by John McPhee
Game 3. After seventeen minutes, I am ready to begin construction on overpriced and sluggish Pacific, North Carolina, and Pennsylvania. Nothing else being open, opponent concedes.
The physical profile of streets perpendicular to the shore is something like a playground slide. It begins in the high skyline of Boardwalk hotels, plummets into warrens of “side-avenue” motels, crosses Pacific, slopes through church missions, convalescent homes, burlesque houses, rooming houses, and liquor stores, crosses Atlantic, and runs level through the bombed-out ghetto as far—Baltic, Mediterranean—as the eye can see. North Carolina Avenue, for example, is flanked at its beach end by the Chalfonte and the Haddon Hall (908 rooms, air-conditioned ), where, according to one biographer, John Philip Sousa (1854—1932) first played when he was twenty-two, insisting, even then, that everyone call him by his entire name. Behind these big hotels, motels—Barbizon, Catalina—crouch. Between Pacific and Atlantic is an occasional house from 1910—wooden porch, wooden mullions, old yellow paint—and two churches, a package store, a strip show, a dealer in fruits and vegetables. Then, beyond Atlantic Avenue, North Carolina moves on into the vast ghetto, the bulk of the city, and it looks like Metz in 1919, Cologne in 1944. Nothing has actually exploded. It is not bomb damage. It is deep and complex decay. Roofs are off. Bricks are scattered in the street. People sit on porches, six deep, at nine on a Monday morning. When they go off to wait in unemployment lines, they wait sometimes two hours. Between Mediterranean and Baltic runs a chain-link fence, enclosing rubble. A patrol car sits idling by the curb. In the back seat is a German shepherd. A sign on the fence says, “Beware of Bad Dogs.”
Mediterranean and Baltic are the principal avenues of the ghetto. Dogs are everywhere. A pack of seven passes me. Block after block, there are three-story brick row houses. Whole segments of them are abandoned, a thousand broken windows. Some parts are intact, occupied. A mattress lies in the street, soaking in a pool of water. Wet stuffing is coming out of the mattress. A postman is having a rye and a beer in the Plantation Bar at nine-fifteen in the morning. I ask him idly if he knows where Marvin Gardens is. He does not. “HOOKED AND NEED HELP? CONTACT N.A.R.C.O.” “REVIVAL NOW GOING ON, CONDUCTED BY REVEREND H. HENDERSON OF TEXAS.” These are signboards on Mediterranean and Baltic. The second one is upside down and leans against a boarded-up window of the Faith Temple Church of God in Christ. There is an old peeling poster on a warehouse wall showing a figure in an electric chair, “The Black Panther Manifesto” is the title of the poster, and its message is, or was, that “the fascists have already decided in advance to murder Chairman Bobby Seale in the electric chair.” I pass an old woman who carries a bucket. She wears blue sneakers, worn through. Her feet spill out. She wears red socks, rolled at the knees. A white handkerchief, spread over her head, is knotted at the corners. Does she know where Marvin Gardens is? “I sure don’t know,” she says, setting down the bucket. “I sure don’t know. I’ve heard of it somewhere, but I just can’t say where.” I walk on, through a block of shattered glass. The glass crunches underfoot like coarse sand. I remember when I first came here—a long train ride from Trenton, long ago, games of poker in the train—to play basketball against Atlantic City. We were half black, they were all black. We scored forty points, they scored eighty, or something like it. What I remember most is that they had glass backboards—glittering, pendent, expensive glass backboards, a rarity then in high schools, even in colleges, the only ones we played on all year.
I turn on Pennsylvania, and start back toward the sea. The windows of the Hotel Astoria, on Pennsylvania near Baltic, are boarded up. A sheet of unpainted plywood is the door, and in it is a triangular peephole that now frames an eye. The plywood door opens. A man answers my question. Rooms there are six, seven, and ten dollars a week. I thank him for the information and move on, emerging from the ghetto at the Catholic Daughters of America Women’s Guest House, between Atlantic and Pacific. Between Pacific and the Boardwalk are the blinking vacancy signs of the Aristocrat and Colton Manor motels. Pennsylvania terminates at the Sheraton-Seaside—thirty-two dollars a day, ocean corner. I take a walk on the Boardwalk and into the Holiday Inn (twenty-three stories). A guest is registering. “You reserved for Wednesday, and this is Monday,” the clerk tells him. “But that’s all right. We have plenty of rooms.” The clerk is very young, female, and has soft brown hair that hangs below her waist. Her superior kicks her.
He is a middle-aged man with red spiderwebs in his face. He is jacketed and tied. He takes her aside. “Don’t say ‘plenty,’” he says. “Say ‘You are fortunate, sir. We have rooms available.”’
The face of the young woman turns sour. “We have all the rooms you need,” she says to the customer, and, to her superior, “How’s that?”
Game 4. My opponent’s luck has become abrasive. He has Boardwalk and Park Place, and has sealed the board.
Darrow was a plumber. He was, specifically, a radiator repairman who lived in Germantown, Pennsylvania. His first Monopoly board was a sheet of linoleum. On it he placed houses and hotels that he had carved from blocks of wood. The game he thus invented was brilliantly conceived, for it was an uncannily exact reflection of the business milieu at large. In its depth, range, and subtlety, in its luck-skill ratio, in its sense of infrastructure and socio-economic parameters, in its philosophical characteristics, it reached to the profundity of the financial community. It was as scientific as the stock market. It suggested the manner and means through which an underdeveloped world had been developed. It was chess at Wall Street level. “Advance token to the nearest Railroad and pay owner twice the rental to which he is otherwise entitled. If Railroad is unowned, you may buy it from the Bank. Get out of Jail, free. Advance token to nearest Utility. If unowned, you may buy it from Bank. If owned, throw dice and pay owner a total ten times the amount thrown. You are assessed for street repairs: $40 per house, $115 per hotel. Pay poor tax of $15. Go to Jail. Go directly to Jail. Do not pass Go. Do not collect $200.”
The turnkey opens the blue door. The turnkey is known to the inmates as Sidney K. Above his desk are ten closed-circuit-TV screens—assorted viewpoints of the jail. There are three cellblocks—men, women, juvenile boys. Six days is the average stay. Showers twice a week. The steel doors and the equipment that operates them were made in San Antonio. The prisoners sleep on bunks of butcher block. There are no mattresses. There are three prisoners to a cell. In winter, it is cold in here. Prisoners burn newspapers to keep warm. Cell corners are black with smudge. The jail is three years old. The men’s block echoes with chatter. The man in the cell nearest Sidney K. is pacing. His shirt is covered with broad stains of blood The block for juvenile boys is, by contrast, utterly silent—empty corridor, empty cells. There is only one prisoner. He is small and black and appears to be thirteen. He says he is sixteen and that he has been alone in here for three days.
“Why are you here? What did you do?”
“I hit a jitney driver.”
The series stands at three all. We have split the fifth and sixth games. We are scrambling for property. Around the board we fairly fly. We move so fast because we do our own banking and search our own deeds. My opponent grows tense.
Ventnor Avenue, a street of delicatessens and doctors’ offices, is leafy with plane trees and hydrangeas, the city flower. Water Works is on the mainland. The water comes over in submarine pipes. Electric Company gets power from across the state, on the Delaware River, in Deepwater. States Avenue, now a wasteland like St. Charles, once had gardens running down the middle of the street, a horse-drawn trolley, private homes. States Avenue was as exclusive as the Brighton. Only an apartment house, a small motel, and the All Wars Memorial Building—monadnocks spaced widely apart—stand along States Avenue now. Pawnshops, convalescent homes, and the Paradise Soul Saving Station are on Virginia Avenue. The soul-saving station is pink, orange, and yellow. In the windows flanking the door of the Virginia Money Loan Office are Nikons, Polaroids, Yashicas, Sony TVs, Underwood
type-writers, Singer sewing machines, and pictures of Christ. On the far side of town, beside a single track and locked up most of the time, is the new railroad station, a small hut made of glazed firebrick, all that is left of the lines that built the city. An authentic phrenologist works on New York Avenue close to Frank’s Extra Dry Bar and a church where the sermon today is “Death in the Pot.” The church is of pink brick, has blue and amber windows and two red doors. St. James Place, narrow and twisting, is lined with boarding houses that have wooden porches on each of three stories, suggesting a New Orleans made of salt-bleached pine. In a vacant lot on Tennessee is a white Ford station wagon stripped to the chassis. The windows are smashed. A plastic Clorox bottle sits on the driver’s seat. The wind has pressed newspaper against the chain-link fence around the lot. Atlantic Avenue, the city’s principal thoroughfare, could be seventeen American Main Streets placed end to end—discount vitamins and Vienna Corset shops, movie theatres, shoe stores, and funeral homes. The Boardwalk is made of yellow pine and Douglas fir, soaked in pentachlorophenol. Downbeach, it reaches far beyond the city. Signs everywhere—on windows, lampposts, trash baskets—proclaim “Bienvenue Canadiens!” The salt air is full of Canadian French. In the Claridge Hotel, on Park Place, I ask a clerk if she knows where Marvin Gardens is. She says, “Is it a floral shop?” I ask a cabdriver, parked outside. He says, “Never heard of it.” Park Place is one block long, Pacific to Boardwalk. On the roof of the Claridge is the Solarium, the highest point in town—panoramic view of the ocean, the bay, the salt-water ghetto. I look down at the rooftops of the side-avenue motels and into swimming pools. There are hundreds of people around the rooftop pools, sunbathing, reading—many more people than are on the beach. Walls, windows, and a block of sky are all that is visible from these pools—no sand, no sea. The pools are craters, and with the people around them they are countersunk into the motels.
The seventh, and final, game is ten minutes old and I have hotels on Oriental, Vermont, and Connecticut. I have Tennessee and St. James. I have North Carolina and Pacific. I have Boardwalk, Atlantic, Ventnor, Illinois, Indiana. My fingers are forming a “V.” I have mortgaged most of these properties in order to pay for others, and I have mortgaged the others to pay for the hotels. I have seven dollars. I will pay off the mortgages and build my reserves with income from the three hotels. My cash position may be low, but I feel like a rocket in an underground silo. Meanwhile, if I could just go to jail for a time I could pause there, wait there, until my opponent, in his inescapable rounds, pays the rates of my hotels. Jail, at times, is the strategic place to be. I roll boxcars from the Reading and move the flatiron to Community Chest. “Go to Jail. Go directly to Jail.”
The prisoners, of course, have no pens and no pencils. They take paper napkins, roll them tight as crayons, char the ends with matches, and write on the walls. The things they write are not entirely idiomatic; for example, “In God We Trust.” All is in carbon. Time is required in the writing. “Only humanity could know of such pain.” “God So Loved the World.” “There is no greater pain than life itself.” In the women’s block now, there are six blacks, giggling, and a white asleep in red shoes. She is drunk. The others are pushers, prostitutes, an auto thief, a burglar caught with pistol in purse. A sixteen-year-old accused of murder was in here last week. These words are written on the wall of a now empty cell: “Laying here I see two bunks about six inches thick, not counting the one I’m laying on, which is hard as brick. No cushion for my back. No pillow for my head. Just a couple scratchy blankets which is best to use it’s said. I wake up in the morning so shivery and cold, waiting and waiting till I am told the food is coming. It’s on its way. It’s not worth waiting for, but I eat it anyway. I know one thing when they set me free I’m gonna be good if it kills me.”
How many years must a game be played to produce an Anthony J. Drexel Biddle and chestnut geldings on the beach? About half a century was the original answer, from the first railroad to Biddle at his peak. Biddle, at his peak, hit an Atlantic City streetcar conductor with his fist, laid him out with one punch. This increased Biddle’s legend. He did not go to jail. While John Philip Sousa led his band along the Boardwalk playing “The Stars and Stripes Forever” and Jack Dempsey ran up and down in training for his fight with Gene Tunney, the city crossed the high curve of its parabola. Al Capone held conventions here—upstairs with his sleeves rolled, apportioning among his lieutenant governors the states of the Eastern seaboard. The natural history of an American resort proceeds from Indians to French Canadians via Biddles and Capones. French Canadians, whatever they may be at home, are Visigoths here. Bienvenue Visigothsl
My opponent plods along incredibly well. He has got his fourth railroad, and patiently, unbelievably, he has picked up my potential winners until he has blocked me everywhere but Marvin Gardens. He has avoided, in the fifty-dollar zoning, my increasingly petty hotels. His cash flow swells. His railroads are costing me two hundred dollars a minute. He is building hotels on States, Virginia, and St. Charles. He has temporarily reversed the current. With the yellow monopolies and my blue monopolies, I could probably defeat his lavenders and his railroads. I have Atlantic and Ventnor. I need Marvin Gardens. My only hope is Marvin Gardens.
There is a plaque at Boardwalk and Park Place, and on it in relief is the leonine profile of a man who looks like an officer in a metropolitan bank—“Charles B. Darrow, 1889-1967, inventor of the game of Monopoly.” “Darrow,” I address him, aloud. “Where is Marvin Gardens?” There is, of course, no answer. Bronze, impassive, Darrow looks south down the Boardwalk. “Mr. Darrow, please, where is Marvin Gardens?” Nothing. Not a sign. He just looks south down the Boardwalk.
My opponent accepts the trophy with his natural ease, and I make, from notes, remarks that are even less graceful than his.
Marvin Gardens is the one color-block Monopoly property that is not in Atlantic City. It is a suburb within a suburb, secluded. It is a planned compound of seventy-two handsome houses set on curvilinear private streets under yews and cedars, poplars and willows. The compound was built around 1920, in Margate, New Jersey, and consists of solid buildings of stucco, brick, and wood, with slate roofs, tile roofs, multimullioned porches, Giraldic towers, and Spanish grilles. Marvin Gardens, the ultimate outwash of Monopoly, is a citadel and sanctuary of the middle class. “We’re heavily patrolled by police here. We don’t take no chances. Me? I’m living here nine years. I paid seventeen thousand dollars and I’ve been offered thirty. Number one, I don’t want to move. Number two, I don’t need the money. I have four bedrooms, two and a half baths, front den, back den. No basement. The Atlantic is down there. Six feet down and you float. A lot of people have a hard time finding this place. People that lived in Atlantic City all their life don’t know how to find it. They don’t know where the hell they’re going. They just know it’s south, down the Boardwalk.”
Pieces of the Frame
ON THE EDGE OF INVERMORISTON FOREST, I was trying to explain raised beaches, the fifty-foot beaches of Scotland, so called because they are about that far above the sea. Waves never touch them. Tides don’t come near reaching them. Shell and shingle, whitened like bones, they are aftereffects of the ice, two miles thick, that once rested on Scotland and actually shoved Scotland down into the earth. When the ice melted, the sea slowly came up, but so did the land, sluggishly recovering its buoyancy over the molten center of things. After the sea had increased as much as it was going to, the land kept rising, and beaches were lifted into the air, some as much as fifty feet.
That was how I understood the story, and I was doing what I could to say it in a way that would make it intelligible to an audience of four children (mine—all girls, and all quite young), but the distractions were so numerous that I never really had a chance. My family and I were having a lakeside lunch—milk, potato sticks, lambs’ tongues, shortbread, white chocolate, Mini-Dunlop cheese—beside a stream in a grove of birches that was backed by dense reforested pines. The pines cover
ed steep slopes toward summits two thousand feet above us. It was late spring, but there were snowfields up there nonetheless, and the water we drank had been snow in the mountains that morning.
Near us, another family, also with small children, was having what was evidently a birthday picnic. They had arrived after we were already settled, and they had chosen—I don’t know why, with acre upon acre of unpeopled and essentially similar terrain to move about in—to unpack all their special effects (a glistening white cake, noisemakers, conical cardboard orange hats) only forty or fifty yards away. I tried to ignore them and go on with my ruminations on the raised beaches. There were no raised beaches in that place, at least not in the usual form, but the children had seen them and had played on them elsewhere in the Highlands, and I thought that if they could understand how such phenomena had come to be, they might in turn be able to imagine the great, long lake now before them—Loch Ness—as the sea loch, the arm of the Atlantic, that it once was, and how marine creatures in exceptional variety had once freely moved in and out of it, some inevitably remaining.
