Duneier spent five years with these individuals, and in Sidewalk he argues that, contrary to the opinion of various city officials, they actually contribute significantly to the order and well-being of the Village. An important study of the heart and mind of the street, Sidewalk also features an insightful afterword by longtime book vendor Hakim Hasan. This fascinating study reveals today's urban life in all its complexity: its vitality, its conflicts about class and race, and its surprising opportunities for empathy among strangers.
Sidewalk is an excellent supplementary text for a range of courses:
INTRODUCTION TO SOCIOLOGY: Shows how to make important links between micro and macro; how a research project works; how sociology can transform common sense.
RACE AND ETHNIC RELATIONS: Untangles race, class, and gender as they work together on the street.
URBAN STUDIES: Asks how public space is used and contested by men and women, blacks and whites, rich and poor, and how street life and political economy interact.
DEVIANCE: Looks at labeling processes in treatment of the homeless;
interrogates the "broken windows" theory of policing.
LAW AND SOCIETY: Closely examines the connections between formal and informal systems of social control.
METHODS: Shows how ethnography works; includes a detailed methodological appendix and an afterword by research subject Hakim Hasan.
CULTURAL ANTHROPOLOGY: Sidewalk engages the rich terrain of recent developments regarding representation, writing, and authority; in the tradition of Elliot Liebow and Ulf Hannerz, it deals with age old problems of the social and cultural experience of inequality; this is a telling study of culture on the margins of American society.
CULTURAL STUDIES: Breaking down disciplinary boundaries, Sidewalk shows how books and magazines are received and interpreted in discussions among working-class people on the sidewalk; it shows how cultural knowledge is deployed by vendors and scavengers to generate subsistence in public space.
SOCIOLOGY OF CULTURE: Sidewalk demonstrates the connections between culture and human agency and innovation; it interrogates distinctions between legitimate subcultures and deviant collectivities; it illustrates conflicts over cultural diversity in public space; and, ultimately, it shows how conflicts over meaning are central to social life.
|Publisher:||Farrar, Straus and Giroux|
|Edition description:||First Edition|
|Product dimensions:||5.38(w) x 8.26(h) x 1.12(d)|
About the Author
Ovie Carter, a photographer for the Chicago Tribune, has received the Pulitzer Prize and multiple awards of Excellence from the National Association of Black Journalists.
Read an Excerpt
Hakim Hasan is a book vendor and street intellectual at the busy intersection of Eighth Street, Greenwich Avenue, and the Avenue of the Americasaka Sixth Avenue. He is a sturdy and stocky five-foot-seven African American, forty-two years old. In the winter, he wears Timberland boots, jeans, a hooded sweatshirt, a down vest, and a Banana Republic baseball cap.
One Thursday in February 1996, an African-American man in his mid-thirties came up to Hakim's table and asked for a copy of Alice Walker's book The Same River Twice, about her experiences in turning her novel The Color Purple into a movie. Hakim was all sold out, but said he would get some more in stock soon.
"When you get some, you let me know," said the man, who worked delivering groceries.
"I'll let you know."
"Because, you see, not only that," said the man, "I've got a friend that loves to read."
"Male or female?" asked Hakim.
"Female. She's like this: when she gets a book in her hand, in another hour it's finished. In other wordslike, with me, I'll read maybe ... five chapters, then I'll put it down 'cause I gotta do something, then maybe I'll come back to it. But with her, she gets into it and goes through the whole book like that. Boom. And she puts it on the shelf and it's just like brand-new. Like, when it's her birthday or what-have-you, I buy her books, because that's one of the things that she likes. I bought the book Waiting to Exhale in paperback, right? Listen to this: when Iapproached her with the book, the movie was coming out and she said, 'You late! I been read that book!'"
Hakim laughed. "I think she had a point."
"I said, 'Better late than never.' I wish I read that book before I seen the movie. Now, you can tell me this, Hakim: is it the same thing in the paperback as the hardcover?"
"Yeah, it's just different print."
"Just different print? Okay. Well, when you get the other book by Alice Walker, you let me know."
The man made a motion to leave, but then he continued talking.
"Because, you see, what happens is that there are a lot of females ... authors that are coming out that are making their voices heard. More so than ever black. Even Alice Walker says something about this. It goes deep, man."
"Yeah, I'm gonna read that book by Alice Walker," said Hakim. "I'm gonna read it today."
"Oh, you're gonna read it today?" the man asked, laughing.
"I just finished two books over the weekend. I read at least one book a week," said Hakim.
"I try to tell my son that," said the deliveryman. "If you read one book a week, man, you don't know how much knowledge you can get."
Hakim doesn't just name titles. He knows the contents. I have observed the range and depth of his erudition impress scholars, and have seen him show great patience with uneducated people who are struggling with basic ideas and don't know much about books. He might sit for hours without having a single customer step up to his table; other times the table becomes a social center where men and women debate into the night.
For two years, I lived around the corner from where Hakim sets up. Almost every day, whenever I had time to amble about on the block, I'd visit and listen to the conversations taking place at his table.
At first, Hakim sold what he called "black books," works exclusively by or about blacks. In later years, he became romantically involved with a Filipina book vendor named Alice, who carried used paperback classics and New York Times best-sellers, and they merged their vending tables. Now they are on their own again, working side by side. Alice is the only woman who works outside on Sixth Avenue every day, and she has practically raised her daughters and granddaughters there. Whereas Alice tends to be "about business," local residents, workers, and visitors come to Hakim to discuss topics of all kinds, from burning issues of the day to age-old questions.
* * *
Not long after we met, I asked Hakim how he saw his role.
"I'm a public character," he told me.
"A what?" I asked.
"Have you ever read Jane Jacobs's The Death and Life of Great American Cities?" he asked. "You'll find it in there."
I considered myself quite familiar with the book, a classic study of modern urban life published in 1961, and grounded in the author's observations of her own neighborhood, Greenwich Village. But I didn't recall the discussion of public characters. Nor did I realize that Hakim's insight would figure in a central way in the manner in which I would come to see the sidewalk life of this neighborhood. When I got home, I looked it up:
The social structure of sidewalk life hangs partly on what can be called self-appointed public characters. A public character is anyone who is in frequent contact with a wide circle of people and who is sufficiently interested to make himself a public character. A public character need have no special talents or wisdom to fulfill his functionalthough he often does. He just needs to be present, and there need to be enough of his counterparts. His main qualification is that he is public, that he talks to lots of different people. In this way, news travels that is of sidewalk interest.
Jacobs had modeled her idea of the public character after the local shopkeepers with whom she and her Greenwich Village neighbors would leave their spare keys. These figures could be counted on to let her know if her children were getting out of hand on the street, or to call the police if a strange-looking person was hanging around for too long: "Storekeepers and other small businessmen are typically strong proponents of peace and order," Jacobs explained. "They hate broken windows and holdups." She also modeled the public character after persons like herself, who distributed petitions on local political issues to neighborhood stores, spreading local news in the process.
Although the idea is meaningful to anyone who has lived in an urban neighborhood where people do their errands on foot, Jacobs did not define her concept except to say, "A public character is anyone who is ... sufficiently interested to make himself a public character." To clarify, we may consider her opening observation that the social structure "hangs partly" on the public characters. What Jacobs means is that the social context of the sidewalk is patterned in a particular way because of the presence of the public character: his or her actions have the effect of making street life safer, stabler, and more predictable. As she goes on to explain, this occurs because the public character has "eyes upon the street."
Following Jacobs, urban theorists have emphasized what city dwellers in pedestrian areas like Greenwich Village have always known: sidewalk life is crucial because the sidewalk is the site where a sense of mutual support must be felt among strangers if they are to go about their lives there together. Unlike most places in the United States, where people do their errands in cars, the people of Greenwich Village do many, if not most, of their errands by walking. The neighborhood's sidewalk life matters deeply to residents and visitors alike. Jacobs emphasized that social contact on the sidewalks must take place within a context of mutual respect for appropriate limits on interaction and intimacy. This made for interactive pleasantness, adding up to "an almost unconscious assumption of general street support when the chips are down." The Village's "eyes upon the street," in Jacobs's famous dictum, indicated that residents and strangers were safe and consequently produced safety in fact.
* * *
Greenwich Village looked very different forty years ago, when Jane Jacobs was writing her classic book. Much of the architecture remains, and many people still live the way Jacobs's descriptions suggest; but there is another, more marginal population on these streets: poor black men who make their lives on the Village sidewalks. The presence of such people today means that pedestrians handle their social boundaries in situ, whereas, in the past, racial segregation and well-policed skid-row areas kept the marginal at bay.
In this book, I will offer a framework for understanding the changes that have taken place on the sidewalk over the past four decades. In asking why the sidewalk life has changed in this affluent neighborhood, I provide the context and point of departure for my research. It has changed because the concentration of poverty in high poverty zones has produced social problems of a magnitude that cannot be contained by even the most extreme forms of social control and exclusion. Many people living and/or working on Sixth Avenue come from such neighborhoods. Some were among the first generation of crack users, and so were affected by the war on those who use the drug and the failure of prisons to help them prepare for life after released. Some, under new workfare rules, have lost their benefits when they refused to show up to work as "the Mayor's slave."
In asking how the sidewalk life works today, I begin by looking at the lives of the poor (mainly) black men who work and/or live on the sidewalks of an upper-middle-class neighborhood. Unlike Hakim, who has an apartment in New Jersey, magazine vendors like Ishmael Walker are without a home; the police throw their merchandise, vending tables, clothes, and family photos in the back of a garbage truck when they leave the block to relieve themselves. Mudrick Hayes and Joe Garbage "lay shit out" on the ground (merchandise retrieved from the trash) to earn their subsistence wages. Keith Johnson sits in his wheelchair by the door of the automated teller machine and panhandles.
How do these persons live in a moral order? How do they have the ingenuity to do so in the face of exclusion and stigmatization on the basis of race and class? How does the way they do so affront the sensibilities of the working and middle classes? How do their acts intersect with a city's mechanisms to regulate its public spaces?
The people making lives on Sixth Avenue depend on one another for social support. The group life upon which their survival is contingent is crucial to those who do not rely on religious institutions or social service agencies. For some of these people, the informal economic life is a substitute for illegal ways of supporting excessive drug use. For others, informal modes of self-help enable them to do things most citizens seek to achieve by working: to support families, others in their community, or themselves. For still others, the informal economy provides a forum where they can advise, mentor, and encourage one another to strive to live in accordance with standards of moral worth.
Yet the stories of these sidewalks cannot ultimately serve as sociological romance, celebrating how people on the streets "resist" the larger structures of society. The social order these relationships carve out of what seems to be pure chaos, powerful as its effects are, still cannot control many acts that affront the sensibilities of local residents and passersby. How can we comprehend types of behavior such as sidewalk sleeping, urinating in public, selling stolen goods, and entangling passersby in unwanted conversations? What factors engender and sustain such behavior? How can we understand the processes that lead many people to regard those who engage in such acts as "indecent"? How do the quantity and quality of their "indecency" make them different from conventional passersby?
One of the greatest strengths of firsthand observation is also its greatest weakness. Through a careful involvement in people's lives, we can get a fix on how their world works and how they see it. But the details can be misleading if they distract us from the forces that are less visible to the people we observe but which influence and sustain the behaviors. How do economic, cultural, and political factors contribute to make these blocks a habitata place where poor people can weave together complementary elements to organize themselves for subsistence? And how do such forces contribute to bringing these men to the sidewalk in the first place?
I look at all these aspects of sidewalk life in a setting where government retrenchment on welfare is keenly felt, as is the approbation of influential business groups. When government does assume responsibility in the lives of people like these, it attempts to eradicate them from the streets or to shape their behavior. These "social controls"e.g., cutting down on the space for vending or throwing vendors' belongings in the back of garbage trucksare the intended and unintended results of what has become the most influential contemporary idea about deviance and criminality: the "broken windows" theory, which holds that minor signs of disorder lead to serious crime. What are the consequences of this theory, its assumptions, and the formal social controls to which it has led?
In trying to understand the sidewalk life, I refer to an area of about three city blocks. Here we can see the confluence of many forces: some global (deindustrialization), some national (stratification of race and class and gender), some local (restrictive and punitive policies toward street vendors). Here, also, are blocks which can be studied in light of Jane Jacobs's earlier account and which contain the kinds of social problems that have become iconic in representations of the city's "quality of life" crisis. My visits to some other New York neighborhoods and some other American cities suggest that they, too, have tensions surrounding inequalities and cultural differences in dense pedestrian areas. Across the country, liberals have voted to elect moderate, "law and order" mayors, some of them Republican. Whereas disorderly-conduct statutes were once enough, anti-panhandling statutes have been passed in Seattle, Atlanta, Cincinnati, Dallas, Washington, D.C., San Francisco, Santa Barbara, Long Beach, Philadelphia, New Haven, Raleigh, and Baltimore.
Yet New York City and Greenwich Village are unique in a multitude of ways. I certainly cannot hope to account for life in the majority of places, which have not seen severe sidewalk tensions in dense pedestrian districts; even many places that have seen such tensions are different from Greenwich Village. Nor can I hope to show how the sidewalk works in low-income neighborhoods where the majority of tense sidewalk interactions occur among members of the same class or racial group. In the end, I must leave it to readers to test my observations against their own, and hope that the concepts I have developed to make sense of this neighborhood will prove useful in other venues.
* * *
I gained entrée to this social world when I became a browser and customer at Hakim's table in 1992. Through my relationship with him, I came to know others in the area. He introduced me to unhoused and formerly unhoused people who scavenge and sell on the street, as well as other vendors who compete with him for sidewalk space and access to customers. These relations then led me to panhandlers, some of whom also sometimes scavenge and vend.
Once I was in the network, contacts and introductions took place across the various spheres. Eventually, I worked as a general assistantwatching vendors' merchandise while they went on errands, buying up merchandise offered in their absence, assisting on scavenging missions through trash and recycling bins, and "going for coffee." Then I worked full-time as a magazine vendor and scavenger during the summer of 1996, again for three days a week during the summer of 1997 and during part of the fall of 1997. I also made daily visits to the blocks during the summer of 1998, often for hours at a time, and worked full-time as a vendor for two weeks in March 1999, when my research came to an end.
Although in race, class, and status I am very different from the men I write about, I was myself eventually treated by them as a fixture of the blocks, occasionally referred to as a "scholar" or "professor," which is my occupation. My designation was Mitch. This seemed to have a variety of changing meanings, including: a naïve white man who could himself be exploited for "loans" of small change and dollar bills; a Jew who was going to make a lot of money off the stories of people working the streets; a white writer who was trying to "state the truth about what was going on." More will be said about these and other perceptions in the pages that follow.
My continual presence as a vendor provided me with opportunities to observe life among the people working and/or living on the sidewalk, including their interactions with passersby. This enabled me to draw many of my conclusions about what happens on the sidewalk from incidents I myself witnessed, rather than deriving them from interviews. Often I simply asked questions while participating and observing.
Sometimes, when I wanted to understand how the local political system had shaped these blocks, I did my interviews at the offices of Business Improvement Districts, politicians, and influential attorneys. I also questioned police officers, pedestrians, local residents, and the like. I carried out more than twenty interviews with people working the sidewalk in which I explicitly asked them to tell me their "story." These sessions, held on street corners, in coffee shops, and on subway platforms, lasted between two and six hours. I paid the interviewees fifty dollars when their sessions were over, as compensation for time they could have spent selling or panhandling. Throughout the book, I try to be clear about the kind of research from which a quotation has been culled.
After I had been observing on the block for four years, Ovie Carter, an African-American photojournalist who has been taking pictures of the inner city for three decades, agreed to take photographs to illustrate the things I was writing about. He visited the blocks year-round and came to know the people in the book intimately. Ovie's photographs helped me to see things that I had not noticed, so that my work has now been influenced by his.