From the Publisher
“A tour de force.” —Luc Sante, The New York Times Book Review
“Pitch-perfect. . . . Utterly authentic. . . . The Colossus of New York is quite simply the most delicious 13 bites of the Big Apple I’ve taken in ages.” Grace Lichenstein, The Washington Post
“A love letter to New York. . . . Colossus illuminates innumerable little moments that define the city.” —San Francisco Chronicle
“The cheapest, most stylish ticket to the Big Apple between two covers. . . . .It’s as if Whitehead’s scooped his pen into the collective unconscious of everyone who’s ever visited New York.” —Pittsburg Post-Gazette
“A revelatory ode to Gotham. . . . Whitehead’s engaged eyes and precise prose show us the small details we overlook and the large ones we fail to absorb.” —The Miami Herald
“Smooth, dazzling, evocative. . . . [Whitehead] writes wonderfully, commanding a lush, poetic, mellifluous prose instrument.” –The Nation
“[Whitehead is] a scientist of metropolitan encounters, he surveys places where the masses collide, knitting together hundreds of observations and calculations that usually remain unspoken. . . . The musical prose thrums with urban momentum.” —The Village Voice
“[Whithead’s] New York, like Walt Whitman’s or Thomas Pynchon’s or Woody Allen’s, is full of incantatory potential. Even the subway, ordinary, noisy, gruddy inevitability, becomes a ferry to the Underworld.” —The Atlanta Journal-Constitution
“[A] rapsodic ode to Gotham.” —Time Out
“Jazzlike. . . . A vivid impressionistic montage of Manhattan.” —The Seattle Times
“Whitehead’s series of vignettes and remembrances paint a perfect visual landscape. . . . A heartfelt tribute to Whitehead’s home.” —The Oregonian
“Lyrical. . . . Lean and full of longing. . . . The kind of book that will be . . . passed around, dog-eared, library-tagged, resold, from reader to reader. . . . Whitehead takes a known and specific place and universalizes it, insinuating it into the meshwork of our thoughts in a manner impervious to time and trend.” —Minneapolis Star Tribune
“Thrums with anxious excitement and excited anxiety accommodating the noirish, the reportorial, and the epigrammatic. . . . The best passages deserve comparison with E.B. White’s Here is New York.” —Entertainment Weekly
“Whitehead [is] one of the city’s and country’s finest young writers. . . . [A] guided tour de force.” —Chicago Tribune
“Jazzlike. . . . A vivid impressionistic montage of Manhattan.” —The Seattle Times
“A revelatory ode to Gotham. . . . Whitehead’s engaged eyes and precise prose show us the small details we overlook and the large ones we fail to absorb.” —Miami Herald
“Profound and playful.” —Los Angeles Times
“Whitehead’s series of vignettes and remembrances paint a perfect visual landscape. . . . A heartfelt tribute to Whitehead’s home.” —The Oregonian
“Rhapsodic love letters . . . elegant, ambitious essays.” —New York Post
“Impressionistic . . . [an] affecting homage to E.B. White.” —New York Magazine (Top Fall Book Pick)
In Colossus of New York, award-winning novelist Colson Whitehead offers an evocation that captures the diversity, the promise, the splendor, the chaos, and the exuberance of this great, ever-changing city. With a style as multifarious and unpredictable as New York itself, Whitehead presents the never sleeping metropolis in its alternating splendor and squalor. A love letter to America's Gotham.
The New York Times
The book is a tour de force of voice, restlessly hopscotching from first to second to third person, from observation to speculation to reminiscence to indirect citation, in a staccato rhythm that effectively mimes the noise of the city. The identity of the narrator shifts almost sentence to sentence. Sometimes the author is speaking, and sometimes it is someone overheard in a crowd or the sound of someone else's interior monologue or some anonymous emanation from the domain of received ideas. The texture is like the flick of a radio dial across the band, if all the stations had achieved a mysterious unity of subject.
The Washington Post
The Colossus of New York is quite simply the most delicious 13 bites of the Big Apple I've taken in ages. Voices jump from first to second to third person, from singular to plural, and all are instantly recognizable -- they are tart and sassy, insecure and subjugated, belonging to you, me, the guy on the park bench over here or the subway savant over there.
Whitehead (The Intuitionist; John Henry Days) lays out a wildly creative view of New York City. To out-of-towners, Gotham is about famous places, but Whitehead's New York is not. It's more about a way of seeing. For example, "No matter how long you have been here, you are a New Yorker the first time you say, That used to be Munsey's, or That used to be the Tic Toc Lounge... when what was there before is more real and solid than what is here now." Whitehead begins with the bus ride into Port Authority, complete with impossibly heavy baggage, bathrooms braved by only the desperate and the seating strategies of experienced bus riders. He cuts to city feelings: the morning's garbage truck noises; the problem of rain; coping with rush hour. When he does write of celebrated places-Central Park, Coney Island, the Brooklyn Bridge-it's for the role they play in our ritual life: when we go, how we are when we're there and how it feels to leave. Whitehead is a master of the minutiae of the mundane. He takes you to the moment of a subway train leaving without you: could you have made it if you'd left a few seconds earlier? Should you take a taxi? You check the tunnel for the next train, fusing with thoughts of time as new passengers accumulate on the platform. This 13-part lyric symphony is like E.B. White's Here Is New York set to the beat of Ellington or Cage. (On sale Oct. 21) Forecast: Although the book probably won't sell well nationally, local radio promotion could help it become a hit in New York. Some of Whitehead's best passages are excellent read-aloud material and could be easily excerpted. Copyright 2003 Reed Business Information.
This nonfiction venture by recognized novelist Whitehead (The Intuitionist; John Henry Days), recipient of a Whiting Award and a MacArthur Fellowship, is a tonic for post-9/11 New York City, both a toothsome challenge and a treat too quickly consumed. New Yorkers of many natures and manners will recognize themselves and their experiences in these 13 essays; for visitors, those contemplating the move, or readers ruminating on New York City's special place in the American pantheon, the book will be equally, but differently, interesting. Written in a variety of styles and voices that change from first person to second to third and taking on themes ranging from geographies and the city's landmarks to the depictions of daily life and the special kind of loneliness that comes with living in the world's greatest city, this unique treatment of New York is well, it's very New York: beautiful, imaginative, textured, and vibrant. Suitable for all public libraries, libraries with significant or growing modern-literature collections, and most academic libraries. [Previewed in Prepub Alert, LJ 6/1/03.]-Terren Ilana Wein, Univ. of Chicago Copyright 2003 Reed Business Information.
As ebullient as Walt Whitman and as succinct as Emily Dickinson, a young novelist (John Henry Days, 2001, etc.) looses his five senses on his native New York Cityand allows the sixth some play, as well. Whitehead makes it both difficult and easy for readers in this astonishingly evocative view of Gotham. The difficulties all arise from his poetic language. He eschews question marks, commas, and much other interior punctuation, as if to say, "Slow down. You don’t need that stuff to understand me." And his paragraphs will drive pedantic grammarians wild (even as they will delight the liberated), for he segues smoothly from first person to second to thirdin both singular and pluralas if to ask (without the question mark and comma, of course), "Hey, what’s the difference?" And yet . . . reading him is as natural (and as uncomfortable) as looking in a full-length mirror. It’s as if Whitehead has heard all of our conversations, smelled our fears, tasted our successes, recognized our falseness, tapped our phones and our fantasies, and, yes, felt our pain. The volume comprises 13 short pieces that have both a loose chronological and a cyclical sense: morning to night, arrival and departure, birth and death. Near the beginning is a piece about the Port Authority bus station that deals with bus rides, uncertainties, stresses, and arrivals in the New World of Manhattan. Near the end is a snippet about a departure from Kennedy Airport; in the air, you look back over the city, says Whitehead, and you see such a vast expanse that "you realize you were never really there at all." In between are riffs on Central Park, the subway, rain, Broadway, Coney Island, the Brooklyn Bridge, and soon. And rippling just underneath the surface of many of the pieces are a certain sexual energy (a firm nipple here, an erection there) and some unobtrusive allusions to 9/11 (on the Brooklyn Bridge: "If it shakes it can fall"). Poetry in paragraphs. Agent: Nicole Aragi
Read an Excerpt
I'm here because I was born here and thus ruined for anywhere else, but I don't know about you. Maybe you're from here, too, and sooner or later it will come out that we used to live a block away from each other and didn't even know it. Or maybe you moved here a couple years ago for a job. Maybe you came here for school. Maybe you saw the brochure. The city has spent a considerable amount of time and money putting the brochure together, what with all the movies, TV shows and songsthe whole If You Can Make It There business. The city also puts a lot of effort into making your hometown look really drab and tiny, just in case you were wondering why it's such a drag to go back sometimes.
No matter how long you have been here, you are a New Yorker the first time you say, That used to be Munsey's, or That used to be the Tic Toc Lounge. That before the internet cafe plugged itself in, you got your shoes resoled in the mom-and-pop operation that used to be there. You are a New Yorker when what was there before is more real and solid than what is here now.
You start building your private New York the first time you lay eyes on it. Maybe you were in a cab leaving the airport when the skyline first roused itself into view. All your worldly possessions were in the trunk, and in your hand you held an address on a piece of paper. Look: there's the Empire State Building, over there are the Twin Towers. Somewhere in that fantastic, glorious mess was the address on the piece of paper, your first home here. Maybe your parents dragged you here for a vacation when you were a kid and towed you up and down the gigantic avenues to shop for Christmas gifts. The only skyscrapers visible from your stroller were the legs of adults, but you got to know the ground pretty well and started to wonder why some sidewalks sparkle at certain angles, and others don't. Maybe you came to visit your old buddy, the one who moved here last summer, and there was some mix-up as to where you were supposed to meet. You stepped out of Penn Station into the dizzying hustle of Eighth Avenue and fainted. Freeze it there: that instant is the first brick in your city.
I started building my New York on the uptown No. 1 train. My first city memory is of looking out a subway window as the train erupted from the tunnel on the way to 125th Street and palsied up onto the elevated tracks. It's the early 70's, so everything is filthy. Which means everything is still filthy, because that is my city and I'm sticking to it. I still call it the Pan Am Building, not out of affectation, but because that's what it is. For that new transplant from Des Moines, who is starting her first week of work at a Park Avenue South insurance firm, that titan squatting over Grand Central is the Met Life Building, and for her it always will be. She is wrong, of coursewhen I look up there, I clearly see the gigantic letters spelling out Pan Am, don't I? And of course I am wrong, in the eyes of the old-timers who maintain the myth that there was a time before Pan Am.
History books and public television documentaries are always trying to tell you all sorts of "facts" about New York. That Canal Street used to be a canal. That Bryant Park used to be a reservoir. It's all hokum. I've been to Canal Street, and the only time I ever saw a river flow through it was during the last water-main explosion. 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. Except for that bit about the Dutch buying Manhattan for 24 bucksthere are and always will be braggarts who "got in at the right time."
There are eight million naked cities in this naked citythey 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. Your favorite newsstands, restaurants, movie theaters, subway stations and barbershops are replaced by your next neighborhood's favorites. It gets to be quite a sum. Before you know it, you have your own personal skyline.
Go back to your old haunts in your old neighborhoods and what do you find: they remain and have disappeared. The greasy spoon, the deli, the dry cleaner you scouted out when you first arrived and tried to make those new streets yours: they are gone. But look past the windows of the travel agency that replaced your pizza parlor. Beyond the desks and computers and promo posters for tropical adventures, you can still see Neapolitan slices cooling, the pizza cutter lying next to half a pie, the map of Sicily on the wall. It is all still there, I assure you. The man who just paid for a trip to Jamaica sees none of that, sees his romantic getaway, his family vacation, what this little shop on this little street has granted him. The disappeared pizza parlor is still here because you are here, and when the beauty parlor replaces the travel agency, the gentleman will still have his vacation. And that lady will have her manicure.
You swallow hard when you discover that the old coffee shop is now a chain pharmacy, that the place where you first kissed so-and-so is now a discount electronics retailer, that where you bought this very jacket is now rubble behind a blue plywood fence and a future office building. Damage has been done to your city. You say, It happened overnight. But of course it didn't. Your pizza parlor, his shoeshine stand, her hat store: when they were here, we neglected them. For all you know, the place closed down moments after the last time you walked out the door. (Ten months ago? Six years? Fifteen? You can't remember, can you?) And there have been five stores in that spot before the travel agency. Five different neighborhoods coming and going between then and now, other people's other cities. Or fifteen, twenty-five, a hundred neighborhoods. Thousands of people pass that storefront every day, each one haunting the streets of his or her own New York, not one of them seeing the same thing.
We can never make proper goodbyes. It was your last ride in a Checker cab and you had no warning. It was the last time you were going to have Lake Tung Ting shrimp in that kinda shady Chinese restaurant and you had no idea. If you had known, perhaps you would have stepped behind the counter and shaken everyone's hand, pulled out the disposable camera and issued posing instructions. But you had no idea. There are unheralded tipping points, a certain number of times that we will unlock the front door of an apartment. At some point you were closer to the last time than you were to the first time, and you didn't even know it. You didn't know that each time you passed the threshold you were saying goodbye.
I never got a chance to say goodbye to some of my old buildings. Some I lived in, others were part of a skyline I thought would always be there. And they never got a chance to say goodbye to me. I think they would have liked toI refuse to believe in their indifference. You say you know these streets pretty well? 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. It saw you wince when the single frigid drop fell from the air-conditioner twelve stories up and zapped you. It saw the bewilderment on your face as you stepped out of the stolen matinee, incredulous that there was still daylight after such a long movie. It saw you half-running up the street after you got the keys to your first apartment. The city saw all that. Remembers too.
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 LucyI knew it would never work out. You picked up yoga, you put down yoga, you tried various cures. You tried on selves and got rid of them, and this makes your old rooms wistful: why must things change? 3R goes, Saxophone, you sayI knew him when he played guitar. Cherish your old apartments and pause for a moment when you pass them. Pay tribute, for they are the caretakers of your reinventions.
Our streets are calendars containing who we were and who we will be next. We see ourselves in this city every day when we walk down the sidewalk and catch our reflections in store windows, seek ourselves in this city each time we reminisce about what was there fifteen, ten, forty years ago, because all our old places are proof that we were here. One day the city we built will be gone, and when it goes, we go. When the buildings fall, we topple, too.
Maybe we become New Yorkers the day we realize that New York will go on without us. To put off the inevitable, we try to fix the city in place, remember it as it was, doing to the city what we would never allow to be done to ourselves. The kid on the uptown No. 1 train, the new arrival stepping out of Grand Central, the jerk at the intersection who doesn't know east from west: those people don't exist anymore, ceased to be a couple of apartments ago, and we wouldn't have it any other way. New York City does not hold our former selves against us. Perhaps we can extend the same courtesy.
Our old buildings still stand because we saw them, moved in and out of their long shadows, were lucky enough to know them for a time. They are a part of the city we carry around. It is hard to imagine that something will take their place, but at this very moment the people with the right credentials are considering how to fill the craters. The cement trucks will roll up and spin their bellies, the jackhammers will rattle, and after a while the postcards of the new skyline will be available for purchase. Naturally we will cast a wary eye toward those new kids on the block, but let's be patient and not judge too quickly. We were new here, too, once.
What follows is my city. Making this a guide book, with handy color-coded maps and miniscule fine print you should read very closely so you won't be surprised. It contains your neighborhoods. Or doesn't. We overlap. Or don't. Maybe you've walked these avenues, maybe it's all Jersey to you. I'm not sure what to say. Except that probably we're neighbors. That we walk past each other every day, and never knew it until now.
The Port Authority
They're all broken somehow, sagging down the stairs of the bus. Otherwise they would have come here differently. The paparazzi do not wait to take their picture. Barricades do not hold back the faithful. This is the back entrance after all.
In the parking berth it is anticlimactic. A man in goggles records the time of arrival. The baggage handler huffs into his palms, one job closer to punching out. Thousands of arrivals every day, they won't stop coming. Different people but all the same. They try to sneak by with different faces but it is no use. They step down the grooved steps, clutching items and the attendant lugs the bags out of the bin, looking for handles. They get excited and jostle: is someone going to steal their bags. They have all heard the stories. One of them has a cousin who came here once and was a victim of street crime. He had to have money wired so he could get home and that was the last time their clan went to New York. There is a thing called three card monte out to get you. They have all heard the stories and they all come anyway. The bags thud on concrete and get taken.
No matter their home towns, no matter their reasons for sliding cash through ticket windows, on the bus they are all alike. They get on. By the driver they take stock, shoving receipts into pockets and bags. There are some seats in the back. They all want to sit alone. You have never been the first on the bus and had your pick. People have theories about window seats and aisle seats and which areas are safer in the event of a crash. He is unaware that his duffel hits each person on the head as he passes. Is this seat taken, he says, and his measure is taken by his neighbor. Scowls come easy. It only takes five minutes for them to ease into lasting discomfort. If only she could breathe through her mouth for the next thousand miles. She practices a technique. At the next stop people arrange bags and jackets on the empty seats beside them and avoid eye contact or feign sleep when the new pilgrims try to find seats.
There is not much to occupy them on the highways except intermittent foreshadowings. An industrial park, the confident skyline of a smaller city than the one named on their ripped tickets. Signs on the highway count down miles, sometimes heartening. More furtive things dart from the headlights to escape glimpses. Across three states the empty bottle of juice rolls up and down the bus between shoes and bags. No one claims ownership. Responsible parties pretend not to hear. That is surely a wig two rows up. They try out new positions for their legs. One drawn up and the other wedged into the footrest. Both feet almost in the aisle until the third person trips on them. He has long legs and deserves special rights. The tall man drives his knees into the seat in front of him, squeezing up a chimney. Hers is the only seat that won't recline. The lever has been ripped off and every inclination of her neighbors summons jealousy. Each new combination of limbs might be the one that unlocks the vault of comfort and then sleep. Instead, parts that don't matter fall asleep before their brains. Legs, feet. As they cross state lines, license plates change colors.