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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.

Click on any image to enlarge

Stephenie Meyer banned

The call to ban something — books, movies, art — has quieted down since its boiling point in the mid-1990s.

You still hear it locally and libraries are always a good target. But the fervor has gone. Perhaps the Republicans, who always led the charge, came to realize that if they banned too many things, they would soon lack for the bugaboos that are their bread and butter. If there is nothing left to complain about, what would be their purpose in life?

Outrage is the conservative raison d’etre.

So, I wish to rejoin the fray, and crank up the temperature.

I have more than a few likely candidates: If Mark Twain were alive today, he wouldn’t bother writing Fenimore Cooper’s Literary Offences. He would instead produce something more like “Stephenie Meyer’s Violent Crimes Against Her Mother Tongue.” There is no popular writer working now who more consistently fluffs banal mediocrity. I would ban her for that.

I would ban any book with an “as-told-to” byline and any book by a retired politician or adviser. Also, all books whose authors have received a $1 million advance and any book where the author’s name is printed bigger than the title. Gone would be all “Twelve Steps to Dysfunctional Hysteria” self-help books, pop psychologies and celebrity bios. In a special decree, Kitty Kelley would face a firing squad, and Jonathan Franzen and James Patterson would be locked in a room together for life. I would rather listen to a team of life insurance salesmen.

All poetry with warm, fuzzy thoughts will be consigned to shredders, and all humorists who write about their own families will be forced to read Anna Karenina in a really bad translation.

Also gone: gift books never really meant to be read, novelizations and anything post-Ann Rice with vampires or zombies in it.

While we’re at it, let’s disqualify Tennyson and Browning for being the literary equivalent of tile grout.

As a special favor to several women I know, I would ban Brett Easton Ellis. Not his books, just him.

While we’re at it

We needn’t stop with books; let’s get rid of some non-literary irritants.

Let’s ban waiters who call you by your first name the first (and maybe only) time they meet you (faux friendliness).

Let’s ban all Kardashians hairy or smooth, tent-pole movie franchises, sickening orange sodium-vapor lights, and, perhaps most of all, smiling “good-morning” TV shows.

Away with those who use “quality” as an adherent adjective (such as “quality cooking”), Kennedy conspiracy theorists, any fast food with a Scottish surname, bras for cars. May Tom Clancy and all writers of techno-military thrillers follow him into a bottomless pit. Strike down that annoying woman who sells car insurance on TV. Strike down all paranormal crime fighters.

Banned for life: Clothes with brand names on the outside.

Housewives claiming to be shamans.

Paintings of bald-headed naked women (you’d be surprised how many there are).

Music when you’re put on hold. Phone solicitations at dinner time. Festival seating. Celebrity sex tapes. Celebrities you’ve never heard of. Celebrities.

People who talk during symphony concerts and movies. Artificial turf, domed stadiums, designated hitters. Oy veyzmir! Designated hitters. I’ll never accept them, although second-guessing umpires with TV replay may be the final indignity.

Any so-called “reality TV” without Mike Rowe narrating. Especially those populated with regressive alpha-males who talk tough and boss people around. Gordon Ramsay and “Old Man” Richard Harrison: Both repulsive.

TV news happy talk. TV talk shows, TV evangelists. Well, we’d better not get into TV, or better yet, let’s just ban television.

Velveeta.

Everybody could pick an issue

Before I get another head of steam, let me apologize to anyone I have failed to offend. I’m sure there is something that you enjoy that I would blast from the face of the planet, I just couldn’t think of it at the moment.

Playing Dante is fun, consigning everything to its rightful circle of hell.

But as I reread this proscription list, one thought springs to mind: Boy, I’m glad I’m not in charge. I could become one bossy dictator.

And boy, I’m glad no one else is in charge. We would all be dictators if we could. Some would ban testosterone, others would ban feminists.

Pick an issue.

Maybe it’s time to tone down the righteousness. Maybe what we need is not more sensitivity, but less. Maybe we should just let the other guy be.

huck finn modern book cover

“All modern American literature comes from one book by Mark Twain called Huckleberry Finn,” Ernest Hemingway wrote. mark twain

In that book, nearly every theme that identifies our art as American is established and explored: migration, race, individualism, anti-intellectualism, optimism, religion, social climbing, moneygrubbing and the comfortable informality that marks us as a people.

It’s as if Huck Finn were the instruction manual for how to be American. In that, Twain is just as clearly American as Debussy is French or Basho is Japanese. john smith We often look to our art for clues to national identity. But although Twain gives us Americanness in concentrated form, most of the arts made on this continent, from Capt. John Smith’s General History of Virginia (1624) and Anne Bradstreet’s poetry, all the way up to this week’s latest rap song, partake in certain common traits.

What are they? First, we need to eliminate some of the things we like to think are particularly American, such as patriotism or respect for family. Every culture feels these qualities are particularly their own, but in fact, they are universal.

Even such negatives as bigotry and racism have their American coloration, but they are evils found in every culture.

It needs to be noted, too, that what we admire in ourselves is not necessarily admired elsewhere. Americans are direct, which others often see as rude. We are informal, which others translate as slobbishness. We are optimistic, which can be taken as arrogance. We believe in individualism, which others see as selfishness. But there are six things that we can see as particularly American: migration, individualism, optimism, religiosity, informality and expansiveness. source_28

Migration

The one thing all Americans share is that we are immigrants.

Even Native Americans, although they hate to think so, came here from somewhere else, whether it is across an Arctic land bridge or up through a sipapu.

It is the parent fact that gives birth to all our other traits. jumping a freight Even after our ancestors came here from far shores, we have never ceased from peregrinating. First we moved West, populating the great wilderness.

Now, we move away from home to college or career, and find our parents retired to Florida and our siblings spread across four time zones.

To Europeans or Asians whose families have lived in the same villages for centuries, we must seem utterly rootless.

So it can hardly be surprising that the central metaphor of Huck Finn is a journey: The book is many things, from its hero’s double negatives and “ain’ts” to his climactic choice to follow his instinct instead of his schooling about runaway slave Jim, but first and foremost, it’s a “road book,” marking the peripatetic nature of American life.

Much of our art reflects this continuous travel. From the moment we arrived on the Atlantic Coast we began moving west. As art, The Godfather speaks of the immigrant experience, but so does every B Western ever filmed.

All the other traits we think of as American ultimately owe their birth to this constant moving: It gives birth to our self-reliance, our willingness to risk tomorrow on faith, and our freedom from many of the cultural straitjackets found back in the Old Country. It’s all there in the art. All either necessary for immigration or fostered by it. high noon

Individualism

Make that “rugged individualism.”

We trust our own instincts, like Huck Finn, rather then the wisdom of the group. We are Mr. Smith in Washington, Gary Cooper at high noon, Ellen Ripley blasting aliens.

The single most potent distillation of this individualism can be found in John Wayne, love him or despise him. But Wayne didn’t spring up ex nihilo; rather, he grew from the soil: He was originally Natty Bumppo, or Hawkeye, from James Fenimore Cooper’s Leatherstocking Tales: self-reliant, unschooled but wise and practical, with an unshaken faith in his own code of behavior. He’s Walt Disney’s Davey Crockett saying, “Make sure you’re right, then go ahead,” which is just a pop culture simplification of Henry Thoreau’s Civil Disobedience.

Sometimes it’s shocking to realize how of a piece our cultural heritage is. davy crockett march

The flip side of individualism is our tendency to isolationism: “Good fences make good neighbors,” as Robert Frost ironically wrote. Going it alone is usually seen as a virtue.

The downside of this self-reliance is our anti-intellectualism. We trust our own ignorance more than someone else’s knowledge. This is nothing new: It’s why Andrew Jackson was elected president. It’s Huck Finn fearing to be “sivilized” by his Aunt Sally. It’s why one of the most powerful political factions of the 19th century was called the “Know-Nothings.”

It’s a trait of national identity that we should never misunderestimate. oklahoma!

Optimism

Against all reason and the evidence of history, Americans believe they can do anything. It is our “can-do” attitude, and you find it in the barking joy of Walt Whitman’s poetry and the songs of Oklahoma!Doris Day

To others in the world, this makes us look naive and foolish; fatalism is not part of our makeup.

Which is why America is home to pop psychology and Doris Day. As a corollary, for Americans, the future only holds a better world. “Tomorrow, tomorrow,” Annie sings. “Make it new,” said poet Ezra Pound, and although he was speaking of literature, he could just as well have been speaking of Thomas Edison, the Chrysler Building or Elvis Presley.

Take what you’re given and do something new with it. Never accept the past as the final word. billy sunday preaching

Religion

Many peoples are religious, but in America, religion is something else.

From the utopian religious communities of the 19th century to today’s fundamentalism, there is a glint of zealotry in American spirituality. Elmer Gantry would not be thinkable in France.

We have gone through at least four “Great Awakenings,” in which we rediscover the old-time religion and the narrow virtues of belief. rev whitefield

It was, after all, religion that founded this country, whether it is Congregationalists in New England, Quakers in Pennsylvania, Roman Catholics in Maryland. Each of them came here for religious freedom, although they were perfectly willing to oppress any religion not their own.

The separation of church and state in our Constitution is there not because we were an agnostic nation, but because everyone was so nuts on the subject and we wanted to keep from each others’ throats.

You hear the religion in the symphonic music of Charles Ives and in Negro spirituals. It echoes in Moby-Dick, and even the window behind the dour couple in Grant Wood’s American Gothic. leaves of grass frontispiece

Informality

“I lean and loaf at my ease, observing a spear of summer grass,” Whitman writes in a poem of expansive informality, turning his back on the formal expression of European art: No villanelles for Americans, no Rime Royal.

In Europe, you have Oedipus, in America, Stanley Kowalski.stanley kowalski Mark Twain wrote Huckleberry Finn in colloquial American English and even put a note about it at the beginning of the book. Take that, Henry James!

“Whatever is not of the street,” wrote novelist Henry Miller, “is false, derived, that is to say, literature.” And he wasn’t using the word as a compliment.

You can see it in the portrait of Whitman at the front of his book, Leaves of Grass: There he is, sleeves rolled back, collar unbuttoned, hips shifted comfortably, hat at a rakish angle. You could never imagine Tennyson like that. manifest destiny gast

Expansiveness

Everything in America is supersized, whether it’s fast food or our landscape.

In America, bigger is better: We drive SUVs and watch blockbuster movies. It’s a Texas mentality. Star Wars isn’t big enough; we need a director’s cut, added scenes, a DVD packed with extras. A movie isn’t a success unless it makes $200 million. And the TVs on which we watch those DVDs continue to grow; soon they’ll cover our living room walls. larry hagman with cash

One Marilyn Monroe isn’t enough; Warhol must print her by the dozens, just as Babe Ruth must eat hot dogs by the score.

The tall tale is our national mythology, from Paul Bunyan to Jim Carrey’s face.

Of course, how could it be otherwise with the Rocky Mountains, the Grand Canyon and the Great Plains? Our very landscape calls out for grandiosity and grandiloquence. Over the top is America’s starting line, and the next frontier is our constant goal.

OH, AND AMERICANS LOVE LISTS:

Most-American Americans

John_Wayne - overland stage raidersJohn Wayne: Love him or hate him, we can’t think of him as merely an actor. He has become an icon, the movie roles and the man bound into one, indivisible: the lone, laconic hero, man of action rather than words, graceful and bullying in turns.

4 more:

Louis Armstrong: American as soul.

Eleanor Roosevelt: American as do-gooder.

Babe Ruth: American as appetite.

Thomas Edison: American as inventor.

Most American Movies godfather

The Godfather Saga, Francis Ford Coppola, 1977: The conflated version of the first two Godfather films tells the immigrant experience writ large: family, business, love, loyalty, betrayal and the move west, told with the force and mythology of opera.

4 more:

The Man Who Shot Liberty Valance, John Ford, 1962: “When the legend becomes fact, print the legend.”

Star Wars, George Lucas, 1977: Good vs. evil supersized.

Gone With the Wind, David O. Selznick, 1939: History whitewashed.

Do the Right Thing, Spike Lee, 1989: Race will not go away.

American Contributions to global culture constitution go

The Constitution: Our “governmental instruction manual” has become a model for the world, and its first 10 amendments have become the guiding principles of many an emerging nation. It’s more than merely political, it’s at the center of our culture, and the one thing the world really does want from us.

4 more:

Jazz: From which all popular music ultimately derives.

Hollywood: America’s secret plan for world domination.

Technology: The physical evidence of the can-do spirit.

Coca-Cola: Las aguas negras del imperialismo.

Most American Novels

huck finn book coverHuckleberry Finn, Mark Twain: The Great American Novel, filled with everything, good and bad, about ourselves: race, individualism, anti-intellectualism, optimism, religion, social climbing, moneygrubbing and our comfortable informality.

4 more:

On the Road, Jack Kerouac: An essential national theme takes center stage.

Beloved, Toni Morrison: The evils of slavery haunt even the freed.

The Leatherstocking Tales, James Fenimore Cooper: The invention of John Wayne.

The Great Gatsby, F. Scott Fitzgerald: Money, glamour, celebrity and loss.

Most American Plays angels in america

Angels in America, Tony Kushner: The hugely ambitious “Gay Fantasia on National Themes,” takes on more American themes than anything since Huck Finn: politics, sex, generations, religious revelation, Reaganism, bigotry and forgiveness; so expansive a single night can’t hold it.

4 more:

Death of a Salesman, Arthur Miller: The underside of the American dream.

Oklahoma!, Rodgers and Hammerstein: Gushy, American cornpone classic.

Streetcar Named Desire, Tennessee Williams: Torn T-shirts and sweaty thighs.

Fences, August Wilson: Black view from Pisgah.

American Classical-music compositions

ives album coverThree Places in New England, Charles Ives: The crusty New England composer reinvents classical music to make it more American: loud, brash, nostalgic and patriotic at turns, and finds its subject in landscape and history.

4 more:

Rhapsody in Blue, George Gershwin: Jazz, Tin Pan Alley, Chopin and Carnegie Hall.

Appalachian Spring, Aaron Copland: Shaker hymn goes mainstream.

Symphony No. 3, Roy Harris: The type of the American symphony.

New World Symphony, Antonin Dvorak: Is the Most American Symphony written by a Czech?

American Architecture

monticello stampMonticello, Thomas Jefferson: Just as equivocal as its owner and designer, this icon from the back of the common nickel is both paean to Europe’s classical past and the American’s love of invention, gimmickry and nature: Palladian windows and a moose head.

4 more:

Chrysler Building: American industrial dynamism with grace.

Sleeping Beauty Castle at Disneyland: Architecture as play-pretend.

Fenway Park: So cranky we actually love it.

Falling Water, Frank Lloyd Wright: Built over a waterfall like a diving board.

American Poems

Whitman at 50Song of Myself, Walt Whitman: The “good gray poet” could not have arisen anywhere else; he is completely American, from his deification of democracy to his catalogs of diversity to his “I sound my barbaric yawp over the roofs of the world.”

4 more:

Song of Hiawatha, Henry Wadsworth Longfellow: Closest thing we have to a national epic poem.

Poems, Emily Dickenson: Nothing more American than her quirky New England eccentricity.

Howl, Allen Ginsberg: “Visions! omens! hallucinations! miracles! ecstasies! gone down the American river!”

Mending Wall, Robert Frost: “Good fences make good neighbors.”

American Visual arts

American gothicAmerican Gothic, Grant Wood: This iconic painting is more enigmatic than the Mona Lisa: encomium of hardcore American values or satire of Midwestern provincialism? Conservative or avant-garde? He’s not telling.

4 more:

Watson and the Shark, John Singleton Copley: Art ripped from the headlines, circa 1777.

Marilyn Monroe multiple, Andy Warhol: If one is good, a dozen must be better.

Dogs Playing Poker series, Cassius Marcellus Coolidge: Now, that’s OTT!

Freedom From Want, Norman Rockwell: Turkey, potatoes and lots of corn.

American Popular music

shenandoahShenandoah: A folk song of undetermined origin, this is the quintessential song about migration and loss; with its odd strophic form and 19th-century sentiment, it borrows elements from Irish shanties and African-American blues.

4 more:

One O’Clock Jump: Count Basie and swing.

Born to Run: Rebels on wheels, a la the Boss.

Hound Dog: Elvis frees America all over again.

Swing Low, Sweet Chariot: The suffering of a people, caught in the throat.