Your United States, Arnold Bennett [ebook reader browser .TXT] 📗

I said. "Then why didn't you tell me at first?" he crushed me. "Did you expect me to be a thought-reader?" But, indeed, I could say a lot about American barbers. I had expected to have my tempting fob snatched. It was not snatched. I had expected to be asked, at the moment of landing, for my mature opinion of the United States, and again at intervals of about a quarter of an hour, day and night, throughout my stay. But I had been in America at least ten days before the question was put to me, even in jest. I had expected to be surrounded by boasting and impatient vanity concerning the achievements of the United States and the citizens thereof. I literally never heard a word of national boasting, nor observed the slightest impatience under criticism.... I say I had expected these things. I would be more correct to say that I _should_ have expected them if I had had a rumor--believing mind: which I have not.

But I really did expect to witness an overwhelming violence of traffic and movement in lower Broadway and the renowned business streets in its vicinity. And I really was disappointed by the ordinariness of the scene, which could be well matched in half a dozen places in Europe, and beaten in one or two. If but once I had been shoved into the gutter by a heedless throng going furiously upon its financial ways, I should have been content.... The legendary "American rush" is to me a fable. Whether it ever existed I know not; but I certainly saw no trace of it, either in New York or Chicago. I dare say I ought to have gone to Seattle for it. My first sight of a stock-market roped off in the street was an acute disillusionment. In agitation it could not have competed with a sheep-market. In noise it was a muffled silence compared with the fine racket that enlivens the air outside the Paris Bourse. I saw also an ordinary day in the Stock Exchange. Faint excitations were afloat in certain corners, but I honestly deemed the affair tame. A vast litter of paper on the floor, a vast assemblage of hats pitched on the tops of telephone-boxes--these phenomena do not amount to a hustle. Earnest students of hustle should visit Paris or Milan. The fact probably is that the perfecting of mechanical contrivances in the United States has killed hustle as a diversion for the eyes and ears. The mechanical side of the Exchange was wonderful and delightful.

The sky-scrapers that cluster about the lower end of Broadway--their natural home--were as impressive as I could have desired, but not architecturally. For they could only be felt, not seen. And even in situations where the sky-scraper is properly visible, it is, as a rule, to my mind, architecturally a failure. I regret for my own sake that I could not be more sympathetic toward the existing sky-scraper as an architectural entity, because I had assuredly no European prejudice against the sky-scraper as such. The objection of most people to the sky-scraper is merely that it is unusual--the instinctive objection of most people to everything that is original enough to violate tradition! I, on the contrary, as a convinced modernist, would applaud the unusualness of the sky-scraper. Nevertheless, I cannot possibly share the feelings of patriotic New-Yorkers who discover architectural grandeur in, say, the Flat Iron Building or the Metropolitan Life Insurance Building. To me they confuse the poetical idea of these buildings with the buildings themselves. I eagerly admit that the bold, prow-like notion of the Flat Iron cutting northward is a splendid notion, an inspiring notion; it thrills. But the building itself is ugly--nay, it is adverbially ugly; and no reading of poetry _into_ it will make it otherwise.

Similarly, the Metropolitan Building is tremendous. It is a grand sight, but it is an ugly sight. The men who thought of it, who first conceived the notion of it, were poets. They said, "We will cause to be constructed the highest building in the world; we will bring into existence the most amazing advertisement that an insurance company ever had." That is good; it is superb; it is a proof of heroic imagination. But the actual designers of the building did not rise to the height of it; and if any poetry is left in it, it is not their fault. Think what McKim might have accomplished on that site, and in those dimensions!

Certain architects, feeling the lack of imagination in the execution of these enormous buildings, have set their imagination to work, but in a perverse way and without candidly recognizing the conditions imposed upon them by the sky-scraper form: and the result here and there has been worse than dull; it has been distressing. But here and there, too, one sees the evidence of real understanding and taste. If every tenant of a sky-scraper demands--as I am informed he does--the same windows, and radiators under every window, then the architect had better begin by accepting that demand openly, with no fanciful or pseudo-imaginative pretense that things are not what they are. The Ashland Building, on Fourth Avenue, where the architectural imagination has exercised itself soberly, honestly, and obediently, appeared to me to be a satisfactory and agreeable sky-scraper; and it does not stand alone as the promise that a new style will ultimately be evolved.

In any case, a great deal of the poetry of New York is due to the sky-scraper. At dusk the effect of the massed sky-scrapers illuminated from within, as seen from any high building up-town, is prodigiously beautiful, and it is unique in the cities of this world. The early night effect of the whole town, topped by the aforesaid Metropolitan tower, seen from the New Jersey shore, is stupendous, and resembles some enchanted city of the next world rather than of this. And the fact that a very prominent item in the perspective is a fiery representation of a frothing glass of beer inconceivably large--well, this fact too has its importance.

But in the sky-scrapers there is a deeper romanticism than that which disengages itself from them externally. You must enter them in order to appreciate them, in order to respond fully to their complex appeal. Outside, they often have the air of being nothing in particular; at best the facade is far too modest in its revelation of the interior. You can quite easily walk by a sky-scraper on Broadway without noticing it. But you cannot actually go into the least of them and not be impressed. You are in a palace. You are among marbles and porphyries. You breathe easily in vast and brilliant foyers that never see daylight. And then you come to those mysterious palisaded shafts with which the building and every other building in New York is secretly honeycombed, and the palisade is opened and an elevator snatches you up. I think of American cities as enormous agglomerations in whose inmost dark recesses innumerable elevators are constantly ascending and descending, like the angels of the ladder....

The elevator ejects you. You are taken into dazzling daylight, into what is modestly called a business office; but it resembles in its grandeur no European business office, save such as may have been built by an American. You look forth from a window, and lo! New York and the Hudson are beneath you, and you are in the skies. And in the warmed stillness of the room you hear the wind raging and whistling, as you would have imagined it could only rage and whistle in the rigging of a three-master at sea. There are, however, a dozen more stories above this story. You walk from chamber to chamber, and in answer to inquiry learn that the rent of this one suite-among so many-is over thirty-six thousand dollars a year! And you reflect that, to the beholder in the street, all that is represented by one narrow row of windows, lost in a diminishing chess-board of windows. And you begin to realize what a sky-scraper is, and the poetry of it.

More romantic even than the sky-scraper finished and occupied is the sky-scraper in process of construction. From no mean height, listening to the sweet drawl of the steam-drill, I have watched artisans like dwarfs at work still higher, among knitted steel, seen them balance themselves nonchalantly astride girders swinging in space, seen them throwing rivets to one another and never missing one; seen also a huge crane collapse under an undue strain, and, crumpling like tinfoil, carelessly drop its load onto the populous sidewalk below. That particular mishap obviously raised the fear of death among a considerable number of people, but perhaps only for a moment. Anybody in America will tell you without a tremor (but with pride) that each story of a sky-scraper means a life sacrificed. Twenty stories--twenty men snuffed out; thirty stories--thirty men. A building of some sixty stories is now going up--sixty corpses, sixty funerals, sixty domestic hearths to be slowly rearranged, and the registrars alone know how many widows, orphans, and other loose by-products!

And this mortality, I believe, takes no account of the long battles that are sometimes fought, but never yet to a finish, in the steel webs of those upper floors when the labor-unions have a fit of objecting more violently than usual to non-union labor. In one celebrated building, I heard, the non-unionists contracted an unfortunate habit of getting crippled; and three of them were indiscreet enough to put themselves under a falling girder that killed them, while two witnesses who were ready to give certain testimony in regard to the mishap vanished completely out of the world, and have never since been heard of. And so on. What more natural than that the employers should form a private association for bringing to a close these interesting hazards? You may see the leading spirit of the association. You may walk along the street with him. He knows he is shadowed, and he is quite cheerful about it. His revolver is always very ready for an emergency. Nobody seems to regard this state of affairs as odd enough for any prolonged comment. There it is! It is accepted. It is part of the American dailiness. Nobody, at any rate in the comfortable clubs, seems even to consider that the original cause of the warfare is aught but a homicidal cussedness on the part of the unions.... I say that these accidents and these guerrillas mysteriously and grimly proceeding in the skyey fabric of metal-ribbed constructions, do really form part of the poetry of life in America--or should it be the poetry of death? Assuredly they are a spectacular illustration of that sublime, romantic contempt for law and for human life which, to a European, is the most disconcerting factor in the social evolution of your States. I have sat and listened to tales from journalists and other learned connoisseurs till--But enough!

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When I left New York and went to Washington I was congratulated on having quitted the false America for the real. When I came to Boston I received the sympathies of everybody in Boston on having been put off for so long with spurious imitations of America, and a sigh of happy relief went up that I had at length got into touch with a genuine American city. When, after a long pilgrimage, I attained Chicago, I was positively informed that Chicago alone was the gate of the United States, and that everything east of Chicago was negligible and even misleading. And when I entered Indianapolis I discovered that Chicago