall, and window that I cannot make out the stations? Can it be the New York Post —“Post-Mortem” as a friend calls it—every edition of which carries the news MOM KILLS SELF AND FIVE KIDS ? The battle police of the transit force rushing through one car after another as the motorman in his booth sounds the wailing alarm that signifies trouble?
What a way to live! It is apartness that rules us here, and the apartness makes the threat. Still, there is no other place for me to work and live. Because sitting in the subway, holding the book on which I have to conduct a university seminar this afternoon, I have to laugh again. It is Uncle Tom’s Cabin, or Life Among the Lowly .