Tag Archives: manhattan

I grew up on the Jersey side of the George Washington Bridge. At the other end of the bridge was the wider portion of the world. It was the escape from parochial suburban concerns and into a life infinitely richer.

New York city was not just the gateway to the larger world, it was the larger world.

One of my earliest memories is of my grandmother taking me at age three, maybe four, into Manhattan to see the Christmas display windows at Macy’s department store. I remember being frightened by the subway and being returned like Odysseus from the underworld up to the snowy Seventh Avenue.

It was only a few years after the war and the city was still the one described by E. B. White in Here is New York, published a year after I was born. It was the city of yellow cabs, of subway roar under the sidewalk grates, Con Edison steam pouring out of street vents. The Third Avenue El blocked the sky and the Horn and Hardart automat flipped out sandwiches and soup. Barges carrying freight cars crossed the Hudson from Weehawken and Hoboken; Penn Station and Madison Square Garden — the old one — were still standing. The GWB was still only one level. Skyscrapers were still mostly stone, brick and steel. The Empire State Building was still the tallest in the world.

When you are young and the world is that new, every encounter with it imprints and becomes the ur-version of your Weltanchaung. Everything you later learn is first compared with these initial impressions.

And so, two great geographical “gods” I grew up with were the Hudson River — every other river until I crossed the Mississippi failed to earn the name — and New York City. A city wasn’t a city unless it had sun-blocking canyons of impossibly tall offices, apartments and hotels. If it didn’t have a subway or a ring of bridges and ferries. Or the wharfs with their ocean liners and longshoremen.

As I grew up, the city remained the touchstone not merely of urban-ness, but of civilization itself. It was where I went to find bookstores. There was Little Italy, Chinatown, Harlem and Spanish Harlem. I saw Puerto Ricans and Arabs, Norwegians and Hindus. The idea of a mixed population seemed absolutely normal.

As White wrote, “The collision and the intermingling of these millions of foreign-born people representing so many races and creeds make New York a permanent exhibit of the phenomenon of one world.”

And all that makes a kind of poetry: “A poem compresses much in a small space and adds music, thus heightening its meaning. The city is like poetry: it compresses all life, all races and breeds, into a small island and adds music and the accompaniment of internal [combustion] engines.”

That music includes the sound of jackhammers, car horns, squealing bus brakes, street-corner arguments, police whistles, sirens, and on special occasions, marching bands.

Through high school, and later when I returned home from college, I would take the Public Service bus to the bridge and walk across it from Jersey to Manhattan, looking down on the way to the little red lighthouse. Up past Cabrini Boulevard to the 175th Street IND subway station where a 15-cent token would take me anywhere in the city: Carnegie Hall, the Museum of Modern Art, the Sheridan Square Paperback Corner, the Hayden Planetarium.

The city became so much a part of my world-view that it took traveling halfway around the world to break me open. That is the importance of travel. “Travel is fatal to prejudice, bigotry, and narrow-mindedness, and many of our people need it sorely on these accounts,” wrote Mark Twain. “Broad, wholesome, charitable views of men and things cannot be acquired by vegetating in one little corner of the earth all one’s lifetime.”

The Mississippi River was more river than the Hudson, and the Columbia was a drained a greater area. The St. Lawrence was a wider gouge on the continent. And once I left the New World and stood on the banks of the Rhine in Dusseldorf, I marveled at night over the racing current and the moon reflected in the waves — so big a river and so rapid a flow. This was the Rhine of the Lorelei and the Valkyries. Robert Schumann wrote his Rhenish Symphony in Dusseldorf.

And so it was with cities. Philadelphia and Chicago were smaller imitations of New York, but so many others created their urban civilizations on other patterns. I would have to come to terms with Los Angeles, with Seattle, with Miami.

I had avoided LA for many years — decades, really — with the unearned disapproval of an East Coast snob. It wasn’t really a city at all. What did Dorothy Parker call it? “Seventy-two suburbs in search of a city.”

LA was the city where the people who pass you on the freeway are always better looking than the people you pass. The city where all the women are beautiful and all the men wear shades to protect their eyes from the shine of their own smiles.

My tune has changed. After many trips to Southern California, I have come to love LA, with all its traffic and sunshine.

Los Angeles is genuinely cosmopolitan; I feel there as I must likely have felt in Amsterdam in the 17th century or Venice in the 16th century. I cannot remain awake and self-satisfied at the same time.

St. Louis

Of course, when something is cosmopolitan, that means it includes a great deal we might feel uncomfortable about.

Mystery writer Walter Mosley wrote, ”It’s a land on the surface of dreams. And then there’s a kind of slimy underlayer. The contrast of beauty and possibility and that ugliness and corruption is very powerful.”

You ride up over Sepulveda Pass on the 405 and spread out before you is all of the San Fernando Valley, one vast Vaseline smear of suburbia and middle-class values — and you know that this is the world capital of porno films.

From Simi Valley to Costa Mesa, you find every food, every culture, ever language, every social class, every fast-food joint. There is high culture at the LA County Museum of Art and history at the La Brea Tar Pits; there is outdoor dining at the Farmers Market on West Third Street and Fairfax; there are the oil wells on the Baldwin Hills, pecking at the ground like so many chickens.

When my late wife and I first began to travel, we avoided cities. As long-time Easterners, we were besotted by the empty West and its long horizons and open skies. Driving down carless roads that measured straight for 20 miles or more at a stretch, wiggling in the distance through the lens of desert heat, it was the isolation that fascinated us. Cities only slowed things down and gummed them up with stoplights and bumper-to-bumper glue.

It was only later that the cities opened up their gifts to us. Since then, I have come to love several cities, and cherish their idiosyncrasies and talents.

First among these is Paris. I have been back many times. It is so different from New York, so compact, so comfortable. You can walk almost anywhere, and with only a miserly few skyscrapers, it is a human-scale place. In New York, restaurants can seat hundreds at a time; in Paris, a typical restaurant has maybe a half-dozen tables and only two workers: the waiter and the cook.

Tourists think of Paris as the Eiffel Tower or the streetside artists of Montmartre, but we never went there. Instead, we walked the streets near where we were staying and got to know the butcher, the florist, the baker. A morning visit to the patisserie for a pastry, a stop at the bookstore to pick up a Pleiades edition of Victor Hugo, a duck-in to a small neighborhood church that has been there for only, say, 400 years.

Cape Town

The most beautiful city I have ever seen, based on its setting and geography, is Cape Town, South Africa. It sits in a bowl surrounded by peaks, including Table Mountain, which is a long, flat cliff over which a fog often drapes, like a tablecloth. The streets are wide and sunny, and the houses clean in the sunlight and often brightly colored. I was there near the end of the apartheid era, and while the Afrikaners to the north held fast to their racist ideology, in British-heritage Cape Town, I saw black and white Africans comfortably together on the beaches, despite its being technically illegal.

Chicago (left) and Johannesburg

Back north in the former Transvaal, the city of Johannesburg, or “Jo-berg,” was more familiarly urban. In fact, if you didn’t know where you were, you could easily confuse the city with, say, Chicago. If you thought of Africa as elephants and zebras, the high-rise congestion of Jo-berg could come as quite a surprise.

Durban

I have a special warm spot for the city of Durban, on the Indian Ocean, with its thick tropical humidity and dense pack of various humanity.

Seattle

I lived for a while in Seattle, and came to love it for its weather. What elsewhere might be called rain is hardly noticed in Seattle, unless it’s a downpour. Most days, it seems, the air just hangs with a slowly-dropping mizzle. The city is built on hills, and you are always going up or down, and until the recent and ugly development of a self-regarding amour propre, Seattle was a kind of forgotten city. That was the city I came to love. Now, it is overrun with Starbucks and hipsters. It used to be cool; now it knows it is cool, which is never cool.

New Orleans

New Orleans is a city I used to despise. I thought of it as infested with cockroaches and humidity. But as I’ve gotten older and have begun to decay myself, I find a bit of deterioration admirable. Now, it is one of my favorite cities. How can you not love a place where the restaurants feature 60-year-old waiters in formal dress?

San Francisco

There are other cities I hold dear: London; Oslo; Vancouver; Miami; Mobile, Ala.,; Halifax, Nova Scotia; San Francisco; St. Louis; Tijuana — yes, if you leave the tourist center, it is a wonderful city.

Las Vegas

And there are places I have never come to love. I really dislike Las Vegas, for instance. It gives me the creeps. I see those retiree women sitting at the slots, their eyes turned into lifeless ball bearings in the soulless, windowless casinos with their dead, ringing bings. The horror; the horror.

Atlanta seems like nothing but traffic; Dallas like endless freeway flyovers; Houston like a fungus that grows to eat up a wedge of southeastern Texas. Once you enter the city limits, it seems as if you can never get out. Houston covers more ground than Rhode Island, and paints it with minimalls, Comfort Inns and tire dealerships.

Phoenix

I have been avoiding mentioning Phoenix. That is because my feelings are ambivalent. I have always called the city “Cleveland in the desert.” It has little actual character and the roads are as regular as jail bars. I lived there for a quarter century and came to love many things about it, and made many friends, who I now miss since I left. But the city itself has little to recommend it, outside of being in the middle of a desert paradise. Of course, you have to drive at least 60 miles in any direction to even get out of the city into the desert, and the remoteness of the desert only increases as the city expands.

Yet, even in Phoenix, I get the feeling of civilization — both good and bad. Civilization is defined by cities. Before cities, life was villages and farms. After the growth of Sumer and Ur, and the creation of writing and the spread of trade and political power, it became possible for the cooperation and interaction that cities allow.

And, even if an urbanite doesn’t leave his city, he will encounter those who have come from elsewhere. He will be forced to give up his “prejudice, bigotry, and narrow-mindedness.” City life tends to make one cosmopolitan and therefore, tolerant. Maybe not universally, but largely.

It explains, in part, the vast political gulf we face, not so simply between red and blue states, but between urban and rural. As cities grow, the nation gets bluer. If we encounter what is “other” and discover it is not, we give up fear and dampen hatred. Cities work because everyone has to put up with everyone else. It is what makes New York such a model.

“The citizens of New York are tolerant not only from disposition but from necessity,” wrote White. “The city has to be tolerant, otherwise it would explode in a radioactive cloud of hate and rancor and bigotry. If the people were to depart even briefly from the peace of cosmopolitan intercourse, the town would blow up higher than a kite.”

But it doesn’t. Not normally. In fact, the diversity of the city is more than merely tolerated, it is enjoyed: Who would want to live in a city where you could not get a good mu-shu pork or a good osso buco; not find a movie theater showing the latest Iranian film; not be able to buy a kofia and dashiki; not hear a Baroque opera?

Asheville

I have learned to widen my definition of what counts as a city. Even the Asheville, N.C., I now occupy has, in its tiny compass, an urban feel. The downtown is old and brick, and pedestrians walk up and down its hills. The stores and restaurants are busy and it is hard to find a parking spot. It is a concentrate of urban-ness. I can eat Ethiopian injera or find a well-used copy of Livy. It is a blue city in a red state. And thank the deities in the stars for that. It still echoes the New York that is buried in my deep heart’s core.

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Paris at night

March 1, 2015

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The first time my wife remembers being aware of the night was when she was a little girl and thought the darkness was a liquid, a flood tide overtaking the world.

“I was afraid I would drown in it,” she says.

If she wasn’t careful, it might seep under the window sash and fill her bedroom while she slept.

My experience was different. I grew up outside New York City, and for me, night was an empty container to fill with light. It wasn’t night that flowed, but rather the lights that were like opened faucets draining into the darkness, to be diluted by it. The view of the Manhattan skyline at night, seen from the New Jersey Palisades, was the most beautiful thing I knew. It glowed like embers.

Either way, night was something poetic, although we would never have used the term. When you are a kid, when everything is new, and everything is poetic, there is no humdrum, no banality, against which the poetic, the beautiful, can be offset. It is just the way things are.

Now, as a grown up, chastened and wary, night is the black velvet on which we place the emerald ring, to show off its brilliance. And night is the time that gives the day its mythic resonance. We do our work during the day, so that night can work on us.

I go walking in Paris at night, because that is when I feel most completely there. Paris becomes itself when the streets are dark, with storefront windows and the streetlamps pour forth their fluid light, diluted on the curbs and parked cars. I am washed in that thin light.

One feels most deeply the difference between Paris and New York. At night, Manhattan seems just as busy as it was earlier. Traffic is dense, pedestrians fill the streets. You can ride the subway at 2 in the morning and still see a car full of faces.

But, Paris at night is oddly empty, and what people you see are clustered around the steamed windows of cafes and bistros, or on the front steps of the opera house as it lets out, or waiting to get into the disco. It is almost as if these were the campfires that draw the bodies turned from the darkness.

You can walk down the streets and peer into the shop windows, with their wares lit and forgotten, as if the Rapture had occurred last week, and left behind the kitchen furnishings, or the bicycles, or books, and behind the glass, there is a humanless simulacrum of the world we know.

Or you follow some old man in a long coat as he turns the corner and walks down a dark street toward the next streetlight.

Paris is made more magical by the night. In October there is the slight bite to the air, and the rain makes pointillist mirrors of the pavement, redoubling all that dissipating light.

You wander into a Turkish souvlaki restaurant, a cheap storefront halfway down the street, and the man behind the counter is on the phone speaking some language you don’t know — it isn’t French — and he smiles at you as you sit on the molded plastic chair with the rocking table between you and your wife. The wall is bright yellow behind the glass counter, with garish purple writing offering the usual fare, lit with a glare. Gyros, souvlaki, pilaf. It is warm inside, and humid and the food is comforting.

Even the sound is different at night. Like the campfire, the sound is huddled, localized. In this restaurant, the sound is held in by the walls and front window. Outside it is silent once again.

There is cheer in the contact, and when you leave, there is an alive aloneness in the night street.

When I think of Paris, I think of it at night. I hear the voices and see the maitre pulling the Stella Artois from the tap. Most of the seat are empty and those filled are on the way home after a night at the cinema or theater. They may stop at the 8 a Huit for a pack of cigarettes. (Say it like “wee-a-wee,” it is the French equivalent of a 7-Eleven, only tighter packed and with one wall covered with wine bottles. The man sitting by the cash register is Algerian and tired after spending 12 hours in his shop.)

Compared to anything American, Paris is small. You can walk almost anywhere inside the Peripherique, and all the familiar signposts of the city are visible — Montmartre lit by floodlights on the hill, the Eiffel Tower turned into a fireworks display, the Palais Garnier pinned down by its own lights in the darkened city.

I love to get out into that night, and walk those streets, nodding to the proprietor of the flower shop as he stands by the door, stopping by the patisserie for the last pain au chocolate of the day, and finally passing the concierge of my hotel as he sits behind the desk, reading an Arab newspaper and drinking a small glass of Kirsch, not noticing me as I go through the lobby. Up the elevator, hardly bigger than a phone booth, and flipping on the timed hall light that busts open the darkness on my way to my room.

Out the window when I draw back the curtain, the city street is black, with highlights drawn by the lamps and the trees beneath my room shimmer in the light.

The engraved landscape

August 19, 2014

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Time and the city buzzing

January 27, 2014

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A cityscape is also a timescape.

And a visit to New York City is time travel. Roll the tape forward and back, and see the time-lapse version of the city, from the hard antediluvian schist that crops up in Central Park to the latest high-rise office complex.

We tend to think of America as a place that eats up its past, tearing down the old and erecting the new with no regard for history. And New York certainly has an energy that feeds on tomorrow.

But it is surprising how much of the past is still there, just left alone, standing in a multi-era crowd, with a brownstone wedged between a modern glass tower and a Beaux Arts library.

I suppose all of us who love the city have our defining frames in the time-lapse film. There is the fedora-topped bustle of New York in the 1940s, the World’s Fair gleam fighting the decay of the 1960s, the rhinestone Trumpification of the 1990s.

The city you remember best depends on how old you are and which version you first came to love.

But all of the versions are still there.

I first knew the city in the 1950s, and my memories are of Con Ed steam erupting from the streets in winter, diesel fumes filling the Port Authority Bus Terminal at 42nd Street like color fills a Titian, the squeal of the AA train (now the C train) as it fought the big curve between 168th and 175th streets. When I was a boy, we ice-skated at Rockefeller Center and window-shopped at Macy’s.

When I go back now, the subway still squeals, and the fumes are still the glorious aroma of the city, the garlic in its stew.

My city is still there, a little buried maybe, its face turned away.

That is not to say there aren’t chunks missing: Penn Station is gone; the Horn & Hardart Automat is gone; the current Madison Square Garden is a generic shadow of the old one; the Coliseum has been replaced by the gaudy Time Warner Center. Others, such as the Edward Durrell Stone Gallery of Modern Art, at Columbus Circle, have been given a new set of clothes.

Even Yankee Stadium has been torn down — Yankee Stadium, which I expected to last as long as the Roman Colosseum. (No such longing for Shea Stadium.)

Although some of the carcasses still exist along the Hudson River, the great ocean-liner piers are dusty, sagging, hollow or demolished.

And these don’t include the most obvious loss.

When I flew cross-country in 2005, the plane passed over Manhattan, and, from 30,000 feet, the missing place of the World Trade Center looked like nothing so much as the empty socket of a pulled tooth.

Yet, much of what I knew of New York when I grew up is still there.

Four decades ago, I stopped at a coffeehouse just outside Columbia University. It was when coffeehouses, not Starbucks, were the natural accoutrements of student life. You had to step down from the sidewalk to the below-grade tables. Someone was playing folk songs on guitar. It was called Cafe Ole. Two years ago, I accidentally found the same spot when I stopped for breakfast. It’s now Camille’s, but the uneven brick floor was still there, and the steps. Forty years squeezed together like an accordion.

You didn’t have to be born there: New York has a historical presence for most of us. We saw it in the movies and newsreels, in gallery photographs and paintings.

The New York of the mind comes from seeing King Kong, Breakfast at Tiffany’s and The French Connection.

Not to mention the best evocation of the city ever transmuted to celluloid: Woody Allen’s Manhattan, that cinematic mash note:

“He adored New York City. He idolized it all out of proportion — er, no, make that: He romanticized it all out of proportion. Yes. To him, no matter what the season was, this was still a town that existed in black and white and pulsated to the great tunes of George Gershwin.”

That New York of the mind is largely black and white. Or shades of gray. Even the snow in winter is gray. Like statuary, New York expresses form more than color.

Times Square sits in the mind like the black and white of Alfred Eisenstaedt, who photographed the famous V-J Day kiss there in 1945. The Staten Island Ferry does, too, and the crowds of people you pass on Sixth Avenue. (It will always be Sixth Avenue.)

Enough people fill a block there, as lunch hour begins, to populate a ballpark, but most of them might as well be alone in the wilderness that Manhattan once was. People avoid colliding but never seem to make an effort to miss each other. There’s a subliminal awareness of the crowd, but you can see in their eyes that they aren’t primarily aware of the here and now: They are thinking of the meetings they are required to attend today or whether their husband has remembered to buy the potato salad for dinner tonight. Pairs or trios walk along talking, but they are leaves floating together downstream in a current.

In his tiny 1949 book, Here Is New York, E.B. White wrote, “New York blends the gift of privacy with the excitement of participation; and better than most dense communities, it succeeds in insulating the individual (if he wants it, and almost everybody wants and needs it) against all enormous and violent and wonderful events that are taking place every minute.”

Stop at a storefront McDonald’s on a rainy November day and see the hordes lined up, warm against the cold outside, rubbing their hands as 40 people wait in ill-defined lines to be served. It’s noisy, yet quiet: The heat is steamy, the floor is worn. The bustle is enough to keep your ears electrified, but there is not much language to be heard outside the giving of food orders. The din is a roar of accelerating buses on the street, car horns, subways below the sidewalk grates and the incoherent susurrus of private conversation at tables.

It’s surprising how well people get on in New York, given the wide variety of types, ethnicities, politics and interests. The city makes room for all of them. Or, more precisely, the city takes equal lack of notice of all, so there is a kind of equality built in, an equality of negligibility.

It hasn’t always been that way. In the 1960s, the city seemed to be coming apart at the seams. The tourism slogan was “New York Is a Summer Festival,” but everyone in the city remembers it as “New York Is a Summer Fistfight.”

But now, allowing for the fact that you have 8 million people squeezed onto 300 square miles of land, the city is notably amicable: It has the lowest crime rate of the 25 largest U.S. cities, according to FBI statistics.

It is a city of diversity, and one that enjoys that about itself.

The last time I left the city, the hotel concierge phoned for a cab to take me to the airport. The cabbie was a large, bearded man with a black suit and an Eastern Europe accent; he drove a shiny black limo. Two blocks from the hotel, he pulled over. Another cab pulled over in front of us.

“If you please, my brother take you rest of way,” he said in a thick Boris Badenov voice. We emptied my bags into a second black limo.

The “brother,” who spoke with a Spanish, not Russian accent, explained as we drove that only one car in their fleet of cabs was authorized to pick up customers at the hotel, and so the first cab spent his day going from hotel to hotel, picking up customers and then redistributing them like a kindergarten teacher handing out cookies.

You come to expect such things in the city. It has always been this way.

What single image can catch the essential persistence of New York? The subways, the cabbies, Mott Street? For me, it is the wooden water tanks on the roofs of high rises. One would think they would have been replaced by something modern, something in stainless steel, perhaps. But they haven’t: All over the city, roofs are defined by their wood-slat water tanks, sitting on the tops of buildings like the acroteria on Greek temples.

A tourist will never run out of things to catch his attention, or his dollar. But the Statue of Liberty, the Guggenheim and The Lion King are not the images that boil up in memory for me. It is the water tanks.

My essential New York is built of alleys between apartments on the upper West Side, their trash cans waiting to be emptied.

It is the elevated train station at 125th Street, looking like some obsolete, alien spacecraft landed on stilts in the gully called Manhattan Valley.

It is the George Washington Bridge, which my grandfather worked on as an engineer in the 1930s.

There is no better way to enter the city than to walk across the GWB. You get the sense of crossing some large space that defines the difference between the comfortable world you know and the beehive world of the city. The bridge is a behemoth, covered in a putty of silver paint, with leopard spots of rust. The noise of the traffic as it passes blots out awareness; it is a constant ear-splitting surf.

But you arrive at 178th Street, and the neighborhoods begin. It is important to recognize that New York isn’t a single city; it is hundreds of individual communities, each with their life-support drugstores, groceries, shoe stores, churches and pizzerias. The city may not be as medievally immobile as it used to be, when most New Yorkers rarely left their two- or three-block turf except to go to work, but those neighborhoods are still the hearts of local patriotisms, each an axis mundi.

The two-story 1920s frame houses that line the streets of Queens, the brownstones of Brooklyn, the awning-beaked apartments of 59th Street in Manhattan — each neighborhood has its flavor, its architecture, its private history.

I look at my life and I know that although I am a grayhair 6 decades old, the 10-year-old kid who watched the Macy’s Thanksgiving Day Parade is still there somewhere, and so is the college graduate who came back to the city, and the married man who vacationed there, and now the senex who encompasses them all. And just as my whole life is a single long memory — a single speck of meaning — the city is the same: Everything that ever happened there is still there.

The River and the Bridge

March 7, 2013

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The RIVER

Probably everyone has a river in his life.

I suppose it needn’t be a river; for some it is a mountain. For others it is the ocean, that great river that circles the known world.

But it is an image of the larger picture of life: the flowing from one point to another; the sense that nature was here before us and will be here after we’re gone.

For Mark Twain, it was the Mississippi, for Henry Thoreau it was the Concord. You have yours: the Colorado through the Grand Canyon or the Columbia past the wheat fields of eastern Washington. For me, it is the Hudson.

From Battery Park north to Albany and beyond, the 315-mile-long Hudson is broad, gray and dignified, three miles wide at its broadest point, the Tappan Zee.

It was for me, as I was growing up, the single very definition of what a river should be. When I later lived in North Carolina and would cross the Deep River or the Yadkin, I had to laugh. They were little more than creeks.

Even more preposterous are the rivers of the Southwest, flowing with dust and gravel. There is the story of the old Arizonan who visited Manhattan. When he got back, his friend asked him if he had seen the Hudson River. “Yep.” “What did it look like?” “Couldn’t tell, it was covered in water.”

Adding to the river’s stateliness is its history.

The Hudson passes underneath the steep basalt cliffs of the Palisades, where George Washington beat a hasty retreat from the British troops when leaving Manhattan in 1776. It runs past the tiny town of Tappan where the spy John Andre was hanged. The river circles Bear Mountain just south of West Point, where Benedict Arnold tried to sell out the rebel nation.

All of these places are still there for the traveler to see.

And so are the earlier historic spots, leftover from the Dutch colonization of the area. There are old stone houses with Mansard roofs along the river and places with names made famous by Washington Irving in his stories, The Legend of Sleepy Hollow and Rip Van Winkle.

That Dutch presence is still felt in many place names: High Tor, the Spuyten Duyvil, Yonkers, Sparkill.

What isn’t still there are many of the landmarks I knew as a boy. The “Mothball Fleet” of hundreds of World War II liberty ships are no longer lined up north of Haverstraw in a crook in the river. The white-knuckle stretch of U.S. 9W around Storm King has been straightened and tamed. The Yonkers ferry long ago ceased running from the base of the Palisades to what was then a quiet, middle-class suburb of New York City.

But that is part of the mythology of the river: You can’t step into the same moment of history twice, either. It is all one great flowing.

At least 9W is still there, and it still the best way to see the river and its countryside. From the George Washington Bridge, it travels up the West Shore of the river until it rejoins its eastern branch, U.S. 9, at Albany.

Along the way, you pass Harriman State Park, with its scenic Seven Lakes Drive; you pass Bear Mountain, with its winter ski jumping; you pass West Point, Newburgh, Kingston. You pass tiny West Park, where the famous 19th Century nature writer John Burroughs had his rustic cabin in the woods.

Further north, you skirt the Catskills, where America’s first great assembly of painters called themselves the “Hudson River School.” Asher Durand’s painting, Kindred Spirits, shows the school’s founder, Thomas Cole, meeting with the poet William Cullen Bryant in the “Cathedral of Nature.”

The Catskills were later the home to many plush resort hotels, such as Grossingers, where Jewish comedians honed their acts in a circuit known as the “Borscht Belt.”

The river flows down from the north through the mountains, which rise on both sides. The Catskills on the west, the Taconics on the east.

It is through them that I left the Hudson Valley many years ago on the Twentieth Century Limited which rode the tracks on the east of the river past Sing Sing Prison and Peekskill on the way to Chicago, where I caught the Empire Builder to Seattle.

I felt a little removed, seeing the familiar landscape on the Western Shore from the unfamiliar perspective of the opposite river bank. But I couldn’t help respond to the gentle green curves of the mountains and the hundreds of ducks that shivered the water that November morning as the train spooked them.

In some way, the Hudson River is who I am. That’s what rivers are for.

The BRIDGE

The best way to enter any great city is across a great bridge, and there is neither city nor bridge greater than the George Washington Bridge and Manhattan.

And the best way to cross the bridge is neither by bus nor car, but by foot. Park by a meter on Kelby Street in Fort Lee, N.J. — you don’t really want to drive in New York City anyway — and begin walking toward the noise. You can’t miss it.

On the way, notice the broad expanse of green where the Port Authority, which operates the bridge, decided to beautify the cement by painting it the color of grass.

The GWB is a monument to pre-war design and engineering. With its lower deck, added in 1962, it handles a total of 14 lanes of traffic, all spewing fumes and rumbling geologically: The noise shakes the ground underneath your feet.

The bridge approach cuts through a rise of raw basalt, leaping out past the cliff-face of the Palisades and flying high over the Hudson River, 200 feet below.

You walk under the graffiti-sprayed rock of the approach, and pass Brobdingagian air vents that clear exhaust from the lower road level tunneling under you. And then you see the cable anchors, with the main steel cables like twin pipes, each three feet in diameter, angling up from the ground toward the top of the first of the Erector Set towers.

Looking almost as delicate as spider web from the distance, twined iron cables descend from these main tubes and support the weight of the roadway. If you touch these vertical cables, you can feel them vibrate and hum sympathetically with the noise of trucks and buses.

As you step out onto the bridge proper, the view opens up. If you are lucky and the air is clear — a rare but glorious occurrence — you can see all the way from 178th Street, where the bridge connects with the island, down to the lower harbor to the south and Rockland County in the north. Most of Manhattan spreads before you, from the Spuyten Duyvil to about 30th Street, where the river bends around the south part of the island. Boat traffic moves below you in poetic slow motion.

More often, the city disappears in a whitish haze by about 145th Street. The smog can be choking, to say nothing of the diesel fumes from the Red and Tan buses passing a few feet from you on the roadway.

There is wind, there is traffic roar and their is the smell of exhaust. It is all exhilarating.

The bridge was opened in 1931 and its criss-cross of iron girders has been painted so many times the silver-gray has built up like cake frosting over the rivets and joints. Each upper surface is further highlighted in a dusting of grimy soot.

The concrete sidewalk makes a detour around the outer edge of the tower, which rises to the height of a 60-story building. From there, you can look back and see the apartment buildings at the top of the cliff where Palisades Amusement Park and its roller coaster used to be. At the bottom of the cliff, Henry Hudson Drive meanders through Palisades Interstate Park. You can see families on outings alongside the drive below you, looking like ants at their own picnic.

The first half of the mile-long walk across the bridge is slightly uphill. At the peak, where the giant cables loop down close to the roadway, there is a sign marking the boundary between the two states. And from there, it is all downhill into the city.

But as you approach the second steel-lattice tower, you should look down over the handrail. On the rocks at the base of the tower is the little red lighthouse of the children’s book. It is still there, but looking rusty and scribbled on with spray paint.

You’ll pass a few hardy joggers and a bicycle or two, but for most of the walk, you’ll have the bridge to yourself.

Once in Manhattan, you take a descending spiral walkway down to Cabrini Boulevard and walk up 178th Street toward the bus terminal, which was designed by Pier Luigi Nervi and opened in 1962.

From their, you catch the A-Train.

I take this walk each time I visit New York. I do this in part because it is such an invigorating hike, but it is also a pilgrimage.

My grandfather worked as an engineer during the construction of the bridge, from 1927 until his death of tuberculosis in 1930; my mother was six years old.

So although I never knew him, I feel through him a kind of inheritance, an ownership of the regal old bridge.

And like some English lord whose castle is now part of the public trust, I like sharing the experience of my bridge with others.

—Richard Nilsen

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Tag Archives: manhattan

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