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Dark Harbor: The War for the New York Waterfront
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Dark Harbor: The War for the New York Waterfront

3.6 5
by Nathan Ward

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"They'd never kill a reporter...." On the morning of April 29, 1948, a West Side pier hiring boss was shot on his way to work. The murder reminded the New York Sun's city editor of a similar docks killing from the year before, and so he called over his best general assignment man, Malcolm "Mike" Johnson, telling him, "Lots of unrest down there. Maybe


"They'd never kill a reporter...." On the morning of April 29, 1948, a West Side pier hiring boss was shot on his way to work. The murder reminded the New York Sun's city editor of a similar docks killing from the year before, and so he called over his best general assignment man, Malcolm "Mike" Johnson, telling him, "Lots of unrest down there. Maybe you can get a story out of it." Johnson certainly did, discovering the greatest story of his long career, and a "waterfront jungle" with "rich pickings for criminal gangs." His crime series ran on the Sun's front page for twenty-four days in the fall of 1948, raising a national scandal and bringing death threats on him and his family. Johnson alleged the existence of an international crime "syndicate," at a time when J. Edgar Hoover would not admit that such a syndicate, let alone a Mafia, existed.

Herein, Nathan Ward tells the original Mob story, "revealing a spiderweb of union corruption and outright gangsterism....His story has everything" (New York Sun), making Dark Harbor a modern true crime classic.

Editorial Reviews

Thomas Kelly

On a recent spring afternoon I took a Circle Line cruise around Manhattan. As the ferry made its way from the pier in Hell's Kitchen down and around the tip of the island it passed miles of sterile waterfront where hundreds of piers once jutted brazenly into the waters of the East and North rivers, each one teeming with muscle and machines all engaged in disgorging the world's bounty from mighty ships. That New York is long gone. Instead, I saw sunbathers in boutique parks, a dozen duffers perfecting golf swings, a series of flashy glass boxes where apartments sell for a pirate's treasure, but no vestige of the sprawling, brawling harbor that once was the mightiest port in the world; a centrifuge of commerce and corruption.

If that world is familiar at all to modern readers, it can be attributed to the undiminished power of that cinematic masterpiece, On The Waterfront. In Dark Harbor, Nathan Ward pilots the reader skillfully back into that lost world by essentially giving us the story behind the story bestowed to us by Kazan, Schulberg, and Brando. Ward's book is both panoramic and intimate, giving us an overview of how vital that port was to the economic health of the world's largest economy. But he also spirals down to where his characters lived and thrived and died; the docks, the hiring sheds, the ships holds, the smoky backrooms, and the bloody gin mills of back alley New York.

Ward gives us the full roster of waterfront characters that inhabited and shaped the world. Murderous gang bosses like Cockeye Dunn, Mickey Bowers, and Albert Anastasia. Lowlife killers like Squint Sheridan, martyrs like Pete Panto and his unsung collaborators, including the Jesuit Father John "Pete Corridan" who inspired Karl Malden's character in the movie. Ward ties them to the major players of the day like Frank Costello, and Mayors Bill O'Dwyer and Frank Hague. The world the longshoremen lived in was rougher and tougher than the one portrayed in the film. Recalcitrant dockworkers are attacked with guns, ice picks, hand grenades; even flames are used as bargaining tools. Among the plethora of goons is one who earned the particularly chilling prison sobriquet, the Rape Artist.

It's a tale of epic sweep, but Ward is smart enough to center the struggle on two men. Joe Ryan, aka "King Joe," was the President-for-life of the powerful International Longshoremen's Association. All reports indicate Ryan was handy with his fists as a young dockworker and cunning enough to know there was no percentage in staying on the docks -- but plenty in controlling them. His rise to the top of the labor rackets was meteoric, and once he was ensconced nobody dared to challenge his authority. He had none of the snarling intensity of Lee J. Cobb's Johnny Friendly, but was rather a sing-songy Irishman with charm to burn -- at least until he was cornered.

Ryan sat fat and pretty for years until a waterfront-related murder served as a catalyst for a series of newspaper articles about corruption in the port. The reporter to land that dangerous assignment was Malcolm "Mike" Johnson, a writer who some years earlier had come to New York from Georgia, which was still burning with the pain of slavery and race wars. He had made his bones as a reporter by Klan-bashing so successfully that his bosses urged a retreat north as death threats threatened to become tangible.

He soon landed in one of those singular New York institutions, the New York Sun, the venerable broadsheet that had given the world stories by Edgar Alan Poe and the "Yes, Virginia there is a Santa Claus" editorial. As brilliant as Ward's description of the docks is, he is equally adept at describing another lost world -- the old-time, big city newspaper. Ward drops us into a newsroom run with steely rectitude by a character named Speed Keats (yes, he was related to the poet) who sent Johnson out to cover the waterfront murder and then backed his reporter's desire to keep digging. Johnson relished the assignment and worked his way into the fabric of the underworld that enveloped the docks.

What Johnson found was systemic corruption, but he decided to make Ryan the embodiment of the problem. The Sun series was a huge success, splashy and sensational and Pulitzer-winning. The story sent shock waves through the corridors of power, from City Hall to the nation's capital, to Hoover's FBI -- which was still belittling the notion of organized crime. Despite the scope of the series, the articles were aimed mostly at King Joe, and each one landed like a body blow, softening him up gradually but surely. Ryan, like many a scoundrel of his time, reacted to the attacks by swinging wildly with a red brush, describing any and all enemies as commies and radicals. Johnson, who again had to endure death threats because of his work, had the solid backing of Mr. Keats.

I wonder if, sixty years ago, men such as Ryan and Johnson -- powerful and prominent -- thought one day they would be lost, footnoted to a faded time. It's a safe bet that those they both presumed to fight for, the longshoremen, would have bet a year's pay that they would be the ones forgotten by history. The strength of Ward's endeavor is that all those men, the good, the bad, the powerful, and the obscure, are given their due in the pages of Dark Harbor.

--Thomas Kelly

From the Publisher

“Meticulous reporting, a keen eye for detail, and an elegant writing style...terrific.” —Jonathan Eig, The New York Times Book Review

“True crime done right, sharply researched and written with an economy of language...as atmospheric as a two a.m. stroll down the wharf on a late October night.” —Allen Bara, The Daily Beast

“Brilliant.” —New York magazine

“Riveting.” —New York Post

“This gritty examination of the corrupt New York City waterfront...has all of the local color, rich detail, and notorious gangland figures of Elia Kazan's film masterpiece, On the Waterfront. Extremely valuable to all interested in twentieth-century New York City.” —Publishers Weekly (starred review)

“Nathan Ward's elegant and affectionate visit to gangster New York in the 1940s is excellent true crime and true histroy. Dark Harbor goes on the shelf next to Joseph Mitchell and A.J. Liebling.” —Alan Furst, author of Night Soldiers

“Carefully researched, Nathan Ward's Dark Harbor nonetheless reads as if it were ripped from the day's headlines. Here is the real--and fascinating--story of the waterfront.” —Kevin Baker, author of Strivers Row

“True-crime and film fans alike will be engrossed by Ward's street-savvy research into the original waterfront.” —Gilbert Taylor, Booklist

Jonathan Eig
For a writer of history, there is always a risk in telling a story that's been told before. In this case, the bar is especially high, because Ward presents a tale that has been told not just often but quite well, first by [Malcolm] Johnson and then in the Oscar-winning movie. To make his challenge even greater, Ward brings no huge trove of new information to his account, and he offers no novel grand view to reshape our thinking of this chapter in American history. But he does have a few weapons at his disposal—namely, meticulous reporting, a keen eye for detail and an elegant writing style—and he uses them to make the tale seem new again.
—The New York Times
Publishers Weekly
This gritty examination of the corrupt New York City waterfront provided by Ward, a former editor with American Heritage and Library Journal, has all of the local color, rich detail, and notorious gangland figures of Elia Kazan’s film masterpiece, On the Waterfront. Ward parallels the 1948 muckraking efforts of Malcolm “Mike” Johnson, a legendary New York Sun reporter, to uncover three decades’ worth of unsolved rubouts on the West Side docks. Instead, he discovered, in Ward’s words, “a city apart, with its own bosses, language and codes, bankers, soldiers, and even martyrs.” Johnson found widespread corruption linking the city fathers, police, and waterfront racketeers. Ward serves up some stirring profiles of characters like “suave” lawyer Jim Longhi, with a radical past; shrewd, politically well-connected union boss Joseph Ryan; Father John Corridan, the anticorruption “waterfront priest”; and stoolie Abe Reles, whose plunge from a Coney Island hotel window ended an early probe into the bloody antics of Murder Inc. Extremely valuable to all interested in 20th-century New York City, the book tells a bitter truth: despite Johnson’s three-week-long scandal-baring newspaper series, which stirred the pot, nothing loosened the iron grip of the mob on the waterfront. (June)
Kirkus Reviews
Former American Heritage editor Ward reveals the seedy history of the old New York waterfront, a brutal, dangerous environment ruled by corrupt union officials and the mob. The author focuses on New York Sun investigative reporter Mike Johnson's Pulitzer-winning series of articles in 1948, which uncovered the graft and terror tactics that characterized life on the docks. These tactics ultimately brought down International Longshoremen's Association "president for Life" Joseph Ryan and improved conditions for the embattled workers. Packed with colorful characters including the murderous thug "Cockeye" Dunn, fearsome "Tough Tony" Anastasio, dapper Abe "Kid Twist" Reles and Charlie "The Jew" Yanowsky (who was ice-picked to death), the book reads like classic noir. Beleaguered laborers marinate in dirty saloons, murders abound, death threats fly and the nation is forced to reckon with the reality of organized crime as sensational TV government hearings drag the dirty business into the light. Arthur Miller was inspired by the murder of a reform-seeking longshoreman to write a screenplay about the milieu. More famously, writer Budd Schulberg's take on the issue became the classic Marlon Brando film On the Waterfront (1954), whose principal characters and situations were inspired by actual people and events. Ward's most engaging characters are the tough, streetwise priest John Corridan, a plain-talking rabble-rouser who courageously walked the docks and agitated for justice-Karl Malden memorably played the figure based on Corridan in Waterfront-and the congenitally crooked union boss Joe Ryan, a blustery operator who hid his misdeeds behind a smokescreen of anti-communist rhetoric. The author deftly marshals vast amounts of research to tell his story, including original interviews with players from the era, and he richly evokes the atmosphere of mid-century New York. A lucid, illuminating history of the epicenter of organized crime in America. Agent: Ed Breslin/Ed Breslin Agency

Product Details

Publication date:
Edition description:
First Edition
Sales rank:
Product dimensions:
5.40(w) x 8.20(h) x 0.90(d)

Read an Excerpt


“Oh, I know what you want to hear about,” Jim Longhi said with

false reluctance the first time I called him, interrupting a chess

game with his wife, Gabrielle. “The old waterfront—gangsters,

rackets, the Anastasias.”

He was right. My interest in what Mr. Longhi elegantly called

the “criminal coloration” of the docks was what had brought us

together. Longhi was a cultured Manhattan attorney on the threshold

of his nineties when we met in his cheerful apartment on Sutton

Place one summer afternoon. He had just removed his work tie

from the collar of his silk shirt as he led me out onto his small balcony.

Below us and a few hundred yards away was the East River, a

pretty staid thoroughfare at that point in its life compared to the

rough old waterfront I had come to hear about, and Mr. Longhi

weighed the calm barge traffic he saw against the river in his head.

“A very different waterfront,” he judged. As we talked about his

early days, the suave manners of the Columbia- educated attorney

loosened a bit, following his tie, revealing a son of the Brooklyn

docks. Longhi’s father had been a radical docks organizer (“When

I was born, my father had seven bodyguards, seven Italians with

ice picks!”), and he had started out himself as a waterfront lawyer

like Mr. Alfieri, the character his friend Arthur Miller modeled on

him for A View from the Bridge. We spent some wonderful hours

among his memories of one friend’s dangerous feud with “Tough

Tony” Anastasio or another whose longshore activism had dropped

off after “they broke his legs.” This was the world I was after.

I’d first become interested in the waterfront when I lived in

South Brooklyn, in a brownstone owned by an old Italian longshoreman

with missing fingers. Ships would occasionally appear at

the end of my street, to be unloaded or repaired or sent off with a

burst of nighttime fireworks. I grew familiar with the tug and ferry

horns and watched the sunset flights of pigeons that zagged around

the rooftops, much as in the famous Brando movie. But I knew

almost nothing about the old days until I happened across a reference

to a 1940s newspaper series on waterfront gangsterism. It had

run for twenty- four days—an extraordinary amount of space to give

to any subject then, let alone to the lowly docks—and caused a

national scandal; could the piers really have been as brutal as they

looked in the movies?

When I met Jim Longhi again it was in his law offices on lower

Broadway and he was wearing a beautiful brown suit. The high

windows looked across to the old New York Sun building and beyond

to another waterfront, busy with beautifications. On a distant

pier by the Brooklyn Bridge, where Longhi remembered watching

desperate men fight a hook- swinging riot, a new riverside playground

was being dug. We sat for an hour talking about some

valiant old causes and vivid, long- dead thugs of the harbor.

Months before he died, I called Mr. Longhi once more at his

office with a foolishly cinematic idea: to take my ninety- year- old

friend out on a boat and tour the harbor, perhaps starting at the

Narrows and hugging the shoreline to see what he remembered,

pier by vestigial pier; Longhi would narrate as he drifted around

the city, recalling who had owned what or done what to whom.

(“You say, ‘Mafia,’ and it’s provincial,” he had told me. “You say,

‘Mob,’ and it extends way beyond the Italian underworld.”)

The small tour boat Geraldina was ready to pick us up, her captain,

herself a historian of the harbor, eagerly standing by with a

video camera and microphone to capture the floating lecture. I then

called Mr. Longhi to ease any remaining old- guy concerns about

the trip, describing the level, relatively uncomplicated Chelsea

dock (with an outdoor bar) where we imagined him stepping aboard

after a steadying cocktail. He listened to my pitch, then paused

and sighed into the phone. “It kind of sounds like a pain in the

ass,” he said at last. “I have my own picture of where everything

was in my mind. I don’t need to see the waterfront today to tell me


Seeing it today would indeed muddle things. At the edge of the

Erie Basin, a ferry service lures visitors from Manhattan to a giant

IKEA store that sits among the relics of the Brooklyn industrial

waterfront. The store has a large upstairs cafeteria where, after a

long afternoon touring housewares and furniture kits, you can eat

Swedish meatballs and watch the sun lengthen across the car park,

paved over a deep old dry dock that once held warships.

For decades, much of the abandoned waterfront was walled off

by empty pier sheds. There was a forlorn beauty to the slow dilapidation,

even if the water was blocked by a kind of ghost town. Many

old sheds have since been flattened into parks; a trapeze school

now sits atop Chelsea’s Pier 40 building, and swinging out over the

Hudson River waterfront, you have a clear downtown view uncluttered

by slings or crates or Hi- Lo trucks. Looking out from the

promenade that overhangs the expressway in Brooklyn Heights,

you see a rotting wet railroad pier, all that remains here from Jim

Longhi’s time, the dark planking and rail track punctuated by

shrubs that grow in green tufts; large concrete piers, recently

cleared of their cargo sheds for park space, surround the ruin,

which has been retained among the planned ice rink, new ballfields,

and condominia pushing south from the bridges and toward

the hugely still gantry cranes of the Red Hook Marine Terminal.

Beyond the cranes sits the boxy white- brick headquarters of the

Waterfront Commission of New York Harbor, established in the

fifties to mind the gangsters on the docks and recently folded into

Homeland Security.

The harbor Mr. Longhi kept in his head was the world’s greatest

port, a collection of bays rimmed with more than nine hundred

piers and noisily crowded with hundreds of express liners,

freighters, ferries, lighters, garbage scows, car floats, battleships,

yachts, floating elevators, coffee barges, and constantly whistling

tugs. The Hudson was still known as the North River (to distinguish

it from the Delaware, or South River) along its length from

the Battery, where freighters often lined up for their tug escorts, to

the deep Midtown piers. This book is about that old waterfront, and

its “criminal coloration,” where money washed in and out, and

graft mingled the longshore union with the racketeers.

Touring the harbor today, it is hard to imagine these quiet

frontages of rot and renewal ever knowing such a fearful time that a

reporter could write, “It has been said, and with some justification

that the waterfront of New York produces more murders to the

square foot than does any other one section of the country. Most

such murders go unsolved.” In fact, in 1948, the year the shooting

of a young boss stevedore brought reporter Malcolm “Mike” Johnson

of the New York Sun to the West Side docks, the Manhattan district

attorney claimed there’d been at least two dozen unsolved

waterfront murders since 1919. Johnson soon learned that snaking

around the watery edges of his town was a very different city. “Murder

on the waterfront is commonplace,” he wrote, “a logical product

of widespread gangsterism.”

I have tried my best to evoke the dock world the longshoremen

knew long before the newspapers discovered it. But at its heart,

this is a reporter’s story. If Mike Johnson’s sleuthing along the

docks has a hardboiled familiarity, echoing any number of later

Mob tales involving hoods and rackets and an intrepid investigator,

it is because his was the original—creating the Mob investigation

form that runs from On the Waterfront to The Valachi Papers and

Donnie Brasco. Johnson’s discovery of what he called a “waterfront

jungle” is also the story of a clash of New York institutions—a fading

newspaper, backing its unshakable veteran star reporter; the

Mob, near the height of its influence, whose leaders had largely

come to power and of age during Prohibition; and the longshore

union and the pugnacious survivor at its helm, “president- for- life”

Joseph Ryan.

“One of the constantly astounding things about New York is that

it can endure so much crime and corruption and still manage to get

on,” the New York Herald Tribune editorialized during the waterfront

scandals. Indeed, the city had “gotten on” for several decades

under an imaginary bargain, despite the occasional alarms raised

by citizens’ groups about port corruption and the bodies that turned

up from month to month, deposited by what newspapers obtusely

called the “dock wars.” New Yorkers were aware that gangsters

shared their town, primarily robbing and shooting one another and

running the better nightclubs but never holding the reins completely

as they had in Chicago. For many, their city’s sinful reputation

was the price of cosmopolitanism.

Reporters had toured the waterfront before Mike Johnson,

dabbling in its rough atmosphere and lore as the movies did—as a

setting for brawls and deals or other seamy behavior beyond the

edge of society. Investigating the deaths of some twenty- one stevedores

in Brooklyn’s Irishtown neighborhood, The New Yorker’s Alva

Johnston wrote in 1931 that the total lack of arrests was “not

because there is anything secret or underhand about these murders,

but because the witnesses won’t talk.” Loyalty to the waterfront

code against “squealing” also marked the death of the

Brooklyn dock boss Red Donnelly, who, balehooked and shot in a

waterfront shanty, was asked the perfunctory policeman’s question

of who had killed him. “John Doe,” Red coughed out, and died


Even the celebrated crimefighter Thomas Dewey, whose racketbusting

exploits as Manhattan DA inspired a long- running radio

drama (Mister District Attorney), was beaten by the docks and its

infuriating code. After his agents secretly filmed longshoremen

passing “tribute” money at two Wall Street piers in 1941, they subpoenaed

two hundred of the men and shuttled them in buses to a

special screening of the surveillance movie, which failed to convince

many about testifying. As one asked, “Who the hell wants to

be a dead hero, mister?”

Arturo Piecoro began his three decades on the New York docks

in the last days of the “shape- up” system, when each freightbearing

vessel that entered the harbor was met by gangs of men,

many carrying curved iron hooks with which they would dig out the

stowed cargoes of lumber, coffee, copper ingots, or Egyptian cotton.

These hopefuls crowded together at the pierheads, hunching under

their caps and windbreakers in raw weather, waiting to be chosen

in an ancient ritual in which most would be sent home. The shapeup

was “a hit- and- miss thing unless you knew somebody,” Piecoro

told me at a Brooklyn coffee shop. “If you miss one shape, you

hurry down to the next pier. There’s another ship. You bullshit with

some guys, then go over. Three steady gangs would be called first;

then, if somebody was sick, you might have a chance.”

Those picked in the shape might work four or sixteen hours

while a particular ship remained in port; if they weren’t part of a

regular work gang, they could idle for a week around the piers or

waterfront bars, scanning the newspapers or pub chalkboards for

lists of incoming ships. When they worked, the longies, as they

called themselves, were at greatest risk down in the ship’s hold; but

up top, slings could slip and rain down heavy cargo loads on the

men working below. On Columbia Street in Brooklyn, the day’s

gangs were often sorted out between the hatch boss and hiring boss

before the shape- up whistle even sounded, which made the shapeup

itself a demoralizing formality. “Guys paid for jobs, but you

never saw it,” Piecoro told me. “They might turn up with something

on their hat, or behind their ear, but you never saw them do it. That

was all done before.”

When Jim Longhi brought his friend Arthur Miller down to

Columbia Street to show him a shape- up, the young playwright was

thoroughly shocked to see the men herded docilely together, “waiting

for the hiring boss, on whose arrival they surged forward and

formed in a semi circle to attract his pointing finger and the numbered

brass checks that guaranteed a job for the day,” Miller

remembered. On another visit he saw men “tearing at each other’s

hands” in “a frantic scramble” for the morning’s last few work

checks. “America, I thought, stopped at Columbia Street.”

So it seemed. “Mobsters and labor racketeers” controlled the

world’s largest port, Mike Johnson wrote in 1948—and they threatened

his life for saying it. The bolder pier heists included an entire

electrical generator gone missing and a vanished ten- ton shipment

of steel. Organized pilferage was so rampant, Johnson said, it

amounted to an unofficial national tax, made possible by wider corruption

in the longshore union and in the courts, the police department,

and Washington. The scandal he raised inspired Estes

Kefauver to put mobsters on national television and the filmmakers

Budd Schulberg and Elia Kazan to create a controversial masterpiece.

That so many people now regard On the Waterfront as an

allegory for something else—the filmmakers’ own testifying to Congress

about communism—shows how much has been forgotten

about the criminal reality of the docks Mike Johnson exposed.

As Johnson would learn, the “waterfront jungle” was by no

means a clear extension of the New York it encircled. It was a city

apart, with its own bosses, language, and codes, bankers, soldiers

and even martyrs, a frontier all its own.

Meet the Author

Nathan Ward, who was an editor with American Heritage, has written for The New York Times and other publications. He lives in Brooklyn, New York, not far from the Red Hook piers. He is the author of Dark Harbor: The War for the New York Waterfront and The Lost Detective: Becoming Dashiell Hammett.

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Dark Harbor: The War for the New York Waterfront 3.6 out of 5 based on 0 ratings. 5 reviews.
Anonymous More than 1 year ago
Fascinating source material, but rambling and poorly edited.
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