The Race Underground: Boston, New York, and the Incredible Rivalry That Built America's First Subway
416
The Race Underground: Boston, New York, and the Incredible Rivalry That Built America's First Subway
416eBook
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Overview
Product Details
| ISBN-13: | 9781466842007 |
|---|---|
| Publisher: | St. Martin's Publishing Group |
| Publication date: | 02/04/2014 |
| Sold by: | Macmillan |
| Format: | eBook |
| Pages: | 416 |
| Sales rank: | 644,492 |
| Lexile: | 1280L (what's this?) |
| File size: | 5 MB |
About the Author
Doug Most is the deputy managing editor for features at The Boston Globe. He is the author of Always in Our Hearts: The Story of Amy Grossberg, Brian Peterson, the Pregnancy They Hid and the Child They Killed. He has written for Sports Illustrated, Runner's World and Parents and his stories have appeared in Best American Crime Writing and Best American Sports Writing. He lives in Needham, Massachusetts.
Doug Most is the deputy managing editor for features at The Boston Globe. He is the author of Always in Our Hearts: The Story of Amy Grossberg, Brian Peterson, the Pregnancy They Hid and the Child They Killed (St. Martin's True Crime, 2005). He has written for Sports Illustrated, Runner's World and Parents and his stories have appeared in Best American Crime Writing and Best American Sports Writing. He lives in Needham, Massachusetts.
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CHAPTER 1
A SECRET SUBWAY
THEY CAME ON FOOT, AND BY CARRIAGE, and from the city and around the country. On September 12, 1867, thousands of people lined up outside the Fourteenth Street armory, a hulking gray building in downtown New York, to see what the future held for them. The women wore hoop skirts and their finest bonnets, the men came in their dark suits and perfectly knotted ties. The American Institute Fair was more than an event. It was a monument to the times, the place to come and see the latest crazy ideas that the inventors of the day had dreamed up and to get a glimpse of the fantastic future. This year one particular innovation, which a reporter for The New York Times had seen during a sneak preview and raved about in an article, was turning the thirty-seventh year of the fair into a spectacle before it even opened.
The American Institute Fair, started in 1829 as a way to encourage innovation in the country, showcased a collection of novelties, some practical, some bizarre. For a number of years the fair had no permanent home, until it grew so big that organizers decided it deserved its own space. A group of financiers, including August Belmont and William Cullen Bryant, two of New York's richest men, imagined a warehouse-sized building more grand than London's glittering Crystal Palace. And on Forty-second Street and Sixth Avenue, in the same place where George Washington's troops had once been chased across a field by redcoats, that's what they built. Their own Crystal Palace was shaped like a Greek cross and topped by an enormous 123-foot-high dome, the tallest in America. With eighteen hundred tons of iron and fifteen thousand panes of clear enameled glass, there was nothing else like it. When it opened on July 14, 1853, President Franklin Pierce was there to welcome in a new era when dazzling advances in technology and science would define the country's direction.
One year later at the fair, a clever mechanic named Elisha Graves Otis showed how climbing hundreds of stairs no longer had to be an obstacle for cities to grow upward. His elevator, a new invention that was pulled up by ropes, was not only safe but heralded the age of buildings much taller than eight, ten, or twelve stories. With a crowd standing around his elevator, Otis rode it to its highest level and, for the riveted audience below, reached out and cut the elevator's only rope. Instead of plummeting down, he fell only a few inches and then stopped, showing everybody how the safety catch he had installed worked.
A few years after that, in 1856, another promising inventor and entrepreneur brought a typewriter he'd been tinkering with to the fair. A short and skinny thirty-year-old man with slicked-back black hair and a razor-thin mustache, Alfred Beach was a devoted churchgoer and opera lover who rose early and went to bed early. When he was awake, he was in perpetual motion, exercising regularly and working with one thing or another. He despised vacations. Any spare time that he had, he spent toying with wires, cables, or any contraption he could get his hands on, always with the hope of understanding how it worked and how it could be improved.
In 1848, after Beach had spent almost an entire year exploring the inner workings of the typewriter, he discovered that by having the keys strike both sides of the paper rather than one side, embossed, or raised, letters would be created that could be felt. He knew that if the letters could be felt with the fingertips, then the blind would be able to read. The device worked, and it won him praise from fellow inventors and affirmed in his own mind a desire to do something even greater. It took him years to refine his idea enough to where he was comfortable showing it to the world. And when he finally brought it to the American Institute Fair in 1856, it was a hit. It was recognized as the most advanced typewriting machine yet and won first prize and a gold medal.
Those were the sorts of inventions that drew people, sometimes more than five thousand a day, to the fair every year. And Crystal Palace was as much of an attraction as the inventions inside. The palace was described as "beautiful beyond description." It was also thought to be indestructible thanks to its cast-iron beams. But on October 5, 1858, with two thousand people roaming the exhibitions, one of the storage rooms caught on fire. In minutes the flames had shot through the wood flooring and began melting the walls and roof. As the crowd raced outside to safety, Crystal Palace was swallowed up by sparks, smoke, and flames until it collapsed into a heap. Days later, just five years after its celebrated opening, it was nothing but a pile of rubble. Scavengers came to sift through the remains in hopes of finding a souvenir from the building that was supposed to signal America's new dawn of invention.
Erecting a new permanent home for the fair was out of the question. In 1867, its home was the Fourteenth Street armory, between Sixth and Seventh avenues, a building as plain as Crystal Palace was extravagant. Inside, there were tables and booths showing off the dreams of hundreds of inventors: medical instruments, pianos, sewing machines, steam engines, wagons, sleighs, electric telegraphs, boots, hats, gloves, kitchen utensils, furniture, artificial limbs, wigs, fishing tackle, pocket knives, umbrellas, and toys. There were inventions that rolled along the floor and others that lined the walls. But it was the latest idea from Beach, this one suspended from the ceiling, that crowds flocked to see.
*
ALFRED ELY BEACH WAS BORN into a prestigious family on September 1, 1826, in Springfield, Massachusetts, an hour west of Boston. His father, Moses Yale Beach, owned The New York Sun, a popular daily newspaper that sold for a penny, mostly to the city's working class. He sent his boy to Monson Academy, one of the very best private schools, near Springfield. Alfred Beach learned from his father at an early age that it was fine to dream big but more important to respect an honest day's work. His first taste of labor was as a newsboy, hawking The Sun on the streets of New York. From there he moved on to work in the press room, where he set type and left each day covered in ink and sweat. And after that he moved up to the newsroom, first to do menial accounting work, and then to work as a reporter.
He loved working with his father. But he dreamed of striking out on his own. In 1845, another young man from Massachusetts named Rufus Porter presented him with that chance. Porter had just published the very first issue of a weekly magazine he created, called Scientific American. Four pages long, it sold for a subscription rate of two dollars a year. The first edition included a note from Porter explaining how useful he believed his publication could be. "As a family newspaper," Porter wrote, "it will convey more useful intelligence to children and young people, than five times its cost in school instruction."
Scientific American was published every Thursday morning and was filled with original engravings of new inventions, improvements, or ideas, along with scientific essays, poems, and even things completely unrelated to science, like moral and religious musings. But Porter saw himself as more than an inventor or editor. He was also an artist who enjoyed painting portraits. Not surprisingly, he quickly lost interest in a magazine devoted to science, and, barely ten months after he founded Scientific American, Porter went looking for a buyer.
Beach was twenty years old and because of his father's newspaper saw the value of the printed word. But he didn't have the money to go it alone. He needed a partner. Thinking back to his days at his private school in Massachusetts, he reached out to a good friend that he thought might make the perfect business partner. Orson Desaix Munn moved to New York, and in July 1846 the two of them paid $800 for the tiny, obscure technical magazine and its subscription list of two hundred names. It marked the beginning of a friendship and partnership that would last nearly fifty years.
Scientific American had only a few hundred subscribers under Rufus Porter. But as Alfred Beach and Orson Munn learned once they took it over, inventors of the day saw real value in the magazine. The inventors wanted help from like-minded dreamers who saw the potential in their ideas. Beach and Munn had barely settled into their offices in 1846 when they were besieged with letters from inventors, or sometimes with unannounced visits. The requests were always the same: Help me apply for a patent and secure it, and I'll pay whatever it takes. Beach and Munn realized that Scientific American was more than a magazine. It was a trusted brand.
Late in 1846, the two launched a new business. If an inventor had an idea, the owners of the Scientific American Patent Agency would happily take their money, help them write the perfect patent application, and track the progress of it once it reached the U.S. Patent Office in Washington. There was no other business like it in the country, and before long Beach was traveling to Washington every two weeks to monitor the hundreds of patents he or Munn helped write. Eventually the business was filing three thousand patents a year and Beach was forced to split his time between New York and a branch office in Washington, directly across the street from the patent office. The patent business earned Beach a fortune and some measure of fame. He became a pied piper of sorts for the American inventor, the one they all sought out for advice, opinions, or help with a patent. Thomas Edison walked in one day to show Beach a device he called the phonograph. Beach turned a crank on Edison's small machine and a voice piped up, "Good morning, sir. How are you? How do you like the talking box?" He liked it, and he helped Edison file a patent. He also would help Alexander Graham Bell, Samuel F. B. Morse, and thousands more.
But it was Scientific American that gave Beach the platform he craved to promote his own personal interests and inventions. Beach and Munn were able to quickly resurrect the magazine by focusing its content less on the highly technical science stories and more on what they knew best: curious inventions and practical, interesting patents. Simply by printing a weekly list of patents given to them directly from the U.S. Patent Office, Beach and Munn increased the number of subscriptions to Scientific American, and it took off: by 1848, not even two years after they bought it, the circulation exceeded ten thousand readers.
Beach was becoming a man of real importance. When his father decided in 1848 to hand over management of his newspaper to his two sons, Moses and Alfred, Alfred's prominence reached even greater heights. He owned the most respected and lucrative science magazine in the country. He had the attention of every serious and not-so-serious inventor across the land. And now he was running a daily newspaper with more than fifty thousand readers in the nation's largest city. He had a vast and growing audience riveted on his every opinion. And he was only twenty-two years old.
*
THE MID–NINETEENTH CENTURY WAS a magical time for anybody who loved to tinker and had good ideas and good hands. Inventors were changing the way people lived their lives and ran their businesses. Elias Howe, not yet thirty years old, introduced his sewing machine in 1846, and within a few years the garment-making industry was revolutionized and clothes became more affordable. In 1847, a middle-aged inventor from Charlestown, Massachusetts, named Samuel Morse, who had been working for more than a decade to perfect his idea of speeding up long-distance, person-to-person communications, received a patent for an invention called the telegraph. A year later, a blacksmith from New Bedford, Massachusetts, changed the whaling industry with a new type of harpoon. And farming was in the midst of huge change. The American economy relied heavily on the success of the farmer, who might spend an entire day doing backbreaking work in the fields to plow or harvest only a single acre. But as 1850 approached, each passing year brought farmers more relief. A grain elevator invented in Buffalo dramatically sped up the hoisting of grain from ships into bins. The production of artificial manure to help crops grow began to take off, and the artificial-fertilizer industry was born. New inventions allowed farmers who were previously able to manage only a dozen acres to handle a hundred or more. Amid all this upheaval, no industry underwent more dramatic change than the transportation industry.
In 1825, most commuters who lived in cities got to work the same way. They walked. Only the rich could afford to own or hire a private carriage, and the idea of multiple people riding together in the same vehicle seemed farfetched. New York City had nearly two hundred thousand residents, most of whom were crowded into a small portion of the island. Only as more immigrants arrived and the population grew did the footprint of the livable parts of New York expand. That's when Abraham Brower saw an opportunity.
Brower asked the coach-making business of Wade & Leverich in 1827 to design and build for him a vehicle that could hold twelve people. The vehicle, which he called Accommodation, had large wooden wheels with spokes, open sides, and two compartments inside, each with a forward-facing and backward-facing seat for three people. Steps on the side made getting in and out easy, and for a flat fare of one shilling, passengers could be whisked almost two miles up and down Broadway. In bad weather, the driver would sometimes go slightly out of his way to get a passenger closer to home.
Emboldened by the success of Accommodation, Brower added a second vehicle with some improvements. The door was in the back, with iron stairs, and inside the seats ran lengthwise instead of across. The new design made the ride more social for passengers, thus the name Sociable was painted on its side. Boston, in the same year, had seen a similar service introduced, which ran on a regular schedule. For twelve cents, passengers could ride between South Boston and the downtown area. But no other American city jumped on the experiment, and for a short period Boston and New York alone had these precursors to urban mass transit systems.
While Americans were just getting used to the idea of riding with others, Brower began to hear of an even bigger, more lumbering vehicle taking over the streets of Paris and London. It was called an omnibus, and on a spring day in 1831, he introduced it to the streets of New York. The sight of the driver sitting on a raised seat and a small boy standing on the rear steps to collect the fare of twelve and a half cents was jarring for New Yorkers at first. But before long more than a hundred decorated omnibuses were crowding the streets of the city, with names painted on the sides, from George Washington to Lady Washington to Benjamin Franklin. They were popular. And they caused complete chaos.
For the individual owners of the omnibuses, nothing mattered more than the paying passenger. Drivers whipped their horses repeatedly to speed them past a competitor to the next potential fare, even if it meant a harrowing few seconds for those already on board. Grazing a lamppost to cut a corner or to cut in front of a rival was fair game, and pedestrians not paying attention could get maimed by a cornering horse or the trailing carriage. Nobody benefited more from the crowded, jostling cars than the pickpocket. The omnibus, which had started out with such promise, quickly lost favor with the people. "Bedlam on wheels," is how The New York Herald described it. The bedlam would not last, and it would give way to something better.
*
ON A BITING MORNING IN late 1832, Walter Bowne, a former state senator entering his third term as New York mayor, joined a sidewalk crowd of high-society gentlemen in top hats and ladies in satin dresses standing in the Bowery district. They came to see where street transit systems were headed. A year earlier, Bowne had signed an ordinance allowing the New York & Harlem Railroad Company to build a railroad between the Harlem River and Twenty-third Street. It was promised to the city that a transportation system on rails would be a dramatic upgrade for passengers, a smoother and faster ride than wooden wheels on cobblestone streets, and much easier for the horses. It took months for a route to be agreed upon, and on November 26, 1832, shouting spectators lined the downtown streets to come see what they had been told was the future of transportation.
(Continues…)
Excerpted from "The Race Underground"
by .
Copyright © 2014 Doug Mos.
Excerpted by permission of St. Martin's Press.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
Table of Contents
Title Page,
Copyright Notice,
Dedication,
Epigraph,
Introduction: Two Cities, One Crisis,
Part One: The Visionaries,
1. A Secret Subway,
2. Where Spirits, the Devil, and the Dead Live,
3. A Family for the Ages,
4. History Made in Richmond,
Part Two: The Blizzard and the Billionaires,
5. The Blizzard That Changed Everything,
6. New York City's Moses,
7. William Whitney's Missed Opportunity,
8. The Engineer and the Piano Maker,
9. The Rise and Fall of Henry Whitney,
Part Three: Tragedies, Triumphs,
10. Bidding to Build History,
11. Meehanville,
12. Boom!,
13. "First Car off the Earth!",
14. The Brains, the Builder, and the Banker,
15. Playing with Dynamite,
16. October 27, 1904,
Epilogue,
Acknowledgments,
Author's Note,
Notes,
Bibliography,
Index,
Photographs,
About the Author,
Copyright,
Interviews
A Conversation with Doug Most, Author of The Race Underground
What about the history of the subway inspired you to start writing the book?
I was particularly interested in Boston's subway, having lived here now for a decade, ridden the subway and been surprised to learn that nobody had written a definitive story of Boston's story. Subways are the fabric that bind cities together, and that's certainly true in Boston and New York. As I explored the story behind subways, I was fascinated to learn how people were terrified of going underground. I loved that detail. And it sparked a whole level of reporting for me.
What do you hope readers will take away with them when they finish the book?
I want them to have an appreciation for what their predecessors did for them, how more than a century ago it was brilliant engineers, determined politicians, and hard-working, blue-collar sandhogs who dug for a living, all of whom came together to create their subways. They died to build these subways. They spent years studying, debating, digging, and fortifying the walls of these tunnels that became the subways of today. It was an engineering miracle, the idea of digging under the streets of busy cities, but it was a miracle that was realized and it's important that today's generation of dreamers realize how much hard work is necessary to make dreams come true.
What is it about the race to build the country's first subway that has such a wide appeal?
Everybody loves firsts. And everybody loves a good competition. In this case, throw in the fact that it was Boston and New York building subways at the same time and it's just a great story. These two cities are linked in so many ways. They are linked by their close proximity to each other, barely two hundred miles. They are linked by sports, from baseball and Babe Ruth to football and basketball. They are linked even by politics. The last two mayors of New York City are actually from the Boston area. How strange and cool is that? Both cities in the late 1800s needed relief, they were desperately overcrowded and they both turned to subways at the same time. Except one of those cities was able to move faster than the other. In every story like this there, someone has to get there first. And that's a story that never gets old.
What do you find most satisfying about writing?
I've enjoyed writing since I was a boy and into my teens. I love words and creating interesting sentences and most of all telling a good story. When a story hooks you from the first sentence or first paragraph or first chapter, there is no better feeling than of being swallowed up in a story.
Which writers have influenced you the most?
I hesitate to single any out. But there are styles of storytelling I love. Throughout the writing of this book, two authors remained on my office bookshelf, and when I found myself stuck I would crack one of their books for inspiration. The first was obvious: David McCullough, the master storyteller of great history books. The Great Bridge was a tour de force, the story of the Brooklyn Bridge, and I must have opened it a hundred times. The other writer was Laura Hillenbrand. Her two books, Seabiscuit and Unbroken are just amazing examples of narrative storytelling. I loved those books. The way that I fashioned my opening of The Race Underground, with a short, three-page scene-setting story, was modeled after the way Hillenbrand opened Seabiscuit, which I loved.
[As did we: Seabiscuit was a 2001 Discover pick. -Ed.]
ho have you discovered lately?
Well, the last five years my life was consumed by history books and trains and subways, so I didn't get to read as much for pleasure as I wished. A colleague and friend of mine, Neil Swidey, has written two amazing books that are exactly what I love about nonfiction storytelling, The Assist and Trapped Under the Sea. I think he has many more great nonfiction narratives in him. I loved the book about New York mansions and the eccentric rich woman, Empty Mansions by Bill Dedman. I devoured the Steve Jobs biography by Walter Isaacson, not exactly a new journalist, but a new book. On the fiction side, as a sports fan and someone who used to cover minor league baseball, I loved Chad Harbach's debut novel, The Art of Fielding. I'm excited to read for pleasure again.
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