In the same issue as Amanda Green’s memoir—the details of which were furnished by “Sly” Wooldridge—was an attack written by Snelling on a Wall Street merchant named Myer Levy. Levy had an enemy, a stockbroker named Emanuel Hart, who fed Wooldridge some specifics of Levy’s past, which Wooldridge passed on to Snelling, who dashed off a long, calumnious piece alleging that Levy had worked as a “fancy man” for a prostitute and asserting that he was, among other things, lascivious, sordid, and crapulous.
Levy complained to the New York district attorney, who promptly charged the three proprietors of the Flash with criminal libel and, in a separate charge, with obscenity. Wooldridge turned state’s evidence and got off. He soon founded a new paper called the True Flash, which attacked Snelling: “His best effusions now are the mumblings of a sot,” said the article. “What has he left but to crawl his way through the world, leaving his slime behind him.” Snelling went to jail briefly on the obscenity charge (the ramifications of which are nicely elucidated in The Flash Press), and then, remarkably, when he emerged a few months later, he and Wooldridge made up and joined forces again in a new paper, the Whip—which was like the Flash but slightly racier and a little more careful about libel.
The burst of published indecorum reached its peak in the summer of 1842—indeed, as the authors of The Flash Press show, the use of the very words “licentious” and “licentiousness” in American periodicals rose from about 1,500 instances in 1830 to 3,000 in 1842, plummeting again thereafter. By that summer, there were two more flash rags, the Rake and the Libertine, and a printer and cartoonist named Robinson was busy selling dirty drawings with titles like “Do You Like This Sort of Thing?” It was all too much for James Whiting, the district attorney, who began issuing indictments right and left. The Flash and the Whip managed to continue in the face of legal troubles and editorial turnover until 1843, threatening malefactors with exposure, interviewing half-naked women in the park, excoriating sodomites, and writing up the beauties and the dress designs to be found in the richest bordellos. (One personality, Mary Walker, wore crimson embroidered silk: “Praxiteles never chiseled a more exquisite form, and Canova would have died in the vain endeavour to mould a bust like her own,” the Whip reported.)
Then it was all over. Snelling left for Boston, where he rejoined his third wife and became editor of the Boston Herald. He was “the father of the smutty papers,” said a writer in the Rake. “What would any of us have been without him?” Snelling died broke but legitimate in 1848, mourned as a pillar of the Boston scene.
Recently I drove to Worcester to see these papers in the original. There they were: large, light-brown scholarly objects, protected by acid-free folders, stored on cool shelves with brass rollers—full of strange lost scandal. In some fragile issues—those saved by the Queens College professor Leo Hershkowitz from masses of historical documents discarded by the City of New York in the 1970s—there are notations and cartoonish pointing fingers drawn by District Attorney Whiting himself, as he contemplated possible grounds for indictment. In one issue I read an editorial: “The Flash is known all over the Union,” it said; “at the South it goes like wildfire.” Like Al Goldstein’s weekly Screw, which flourished more than a century later, the flash papers told a nervous young reader what was out there—where to go, how to act, and what to expect. “The Sunday Flash and its successors gave male readers paths to navigate the city without being conned or embarrassed as a greenhorn,” Cohen, Gilfoyle, and Horowitz write. “Even a shy fellow who stayed in his boardinghouse could imagine himself as a blade making a sophisticated entry into a brothel parlor.”
Thanks to the preservation efforts of the American Antiquarian Society and the meticulous research of these three scholars, we once again have a way of looking through a tiny, smudged window into New York’s long-past illicit life. Oh, and the drawing of the chambermaid and her warming pan is on page 101.
(2008)
Technology
Grab Me a Gondola
Twelve years ago, I stood on the steps of the church of the Gesuati with a ceremonial handkerchief in my suit pocket, and watched my soon-to-be wife set out with her father from the far side of Venice’s widest and deepest-dredged waterway, the Giudecca Canal. The sky was the color of Istrian stone—i.e., white—and the water looked choppy. Their boat leaned to one side (all gondolas lean, but I didn’t know that then): sunk low among the silk-tufted cushions of their Byzantine conveyance, the passengers seemed to have their heads almost at water level. I worried that a large swell might slosh in unexpectedly from the side and capsize them.
The oarsman at the stern, Bruno Palmarin, had been endorsed by the local grocer. His grandfathers, his father, his older brother, and various uncles and cousins were gondoliers before him; members of the Palmarin family have rowed continuously since at least 1740. Nowadays, when Bruno does weddings, his nineteen-year-old son, Giacomo, is usually the second rower. Their boat is black, of course, in compliance with ancient decree (there is in fact a paint color called nero gondola), the oar blades are red-and-white-striped, matching the rowers’ wedding shirts, and over the sleeves of their white jackets they wear red armbands bearing the Palmarin family emblem (lion and palm tree) in four-inch lozenges of brass. Embellishing the gunwales are gilded cherubs that tug at bridles of black spiraling silk—these replicate the fittings of the state gondola owned by King Victor Emmanuel III. Most gondolas have a proverb cast in a decorative ribbon of brass just in front of the passenger well. Bruno’s was written for his grandfather, Ambrogio Palmarin, by Gabriele d’Annunzio, the poet: Ogni alba ha il suo tramonto (“Every dawn has its dusk”).
Bruno doesn’t row out onto the Giudecca Canal anymore unless a job like our wedding specifically requires it. When he was a boy, traffic on the canal was light enough that he could swim all the way across, returning on the traghetto, or two-oared gondola shuttle, that operated into the 1960s; but in recent years it has become a major thoroughfare, a sort of truck route, and its water is abob with the cross-purposed wakes of a vast range of boats: mid-sized motor-launches, ramp-prowed car ferries, crane barges, tugboats, tiny fiberglass speed-wedges banging from one swell to the next with a sound of lawn mowers, eight-story Greek cruise vessels thrumming past like insurance companies that have come laterally adrift, and oval, flat-roofed vaporetti swerving in loose S-shapes from shore to shore. Each spreading wave-system is reflected from the quaysides back into the central confusion. You may see ten boats, but you know that the water is mumblingly remembering the previous twenty-five. Only very late at night does the surface revert to its pre-propellerine calm.
This abundance of manufactured chop—known to Venetians by the ominous name of moto ondoso—accelerates the decay of the city’s foundational stonework. And it makes life difficult for the venturesome gondolier, who stands upright on a bit of carpet high on the upcurving tailpiece of a half-ton craft without a keel, trying, as he and his counterweighted, steel-pronged prow seesaw unrestrainedly, to propel it forward with one oar levered against a gnarl of polished walnut. His boat, with its sinuous, side-rocking way of proceeding by self-correctingly veering off course, is a curiosity, maybe even a marvel, of evolved hydrodynamics, but its peculiar nautical graces and efficiencies only assert themselves when it moves over relatively smooth water. A number of gondoliers say that the Giudecca Canal is dangerous. Bruno Palmarin avoids it not because it frightens him but because he thinks he looks out of place there. “In the choppy water, when you are struggling, when you are distrait, you feel ridiculous,” he said to me. “You feel like a clown.”
But on our wedding day, my veiled fidanzata—a gutsier import-word perhaps than the prissy-sounding fiancée—had a good time going across. “Out in the middle of the canal it was perfect,” she says now. “Everything looked silver, or lead-colored, and misty. I don’t remember its being choppy at all.” We got married, walked out the front door through a spray of rice, and stepped into life’s long boat together. It was dark by then; the
red carpet in the passenger well glowed. The backboard behind our two seats was carved with some gold-leaf mermaids; its peaked shape, and the tapering form of the bow reaching ahead of us into the shadows, made me think of the Batmobile. There were two small gilded chairs for the best man (my father) and the maid of honor, Minette, with her beautiful smile. We began to move. We surged in the dark up a narrow canal, the San Vio, going surprisingly fast. At the Grand Canal, my father said, “If you’re going to go, this is definitely the way to go.” As a partial wedding present he gave us a plastic model of a gondola with a little red lightbulb in its gold cabin. We proudly displayed it on a side table in our first apartment, and then, when we moved, it got packed away in a box marked “Toys,” and I didn’t give gondolas another thought for a long time.
A year ago, we returned to Venice for the summer, to stay in my wife’s parents’ apartment on the island of the Giudecca. The first week, we did a lot of walking in the crowded trinket-lanes near the Rialto and San Marco, which are difficult to maneuver in with a three-year-old. A man walked into me, holding me momentarily by both arms, and immediately afterward my wife discovered that her wallet had been stolen; later I scolded a teenager on the piazza for luring a pigeon close to him with a handful of corn and then kicking it like a soccer ball. (The pigeon seemed all right afterward.) The second week, my wife had a dream in which her tongue was a large black dog that she had to take out for a walk. It was a sign. We were doing too much walking. The next day, we went on our first family gondola ride. The experience was startlingly pleasant—like sinking down in a warm bathtub, except drier, and with more interesting scenery. In aquatic shade, we turned tight corners in our long manual limousine, clearing edges of powdery brick by a quarter of an inch, admiring an occasional commemorative plaque (Byron is still big), with sunlight and strangely inverted conical chimneys and life-evincing laundry high overhead. There was no bad smell. My three-year-old son put his head in my lap and went to sleep; my nine-year-old daughter pointed out that the disintegrating doorways and passing tableaux were like Disney’s Pirates of the Caribbean. Some French women on a bridge flirtatiously chided the gondolier, who had a fluffy ponytail and wraparound sunglasses, about his lack of a hat. Occasionally a thirties-looking wood-paneled water taxi disturbed our Edwardian trance as it dieseled by with the ruminative sound of toilets flushing. The people on it detached their faces from the rubber flanges of their video cameras for an instant and looked at us wistfully. They had thought they were being very clever by hiring a water taxi, since you can go so much farther in one; but now, seeing our silent, artful, blissful progress, our movement at the ideal speed of architectural self-disclosure, they were less sure: maybe they, too, should have gone for the gondola.
Without warning, I felt the sob-of-family-happiness-welling-up-during-an-expensive-vacation feeling. We had gone for the gondola. It wasn’t a tritely touristic boat, though its steel spaghetti-fork of a ferro intrudes in every etching; it was an ancient and noble boat, which summed up many lost beautiful things, and Venice itself seemed worth all the guidebooked fuss. Any means of transportation that could produce that much joy in fifty minutes, for a cost of a little over a hundred dollars, including tip, deserved further study.
In the Palladian library at San Giorgio Maggiore I read “The Evolution of the Venetian Gondola,” by G. B. Rubin de Cervin, which attributes the boat’s un-Palladian asymmetry—its “deviation from the curvature of the central line”—to the increasing use of one rower, rather than two, in the poorer times that followed Napoleon’s subjugation of the Venetian Republic. And I read “The Energy Cost of the Venetian Rowing Stroke,” in Carlo Donatelli’s personable and quaintly translated book The Gondola: An Extraordinary Naval Architecture: Donatelli’s dynamometer readings and measurements of oxygen consumption seem to suggest, remarkably, that you expend the same amount of energy rowing a loaded gondola at a speed of two miles an hour as you would walking empty-handed on flat ground at the same speed. (Which explains how gondoliers can work fifteen-hour days during the busy season.) I read also Goethe’s description of his father’s toy gondola, which first made him want to visit Venice and record his adventures there, thus luring south a poetical crowd of Romantic and Victorian followers. And I learned that plastic model gondolas, probably identical to the one my father gave us, had a vogue in Germany in the fifties, where they went on top of television sets and were called rauchverzehren, which means “smoke-eaters,” because their lights supposedly neutralized the effects of cigarette smoke.
We went on several more gondola rides. On a very windy morning, we got on a boat manned by a square-jawed regatta champion named Franco Grossi, a seventh-generation oarsman and a practitioner of Eastern medicine, to whom colleagues went for help with the sort of ailments (e.g., tennis elbow and back pain) that afflict rowers. I told him I wanted to use the gondola the way people would have used it in the ninteenth century, simply as a means of getting somewhere. Could he take us to the Ponte dei Pugni, or Bridge of Fists, where according to the Blue Guide there was an English-language bookstore? Grossi said nobody did that sort of thing anymore in a gondola—went from Ponte A to Ponte B. Everyone went in loops and ended up where they started. “But I like doing crazy things,” he said. He untied the ropes and we pushed back, as a passenger plane does, from his mooring near the Doge’s Palace. The gondola slots are defined by many thin twiglike sticks projecting vertically from the water; they give the hotel-crowded shoreline the appearance of fronting on a reedy marsh. We bobbed along for a while, and then, as we got closer to the mouth of the Grand Canal, there was a major gust of wind that made fine crinkles on the top of all the swells. The gust, combined with some large heaves from a ferry, made us suddenly slide around sideways, facing the Church of the Salute. I heard a “Wow!” behind me and thought Grossi had fallen off. But he hadn’t. “There was a little problem back there,” he conceded a few minutes later. The gondola is flat-bottomed, he said, and the wind, under certain rare conditions, can get under it and flip it over.
Things were quieter once we entered the San Trovaso canal and slid past a boatyard, or squero, where there are often three or four gondolas turned on their sides like dozing dugongs, having their hulls sanded down and repainted. Then we turned right on All-Saint’s Canal, and right again on the Canal of Lawyers, and Grossi pointed out the center of gondola history—the shop of the Brothers Tramontin. Domenico (El Grando) Tramontin perfected the modern gondola’s asymmetries in the 1880s, and Grossi was of the opinion that the Brothers Tramontin continue to make the best and longest-lived gondolas. But they cost ten million lire more than anyone else’s, Grossi said. His own boat is the work of “Nino” Giuponi, another squerarolo of legend, now retired. Giuponi was more of an experimenter than the later Tramontins; he introduced the use of plywood in some of his boats, which some disparage, although it can help the hull keep its shape in the presence of constant motorwaves.
Finally we reached the Bridge of Fists. The bookstore was gone. Its old shelves were holding lettuces and radishes, overflow from the highly successful produce barge that moors there. But it didn’t matter. We bought some spinach and went home—altogether a delightful trip.
Then, in my son’s sleepy company, I took a ride with a pilot named Marco, who worked at the gondola station at the Church of the Salute and looked like Billy Crystal. When I asked Marco what the most difficult thing was about being a gondolier, he thought for a moment. “The other gondoliers,” he said. “Mostly the old gondoliers. They have small brains, believe me.” As we passed the Church of San Trovaso, where there is an altar for boatbuilders with a gondola carved into it, Marco got a call on his portable phone. He set up a rendezvous while ducking under a bridge. We went by Tramontin’s boatyard, deserted now except for a small brown dog sniffing some new sawdust. We got onto the subject of boat maintenance. It’s important, Marco said, to wash your boat for half an hour every day. “It’s what my father teach to me, when I was young. Every day. With new w
ater, not salt water. New water the gondola, then you dry the gondola.”
“Some gondoliers seem very good—” I began to say.
Marco misheard the word “seem” and cut in. “Believe me, sir,” Marco said with a self-deprecating laugh, “but I have a horrible voice. Better not to sing, just enjoy the nice weather.” In his father’s time, twenty or thirty years ago, a family would hire a gondola for the whole day, he said. I asked how much it would cost to do that now. “I think eight hundred thousand lire.”
That’s a pretty steep day rate, but (I said to myself) one total-immersion gondolar day—with a micro-cruise budget of 450 dollars—would give a visitor new to Venice a comprehensive oar’s-eye notion of the several neighborhoods and many churches. And each bought ride would have a political component: it would be an act of defiance against the water taxis and other arriviste wave-generators, a vote for a quieter city, something more than mere tourism. Why not skip the twelfth or fifteenth absurdly expensive meal in which three kinds of pale shellfish are mingled with a noodle of little distinction and instead buy eight dollars’ worth of cheese and olives and whatnot at the local salumeria and eat out at twilight in the very kind of boat that kings and popes and moody poets would have ridden in?
The Way the World Works Page 14
