A Bird’s Eye View

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.

October 6, 1928 cover by Ilonka Karasz.

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.

EARLY BIRD…This Fairchild FC-2 Cabin Monoplane, with strut-supported wing, was probably similar to the plane E.B. White rode in his flight over New York City. (Quora)

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:

FLYBOY…E.B. White (left) with friend and New Yorker colleague James Thurber in 1929. (University of Virginia)

White described the various sites from 800 feet up, including Coney Island, a view at once beautiful and foreboding…

AMUSING SIGHT…Aerial view of Coney Island in 1920. (Pinterest)

…and the thrill of the approaching city skyline as his plane soared up the Bay toward Manhattan:

Lower Manhattan looking northeast from the Bay in July 1927. This is approximately the view described by E.B. White as his plane approached Manhattan. (Favrify.com)
A closer view of lower Manhattan as it would have appeared to E.B. White on his 1928 flight over New York City. (Fairchild Aerial Survey photo, 1928)

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.

THINGS ARE LOOKING UP…The Chanin Building at Lexington and 42nd. Sloan & Robertson Architects, 1928. (Favrify.com)

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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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The Oct. 13, 1928 issue featured a notable short story by Thyra Samter Winslow, a writer who contributed nearly a dozen pieces to the New Yorker in 1927 and 1928.

October 13, 1928 cover by Julian de Miskey.

Her short story on page 25, “But for the Grace of God,” was a “key transitional work” for the magazine, according to Ben Yagoda in his book About Town: The New Yorker and the World It Made. He writes: “Realistic fiction thrives in periods of social ambiguity and flux, and the attention to class was on of the factors working to propel New Yorker writing from two-dimensional sketches to fleshed out short stories.” Yagoda observes that Winslow’s story, “in its carefully selected details, its mild epiphany, and its attention to the potency of class…is an accomplished and poignant piece of short fiction.” Excerpts:

GROUNDBREAKER…Thyra Samter Winslow, circa 1920s. She wrote more than 200 pieces for New York magazines between 1915 to 1955, as well as Hollywood screenplays, early television scripts, and several books. She was married to New Yorker staff writer Fillmore Hyde. (playinginthepages.blogspot.com)

You can read more about Thyra Samter Winslow in Savannah Fry’s excellent blog, Playing the Pages.

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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.

GOOD LUCK CHARM…Yankee batboy Eddie Bennett in the 1920s. Although a spinal injury as an infant left him hunchbacked, Bennett would serve as Yankee batboy for 12-years — a period that would include seven pennants and four World Series titles. (sabr.org)

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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:

THINK DIFFERENTLY…Alexander Archipenko (right, circa 1920), intended his intended his Archipentura machine (pictured in front and side views) “to do for painting what the motion picture did for photography.” (Wikipedia/Archipenko Foundation)

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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…

Top Dog

Screen Shot 2015-10-23 at 11.29.29 AMNow that I have your attention (at least the dog lovers anyway; and yes, there is a dog-related item if you read on), it is worth mentioning that the Feb. 20, 1926 issue of The New Yorker marked the first anniversary of the magazine, and in what would become an annual tradition, the magazine reprinted the original Rea Irvin cover from its first issue.

The magazine nearly went belly up during the summer of 1925, but a new marketing campaign, along with noticeably better content, put the magazine firmly in the black as it looked to its second year.

In “The Talk of the Town,” the editors couldn’t help but boast about their prosperity, albeit in a winking manner:

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Jimmy the Ink (James Daugherty) marked the anniversary with this drawing…

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…and Corey Ford, who contributed more than twenty satirical house ads for the magazine under the title, “The Making of the Magazine,” returned to form in this issue with a recollection of the magazine’s imagined past (a device The Onion employs to great effect):

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The magazine’s prosperity was evident not only in its talented stable of writers and illustrators, but also in its pages crammed with advertising. As I’ve noted before, much of the advertising is directed at the Anglo- and Franco-phile tastes of the magazine’s readers. For example, this ad from Studebaker suggesting a connection to British royalty:

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Continuing on the theme of royalty, none other than Her Royal Highness, “La Princesse Genevieve” gave her nod to Produits Bertie skin cream (joining the ranks of other royal and society women who hawked moisturizers, cold creams and even cigarettes in those days…)

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Royal endorsements were not limited to France and England, as none other than the Maharajah de Kapurthala put his seal of approval on Melachrino cigarettes in an ad featured on the inside back cover…

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The issue was filled with car ads, appearing in the wake of January’s 26th Annual National Automobile Show at the Grand Central Palace. But the latest spectacle was the Westminster Kennel Club Dog Show at the new Madison Square Garden, with the Terrier Group once again taking the top prize. The “Talk” editors offered this observation on Westminster:

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BEST IN SHOW 1926…Signal Circuit of Halleston was a Wire Fox Terrier and winner of the the 50th Westminster Kennel Club Dog Show in 1926. The fourth Fox Terrier to win best in show, Signal Circuit was one of 200 Fox Terriers present at the 1926 Westminster show. He was handled by Percy Roberts, who had imported the dog from England and had just stepped off the boat before the show. The dog was described as having “phenominal length of head and sound movement.” (WKC)
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The New Yorker’s Helen Hokinson offered this illustration to mark the event.

An advertisement from Bonwit Teller even got into the spirit of the thing…

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From my How Times Have Changed department, this ad from Guaranty Trust:

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And finally, a detail from a center-page illustration by Rea Irvin depicting the result of a blizzard that blanketed the city in February 1926:

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Next Time: A Fine Mess…

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