_Some American Cities_
There is one point, almost to be called a paradox, to be noted about New York; and that is that in one sense it is really new. The term very seldom has any relevance to the reality. The New Forest is nearly as old as the Conquest, and the New Theology is nearly as old as the Creed. Things have been offered to me as the new thought that might more properly be called the old thoughtlessness; and the thing we call the New Poor Law is already old enough to know better. But there is a sense in which New York is always new; in the sense that it is always being renewed. A stranger might well say that the chief industry of the citizens consists of destroying their city; but he soon realises that they always start it all over again with undiminished energy and hope. At first I had a fancy that they never quite finished putting up a big building without feeling that it was time to pull it down again; and that somebody began to dig up the first foundations while somebody else was putting on the last tiles. This fills the whole of this brilliant and bewildering place with a quite unique and unparalleled air of rapid ruin. Ruins spring up so suddenly like mushrooms, which with us are the growth of age like mosses, that one half expects to see ivy climbing quickly up the broken walls as in the nightmare of the Time Machine, or in some incredibly accelerated cinema.
There is no sight in any country that raises my own spirits so much as a scaffolding. It is a tragedy that they always take the scaffolding away, and leave us nothing but a mere building. If they would only take the building away and leave us a beautiful scaffolding, it would in most cases be a gain to the loveliness of earth. If I could analyse what it is that lifts the heart about the lightness and clarity of such a white and wooden skeleton, I could explain what it is that is really charming about New York; in spite of its suffering from the curse of cosmopolitanism and even the provincial superstition of progress. It is partly that all this destruction and reconstruction is an unexhausted artistic energy; but it is partly also that it is an artistic energy that does not take itself too seriously. It is first because man is here a carpenter; and secondly because he is a stage carpenter. Indeed there is about the whole scene the spirit of scene-shifting. It therefore touches whatever nerve in us has since childhood thrilled at all theatrical things. But the picture will be imperfect unless we realise something which gives it unity and marks its chief difference from the climate and colours of Western Europe. We may say that the back-scene remains the same. The sky remained, and in the depths of winter it seemed to be blue with summer; and so clear that I almost flattered myself that clouds were English products like primroses. An American would probably retort on my charge of scene-shifting by saying that at least he only shifted the towers and domes of the earth; and that in England it is the heavens that are shifty. And indeed we have changes from day to day that would seem to him as distinct as different magic-lantern slides; one view showing the Bay of Naples and the next the North Pole. I do not mean, of course, that there are no changes in American weather; but as a matter of proportion it is true that the most unstable part of our scenery is the most stable part of theirs. Indeed we might almost be pardoned the boast that Britain alone really possesses the noble thing called weather; most other countries having to be content with climate. It must be confessed, however, that they often are content with it. And the beauty of New York, which is considerable, is very largely due to the clarity that brings out the colours of varied buildings against the equal colour of the sky. Strangely enough I found myself repeating about this vista of the West two vivid lines in which Mr. W. B. Yeats has called up a vision of the East:--
And coloured like the eastern birds At evening in their rainless skies.
To invoke a somewhat less poetic parallel, even the untravelled Englishman has probably seen American posters and trade advertisements of a patchy and gaudy kind, in which a white house or a yellow motor-car are cut out as in cardboard against a sky like blue marble. I used to think it was only New Art, but I found that it is really New York.
It is not for nothing that the very nature of local character has gained the nickname of local colour. Colour runs through all our experience; and we all know that our childhood found talismanic gems in the very paints in the paint-box, or even in their very names. And just as the very name of 'crimson lake' really suggested to me some sanguine and mysterious mere, dark yet red as blood, so the very name of 'burnt sienna' became afterwards tangled up in my mind with the notion of something traditional and tragic; as if some such golden Italian city had really been darkened by many conflagrations in the wars of mediaeval democracy. Now if one had the caprice of conceiving some city exactly contrary to one thus seared and seasoned by fire, its colour might be called up to a childish fancy by the mere name of 'raw umber'; and such a city is New York. I used to be puzzled by the name of 'raw umber,' being unable to imagine the effect of fried umber or stewed umber. But the colours of New York are exactly in that key; and might be adumbrated by phrases like raw pink or raw yellow. It is really in a sense like something uncooked; or something which the satiric would call half-baked. And yet the effect is not only beautiful, it is even delicate. I had no name for this nuance; until I saw that somebody had written of 'the pastel-tinted towers of New York'; and I knew that the name had been found. There are no paints dry enough to describe all that dry light; and it is not a box of colours but of crayons. If the Englishman returning to England is moved at the sight of a block of white chalk, the American sees rather a bundle of chalks. Nor can I imagine anything more moving. Fairy tales are told to children about a country where the trees are like sugar-sticks and the lakes like treacle, but most children would feel almost as greedy for a fairyland where the trees were like brushes of green paint and the hills were of coloured chalks.
But here what accentuates this arid freshness is the fragmentary look of the continual reconstruction and change. The strong daylight finds everywhere the broken edges of things, and the sort of hues we see in newly-turned earth or the white sections of trees. And it is in this respect that the local colour can literally be taken as local character. For New York considered in itself is primarily a place of unrest, and those who sincerely love it, as many do, love it for the romance of its restlessness. A man almost looks at a building as he passes to wonder whether it will be there when he comes back from his walk; and the doubt is part of an indescribable notion, as of a white nightmare of daylight, which is increased by the very numbering of the streets, with its tangle of numerals which at first makes an English head reel. The detail is merely a symbol; and when he is used to it he can see that it is, like the most humdrum human customs, both worse and better than his own. '271 West 52nd Street' is the easiest of all addresses to find, but the hardest of all addresses to remember. He who is, like myself, so constituted as necessarily to lose any piece of paper he has particular reason to preserve, will find himself wishing the place were called 'Pine Crest' or 'Heather Crag' like any unobtrusive villa in Streatham. But his sense of some sort of incalculable calculations, as of the vision of a mad mathematician, is rooted in a more real impression. His first feeling that his head is turning round is due to something really dizzy in the movement of a life that turns dizzily like a wheel. If there be in the modern mind something paradoxical that can find peace in change, it is here that it has indeed built its habitation or rather is still building and unbuilding it. One might fancy that it changes in everything and that nothing endures but its invisible name; and even its name, as I have said, seems to make a boast of novelty.
That is something like a sincere first impression of the atmosphere of New York. Those who think that is the atmosphere of America have never got any farther than New York. We might almost say that they have never entered America, any more than if they had been detained like undesirable aliens at Ellis Island. And indeed there are a good many undesirable aliens detained in Manhattan Island too. But of that I will not speak, being myself an alien with no particular pretensions to be desirable. Anyhow, such is New York; but such is
not the New World. The great American Republic contains very considerable varieties, and of these varieties I necessarily saw far too little to allow me to generalise. But from the little I did see, I should venture on the generalisation that the great part of America is singularly and even strikingly unlike New York. It goes without saying that New York is very unlike the vast agricultural plains and small agricultural towns of the Middle West, which I did see. It may be conjectured with some confidence that it is very unlike what is called the Wild and sometimes the Woolly West, which I did not see. But I am here comparing New York, not with the newer states of the prairie or the mountains, but with the other older cities of the Atlantic coast. And New York, as it seems to me, is quite vitally different from the other historic cities of America. It is so different that it shows them all for the moment in a false light, as a long white searchlight will throw a light that is fantastic and theatrical upon ancient and quiet villages folded in the everlasting hills. Philadelphia and Boston and Baltimore are more like those quiet villages than they are like New York.
If I were to call this book 'The Antiquities of America,' I should give rise to misunderstanding and possibly to annoyance. And yet the double sense in such words is an undeserved misfortune for them. We talk of Plato or the Parthenon or the Greek passion for beauty as parts of the antique, but hardly of the antiquated. When we call them ancient it is not because they have perished, but rather because they have survived. In the same way I heard some New Yorkers refer to Philadelphia or Baltimore as 'dead towns.' They mean by a dead town a town that has had the impudence not to die. Such people are astonished to find an ancient thing alive, just as they are now astonished, and will be increasingly astonished, to find Poland or the Papacy or the French nation still alive. And what I mean by Philadelphia and Baltimore being alive is precisely what these people mean by their being dead; it is continuity; it is the presence of the life first breathed into them and of the purpose of their being; it is the benediction of the founders of the colonies and the fathers of the republic. This tradition is truly to be called life; for life alone can link the past and the future. It merely means that as what was done yesterday makes some difference to-day, so what is done to-day will make some difference to-morrow. In New York it is difficult to feel that any day will make any difference. These moderns only die daily without power to rise from the dead. But I can truly claim that in coming into some of these more stable cities of the States I felt something quite sincerely of that historic emotion which is satisfied in the eternal cities of the Mediterranean. I felt in America what many Americans suppose can only be felt in Europe. I have seldom had that sentiment stirred more simply and directly than when I saw from afar off, above the vast grey labyrinth of Philadelphia, great Penn upon his pinnacle like the graven figure of a god who had fashioned a new world; and remembered that his body lay buried in a field at the turning of a lane, a league from my own door.
For this aspect of America is rather neglected in the talk about electricity and headlines. Needless to say, the modern vulgarity of avarice and advertisement sprawls all over Philadelphia or Boston; but so it does over Winchester or Canterbury. But most people know that there is something else to be found in Canterbury or Winchester; many people know that it is rather more interesting; and some people know that Alfred can still walk in Winchester and that St. Thomas at Canterbury was killed but did not die. It is at least as possible for a Philadelphian to feel the presence of Penn and Franklin as for an Englishman to see the ghosts of Alfred and of Becket. Tradition does not mean a dead town; it does not mean that the living are dead but that the dead are alive. It means that it still matters what Penn did two hundred years ago or what Franklin did a hundred years ago; I never could feel in New York that it mattered what anybody did an hour ago. And these things did and do matter. Quakerism is not my favourite creed; but on that day when William Penn stood unarmed upon that spot and made his treaty with the Red Indians, his creed of humanity did have a triumph and a triumph that has not turned back. The praise given to him is not a priggish fiction of our conventional history, though such fictions have illogically curtailed it. The Nonconformists have been rather unfair to Penn even in picking their praises; and they generally forget that toleration cuts both ways and that an open mind is open on all sides. Those who deify him for consenting to bargain with the savages cannot forgive him for consenting to bargain with the Stuarts. And the same is true of the other city, yet more closely connected with the tolerant experiment of the Stuarts. The state of Maryland was the first experiment in religious freedom in human history. Lord Baltimore and his Catholics were a long march ahead of William Penn and his Quakers on what is now called the path of progress. That the first religious toleration ever granted in the world was granted by Roman Catholics is one of those little informing details with which our Victorian histories did not exactly teem. But when I went into my hotel at Baltimore and found two priests waiting to see me, I was moved in a new fashion, for I felt that I touched the end of a living chain. Nor was the impression accidental; it will always remain with me with a mixture of gratitude and grief, for they brought a message of welcome from a great American whose name I had known from childhood and whose career was drawing to its close; for it was but a few days after I left the city that I learned that Cardinal Gibbons was dead.
On the top of a hill on one side of the town stood the first monument raised after the Revolution to Washington. Beyond it was a new monument saluting in the name of Lafayette the American soldiers who fell fighting in France in the Great War. Between them were steps and stone seats, and I sat down on one of them and talked to two children who were clambering about the bases of the monument. I felt a profound and radiant peace in the thought that they at any rate were not going to my lecture. It made me happy that in that talk neither they nor I had any names. I was full of that indescribable waking vision of the strangeness of life, and especially of the strangeness of locality; of how we find places and lose them; and see faces for a moment in a far-off land, and it is equally mysterious if we remember and mysterious if we forget. I had even stirring in my head the suggestion of some verses that I shall never finish--
If I ever go back to Baltimore The city of Maryland.
But the poem would have to contain far too much; for I was thinking of a thousand things at once; and wondering what the children would be like twenty years after and whether they would travel in white goods or be interested in oil, and I was not untouched (it may be said) by the fact that a neighbouring shop had provided the only sample of the substance called 'tea' ever found on the American continent; and in front of me soared up into the sky on wings of stone the column of all those high hopes of humanity a hundred years ago; and beyond there were lighted candles in the chapels and prayers in the ante-chambers, where perhaps already a Prince of the Church was dying. Only on a later page can I even attempt to comb out such a tangle of contrasts, which is indeed the tangle of America and this mortal life; but sitting there on that stone seat under that quiet sky, I had some experience of the thronging thousands of living thoughts and things, noisy and numberless as birds, that give its everlasting vivacity and vitality to a dead town.
Two other cities I visited which have this particular type of traditional character, the one being typical of the North and the other of the South. At least I may take as convenient anti-types the towns of Boston and St. Louis; and we might add Nashville as being a shade more truly southern than St. Louis. To the extreme South, in the sense of what is called the Black Belt, I never went at all. Now English travellers expect the South to be somewhat traditional; but they are not prepared for the aspects of Boston in the North which are even more so. If we wished only for an antic of antithesis, we might say that on one side the places are more prosaic than the names and on the other the names are more prosaic than the places. St. Louis is a fine town, and we recognise a fine instinct of the imagination that set on the hill overlooking the river the statue of that holy horsema
n who has christened the city. But the city is not as beautiful as its name; it could not be. Indeed these titles set up a standard to which the most splendid spires and turrets could not rise, and below which the commercial chimneys and sky-signs conspicuously sink. We should think it odd if Belfast had borne the name of Joan of Arc. We should be slightly shocked if the town of Johannesburg happened to be called Jesus Christ. But few have noted a blasphemy, or even a somewhat challenging benediction, to be found in the very name of San Francisco.
The Essential G. K. Chesterton Page 448
