New York

________________________________________________
Title:     New York
Author: Rupert Brooke [More Titles by Brooke]

In five things America excels modern England--fish, architecture, jokes, drinks, and children's clothes. There may be others. Of these I am certain. The jokes and drinks, which curiously resemble each other, are the best. There is a cheerful violence about them; they take their respective kingdoms by storm. All the lesser things one has heard turn out to be delightfully true. The first hour in America proves them. People here talk with an American accent; their teeth are inlaid with gold; the mouths of car-conductors move slowly, slowly, with an oblique oval motion, for they are chewing; pavements are 'sidewalks.' It is all true.... But there were other things one expected, though in no precise form. What, for instance, would it be like, the feeling of whatever democracy America has secured?

I landed, rather forlorn, that first morning, on the immense covered wharf where the Customs mysteries were to be celebrated. The place was dominated by a large, dirty, vociferous man, coatless, in a black shirt and black apron. His mouth and jaw were huge; he looked like a caricaturist's Roosevelt. 'Express Company' was written on his forehead; labels of a thousand colours, printed slips, pencils and pieces of string, hung from his pockets and his hands, were held behind his ears and in his mouth. I laid my situation and my incompetence before him, and learnt right where to go and right when to go there. Then he flung a vast, dingy arm round my shoulders, and bellowed, "We'll have your baggage right along to your hotel in two hours." It was a lie, but kindly. That grimy and generous embrace left me startled, but an initiate into Democracy.

The other evening I went a lonely ramble, to try to detect the essence of New York. A wary eavesdropper can always surprise the secret of a city, through chance scraps of conversation, or by spying from a window, or by coming suddenly round corners. I started on a 'car.' American tram-cars are open all along the side and can be entered at any point in it. The side is divided by vertical bars. It looks like a cage with the horizontal lines taken out. Between these vertical bars you squeeze into the seat. If the seat opposite you is full, you swing yourself along the bars by your hands till you find room. The Americans become terrifyingly expert at this. I have seen them, fat, middle-aged business men, scampering up and down the face of the cars by means of their hands, swinging themselves over and round and above each other, like nothing in the world so much as the monkeys at the Zoo. It is a people informed with vital energy. I believe that this exercise, and the habit of drinking a lot of water between meals, are the chief causes of their good health.

The Broadway car runs mostly along the backbone of the queer island on which this city stands. So the innumerable parallel streets that cross it curve down and away; and at this time street after street to the west reveals, and seems to drop into, a mysterious evening sky, full of dull reds and yellows, amber and pale green, and a few pink flecks, and in the midst, sometimes, the flushed, smoke-veiled face of the sun. Then greyness, broken by these patches of misty colour, settles into the lower channels of the New York streets; while the upper heights of the sky-scrapers, clear of the roofs, are still lit on the sunward side with a mellow glow, curiously serene. To the man in the mirk of the street, they seem to exude this light from the great spaces of brick. At this time the cars, always polyglot, are filled with shop-hands and workers, and no English at all is heard. One is surrounded with Yiddish, Italian, and Greek, broken by Polish, or Russian, or German. Some American anthropologists claim that the children of these immigrants show marked changes, in the shape of skull and face, towards the American type. It may be so. But the people who surround one are mostly European-born. They represent very completely that H.C.F. of Continental appearance which is labelled in the English mind 'looking like a foreigner'; being short, swarthy, gesticulatory, full of clatter, indeterminately alien. Only in their dress and gait have they--or at least the men among them-- become at all American.

The American by race walks better than we; more freely, with a taking swing, and almost with grace. How much of this is due to living in a democracy, and how much to wearing no braces, it is very difficult to determine. But certainly it is the land of belts, and therefore of more loosely moving bodies. This, and the padded shoulders of the coats, and the loosely-cut trousers, make a figure more presentable, at a distance, than most urban civilisations turn out. Also, Americans take their coats off, which is sensible; and they can do it the more beautifully because they are belted, and not braced. They take their coats off anywhere and any-when, and somehow it strikes the visitor as the most symbolic thing about them. They have not yet thought of discarding collars; but they are unashamedly shirt-sleeved. Any sculptor, seeking to figure this Republic in stone, must carve, in future, a young man in shirt-sleeves, open-faced, pleasant, and rather vulgar, straw hat on the back of his head, his trousers full and sloppy, his coat over his arm. The motto written beneath will be, of course, 'This is some country.' The philosophic gazer on such a monument might get some way towards understanding the making of the Panama Canal, that exploit that no European nation could have carried out.

What facial type the sculptor would give the youth is harder to determine, and very hard to describe. The American race seems to have developed two classes, and only two, the upper-middle and the lower- middle. Their faces are very distinct. The upper-class head is long, often fine about the forehead and eyes, and very cleanly outlined. The eyes have an odd, tired pathos in them--mixed with the friendliness that is so admirable--as if of a perpetual never quite successful effort to understand something. It is like the face of an only child who has been brought up in the company of adults. I am convinced it is partly due to the endeavour to set their standards by the culture and traditions of older nations. But the mouth of such men is the most typical feature. It is small, tight, and closed downwards at the corners, the lower lip very slightly protruding. It has little expression in it, and no curves. There the Puritan comes out. But no other nation has a mouth like this. It is shared to some extent by the lower classes; but their mouths tend to be wider and more expressive. Their foreheads are meaner, and their eyes hard, but the whole face rather more adaptive and in touch with life. These, anyhow, are the types that strike one in the Eastern cities. And there are intermediate varieties, as of the genial business- man, with the narrow forehead and the wide, smooth--the too wide and too smooth--lower face. Smoothness is the one unfailing characteristic. Why do American faces hardly ever wrinkle? Is it the absence of a soul? It must be. For it is less true of the Bostonian than of the ordinary business American, in whose life exhilaration and depression take the place of joy and suffering. The women's faces are more indeterminate, not very feminine; many of them wear those 'invisible' pince-nez which centre glitteringly about the bridge of the nose, and get from them a curious air of intelligence. Handsome people of both sexes are very common; beautiful, and pretty, ones very rare....

I slipped from my car up about Fortieth Street, the region where the theatres and restaurants are, the 'roaring forties.' Broadway here might be the offspring of Shaftesbury Avenue and Leicester Square, with, somehow, some of Fleet Street also in its ancestry. I passed two men on the sidewalk, their hats on the back of their heads, arguing fiercely. One had slightly long hair. The other looked the more truculent, and was saying to him, intensely, "See here! We contracted with you to supply us with sonnets at five dollars per sonnet--" I passed up a side-street, one of those deserted ways that abound just off the big streets, resorts, apparently, for such people and things as are not quite strident or not quite energetic enough for the ordinary glare of life; dim places, fusty with hesternal excitements and the thrills of yesteryear. Against a flight of desolate steps leant a notice. I stopped to read it. It said:

"You must see Cockie,
Positively the only bird that can both dance and sing.
She is almost superhuman."

There was no explanation; Cockie may have been dead for years. I went, musing on her possible fates, towards the pride and spaciousness of Fifth Avenue.

Fifth Avenue is handsome, the handsomest street imaginable. It is what the streets of German cities try to be. The buildings are large, square, 'imposing,' built with the solidity of opulence. The street, as a whole, has a character and an air of achievement. "Whatever else may be doubted or denied, American civilisation has produced this." One feels rich and safe as one walks. Back in Broadway, New York dropped her mask, and began to betray herself once again. A little crowd, expressionless, intent, and volatile, before a small shop, drew me. In the shop-window was a young man, pleasant-faced, a little conscious, and a little bored, dressed very lightly in what might have been a runner's costume. He was bowing, twisting, and posturing in a slow rhythm. From time to time he would put a large card on a little stand in the corner. The cards bore various legends. He would display a card that said, "THIS UNDERWEAR DOES NOT IMPEDE THE MOVEMENT OF THE BODY IN ANY DIRECTION." Then he moved his body in every direction, from position to position, probable or improbable, and was not impeded. With a terrible dumb patience he turned the next card: "IT GIVES WITH THE BODY IN VIOLENT EXERCISING." The young man leapt suddenly, lunged, smote imaginary balls, belaboured invisible opponents, ran with immense speed but no progress, was thrown to earth by the Prince of the Air, kicked, struggled, then bounded to his feet again. But all this without a word. "IT ENABLES YOU TO KEEP COOL WHILE EXERCISING." The young man exercised, and yet was cool. He did this, I discovered later, for many hours a day.

Not daring to imagine his state of mind, I hurried off through Union Square. One of the many daily fire-alarms had gone; the traffic was drawn to one side, and several fire-engines came, with clanging of bells and shouting, through the space, gleaming with brass, splendid in their purpose. Before the thrill in the heart had time to die, or the traffic to close up, swung through an immense open motor-car driven by a young mechanic. It was luxuriously appointed, and had the air of a private car being returned from repairing. The man in it had an almost Swinburnian mane of red hair, blowing back in the wind, catching the last lights of day. He was clad, as such people often are in this country these hot days, only in a suit of yellow overalls, so that his arms and shoulders and neck and chest were bare. He was big, well-made, and strong, and he drove the car, not wildly, but a little too fast, leaning back rather insolently conscious of power. In private life, no doubt, a very ordinary youth, interested only in baseball scores; but in this brief passage he seemed like a Greek god, in a fantastically modern, yet not unworthy way emblemed and incarnate, or like the spirit of Henley's 'Song of Speed.' So I found a better image of America for my sculptor than the shirt-sleeved young man.

NEW YORK--(_continued_)

The hotel into which the workings of blind chance have thrown me is given over to commercial travellers. Its life is theirs, and the few English tourists creep in and out with the shy, bewildered dignity of their race and class. These American commercial travellers are called 'drummers'; drummers in the most endless and pointless and extraordinary of wars. They have the air and appearance of devotees, men set aside, roaming preachers of a _jehad_ whose meaning they have forgotten. They seem to be invariably of the short, dark type. The larger, fair- haired, long-headed men are common in business, but not in 'drumming.' The drummer's eyes have a hard, rapt expression. He is not interested in the romance of the road, like an English commercial traveller; only in its ever-changing end. These people are for ever sending off and receiving telegrams, messages, and cablegrams; they are continually telephoning; stenographers are in waiting to record their inspirations. In the intervals of activity they relapse into a curious trance, husbanding their vitality for the next crisis. I have watched them with terror and fascination. All day there are numbers of them sitting, immote and vacant, in rows and circles on the hard chairs in the hall. They are never smoking, never reading a paper, never even chewing. The expressions of their faces never change. It is impossible to guess what, or if anything, is in their minds. Hour upon hour they remain. Occasionally one will rise, in obedience to some call or revelation incomprehensible to us, and move out through the door into the clang and confusion of Broadway.

It all confirms the impression that grows on the visitor to America that Business has developed insensibly into a Religion, in more than the light, metaphorical sense of the words. It has its ritual and theology, its high places and its jargon, as well as its priests and martyrs. One of its more mystical manifestations is in advertisement. America has a childlike faith in advertising. They advertise here, everywhere, and in all ways. They shout your most private and sacred wants at you. Nothing is untouched. Every day I pass a wall, some five hundred square feet of which a gentleman has taken to declare that he is 'out' to break the Undertakers' Trust. Half the advertisement is a coloured photograph of himself. The rest is, "See what I give you for 75 dols.!" and a list of what he does give. He gives everything that the most morbid taphologist could suggest, beginning with "splendidly carved full-size oak casket, with black ivory handles. Four draped Flambeaux...." and going on to funereal ingenuities that would have overwhelmed Mausolus, and make death impossible for a refined man.

But there are heights as well as depths. I have been privileged with some intimate glances into the greatest of those peculiarly American institutions, the big departmental stores. Materially it is an immense building, containing all things that any upper-middle-class person could conceivably want. Such a store includes even Art, with the same bland omnipotence. If you wander into the vast auditorium, it is equal chances whether you hear a work of Beethoven, Victor Herbert, Schonberg, or Mr Hirsch. If you are 'artistic,' you may choose between a large coloured photograph of the Eiffel Tower, a carbon print of Botticelli, and a reproduction of an 'improvisation' by Herr Kandinsky. You may buy an Elizabethan dining-table, a Graeco-Roman bronze, the latest dress designed by M. Bakst, or a packet of pins. Or you may sit and muse on the life of the employee of this place, who gets from it all that in less favoured civilisations family, guild, club, township, and nationality have given him or her. As a child he gets education, then evening-classes, continuation-schools, gymnasia, military training, swimming-baths, orchestra, facilities for the study of anything under the sun, from palaeography to Cherokee, libraries, holiday-camps, hospitals, ever-present medical attendance, and at the end a pension, and, I suppose, a store cemetery. And all for the price of a few hours' work a day, and a little loyalty to the 'establishment.' Can human hearts desire more? And, when all millionaires are as sensible, will they? In industries and businesses like this, where the majority of the employed are women, it ought to be a pretty stable sort of millennium. Men, perhaps, take longer to learn that kind of 'loyalty.'

In one corner of this store is the advertising department. There are gathered poets, artists, _litterateurs_, and mere intellectuals, all engaged in explaining to the upper middle-classes what there is for them to buy and why they should buy it. It is a life of good salary, steady hours, sufficient leisure, and entire dignity. There is no vulgarity in this advertising, but the most perfect taste and great artistic daring and novelty. The most 'advanced' productions of Europe are scanned for ideas and suggestions. Two of the leading young 'post- impressionist' painters in Paris, whose names are just beginning to be known in England, have been designing posters for this store for years. I stood and watched with awe a young American genius doing entirely Matisse-like illustrations to some notes on summer suitings. "We give our artists a free hand," said the very intelligent lady in charge of that section; "except, of course, for nudes or improprieties. And we don't allow any figures of people _smoking_. Some of our customers object very strongly...."

Cities, like cats, will reveal themselves at night. There comes an hour of evening when lower Broadway, the business end of the town, is deserted. And if, having felt yourself immersed in men and the frenzy of cities all day, you stand out in the street in this sudden hush, you will hear, like a strange questioning voice from another world, the melancholy boom of a foghorn, and realise that not half a mile away are the waters of the sea, and some great liner making its slow way out to the Atlantic. After that, the lights come out up-town, and the New York of theatres and vaudevilles and restaurants begins to roar and flare. The merciless lights throw a mask of unradiant glare on the human beings in the streets, making each face hard, set, wolfish, terribly blue. The chorus of voices becomes shriller. The buildings tower away into obscurity, looking strangely theatrical, because lit from below. And beyond them soars the purple roof of the night. A stranger of another race, loitering here, might cast his eyes up, in a vague wonder what powers, kind or maleficent, controlled or observed this whirlpool. He would find only this unresponsive canopy of black, unpierced even, if the seeker stood near a centre of lights, by any star. But while he looks, away up in the sky, out of the gulfs of night, spring two vast fiery tooth-brushes, erect, leaning towards each other, and hanging on to the bristles of them a little Devil, little but gigantic, who kicks and wriggles and glares. After a few moments the Devil, baffled by the firmness of the bristles, stops, hangs still, rolls his eyes, moon- large, and, in a fury of disappointment, goes out, leaving only the night, blacker and a little bewildered, and the unconscious throngs of ant-like human beings. Turning with terrified relief from this exhibition of diabolic impotence, the stranger finds a divine hand writing slowly across the opposite quarter of the heavens its igneous message of warning to the nations, "Wear--Underwear for Youths and Men- Boys." And close by this message come forth a youth and a man-boy, flaming and immortal, clad in celestial underwear, box a short round, vanish, reappear for another round, and again disappear. Night after night they wage this combat. What gods they are who fight endlessly and indecisively over New York is not for our knowledge; whether it be Thor and Odin, or Zeus and Cronos, or Michael and Lucifer, or Ormuzd and Ahriman, or Good-as-a-means and Good-as-an-end. The ways of our lords were ever riddling and obscure. To the right a celestial bottle, stretching from the horizon to the zenith, appears, is uncorked, and scatters the worlds with the foam of what ambrosial liquor may have been within. Beyond, a Spanish goddess, some minor deity in the Dionysian theogony, dances continually, rapt and mysterious, to the music of the spheres, her head in Cassiopeia and her twinkling feet among the Pleiades. And near her, Orion, archer no longer, releases himself from his strained posture to drive a sidereal golf-ball out of sight through the meadows of Paradise; then poses, addresses, and drives again.

"O Nineveh, are these thy gods,
Thine also, mighty Nineveh?"

Why this theophany, or how the gods have got out to perform their various 'stunts' on the _flammantia moenia mundi_, is not asked by their incurious devotees. Through Broadway the dingily glittering tide spreads itself over the sands of 'amusement.' Theatres and 'movies' are aglare. Cars shriek down the street; the Elevated train clangs and curves perilously overhead; newsboys wail the baseball news; wits cry their obscure challenges to one another, 'I should worry!' or 'She's some Daisy!' or 'Good-night, Nurse!' In houses off the streets around children are being born, lovers are kissing, people are dying. Above, in the midst of those coruscating divinities, sits one older and greater than any. Most colossal of all, it flashes momently out, a woman's head, all flame against the darkness. It is beautiful, passionless, in its simplicity and conventional representation queerly like an archaic Greek or early Egyptian figure. Queen of the night behind, and of the gods around, and of the city below--here, if at all, you think, may one find the answer to the riddle. Her ostensible message, burning in the firmament beside her, is that we should buy pepsin chewing-gum. But there is more, not to be given in words, ineffable. Suddenly, when she has surveyed mankind, she closes her left eye. Three times she winks, and then vanishes. No ordinary winks these, but portentous, terrifyingly steady, obliterating a great tract of the sky. Hour by hour she does this, night by night, year by year. That enigmatic obscuration of light, that answer that is no answer, is, perhaps, the first thing in this world that a child born near here will see, and the last that a dying man will have to take for a message to the curious dead. She is immortal. Men have worshipped her as Isis and as Ashtaroth, as Venus, as Cybele, Mother of the Gods, and as Mary. There is a statue of her by the steps of the British Museum. Here, above the fantastic civilisation she observes, she has no name. She is older than the sky-scrapers amongst which she sits; and one, certainly, of her eyelids is a trifle weary. And the only answer to our cries, the only comment upon our cities, is that divine stare, the wink, once, twice, thrice. And then darkness.

[The end]
Rupert Brooke's essay: New York

________________________________________________



GO TO TOP OF SCREEN