The New Yorker’s E.B. White was an aviation enthusiast who rhapsodized about his flights into the clouds, but also had prescience to see the darker side of this modern thrill ride.
Writing in the “Reporter at Large” column for the Oct. 6, 1928 issue, White described his visit to Curtiss Field, where he inquired about a pilot who could fly him over New York City. He was told someone named Bill would take him up.
After a half hour wait, a man in a gray felt hat and sack suit offered White a cigarette and said, “You want to fly over New York?” Although the man didn’t look like a pilot, White followed him to a “little cabin monoplane.” Without saying another word the man took the plane up into the air, much to White’s surprise:
White described the various sites from 800 feet up, including Coney Island, a view at once beautiful and foreboding…
…and the thrill of the approaching city skyline as his plane soared up the Bay toward Manhattan:
Once over the city, White could not help but contain his exuberance, soaring high above the towering spires and teeming crowds below:
And yet as I noted earlier, his observations were tinged with melancholy and foreboding. In describing his flight over Coney Island, for example, White concluded that “the world in general seems sadly beautiful, it is so soon to be gone entirely.”
Perhaps he referred to the rapid changes seen daily in the city during the 1920s, when nothing seemed permanent. Or did this bird’s eye view suggest something else to White? Twenty years later, in his 1948 essay “Here is New York,” White would write:
A single flight of planes no bigger than a wedge of geese can quickly end this island fantasy, burn the towers, crumble the bridges, turn the underground passages into lethal chambers. The intimation of mortality is part of New York now: in the sound of jets overhead, in the black headlines of the latest edition.
Unlike 1928, White had the hindsight of World War II, of entire cities leveled by waves of heavy bombers, or in the case of Hiroshima and Nagasaki, just a single bomb. The foreshadowing of 9/11 is contained in his words as well.
Back on the ground at Curtiss Field, White would finally learn the identity of the man who didn’t look like a pilot, but had just flown him over the city:
Another Vantage Point
With buildings rising ever higher in Manhattan, you could get a pretty good view of the surrounding city by taking an elevator to the rooftop of the latest skyscraper. The Oct. 6 “Talk of the Town” found a good perch atop the 680-foot-tall Chanin building on the southwestern corner of Lexington Avenue and 42nd Street.
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From Our Advertisers
Something you never see in the New Yorker anymore, or in most magazines for that matter, are ads promoting various brands of gasoline. This one touts the benefits of Tydol, produced by the (now defunct) Tide Water Oil Company of New York:
For our Oct. 6 cartoon, here is one of Rea Irvin’s occasional multi-panel, two-page comic spreads, this one exploring the ordeal of a man who couldn’t think of the word for a type of natural plastic used in the 1920s (click to enlarge image):
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On to the Oct. 13 issue, the New Yorker continued its stubborn refusal to report on baseball in its sports section, even though the Yankees were in the process of taking their second consecutive World Series title with a 4-0 sweep over the favored St. Louis Cardinals.
The magazine did, however, mention the game in the Oct. 13, 1928 “Talk of the Town” — not on how it was played, but rather on how the championship money was distributed among players and assistants:
Money matters in the game of sport were more informal 90 years ago, with players themselves divvying up money to other players, trainers, mascots and batboys. For example, in 1927 Yankees batboy Eddie Bennett received $700 for the one-eighth World Series share voted him by the team. This sum earned over the four days of the series nearly equalled a batboy’s pay for a full year.
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Although European-inspired modern furniture was all the rage among certain members of the New York smart set, writer Joseph Fulling Fishman (best known for his writing on contemporary prison conditions) offered a dissenting view in the Oct. 13 edition. An excerpt:
In the art review section, critic Murdock Pemberton also seemed a bit perplexed by modern design, in this case by the work of Ukrainian-born avant-garde artist Alexander Archipenko. His Archipentura was an electronic machine that displayed pre-loaded images of a female undressing by rolling painted canvas through a complex system of sprockets and belts. He intended the machine “to do for painting what the motion picture did for photography.” Pemberton observed:
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From Our Oct. 13 Advertisers
Yet another endorsement for cigarettes from the posh set. This time Melachrino Cigarettes got in on the action with this endorsement by Augusta Barney Harriman.
For our cartoon, Peter Arno once again looked in on the mannerisms of the upper class, contrasting a lithe young flapper with the imposing presence of a battle-axe. Note how the young woman uses the archaic British “mater” in reference to her mother…
Next Time: The Prohibition Portia…