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.
It seemed to him he had waited an age for some stir of the great grim hush; the life of the town was itself under a spell—so unnaturally, up and down the whole prospect of known and rather ugly objects, the blankness and the silence lasted. Had they ever, he asked himself, the hard-faced houses, which had begun to look livid in the dim dawn, had they ever spoken so little to any need of his spirit? Great builded voids, great crowded stillnesses put on, often, in the heart of cities, for the small hours, a sort of sinister mask, and it was of this large collective negation that Brydon presently became conscious—all the more that the break of day was, almost incredibly, now at hand, proving to him what night he had made of it.
Now, that’s what I call psychological horror. And James would have known full well of Washington Square’s reputation for being haunted: its predevelopment history as a hanging yard filled with swinging bodies—and, before that, a Native American burial ground.
As I was walking down Washington Square North, I saw a large tour group pausing before one of the row houses. I thought, How fun! Were they on a literary or architectural tour of the area? Perhaps a ghost walk? I saw several pose for pictures; were they re-creating scenes from The Heiress, or the TV adaptation of Washington Square? Then I heard the tour guide:
“And this, of course, is the house from I Am Legend. I know you’ll all want pictures. I’m happy to take them for you.”