Tag: New York

A Warmer View of The Disturbed Paternal Grandparents I Never Knew—The Memoir Continues

Posted on by Barbara Fischkin

by Barbara Fischkin

Brownsville, Brooklyn, New York, 1930’s. “Pushcart Market,” similar to one frequented by the shared paternal grandmother of Barbara Fischkin and her Cousin Bernie.  Source:  Library of Congress. Photographer: Alan Fisher.

Cousin Bernie’s Own Memoir Surfaces Years After His Death

(a.k.a Cousin Bernie, Free-Range Professor-Part Three)

As much as I loved my late Cousin Bernie, I figured that in regard to my own memoir, I was done with him. Cousins are great but those two earlier chapters—on just one cousin—were more than enough.

Then… I heard from Bernie.

A heavenly nudge.

Years after his death, I believed I could identify his voice with its gravelly Brooklyn twang, slightly tempered by a slower drawl acquired during decades in the Midwest.

“There is a lot more to write about me. And if it is about me, then it is also about you.”

I wish I could report that this actually came from the afterlife.

Nope.

It came from the post office.

Joan Hamilton Morris, Cousin Bernie’s widow, mailed his unpublished memoir to me, after she found it while moving to a new assisted living residence. That was about a month ago. I never knew it existed. Now, I had it in hand—Cousin Bernie’s memoir, written quietly in an adult education class he took after retiring as an honored professor of Psychology and Mathematics at a public university in Indianapolis, Indiana.

I flipped through the typewritten, hard copy pages, stopping early at a description of my Grandpa Phillip. He had died before I was born and all I knew about him, from my parents, was that he had been a handsome, drunken, sporadically employed, womanizer who beat his sons and his long-suffering wife, Grandma Toby. Nice. Grandma Toby died young. Grandpa Phillip subsequently romanced a new bevy of women and then, sort of made up for past sins by marrying one of them.

Despite being decades apart in age, Bernie was my first cousin. This explains why we had the same paternal grandparents. Except, unlike me, he had known them. And so, thanks to Cousin Bernie, I read about a different version of Grandpa Phillip. And learned more about Grandma Toby, too. Read more »

Sunday, July 6, 2025

The Novel Endures: A Conversation with Ross Barkan

Posted on by Philip Graham

by Philip Graham 

Ross Barkan is certainly having a moment. His third and most ambitious novel, Glass Century, set in New York and encompassing over fifty years of the city’s history, has recently been published and is enjoying a raucously enthusiastic critical reception.

I wasn’t surprised by the praise for Glass Century. Having been a New York City cabdriver in the ’70s, a volunteer near Ground Zero in 2001, and the father of a daughter who refused to abandon her West Village apartment and beloved city during the Covid crisis, I found myself utterly convinced on every page by Barkan’s long game of interweaving intimate family secrets with the public unfolding of the city’s historic crises. And he can write a mean tennis match, too.

Meanwhile, this week Barkan’s long-time friend and political comrade-in-arms, Zohran Mamdani, has triumphed in the Democratic primary for New York City mayor. One might say that Ross Barkan, a 35-year-old novelist, journalist, essayist and political commentator, is feeling the warm embrace of the zeitgeist.

Philip Graham: Your novel Glass Century begins with the two main characters, Mona Glass and Saul Plotz, as they prepare the final arrangements of a false marriage. That their wedding will be staged is a secret built on another secret: Saul is already married and has two children. Mona believes this fictional wedding with her lover will fool her parents, who are relentless in their insistence that their fiercely independent daughter settle down and start a family.

Somehow, they manage to pull off the deception, not only for the wedding but for the many years of their actual committed relationship. A lot of people in this novel have to maintain the secret, and at least an equal number need to ignore or adopt a complicit silence about their suspicions—Mona’s parents and Saul’s wife and children, in particular. And somehow you manage as author to maintain this tightrope trick throughout the novel. It certainly rang true for me. Every family, I believe, cloaks some truth or truths that must remain silent.

Ross Barkan: Secrets are everything: shameful, powerful, ennobling, destructive. There isn’t a family without secrets. It’s only a matter of how large they are. Secrets were on my mind as I wrote Glass Century. How do we keep them? Whom do they hurt? Who benefits? A secret, sometimes, offers something of a counter-life. You slip in and live in a way you might not have otherwise. Already married Saul, in this instance, finds Mona to be something like his counter-life. And Mona, in turn, has the image of marriage, which was so important to her traditional parents in the 1970s. Of course, what makes this all interesting, as you point out, is that there are others aware of the ruse. There’s complicity. It’s plausible, certainly, to be skeptical of all of this—how is it possible? In a fictional world, there can be a just-so quality to events but I wanted to write in a manner where it didn’t seem so fantastical for secrets like these to be held. Men and women do have affairs, lives are carved out within lives, and families, in a way not so dissimilar from organisms, must adapt gradually to all of it. As I wrote the novel, I considered image versus reality, and how, from the outside, we know so very little about people. That’s the beauty of the novel form, and why I love it so: there’s the ability to excavate that interiority, that consciousness. I loved living in the pages with Mona and Saul. Read more »

Monday, December 9, 2024

Why Summer Camp Matters, Even In Winter, Part One—The Memoir Continues

Posted on by Barbara Fischkin
Photo from https://wel-metcamps.com/

by Barbara Fischkin

People who have never been to sleepaway camp, don’t get it. They tease me when I speak about memories that are decades old, as if I am recalling a past life that never happened. They find it strange that I view my many years at camp as not merely summer vacations but as forces that helped to make me who I am. These camp memories visit me more deeply when the winter sky sets early, fooling me into believing that 4:30 pm is really past midnight. If I am roaming, I wonder if it is already time to go home. I linger. Yes, my summer camp taught me to roam physically—and in my imagination. It was free and free-range.

I’ll tarry briefly where many good tales begin. In the middle: My teenage years, as a camp clerk and then as babysitter for a camp director and finally, as a counselor. These summer jobs were woefully underpaid. But the fringe benefits were great: Opportunities to break rules that were often not enforced, anyway.

I smoked my first joint, out in the open, sitting with friends on a large rock by the lake, right after a late summer sunset. If caught by a camp director, we would have been fired. I don’t think they wanted to catch us. They were somewhere else, smoking their own joints. Romance, along with pot, seemed to be part of the plan for young employees, particularly in regard to the kitchen boys over whom we swooned. My camp, socialist at its core and run by lefty social workers, did not believe in waiters. To check out a kitchen boy, campers and staff had to go to one of several pantries to pick up or deliver food, plates and utensils. A chore made joyful.

 In regard to specific romance, I remember the night I spent with a slightly older male counselor, sleeping with him in his tent—and not doing much more than sleeping. (Maybe it was the pot). Before dawn I shoved him awake and said: “I have to go, I will get into trouble.” He laughed a sleepy laugh, perhaps a stoner laugh and said: “Barbara,  this is Wel-Met. Nobody gets in trouble for sleeping with someone.” Read more »

Friday, November 22, 2024

Make Art Dangerous Again

Posted on by Andrea Scrima

by Andrea Scrima

Photo from the publication “Curtis Cuffie.” Scot Portnoy, Robert Snowden, Ciarán Finlayson (eds.); Katy Able, Carol Thompson, Curtis Cuffie, Michael Galinsky, Margaret Morton, and Tom Warren (photos), 2023.

I recognized the corner immediately: it was right next to Cooper Union, on Lafayette Street in downtown Manhattan. There used to be a large parking lot on the other side of the street, where passers-by occasionally happened upon a colorful bricolage cobbled together from stuffed animals and clothes, discarded household items, deformed umbrellas, and battered car parts. These strange and playful conglomerations looked as though the bric-a-brac and refuse had been plucked together by some invisible furious force to house a spirit or daemon. They were, of course, carefully composed works by the late African-American artist Curtis Cuffie, one of the many ephemeral assemblages he created in the streets of downtown New York in the 1980s and 1990s.

Photo from the publication “Curtis Cuffie.” Scot Portnoy, Robert Snowden, Ciarán Finlayson (eds.); Katy Able, Carol Thompson, Curtis Cuffie, Michael Galinsky, Margaret Morton, and Tom Warren (photos), 2023.

Cuffie installed his improvised ensembles of found objects on fences, window grilles, sidewalks, and traffic signs in Cooper Square, the Bowery, and elsewhere; they were always temporary, and only a few of his works have survived. Cuffie periodically lived on the streets around Cooper Square and his homelessness must have made his emotional tie to the treasures he found and wheeled around in shopping carts all the more urgent. Most of the works he created from this repertoire of materials were abstract, shrines that seemed to grow out of the flotsam and jetsam of a city in constant transformation; seen from a passing car, they flashed in the sideview mirror like otherworldly apparitions. But there were also figurative sculptures: ragged garments strung on wire and string and adorned with hats or wigs became animated spirits on a secret mission. Today, the few remaining works by Cuffie that were not taken down and destroyed by the police or street cleaners are shown and sold in the pristine white spaces of uptown Manhattan galleries, stripped of their context and also, perhaps, a good deal of their meaning. Read more »

Monday, January 8, 2024

War and Coincidence: My new-old friend in Ukraine

Posted on by Barbara Fischkin

by Barbara Fischkin

Oksana Fuk of Ukraine. Fuk Family photo

At dawn on February 24, 2022, Russian President Vladimir Putin announced a “special military operation,” in Ukraine—a euphemism for war, if ever there was one. Since that morning, the fortitude of the Ukrainian people has resounded, even as the Middle East vies for our attention. For me, evidence of this grit—as fertile as Ukraine’s soil—arrives weekly, if not daily, in messages from a young woman in a western city. She writes from Ternopil, a relatively safe place. But from her I have heard that no place in Ukraine is truly safe.

 I have also heard that its people are determined to stay, survive and rebuild.

My contact is not a war correspondent. She is an English language instructor, a teacher, a college administrator and the mother of two small children. In other words: A regular citizen. Her name is Oksana Fuk and we have been corresponding since hours after that terrifying dawn, almost two years ago, when Russia invaded her country.

We may have met in person years ago, when she was an internationally-recruited counselor at a camp for developmentally disabled children and adults in the upstate New York Catskill Mountains. What we are sure about is that she knows our elder son, Daniel Mulvaney, who has non-speaking autism and attended this camp for many summers.

On February 24, 2022, as I was searching for more news about the invasion—my mother was born in Ukraine—Oksana’s name popped up on my Facebook feed. I saw that she had worked at Dan’s camp.

When we first connected it was 4 p.m. on Long Island where I live. By then the invasion that morning had been front page news worldwide. It was 11 p.m. in Ternopil. Read more »

Monday, December 20, 2021

Decoding A Language: An Interview With Andrea Scrima About Her New Novel “Like Lips, Like Skins”

Posted on by Andrea Scrima

Like Lips, Like Skins, Andrea Scrima’s second novel (German edition: Kreisläufe, Literaturverlag Droschl 2021), is a diptych; the first half of the book is dedicated to the first-person narrator’s mother, the second half to her late father. We meet Felice in the early eighties as a young art student in New York and as a newcomer to West Berlin before and after the fall of the Berlin Wall; ten years later, she returns to New York to install an exhibition of her work. Another fifteen years pass and we encounter her as a single mother poring over her father’s journals in search of her family’s past. Like Lips, Like Skins is about art, memory, and the repetitions of trauma. The first chapter was published in issue 232 of the Austrian literary magazine manuskripte; English-language excerpts have appeared in Trafika Europe, StatORec, and Zyzzyva. The German version of this interview appeared in issue 234 of manuskripte. Ally Klein interviewed the author over the course of several weeks via email.

Ally Klein: There’s a scene in Like Lips, Like Skins in which the first-person narrator, Felice, recalls studying the Sunday comics as a child. She buries her nose in the newsprint; when she fetches a magnifying glass to get closer, she discovers an “accumulation of tiny dots.” Individually, they’re no more than “lopsided splotch[es],” but together give rise to a bigger picture. I see a parallel here to the way the novel is stylistically conceived. Memories pop up seemingly at random, and in the end, they produce an image that works intuitively. The book eludes a stringent retelling, but leaves the reader with a sense of understanding something that can’t be expressed in terms of an idea or concept. The discoveries, if that’s what they can be called, are situated elsewhere.

Andrea Scrima: As a child, Felice doesn’t yet know that the interaction between the eye and brain fills in the gaps, the missing information between disparate points; for her, it’s just magic. I use language to create imagery that can exist outside of description or symbolism. In literature, images often have a function, they’re there to convey a certain idea. But some images are irreducible, they’re not all that easy to explain. And these are the ones that interest me most: they’re autonomous, they have a life of their own. Sometimes they’re a bit uncanny.

I’m interested in literature’s resilience, its ability to find a formal language for phenomena that can’t be easily captured in words. A language the reader somehow perceives as “true,” even if they can’t necessarily say how or why. Read more »

Monday, October 28, 2019

Why on Earth Should It Mean That It Is Not Real?

Posted on by Andrea Scrima

A Conversation with Joan Giroux

by Andrea Scrima

Joan Giroux, born 1961 in Syracuse, New York, moved to the East Village in the early eighties to attend Parsons School of Design. After graduation, she began traveling back and forth between New York and Berlin, first as a guest student with Shinkichi Tajiri at the Hochschule der Künste, then to take part in a graduate program at the Milton Avery Graduate School of the Arts in Annandale-on-Hudson, NY. With a focus on sculpture, Giroux moved from interactive objects and kinetic sculpture into installation, performance, social practice, and community engagement. She has shown internationally at venues including the Museum of Contemporary Art Chicago, Weinberg/Newton Gallery, American Academy in Rome, Munson-Williams-Proctor Institute, Artists Space, BACA Downtown, and Künstlerhaus Hamburg, and has participated in international symposia for the arts and the environment in Korea, Japan, and Germany. She also shows her work in a number of public, alternative, and nontraditional venues, such as in the exhibition memory marks at the Hospice of Santa Barbara’s Leigh Block Gallery. Grants and awards include the Marie Walsh Sharpe Studio Residency, a Research Fellowship at the University of Michigan, and artist’s grants from Berlin’s Senate for Cultural Affairs and the Pollock Krasner Foundation, as well as residencies at the Squire Foundation and the MacDowell and Millay colonies. She teaches at Columbia College in Chicago. Read more »

Monday, September 17, 2018

A Faint Distrust of Words

Posted on by Andrea Scrima

INTERVIEW BETWEEN ANDREA SCRIMA (A LESSER DAY)

AND CHRISTOPHER HEIL (Literaturverlag Droschl)

Novels set in New York and Berlin of the 1980s and 1990s, in other words, just as subculture was at its apogee and the first major gentrification waves in various neighborhoods of the two cities were underway—particularly when they also try to tell the coming-of-age story of a young art student maturing into an artist—these novels run the risk of digressing into art scene cameos and excursions on drug excess. In her novel A Lesser Day (Spuyten Duyvil, second edition 2018), Andrea Scrima purposely avoids effects of this kind. Instead, she concentrates on quietly capturing moments that illuminate her narrator’s ties to the locations she’s lived in and the lives she’s lived there.

When she looks back over more than fifteen years from the vantage of the early 2000s and revisits an era of personal and political upheaval, it’s not an ordering in the sense of a chronological sequence of life events that the narrator is after. Her story pries open chronology and resists narration, much in the way that memories refuse to follow a linear sequence, but suddenly spring to mind. Only gradually, like the small stones of a mosaic, do they join to form a whole.

In 1984, a crucial change takes place in the life of the 24-year-old art student: a scholarship enables her to move from New York to West Berlin. Language, identity, and place of residence change. But it’s not her only move from New York to Berlin; in the following years, she shuttles back and forth between Germany and the US multiple times. The individual sections begin with street names in Kreuzberg, Williamsburg, and the East Village: Eisenbahnstrasse, Bedford Avenue, Ninth Street, Fidicinstrasse, and Kent Avenue. The novel takes on an oscillating motion as the narrator circles around the coordinates of her personal biography. In an effort of contemplative remembrance, she seeks out the places and objects of her life, and in describing them, concentrating on them, she finds herself. The extraordinary perception and precision with which these moments of vulnerability, melancholy, loss, and transformation are described are nothing less than haunting and sensuous, enigmatic and intense. Read more »

Monday, December 19, 2016

Reflections on congestion and technology

Posted on by Emrys Westacott

by Emrys Westacott

Last week I drove from the small college town in upstate New York where I live to New York City. Traffic_330_1a1i8i2-1a1i8i8 We covered the 306 miles from home to the George Washington Bridge, which takes one into Manhattan, in just under five hours. The next 15 miles, through Manhattan to our destination in Brooklyn, with a quick pick up and drop off on the Upper West Side, took an hour and a half. The following day we had a similarly miserable experience driving from Brooklyn to midtown.

I understand that a country mouse like myself is likely to be both not very savvy about and easily unsettled by the ways of the big bad city. Even so, the congestion, the jungle-law etiquette, the impatient honking, the anxiety induced by reckless cyclists passing on left and right, the lanes blocked by delivery vehicles, the need for so many police officers to direct traffic and pedestrians at snarled intersections, the difficulty of finding street parking–all this had me shaking my head. I know that thousands do it every day. Many do it for a living. And a few no doubt enjoy it. But regularly spending hours in congested traffic, even in a taxi on a bus, is no part of the good life in my book. At best, it's a fairly hefty sacrifice for the sake of other benefits the city has to offer.

Strolling around midtown Manhattan, I was struck by how many of the cars on the street were yellow taxis. Apparently there is no official figure for the percentage of New York traffic constituted by taxis, but my impression was that it must be more than fifty percent, especially if one includes cars that provide ride-hailing services like Uber and Lyft. According to New York's Taxi and Limousine Commission, about 20,000 of the city's 65,000 vehicles for hire are Ubers.

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Monday, July 7, 2014

The Meaning of Apples

Posted on by Emrys Westacott

by Emrys Westacott

What is it about the apple? Common, easily grown, and cheap to buy, yet when you think about it the apple is a major character in the history of our culture. Apple-191004_150It pops up continually to play significant roles in religion, mythology, science, and the arts, and remains metaphorically active in everyday language.

The first example that comes to mind, of course, is the apple that Adam and Eve partook of in the garden of Eden, thereby precipitating the Fall thanks to which we now have to toil among thorns and thistles, earning our bread in the sweat of our brow instead of lounging around in paradise. Scholars and pedants will immediately point out that the bible doesn't say that what Eve plucked from the tree of knowledge was actually an apple: it just describes it rather vaguely as the tree's fruit. Since there was only ever one tree of knowledge, it quite likely produced a unique fruit that is no longer available, not even at Whole Foods. But that's beside the point. In the popular mind Eve bit into an apple, thought it tasted good (so we know it wasn't some mealy Golden Delicious) and offered it to Adam; he took a bite, and the rest is a lot more mythology eventually feeding into history. Size1Here the dual character of the apple is revealed for the first time. As coming from the tree of knowledge it's presumably good, knowledge itself being a fine thing. But since eating it is sinful, the initial sweetness turns bitter, and what at first gives delight leads to shame, exile, labour and death.

It was also an apple that set in motion the events leading to the Trojan War, tragic and glorious in equal measure according to our primary source. The wedding of Peleus and Thetis had an impressive guest list that included all the Olympian gods but not Eris (a.k.a. Discordia) goddess of Chaos and Strife. She wasn't invited for obvious reasons, but she came anyway and true to form tossed into the midst of the revelers a golden apple inscribed, “To the fairest.” Hera, Athena, and Aphrodite all claimed it; Zeus appointed Paris, a prince of Troy, to decide who should have it; Aphrodite offered the best bribe—the beautiful Helen of Sparta—so she got the apple, Paris got Helen, and Troy got razed to the ground after a ten-year war. In this case, too, the apple's outward appeal–it is brilliant, beautiful, and desired by three goddesses–hides a dark core that breeds rivalry, envy, seduction, betrayal, war, and destruction.

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Jonas Mekas: Serpentine Gallery, London. Until 27 January 2013

Posted on by Sue Hubbard

by Sue Hubbard

_MG_3195 press pageHow do we remember? Before the invention of the camera most people never possessed a likeness of themselves or those they loved – a lock of hair, a letter, were the heart’s most treasured possessions, the artefacts that conjured the past. Photography democratised the ownership of images. A portrait need no longer be in watercolour or oils, it could be an informal snap taken on a box Brownie: a casual moment sealed in the proverbial amber of memory. With the technological advances of the 20thand 21st centuries, with film, video and digital technology and the predominance of surveillance equipment it might, theoretically, be possible to record a whole life from the moment of birth till the second of death. It was only a decade or so ago that the French Postmodernist social theorist Jean Baudrillard argued that the images which assault us – on our TVs, in film and advertising – are not copies of the real, but become truth in their own right: the hyperral. Where Plato had spoken of two kinds of image-making: the first a faithful reproduction of reality, the second intentionally distorted in order to make a copy appear correct to viewers (such as a in a painting) Baudrillard saw four: the basic reflection of reality; the perversion of reality; the pretence of reality, and the simulacrum, which “bears no relation to any reality whatsoever”. Baudrillard's simulacra were, basically, perceived as negative, but another modern French philosopher, Gilles Deleuze, has described simulacra as the vehicle by which accepted ideals or a “privileged position” can be “challenged and overturned”. Reality has become a complex issue.

_MG_3266 press pageJonas Mekas was 90 on Christmas Eve, which means that the film-maker, artist and poet, often referred to as the godfather of avant garde cinema, has lived through a lot of history. Born in Lithuania he spent part of the war in a forced labour camp, then after the hostilities ended, another four years in various displaced person’s camps such as Flensburg, Hamburg, Wiesbaden, Kassel – first in the British Zone, then in the American. With nothing much to do and a lot of time he read, he wrote and went to the movies, which were shown free in the camps by the Americans. So began his long relationship with film. Later, when he commuted to the French Zone to study at the University of Mainz, he met André Gide who told him to “work only for yourself,” and watched a lot of French cinema. After arriving in America he bought his first Bolex camera in 1950, which he used to film everyday scenes in Williamsburg, Brooklyn, and the Lithuanian immigrants who lived there. Describing himself and his brother as “two shabby, naïve Lithuanian boys, just out of forced labour camp”, it was not until some 10 years later that he decided to assemble the footage into a film.

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Monday, February 21, 2011

New York’s Empire State of Mind: The Colonization of ‘Up’ Part I

Posted on by Ryan Sayre

by Ryan Sayre
11_elevator_inv

Elisha Otis was a solver of problems—practical problems involving bread ovens, steam engines, bed frames, and the like. Faced with the problem of safely bringing debris down from the second floor of his workshop, in 1852 he repurposed a railroad brake into an emergency elevator brake that would stop the lift cold in its tracks should the supporting cables snap. This small innovation opened an entirely new kind of space; a space we might call the 'up'. ‘Up’ had of course always existed, but never before as a habitable territory. As a place for work, life, and leisure, ‘up’ would have to be imagined. While colonial powers in the early 20th century were busy stretching railroad lines across continents, urban engineers in cities like Chicago and New York were beginning to bend Otis' elevator tracks ever further upward into uncharted verticality.

For a short three to four year period in the late 1920s and early 1930s, New York City drove its skyline 70, 87, and then 102 stories into the air. The expedition marked a transformational moment in the city. During these few years city traffic was detoured skyward. The city’s profile was nearly flipped on its axis. The goal of city planners was to rationalize the city and the ‘up’ seemed like the most efficient direction to take a growing population. But rationalization and efficiency are never linear; the stories of buildings are marked by countless twists and turns.

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Monday, December 27, 2010

Reflections on the Density of City Life

Posted on by Ryan Sayre

I: Reflectvertising in Tokyo’s Liquid Desert
The white neon apple, visible all the way down Chuo Avenue, Reflectvertizing_ginza makes finding the Ginza Apple Store deceptively easy. I say ‘deceptively’ because it’s not until you’re about to enter that you realize you've been chasing after a reflection, a perfect double emblazoned on the frosted glass of the Matsuya Department store directly across the street. Tokyo’s upturned desert of glass preserves, from its former days as sand, the ability to proliferate mirages and fata morgana, sends wanderers deeper and deeper into the wild.

Restaurant reflectvertisements are slung around Tokyo's street-corners, billboard reflections dragged over the curved surfaces of its slow-moving
taxi cabs. Storefront neon sloshes about like oil in narrow waterways, luring then repelling, tempting then deterring. Looking out over this liquid Sahara, it’s hard to say whether reflectvertisements fall more on the side of visiting or intruding, hanging out or loitering. What can be said is that this economy of intangible light operates very differently from the economy of invisible air over which radio, television, and cellular companies bid so ravenously. And while all things may not pass amicably between reflectvertising neighbors in Tokyo, more notable than the tallying of strife is the mood of the city excited by all this uneven thrumming.
However much dictionaries may want us to think of reflections as “the throwing back by a body or surface of light, heat, or sound, without absorbing it” I can’t help but feel Reflectvertizing_street that while reflections may bounce coldly off individual surfaces in Tokyo, taken together, they soak throughly into the warm skin of the city.

II: The Relative Pressures of City Life

Whenever I happen to lay my hand against the side of a skyscraper in Tokyo or New York, I wonder why it is that these structures don’t get hot from all the millions of pounds of vertical pressure coursing down through them. Where does it all go? As it passes into the streets, through nut vendors, and out the exhaust pipes of busses, might it be possible to follow it into subway tunnels or trace it up elevator shafts back to the top floors of office buildings? City smells, city sounds, and so many of
the city’s weighty little annoyances push us along the same stress-strain curve as its towering buildings, at every turn making trial of our tensile strength. When late for a business meeting, wouldn't we do better to measure the long wait for an elevator in pascals rather than in seconds, with a barometer rather than with a wristwatch? We Razor_thin_building_shiodome inhabitants of megacities are little Titans, miniature Atlases, each hefting a little of the city's load on our aching shoulders.

When I was a child, I’d greet my father at the door, and, tired after a hard day’s work, he’d always make me the same deal. “I'll give you a piggyback ride to the kitchen,” he’d say, “but only if you carry this heavy briefcase for me.” Giving out a groan as he dropped his burden into my extended hand, and then, lifting me up onto his back, he’d march about, play-acting an unfettered lightness of being. I have a sneaking suspicion that the logic of city life turns on a similar principle; that the city carries our freight upon its shoulders as long as we bear a small measure of its upon ours. Despite common sense telling us all this heavy-lifting ought to result in more, not less, cumulative pressure, what keeps the operation moving, both for my father and for the city, is not a diminishing of pressure, but the inverse; its amplification, spiked with a communal ecstasy over the senselessness of it all.

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