Posted by Ron Coleman on September 11, 2007
Manhattan has been compelled to expand skyward because of the absence of any other direction in which to grow. This, more than any other thing, is responsible for its physical majesty. It is to the nation what the white church spire is to the village–the visible symbol of aspiration and faith, the white plume saying that the way is up. The summer traveler swings in … and as [his car] glides above the pigeon lofts and back yards of Queens looks southwest to where the morning light first strikes the steel peaks of midtown, and he sees its upward thrust unmistakable: the great wall of sand towers rising, the smoke rising, the heat not yet rising, the hopes and ferments of so many awakening millions rising–this vigorous spear that presses heaven hard….
The subtlest change in New York is something people don’t speak much about but that is in everyone’s mind. The city, for the first time in its long history, is destructible. A single flight of planes no bigger that a wedge of geese can quickly end this island fantasy, burn the towers, crumble the bridges, turn the underground passages into lethal chambers, cremate the millions. The intimidation of mortality is part of New York now: in the sound of jets overhead, in the black headlines of the latest edition. All dwellers in cities must live with the stubborn fact of annihilation; in New York the fact is somewhat more concentrated because of the concentration of the city itself, and because, of all targets, New York has a certain clear priority. In the mind of whatever perverted dreamer who might loose the lightning, New York must hold a steady, irresistible charm.
It used to be that the Statue of Liberty was the signpost that proclaimed New York and translated it for all the world. Today Liberty shares the role with Death. Along the East River, from the razed laughterhouses of Turtle Bay, as though in a race with the spectral flight of planes, men are carving out the permanent headquarters of the United Nations–the greatest housing project of them all. In its stride, New York takes on one more interior city, to shelter, this time, all governments, and to clear the slum called war. New York is not a capital city–it is not a national capital or a stage capital. But it is by way of becoming the capital of the world. The buildings, as conceived by architects, will be cigar boxes set on end. Traffic will flow in a new tunnel under First Avenue. Forty-seventh Street will be widened (and if my guess is any good, trucks will appear late at night to plant tall trees surreptitiously, their roots to mingle with the intestines of the town). Once again the city will absorb, almost without showing any sign of it, a congress of visitors. . . .
The city at last perfectly illustrates both the universal dilemma and the general solution, this riddle in steel and stone is at once the perfect target and the perfect demonstration of nonviolence, of racial brotherhood, this lofty target scraping the skies and meeting the destroying planes halfway, home of all people and all nations, capital of everything, housing the deliberations by which the planes are to be stayed and their errand forestalled.
A block or two west of the new City of Man in Turtle Bay there is an old willow tree that presides over an interior garden. It is a battered tree, long-suffering and much-climbed, held together by strands of wire but beloved of those who know it. In a way it symbolizes the city: life under difficulties, growth against odds, sap-rise in the midst of concrete, and the steady reaching for the sun. Whenever I look at it nowadays, and feel the cold shadow of the planes, I thing: “This must be saved, this particular thing, this very tree.” If it were to go, all would go–the city, this mischievous and marvelous monument which not to look upon would be like death.
E. B. White, Here is New York (1949) .
My September 11th, here.