Posts Tagged ‘Greenwich Village’
July 29, 2014 | by Sadie Stein
The optimists among us may think we’re okay: the world will sort itself out, the climate will stabilize, young people will always read and dream and give us hope for the future. And yet, sometimes you see something so objectively depressing that it’s hard not to feel we’re doomed. Case in point: 121 Charles Street, in Manhattan, also known as Cobble Court.
The property, an eighteenth-century farmhouse, is noteworthy for its charm—it’s surrounded by a pretty yard on a picturesque Greenwich Village street. Peep through the fence and you can see the little white birdhouse made in the larger house’s image. Not original to the neighborhood, in 1967, it was moved from York Ave. and 71st Street to avoid demolition.
Horribly enough, it is imperiled again: a broker recently listed it as a “development site” for $20 million. Quoth they,
ERG Property Advisors is pleased to exclusively offer for sale a West Village development site located at 121 Charles Street on the corner of Charles and Greenwich. The property is directly situated in arguably the most desirable enclave in all of Manhattan, the West Village. The property’s corner location benefits from significant frontage along both Charles and Greenwich Street … creating tremendous street presence. The property consists of a 4,868 square foot corner lot in the Greenwich Village Historic District. The offering would allow a developer or user to execute a wide variety of potential visions, from boutique condominiums, apartments or a one-of-a-kind townhouse.
November 5, 2012 | by Brian Cullman
Mostly, people were neighborly. Hudson Bagels handed out day-old bagels. Garber’s Hardware, who had a generator, put out power strips for people to charge their phones and offered Pepperidge Farm cookies and coffee (no two dollar donation required).
People shared candles and batteries and food and offered neighbors hot showers. (No, not in that way. Although ... well, maybe.)
January 23, 2012 | by Will Hunt
Not long ago, I read an article about archaeologists in Greenland who discovered that plants growing above an ancient Norse ruin possessed slightly different chemistry from plants growing nearby. I was taken with the idea that the energy of a forgotten structure, invisible and buried deep underground, may percolate upwards to leave subtle impressions on the surface. It was this that came to mind recently when I discovered Minetta Brook, a hidden stream that flows beneath the streets of Greenwich Village.
I had learned of the stream from an 1865 map of Manhattan, drawn by an engineer named Egbert Ludovicus Viele, which showed marshlands, rivers, and streams crisscrossing the island beneath an overlay of the city’s grid. The map, which is still used today by engineers, showed Minetta Brook beginning as two branches, one originating from a spring at Fifth Avenue and Twentieth Street, the other from a marsh near Sixth Avenue and Seventeenth Street. They met near Twelfth Street, then flowed south down Fifth Avenue, through Washington Square Park, before emptying into the Hudson River at Charlton Street. According to the historian John Fiske, the brook, in the seventeenth century, had been a favorite fishing spot for the Lenape and the Dutch: “a clear swift brook abounding in trout.” By the early nineteenth century, it had disappeared from maps, buried beneath the streets, forgotten. Or perhaps not. There were stories floating around about basements of older buildings in the Village with grates in the floor, through which you could see the stream flowing. I wanted to listen to the stream, smell the water, dip my fingers in, maybe even take a small sip. Wouldn’t that be something. And so I decided to retrace the path of Minetta Brook, going door-to-door, asking everyone I met about the stream that flowed beneath their building. Read More »
January 17, 2012 | by Caleb Crain
Elizabeth Bishop was a painter as well as a poet, and the paintings that she left to her partner Alice Methfessel, who died in 2009, are now being sold. I’ve been to see the paintings a couple of times: last winter in the office of James S. Jaffe Rare Books, and a few weeks ago in the Tibor de Nagy Gallery.
The paintings are quiet. Some are domestic still lifes, including pansies in a wicker basket, a candelabra on a table, a tea set, and a doll-like lover asleep in bed. Others feature vernacular architecture: a Greenwich Village apartment building of ivy-covered brick, a wooden church in Key West, a county courthouse grand in the way of the nineteenth-century South. Most are in watercolor and gouache on vellum paper, whose delicate translucence no reproduction quite captures; lines are sometimes drawn in ink or pencil. Bishop didn’t have a steady or a precise hand, but her eye for color was fine, and she understood how to make the most of patterns, such as the radiations of a palm leaf, the stripes of a comforter cover, or the palings of a fence. She also had a Walker Evans–ish appreciation of the way that words, when they appear in the world as things, can seem both monumental and silly. The county courthouse is childishly labeled as such on a gable. On a street near a cemetery, each of five tombstones leaning against a shack reads “FOR SALE.”
The choice of subject and the modesty of style suggest that the paintings were for Bishop a personal matter. She usually signed them, when she signed them at all, with her initials or just her first name. Read More »
September 16, 2011 | by The Paris Review
Thinking, Fast and Slow sums up the cognitive research that won Daniel Kahneman a Nobel Prize in Economics (a first for a psychologist). It is also an old-fashioned work of philosophy: a series of DIY experiments that teach you how and why to doubt your intuitions about things as basic as cause and effect. —Lorin Stein
The Ransom Center has launched a curiously fascinating exhibit online, based around a door from Frank Shay’s bookshop that was signed by hundreds of the habitués of 1920s Greenwich Village, including Theodore Dreiser, John Dos Passos, Upton Sinclair, Sherwood Anderson, and Sinclair Lewis. The original shop was across the street from my current apartment and exploring the site, and the interconnected histories of the people who frequented the store, is a nifty way back in time—like a portal to twenties social networking. —Deirdre Foley-Mendelssohn
I’ve been looking forward to pulling Dalkey Archive’s new collection of stories and essays by Mina Loy off my shelf, but it hasn't yet found it’s way into my reading cycle. I have managed to dip my toe in by way of Triple Canopy’s excerpt of her play “The Sacred Prostitute,” a very funny send-up of, among other things, men’s attitudes toward women. What’s more, some young genius at the magazine has put a handful of CF’s sublime, seductive drawings into the mix. —Nicole RudickRead More »
April 27, 2011 | by Joshua Cohen
Wounded in the 1948 Arab-Israeli War, Yoram Kaniuk moved to Greenwich Village to become a painter. Nineteen and broke, he came to center a rarefied circle of fellow painters, musicians, writers, and actors—Billie Holiday, Charlie Parker, Willem de Kooning, Tennessee Williams, Marlon Brando, among others. Writes Kaniuk, “I was in the lives of these people by mistake.” Though he may have played a minor role, Kaniuk's memoir, Life on Sandpaper, is an unforgettable telling of his New York decade, the 1950s. His newest nonfiction book, 1948, not yet translated to English, recently won the 2010 Sapir Prize for Literature. Not long ago, I spoke to Kaniuk about Life on Sandpaper, which was published by Dalkey Archive Press this February.
When did you begin working on this memoir?
In the seventies I used to write for a paper here in Israel, and every weekend I used to publish a story. I wrote many of these stories, not exactly in this form, and when I didn’t have any more true stories, I had to invent them. And then at the start of 2000, I started to work them into Between Life and Death [the memoir’s Hebrew-language title]. I didn’t know what it would mean to people here in Israel, but it was amazing how much the young people loved this book. It opened a door for me—for my novel The Last Jew, and for other books.
Today it seems that there are more Israelis outside of Israel than in Israel itself. Soldiers taking a gap year in Europe, in India, in Tibet; scuffling jazz musicians and installation artists in downtown Manhattan and Brooklyn; Israelis “making the business” (in Israeli English) in Panama and Buenos Aires. There once was a stigma attached to this expatriation. When one goes to Israel, one literally “goes up,” or “ascends”—makes aliyah. When one leaves one is said to have “gone down,” or “descended”—yerida. Was there the same stigma associated with leaving Israel back in the 1950s, when you came to that other Jewish homeland, Greenwich Village?
The Israelis coming to America when I came, which was in 1951, were people who had fought in the 1948 war, which was a very tough war, the worst war Israel ever had; almost an entire generation was killed. We came to New York because we were never able to find a way, in Israel, of letting out the grief, the demons. Also, you have to remember that I had been wounded, physically. My first years in America, I didn’t think about Israel at all, I didn’t think about the war, I didn’t remember anything, I was completely in a daze. And later I understood that I had to have my autonomy. But I should say that many Israelis who were there with me in New York, or even in Los Angeles, eventually came back. Still there was a feeling that Israelis at that time didn’t know what their homeland was.