Posts Tagged ‘New York City’
September 15, 2014 | by Angela Serratore
America’s first great murder trial, and the mark it left on New York.
Detested pit, may other times agree
With swelling mounds of earth to cover thee,
And hide the place, in whose obscure retreat
Some miscreant made his base design complete.
Thus, with oblivion’s wings to cover o’er
The spot which memory should preserve no more.
—Philip Freneau, A Collection of Poems, on American Affairs and a Variety of Other Subjects, 1815
On an unreasonably lovely August afternoon in SoHo—on Spring Street, to be precise, near where it meets Greene—I peered into the windows of a closed store, trying to see a way into what once might’ve been an alley. I was looking for a well that once captured the attention of the entire city: it was the scene of a murder most foul, a murder that pulled eighteenth-century New Yorkers into the bright, modern, terrifying future.
Gulielma Sands and Levi Weeks were planning to elope on the night of December 22, 1799. They lived in separate rooms at 208 Greenwich Street, a boarding house. Elma was going to sneak out and meet Levi somewhere private—this, at least, is what she told another resident at the house before she disappeared.
On January 2, two days into the new century, Elma’s body was found at the bottom of the Manhattan Well. The well took water from beneath Lispenard Meadow, the same water that filled the Collect Pond—a source of concern to New Yorkers, who associated standing water with disease. The meadow was a suburban respite from the crowded streets’ hustle and bustle of what we now call Tribeca: of the city but not really part of it. It was perfect for late-night sleigh rides, and sure enough, people living nearly half a mile away claimed to have seen Elma in a sleigh, between two men, on the night of the twenty-second. A week later, others noticed what looked like a lady’s muff floating near the top of the water. Read More »
September 12, 2014 | by Sadie Stein
If you live in my building on the Upper West Side, you do not need to own an alarm clock, at least not if you want to wake up at eight A.M. Sleeping beyond that hour is impossible—that’s when the preschool opens its yard for the first playtime of the day.
It is a very lovely way to wake up, if you’re in the right frame of mind. Joyful shrieking, terrified screaming, feuds and rivalries and friendships all at once, magnified by the walls all around them. It is much better to take a Blakean view of it, especially if you work from home, because there are periodic recesses throughout the day, and their collective energy is unflagging.
I always liked the background noise of the playground; working by myself all day, it made me feel less alone. It didn’t really strike me as strange until I conducted an interview in my apartment and, when I tried to transcribe it, realized the voices were obscured by the wall of child-call in the background. Still, I didn’t mind; I threw my windows open and welcomed it, as some people do the constant buzz of public radio. Read More »
August 28, 2014 | by Sadie Stein
New Yorkers like to affect jadedness in the face of celebrity; we yawn, we stare fixedly in the other direction, we scorn star-struck tourists And yet today, I had a celeb sighting so exciting I reacted like a middle-schooler at a taping of Total Request Live.
I had just entered a pleasantly empty subway car, only to discover the cause of its emptiness—a broken AC—too late. I was cursing my luck and considering an illegal dash between cars when I saw him. There, across the aisle, and under a Poetry in Motion poster, was Robert Lowell. To the life: the patrician features, the distinctive nose, eyes that had known suffering and pain as well as realms of genius invisible to the normal run of mortals. He was not a man in the first blush of youth; this was “Day by Day”–era Lowell. He was wearing a rumpled linen jacket and tie. Of course he was.
All thoughts of changing cars having fled, I took a seat directly opposite and stared. There was no question about it: this was Robert Lowell. Maybe a ghost. At the very least a relative. He could certainly have made a good living as a Lowell impersonator, traveling the world and reciting confessional poetry with a Brahman inflection. Well, a living, anyway.
I waited for my chance. I didn’t want to strike too soon, but on the other hand I couldn’t live without knowing. Best-case scenario, he’d break into “Life Studies.”
I timed it carefully. When we were one stop away from my point of departure, I planted myself in front of him. “Excuse me, sir?” I said, my voice quavering. He looked up. His eyes were very, very sad. “Has anyone ever told you how much you look like Robert Lowell?”
For a horrible moment, the lack of comprehension on his face was such that I thought he might not speak English. But then he said, “Robert who?”
There were two French tourists watching the proceedings with interest. Maybe they didn’t realize that other cars were air-conditioned.
“Robert Lowell, the poet,” I said. “It’s a compliment. He was an excellent poet! And handsome! I mean, he had his problems”—I said this in case he should look up his biography and think I had been less than forthcoming—“but who doesn’t?”
“Oh,” he said. “Thanks, I guess.”
I turned my back and stared at the doors for what felt like an eternity. It must have been a hundred degrees in there. Frankly, I thought, if that guy wasn’t Robert Lowell, and either mentally ill or supernatural, it was really weird that he was sitting in this sweltering car. Frankly, it was irrational.
August 22, 2014 | by Sadie Stein
If you wish to celebrate Dorothy Parker’s birthday with a small gift to yourself, you have many options. An Etsy search of the writer’s name will give you letterpress prints and pillows and pins; a locket; earrings, several flasks; a bracelet; a range of portraits, including a cat in a cloche; a sampler; and a choice of two dolls. And the tote bags! Ah, the tote bags. Need I even mention the tote bags? I am not immune; yesterday, I treated myself to a Dorothy Parker cocktail, made with Dorothy Parker gin. At the Algonquin, no less. (There is also a certain charm to “what fresh hell” spelled out in Morse Code.)
Dorothy Parker’s Art of Fiction interview, from 1956, has always been among my favorites. She has no interest in glamorizing her reputation. She has scant regard for her much-vaunted wit. From the interview’s introduction: “Readers of this interview ... will find that Mrs. Parker had only contempt for the eager reception accorded her wit.” “Why, it got so bad,” she had said bitterly, “that they began to laugh before I opened my mouth.” I can’t think of an interview more honest, or more generous. She refuses to call herself a serious writer, saying:
There’s a hell of a distance between wisecracking and wit. Wit has truth in it; wisecracking is simply calisthenics with words. I didn’t mind so much when they were good, but for a long time anything that was called a crack was attributed to me—and then they got the shaggy dogs.
And on the vaunted Round Table: “I wasn’t there very often—it cost too much. Others went. Kaufman was there. I guess he was sort of funny.”
Say what she will, no one can take away from the body of her quotables—or, for that matter, an easy cultural shorthand that reduces her to bons mots. But for my money, there’s no quote that sticks with you quite so much as the final lines of that interview:
It’s not the tragedies that kill us, it’s the messes. I can’t stand messes. I’m not being a smartcracker. You know I’m not when you meet me—don’t you, honey?
August 20, 2014 | by Sadie Stein
James’s writings about New York disclose, more than anything, an anger, quite unlike any other anger in James, at what has been lost to him, what has been done, in the name of commerce and material progress, to a place he once knew. It is not an ordinary anger at the destruction of beauty and familiarity; it is much stranger and more complex than that, and it deserves a great deal of attention.
That’s from Colm Tóibín’s introduction to The New York Stories of Henry James. It’s a great primer on the writer’s hometown ambivalence—a quite explicable turn of events when one considers that any visit to the Village would have brought James face to face with the death of childhood, with constant overhaul, Mammon, and rampant sexuality on nearly every block. And with bad food, to boot.
On a constitutional in Washington Square Park today, my thoughts turned to James—they generally do, when I see the intact row houses fronting the park. (Well, James and NYU.) The man titled a novella after it—even if, as a friend recently pointed out, Washington Square gives less sense of the neighborhood than of interiority. (He’s said to have modeled the Sloper residence on memories of his grandmother’s. And if you want to see that brought to life, take a tour of the Merchant’s House Museum, one of the small treasures of the city, listed on any compendium of NYC’s haunted spaces.)
Perhaps my favorite of James’s New York stories is “The Jolly Corner.” Like The Turn of the Screw, it is a ghost story and more than that. It concerns a man returning to his empty childhood home, which is about to be subdivided into apartments. Read More »
August 11, 2014 | by Dan Piepenbring
By the largesse of Duncan Sahner and Rodney Cook, The Paris Review has come to possess a handsome bust of our late founding editor, George Plimpton. Specifically, this is a plaster maquette—the sculptural equivalent of a draft or sketch—by George M. Kelly, a sculptor of some renown. When Sahner and Cook heard that Kelly was soon to be evicted from his studio in Astoria, they “put together a team of Monuments Men” to rescue some of his work. This maquette was among their bounty.
And yet so much of the story remains untold. For starters, how did Kelly and Plimpton know each other, and who prevailed on whom to have Plimpton sit as a subject? Furthermore, if our bust is only a preliminary model, then where’s the final version?
The Times offers tantalizing evidence of its existence. Back in 2003, on the occasion of Plimpton’s death, the paper reported that Elaine’s—the restaurant and New York City institution, shuttered in 2011 after more than forty-five years in business—had “a plaster bust of Mr. Plimpton … on a shelf in the back room.” There’s even a photo of him standing beneath it. Elaine Kaufman, the proprietor, told the Times,
A couple of years ago a guy named Kelly did a bust of George in brass … The guy wanted a lot of money, $35,000. I don’t have that kind of—BLEEP!—money. So we ended up with the plaster cast.
That cast remained on display until the restaurant closed. Photographs suggest that it’s not the same cast presently in our office. Ours has a visible seam just behind the Plimp’s ear; the model in Elaine’s is a more polished affair. And if there are already two of these plaster Georges, might not there be others, too?
If you or your loved ones have any clues as to the whereabouts of the bronze Plimpton, or of any further plaster Plimptons, or perhaps even of a marble or Plasticine Plimpton, please let us know. In the meantime, we’re delighted to show off our plaster Plimp, who is, as you can see, eminently photogenic:Read More »