The Colossus of New York

“Never listen to what people tell you about old New York, because if you didn’t witness it, it is not a part of your New York and might as well be Jersey.”

Whitehead uses hyperbole and a touch of humor to emphasize how Personal Experience and Subjectivity color one’s experience with New York City. The comparison to Jersey serves as a rhetorical device to underscore the perceived irrelevance of unwitnessed history. This statement reinforces the subjectivity of urban experience, suggesting that each person’s New York is unique and based solely on their own encounters with the city. The author’s tone is assertive and slightly dismissive, reflecting the idea that personal experience trumps secondhand knowledge in forming one’s relationship with the city.

“There are eight million naked cities in this naked city—they dispute and disagree. The New York City you live in is not my New York City; how could it be? This place multiplies when you’re not looking. We move over here, we move over there. Over a lifetime, that adds up to a lot of neighborhoods, the motley construction material of your jerry-built metropolis.”

This quote employs several literary devices to convey the complexity and multiplicity of New York City. The metaphor of “naked cities” alludes to the raw, personal nature of each individual’s experience, evoking the theme of Personal Experience and Subjectivity. Whitehead uses rhetorical questions and declarative statements to emphasize the impossibility of shared experiences in such a vast and diverse city. The imagery of movement and multiplication reinforces the theme of constant change and evolution, suggesting The City as a Living Entity. The phrase “jerry-built metropolis” serves as a metaphor for the haphazard, individualized construction of one’s personal New York, composed of various neighborhoods and experiences accumulated over time.

“The city knows you better than any living person because it has seen you when you are alone. It saw you steeling yourself for the job interview, slowly walking home after the late date, tripping over nonexistent impediments on the sidewalk.”

Whitehead personifies New York, portraying The City as a Living Entity and attributing to it the ability to observe and understand its inhabitants. This personification serves to emphasize the intimate relationship between the city and its residents. The author uses specific, relatable examples to illustrate the private moments that the city witnesses, creating a sense of vulnerability and connection. The tone is both comforting and slightly unnerving, suggesting that while the city may know one’s true self, it also serves as a silent observer of one’s most private moments. This idea contributes to the overarching theme of the city as a living entity that shapes and is shaped by its inhabitants.

“Consider what all your old apartments would say if they got together to swap stories. They could piece together the starts and finishes of your relationships, complain about your wardrobe and musical tastes, gossip about who you are after midnight. 7J says, So that’s what happened to Lucy—I knew it would never work out.”

Whitehead employs personification and dialogue to bring the city’s buildings to life, further developing the theme of The City as a Living Entity, an entity that is sentient and observant. By imagining apartments gossiping and sharing stories, the author creates a vivid image of how one’s personal history is inextricably linked to the spaces they inhabit. The specific example of apartment 7J commenting on a relationship adds a hint of humor and relatability to the passage. This quote reinforces the idea that the physical spaces of the city serve as repositories of personal memories and experiences, contributing to the larger narrative of one’s life in New York.

“If they think those two words New York will fix them, who are we to say otherwise. They wait for so long to see the famous skyline but wake at the arrival gate and with a final lurch are delivered into dinginess. This first disappointment will help acclimate. The weather is always the same in there. It may be day or night outside, or sunny or rainy outside, but inside the terminal the light is always the same queasy green rays. In effect, no matter what time of day it is, everyone arrives at the same time, in the same weather, and in this way it is possible for all of them to start even.”

Whitehead juxtaposes the idealized vision of New York with the stark reality that greets arrivals, highlighting the theme of Personal Experience and Subjectivity. The phrase “those two words New York will fix them” ironically underscores the unrealistic expectations that many have about the city’s transformative power. Whitehead uses imagery to describe the Port Authority terminal, with its “queasy green rays” creating a timeless, placeless environment. This description serves to emphasize the theme of The City as a Living Entity, presenting the terminal as a liminal space that exists outside normal temporal boundaries. The idea that “everyone arrives at the same time, in the same weather” reinforces the theme of Interconnectedness and Universality, suggesting that despite their diverse origins, all newcomers are equalized by their shared experience of arrival. By describing the “first disappointment” as something that will “help acclimate,” Whitehead implies that disillusionment is a necessary part of the New York experience.

“All this metal grinding, this is the machine of morning reaching out through cogs and gears to claim and wake us.”

This quote personifies the city as a mechanical creature, emphasizing the theme of The City as a Living Entity. Whitehead uses the metaphor of a machine to describe the morning routine, with its “cogs and gears” representing the various elements of urban life that work together to start the day. The verb “claim” suggests the city’s power over its inhabitants, while “wake us” implies a forceful arousal. This imagery conveys the relentless and sometimes harsh nature of urban life, highlighting how the city’s rhythms dictate the lives of its residents.

“This is the most important meal of the day: accepting into your gut what lies outside your doorstep.”

Whitehead uses a metaphor that equates the act of eating breakfast with absorbing the realities of the outside world. This quote touches on the theme of Personal Experience and Subjectivity, as it suggests that each individual must internalize and process the city’s daily offerings. The use of “gut” rather than “mind” emphasizes the visceral, instinctive nature of this acceptance. By redefining the “most important meal,” Whitehead shifts focus from physical nourishment to the mental and emotional preparation required to face New York life.

“The snow is already shamed and grimed: five minutes is all it takes for this city to break you.”

This quote personifies snow, attributing human qualities of shame to it, while also personifying the city as a force capable of “breaking” both the snow and, by extension, its inhabitants. The rapid transformation of pure snow into a grimy state serves as a metaphor for the loss of innocence. This imagery contributes to the theme of The City as a Living Entity, portraying it as a powerful, transformative force. The brevity of time mentioned (“five minutes”) underscores the intensity and speed of urban life, suggesting that the city’s influence is both immediate and profound.

“On the first day of spring in search of antidote they seek the park, hardly aware of biological imperative. Everybody has the same idea.”

Whitehead utilizes imagery and personification to portray the park as a healing “antidote” to the harsh urban environment, suggesting that nature serves as a remedy for city life. The phrase “biological imperative” implies an instinctual drive, positioning the desire for green spaces as an innate human need rather than a conscious choice. The author’s use of the plural “they” followed by “[e]verybody” emphasizes Personal Experience and Subjectivity while simultaneously highlighting the Interconnectedness and Universality of the New York experience. This juxtaposition of individual and collective actions underscores a key aspect of city life: the shared rituals and behaviors that emerge from living in close proximity to others. Whitehead’s tone is observational and slightly ironic, noting that people are “hardly aware” of their motivations. This subtle critique of urban dwellers’ disconnect from their own instincts adds depth to the portrayal of The City as a Living Entity, suggesting that the city itself shapes and influences human behavior in ways that its inhabitants may not fully comprehend.

“There’s a culture for platforms and a culture for between stations. On the platform there are strategies of where seats will appear when the doors open, of where you want to be when you get off, of how to outmaneuver these impromptu nemeses. So many variables, everyone’s a mathematician with an advanced degree.”

Whitehead illustrates the complex social dynamics of subway travel, highlighting the theme of Personal Experience and Subjectivity. He uses a metaphor comparing subway riders to mathematicians, emphasizing the intricate calculations and strategies that commuters employ. The distinction between platform and in-transit cultures underscores the ever-changing nature of urban spaces. By describing fellow passengers as “impromptu nemeses,” Whitehead uses irony to convey the competitive yet anonymous nature of city life. This passage also touches on the theme of The City as a Living Entity, portraying the subway system as an organism with its own rules and ecosystems.

“They rock in unison, at least they agree on that one small thing. Check their wallets—the denominations won’t jibe. Review their prayers—the names of their gods won’t match. What they cherish and hold dear, their ideals and shopping lists, are as different and numerous as their destinations. But all is not lost. Look around, they’re doing a little dance now in the subway car and without rehearsal they all rock together.”

This quote encapsulates the theme of Interconnectedness and Universality. Whitehead employs parallelism to contrast the passengers’ differences in wealth, beliefs, and values with their shared physical experience. The metaphor of a “dance” without rehearsal emphasizes the unconscious harmony that can emerge in urban spaces. The author’s use of short, declarative sentences creates a rhythmic quality that mirrors the movement of the subway car. This passage illustrates how the city, particularly its public transportation, serves as a great equalizer, bringing together diverse individuals in a shared experience, despite their apparent differences.

“The best of them gave up long ago. The best of them cease stooping, stand up straight, stop dodging, take it as it comes. Apparently they are supposed to get wet, so they give in. It is like letting go of something and a small miracle wrung from accident. Walking slowly and naturally in this downpour, they are avoided by the more sensible, who walk swiftly around them, unsettled by these strange creatures. Citizens of a better city.”

The author presents a counterintuitive perspective on dealing with rain in the city, suggesting that those who embrace the rain rather than fight against it are “[t]he best of them.” This idea challenges conventional wisdom and highlights the subjective nature of living in New York. Whitehead employs a series of short, declarative sentences to build his argument, creating a rhythmic prose that mirrors the steady fall of rain. The repetition of “The best of them” emphasizes the author’s admiration for these individuals who have chosen to accept rather than resist their environment. The final sentence, describing these rain embracers as “[c]itizens of a better city,” suggests that by changing one’s perspective and relationship with the city, one can transform their entire experience. This idea reinforces the theme of Personal Experience and Subjectivity, implying that the quality of city life is largely determined by individual attitude and perception.

“This place is falling apart, after all. If you listen close you can hear it. Day by day you contribute to it. You think this place sucks the life from you but in fact it is the opposite. This bosom.”

This quote captures the complex relationship between the city and its inhabitants, highlighting the theme of The City as a Living Entity. Whitehead personifies the city, describing it as both decaying and nurturing. The paradoxical nature of the urban environment is emphasized through the juxtaposition of “falling apart” and “bosom,” suggesting that the city’s apparent deterioration is part of its life cycle. The use of second-person address invites readers to consider their own role in the city’s ongoing transformation. The phrase “you contribute to it” implies a symbiotic relationship between the individual and the urban landscape, reinforcing the idea of Interconnectedness and Universality.

“A rollercoaster is your mind trying to reconcile two contradictory propositions. Earth and space, cement and air, city and sea. Life and death. Choose quickly.”

Whitehead uses a metaphor to compare the experience of riding a rollercoaster to the mental process of grappling with contradictory concepts. His use of paired opposites—“Earth and space, cement and air, city and sea”—creates a sense of tension and duality, mirroring the physical ups and downs of a rollercoaster ride. The final pairing, “Life and death,” elevates the metaphor to a philosophical level, suggesting that the thrill of a rollercoaster ride is akin to confronting mortality itself. The imperative “Choose quickly” adds urgency to the passage, reflecting both the split-second decisions made on a rollercoaster and the rapid-fire nature of city life. This quote encapsulates the theme of The City as a Living Entity, presenting New York as a place of constant flux and contradiction, in which inhabitants must navigate opposing forces.

“Walkers add incremental wear and tear to footwear. Joggers speed past walkers, seeing nothing but their inner skylines, long indifferent to the miracles around them. Bicyclists speed past them all, spinning spokes, a different species.”

This quote illustrates the theme of Personal Experience and Subjectivity by depicting different types of bridge users and their varied interactions with the environment. Whitehead employs a crescendo-like structure, moving from slow walkers to fast bicyclists, emphasizing the diversity of experiences on the bridge. The phrase “inner skylines” metaphorically suggests that joggers are focused on their internal worlds, oblivious to their surroundings. By describing bicyclists as “a different species,” Whitehead uses hyperbole to underscore the stark contrast in how different individuals experience the same space. This passage highlights how personal perspective shapes one’s interaction with New York’s landscape.

“Her lazy progress along the bridge is tracked for half an hour by a man in an apartment. Each time she stops, he tries to figure out what she is looking at, thinking of. To be with her, her companion across this thing. Unwitting prop in one man’s mania. One speck among many specks.”

Whitehead explores the themes of Interconnectedness and Universality and The City as a Living Entity. He creates a voyeuristic scenario that demonstrates the unexpected connections between strangers in an urban setting. The woman becomes an unknowing participant in the man’s narrative, highlighting how city dwellers can become part of others’ stories without their knowledge. The phrase “unwitting prop in one man’s mania” emphasizes this involuntary connection. The final sentence, “One speck among many specks,” uses a metaphor to convey the simultaneous significance and insignificance of individuals within the vast urban landscape, reinforcing the idea of the city as a complex, interconnected organism.

“Inflate experiences to metaphorical dimension. Relate a tale of personal significance, receive nondescript nods despite emphatic adjectives.”

This quote reflects on the theme of Personal Experience and Subjectivity, particularly how individuals attempt to convey the significance of their experiences to others. Whitehead uses terse, imperative sentences to mimic the process of storytelling and reception. The phrase “inflate experiences to metaphorical dimension” suggests that people often exaggerate or romanticize their personal narratives to make them more impactful. However, the “nondescript nods” in response to “emphatic adjectives” imply a disconnect between the storyteller’s perception of their experience and the audience’s reception. This passage highlights the challenges of communicating subjective experiences and the potential isolation that can result from the inability to fully convey one’s personal narrative.

“Messy and teeming. Making plans, making haste, making partner. Move move move. The old man trips and falls and gets trampled and they’d help him to his feet but they’re late late late.”

This quote encapsulates the frenetic energy and relentless pace of New York City life, particularly during rush hour. Whitehead employs a staccato rhythm through short, punchy phrases and repetition to mimic the hurried movement of the crowd. The parallel structure in “Making plans, making haste, making partner” emphasizes the constant striving for success and progress that characterizes urban professionals. The image of the trampled old man juxtaposed with the crowd’s reluctance to help due to their own time constraints highlights the theme of Personal Experience and Subjectivity, illustrating how individual urgency often overshadows collective empathy in the city environment. This passage also touches on the theme of The City as a Living Entity, portraying the rush hour crowd as a single, unstoppable force with its own momentum and disregard for individual suffering.

“Travelers swim to it and cling, savoring solid handhold in roaring whitewater. Churches fill up at regular intervals, on a schedule laid out in the business plan. Like the best storms, rush hour starts out as a slight drizzle, then becomes unholy deluge.”

Whitehead uses metaphors to describe Grand Central Terminal and the phenomenon of rush hour. The comparison of travelers to swimmers in “roaring whitewater” evokes the overwhelming nature of the city’s crowds and the struggle for stability amidst chaos. This imagery reinforces the theme of The City as a Living Entity, portraying the urban environment as a powerful, natural force that individuals must navigate. The reference to churches filling up on a schedule “laid out in the business plan” introduces a satirical tone, suggesting that even spiritual practices in the city are subject to the rhythms of commerce and efficiency.

“On long walks, while flipping through random books of photography, while flying overhead on jet planes: I used to live there. When they least expect it he will say it, apropos of nothing he will say it, because if he hasn’t lived there, he will someday. There are always other apartments waiting for him. There is always more city.”

This quote explores the theme of Personal Experience and Subjectivity in relation to urban life. Whitehead uses repetition and a list-like structure to emphasize the pervasive nature of the narrator’s connection to the city. The phrase “I used to live there” becomes a refrain, highlighting how deeply ingrained the city’s geography is in the narrator’s psyche. The final sentences emphasize the city’s vastness and potential, portraying it as an ever-expanding entity that offers endless opportunities for new experiences and connections.

“While everyone else went mad they found each other. Not made for each other but maybe made out of each other. The same substance, the way the city is one substance, every inch of it from one end to the other. Solid. Immutable. Unbreakable.”

This quote exemplifies the themes of The City as a Living Entity and Interconnectedness and Universality. Whitehead uses metaphor to compare the connection between two individuals to the unified nature of the city itself. The phrase “made out of each other” suggests a deep, almost metaphysical bond, which is then extended to encompass the entire urban landscape. The use of short, declarative sentences (“Solid. Immutable. Unbreakable”) creates a sense of finality and permanence, reinforcing the idea of the city as an enduring, monolithic presence. This passage portrays the city not just as a physical space but as a unifying force that shapes and connects its inhabitants, emphasizing the interdependence of urban dwellers and their environment.

“They secretly relish the violence done to their neighborhoods and old haunts because after they’re gone they can brag about witness to the heyday. To complain is to belong, possess property. Not rent for once.”

This quote encapsulates the complex relationship between New Yorkers and their ever-changing city. Whitehead employs irony to highlight how residents find a perverse satisfaction in witnessing the destruction of familiar places. This paradoxical sentiment stems from the desire to claim ownership over the city’s history. The author’s use of short, punchy sentences emphasizes the bitterness and possessiveness inherent in this attitude. The phrase “Not rent for once” alludes to the transient nature of city life and the longing for permanence. This quote touches on the theme of Personal Experience and Subjectivity, as it illustrates how individuals internalize and narrativize urban change to assert their place within the city’s fabric.

“The loneliness is the worst, because this knowledge is something that cannot be shared, only suffered. Just as well. Why should anyone else have it easy. Spoken like a true New Yorker.”

In this passage, Whitehead delves into the isolating effect of understanding the city’s true nature. The author employs a melancholic tone to convey the weight of this knowledge, suggesting that deep familiarity with New York breeds a unique form of solitude. The truncated sentence “Just as well” and the rhetorical question that follows reveal a cynical acceptance of this condition. By ending with “Spoken like a true New Yorker,” Whitehead implies that this cynicism is a defining characteristic of the city’s inhabitants. This quote exemplifies the theme of Personal Experience and Subjectivity, highlighting how individual perceptions of the city shape one’s identity and outlook. Additionally, it touches on Interconnectedness and Universality by suggesting a shared experience among long-time New Yorkers, even as it emphasizes their isolation.