by E. B. White
That’s the way it is with the future. Even after Grover Whalen has touched it with his peculiar magic, there is still a short wait.
The lady behind me was not surprised either, but she seemed apprehensive.
“Anything wrong in there?” she asked testily.
“No, madam,” said the guard. “Just some minor difficulty in the Perisphere.”
The lady was not satisfied. “Is there anything in there to scare you?” she asked, looking at the Perisphere rolling motionless in the gray vapors that have hung for centuries above the Flushing Meadows.
“No, madam,” he replied. “The longest escalator in the world moves very slowly.”
I clocked the wait. It was twenty minutes. Not bad, for a man who’s waited all his life.
Much depends, when you ascend into the interior of the Perisphere, on the moment at which you happen to arrive at the top of the escalator and teeter off in a sidewise direction onto one of the two great moving rings that turn endlessly above the City of Man. If you arrive just as day has faded into night, and without any advance information about being shunted from an upward moving stairway onto a sideways moving balcony, the experience is something that stays with you. I was lucky. The City of Man, when it first broke on my expectant sight, was as dark as a hall bedroom, and for a second or two I didn’t catch on that I myself was in motion—except celestially. If I hadn’t recognized Mr. Kal-tenborn’s electric voice, I would have felt lonelier than perhaps the situation warranted.
“As day fades into night,” he said, with the majestic huski-ness which science has given speech, “each man seeks home, for here are children, comfort, neighbors, recreation—the good life of the well-planned city.”
Trembling in violet light beneath me, there it was—the towers, now to the adjusted eye dimly visible—“a brave new world [such a big voice you have, Grandpa!] built by united hands and hearts. Here brain and brawn, faith and courage, are finked in high endeavor as men march on toward unity and peace. Listen! From office, farm, and factory they come with joyous song.”
I don’t know how long it takes in there. Ten minutes, maybe. But when I emerged from the great ball, to begin the descent of the Helicline, it had come on to rain.
To be informative about the Fair is a task for someone with a steadier nose than mine. I saw all as in a dream, and I cherish the dream and have put it away in lavender. The great size of the place has been a temporary disadvantage these first few days, when the draftiness, the chili, the disorder, the murky bath of canned reverence in which many of the commercial exhibits are steeped have conspired to give the place the clammy quality of a seaside resort in mid-November. But this same great size, come the first warm, expansive days, will suddenly become the most valuable asset of the Fair. The refurbished ash heap, rising from its own smolder, is by far the biggest show that has ever been assembled on God’s earth, and it is going to be a great place to go on a fine summer night, a great place to go on a sunny spring morning. After all, nobody can embrace Culture in a topcoat.
The architecture is amusing enough, the buildings are big enough, to give the visitor that temporary and exalted feeling of being in the presence of something pretty special, something full of aspiration, something which at times is even exciting. And the exhibition is cock-eyed enough to fall, as it naturally does, in line with all carnivals, circuses, and wonderlands. The buildings (there are two hundred of them) have color and a certain dash, here and there a certain beauty. They are of the type that shows up best in strong light. Like any Miami Beach cottage, they look incredibly lovely in sunlight, adorned with a necklace of vine shadow against a clear white skin, incredibly banal and gloom-infested on cloudy days, when every pimple of plaster shows up in all its ugly pretension. The designers of this twentieth-century bazaar have been resourceful and have kept the comfort of the people in mind. Experience has taught them much. The modern technique of sightseeing is this: you sit in a chair (wired for sound) or stand on a platform (movable, glass-embowered) and while sitting, standing, you are brought mysteriously and reverently into easy view of what you want to see. There is no shoving in the exhibit hall of Tomorrow. There is no loitering and there is usually no smoking. Even in the girl show in the amusement area, the sailor is placed in a rather astringent attitude, behind glass, for the adoration of the female form. It is all rather serious-minded, this World of Tomorrow, and extremely impersonal. A ride on the Futurama of General Motors induces approximately the same emotional response as a trip through the Cathedral of St. John the Divine. The countryside unfolds before you in $5-million micro-loveliness, conceived in motion and executed by Norman Bel Geddes. The voice is a voice of utmost respect, of complete religious faith in the eternal benefaction of faster travel. The highways unroll in ribbons of perfection through the fertile and rejuvenated America of 1960—a vision of the day to come, the unobstructed left turn, the vanished grade crossing, the town which beckons but does not impede, the millennium of passionless motion. When night falls in the General Motors exhibit and you lean back in the cushioned chair (yourself in motion and the world so still) and hear (from the depths of the chair) the soft electric assurance of a better life—the life which rests on wheels alone—there is a strong, sweet poison which infects the blood. I didn’t want to wake up. I liked 1960 in purple light, going a hundred miles an hour around impossible turns ever onward toward the certified cities of the flawless future. It wasn’t till I passed an apple orchard and saw the trees, each blooming under its own canopy of glass, that I perceived that even the General Motors dream, as dreams so often do, left some questions unanswered about the future. The apple tree of Tomorrow, abloom under its inviolate hood, makes you stop and wonder. How will the little boy climb it? Where will the little bird build its nest?
I made a few notes at the Fair, a few hints of what you may expect of Tomorrow, its appointments, its characteristics.
In Tomorrow, people and objects are lit not from above but from below. Trees are lit from below. Even the cow on the rotolactor appears to be lit from below—the buried flood lamp illuminates the distended udder.
In Tomorrow one voice does for all. But it is a little unsure of itself; it keeps testing itself; it says, “Hello One, two, three, four. Hello! One, two, three, four.”
Rugs do not slip in Tomorrow, and the bassinets of newborn infants are wired against kidnappers.
There is no talking back in Tomorrow. You are expected to take it or leave it alone. There are sailors there (which makes you feel less lonely) and the sound of music.
The living room of Tomorrow contains the following objects: a broadloom carpet, artificial carnations, a television radio victrola incessantly producing an image of someone or something which is somewhere else, a glass bird, a chrome steel lamp, a terracotta zebra, some veneered look cabinets containing no visible books, another cabinet out of which a small newspaper slowly pours in a never-ending ribbon, and a small plush love seat in the shape of a new moon.
In Tomorrow, most sounds are not the sounds themselves but a memory of sounds, or an electrification. In the case of a cow, the moo will come to you not from the cow but from a small aperture above your head.
Tomorrow is a little on the expensive side. I checked this with my cabdriver in Manhattan to make sure. He was full of praise about the Fair, but said he hadn’t seen it and might, in fact, never see it. “I hack out there, but I got it figured that for me and the wife to go all through and do it right—no cheapskate stuff—it would break the hell out of a five-dollar bill. In my racket, I can’t afford it.”
Tomorrow does not smell. The World’s Fair of 1939 has taken the body odor out of man, among other things. It is all rather impersonal, this dream. The country fair manages better, where you can hang over the rail at the ox-pulling and smell the ox. It’s not only that the sailors can’t get at the girls through the glass, but even so wholesome an exhibit as Swift’s Premium Bacon produces twenty lovesick maidens in a glass pit hermetically sealed fr
om the ultimate consumer.
The voice of Mr. Kaltenborn in the City of Man says, “They come with joyous song,” but the truth is there is very little joyous song in the Fair grounds. There is a great deal of electrically transmitted joy, but very little spontaneous joy. Tomorrow’s music, I noticed, came mostly from Yesterday’s singer. In fact, if Mr. Whalen wants a suggestion from me as to how to improve his show (and I am reasonably confident he doesn’t), it would be to snip a few wires, hire a couple of bands, and hand out ticklers. Gaiety is not the keynote in Tomorrow. I finally found it at the tag end of a chilly evening, far along in the amusement area, in a tent with some black people. There was laughing and shouting there, and a beautiful brown belly-dancer.
Another gay spot, to my surprise, was the American Telephone & Telegraph Exhibit. It took the old Telephone Company to put on the best show of all. To anyone who draws a lucky number, the company grants the privilege of making a longdistance call. This call can be to any point in the United States, and the bystanders have the exquisite privilege of listening in through earphones and of laughing unashamed. To understand the full wonder of this, you must reflect that there are millions of people who have never either made or received a long-distance call, and that when Eddie Pancha, a waiter in a restaurant in El Paso, Texas, hears the magic words “New York is calling . . . go ahead, please,” he is transfixed in holy dread and excitement. I listened for two hours and ten minutes to this show, and I’d be there this minute if I were capable of standing up. I had the good luck to be listening at the earphone when a little boy named David Wagstaff won the toss and put in a call to tell his father in Springfield, Mass., what a good time he was having at the World’s Fair. David walked resolutely to the glass booth before the assembled kibitzers and in a tiny, timid voice gave the operator his call, his little new cloth hat set all nicely on his head. But his father wasn’t there, and David was suddenly confronted with the necessity of telling his story to a man named Mr. Henry, who happened to answer the phone and who, on hearing little David Wagstaff’s voice calling from New York, must surely have thought that David’s mother had been run down in the BMT and that David was doing the manly thing.
“Yes, David,” he said, tensely.
‘Tell my father this,” began David, slowly, carefully, determined to go through with the halcyon experience of winning a lucky call at the largest fair the world had yet produced.
“Yes, David.”
“We got on the train, and . . . and . . . had a nice trip, and at New Haven, when they were taking off the car and putting another car on, it was awfully funny because the car gave a great—big—BUMP!”
Then followed David’s three-minute appreciation of the World of Tomorrow and the Citadel of Light, phrased in the crumbling remnants of speech that little boys are left with when a lot of people are watching, and when their thoughts begin to run down, and when Perispheres begin to swim mistily in time. Mr. Henry—the invisible and infinitely surprised Mr. Henry—maintained a respectful and indulgent silence. I don’t know what he was thinking, but I would swap the Helicline for a copy of his attempted transcription of David’s message to his father.
My own memory of the Fair, like David’s, has begun to dim. From so much culture, from so much concentrated beauty and progress, one can retain only a fragment. I remember the trees at night, shivering in their burlap undershirts, the eerie shadows clinging to the wrong side of their branches. I remember the fountains playing in the light, I remember the girl who sat so still, so clean, so tangible, producing with the tips of her fingers the synthetic speech—but the words were not the words she wanted to say, they were not the words that were in her mind. I remember the little old Stourbridge Lion, puffing in under its own steam to start the railroads bursting across America. But mostly the Fair has vanished, leaving only the voice of little David Wagstaff and the rambling ecstasy of his first big trip away from home; so many million dollars spent on the idea that our trains and our motorcars should go fast and smoothly, and the child remembering, not the smoothness, but the great—big—BUMP.
So (as the voice says) man dreams on. And the dream is still a contradiction and an enigma—the biologist peeping at bacteria through his microscope, the sailor peeping at the strip queen through binoculars, the eyes so watchful, and the hopes so high. Out in the honky-tonk section, in front of the Amazon show, where the ladies exposed one breast in deference to the fleet, kept one concealed in deference to Mr. Whalen, there was an automaton—a giant man in white tie and tails, with enormous rubber hands. At the start of each show, while the barker was drumming up trade, a couple of the girls would come outside and sit in the robot’s lap. The effect was peculiarly lascivious—the extra-size man, exploring with his gigantic rubber hands the breasts of the little girls, the girls with their own small hands (by comparison so small, by comparison so terribly real) restrainingly on his, to check the unthinkable impact of his mechanical passion. Here was the Fair, all fairs, in pantomime; and here the strange mixed dream that made the Fair: the heroic man, bloodless and perfect and enormous, created in his own image, and in his hand (rubber, aseptic) the literal desire, the warm and living breast.
Here Is New York
On any person who desires such queer prizes, New York will bestow the gift of loneliness and the gift of privacy. It is this largess that accounts for the presence within the city’s walls of a considerable section of the population; for the residents of Manhattan are to a large extent strangers who have pulled up stakes somewhere and come to town, seeking sanctuary or fulfillment or some greater or lesser grail. The capacity to make such dubious gifts is a mysterious quality of New York. It can destroy an individual, or it can fulfill them, depending a good deal on luck. No one should come to New York to live unless he is willing to be lucky.
New York is the concentrate of art and commerce and sport and religion and entertainment and finance, bringing to a single compact arena the gladiator, the evangelist, the promoter, the actor, the trader, and the merchant. It carries on its lapel the unex-pungeable odor of the long past, so that no matter where you sit in New York you feel the vibrations of great times and tall deeds, of queer people and events and undertakings. I am sitting at the moment in a stifling hotel room in 90-degree heat, halfway down an air shaft, in midtown. No air moves in or out of the room, yet I am curiously affected by emanations from the immediate surroundings. I am twenty-two blocks from where Rudolph Valentino lay in state, eight blocks from where Nathan Hale was executed, five blocks from the publisher’s office where Ernest Hemingway hit Max Eastman on the nose, four miles from where Walt Whitman sat sweating out editorials for the Brooklyn Eagle, thirty-four blocks from the street Willa Cather lived in when she came to New York to write books about Nebraska, one block from where Marceline used to clown on the boards of the Hippodrome, thirty-six blocks from the spot where the historian Joe Gould kicked a radio to pieces in full view of the public, thirteen blocks from where Harry Thaw shot Stanford White, five blocks from where I used to usher at the Metropolitan Opera and only 112 blocks from the spot where Clarence Day the Elder was washed of his sins in the Church of the Epiphany (I could continue this list indefinitely); and for that matter I am probably occupying the very room that any number of exalted and somewise memorable characters sat in, some of them on hot, breathless afternoons, lonely and private and full of their own sense of emanations from without.
When I went down to lunch a few minutes ago I noticed that the man sitting next to me (about eighteen inches away along the wall) was Fred Stone. The eighteen inches were both the connection and the separation that New York provides for its inhabitants. My only connection with Fred Stone was that I saw him in The Wizard of Oz around the beginning of the century. But our waiter felt the same stimulus from being close to a man from Oz, and after Mr. Stone left the room the waiter told me that when he (the waiter) was a young man just arrived in this country and before he could understand a word of English, he had taken his girl for their fir
st theater date to The Wizard of Oz. It was a wonderful show, the waiter recalled—a man of straw, a man of tin. Wonderful! (And still only eighteen inches away.) “Mr. Stone is a very hearty eater,” said the waiter thoughtfully, content with this fragile participation in destiny, this link with Oz.
New York blends the gift of privacy with the excitement of participation; and better than most dense communities it succeeds in insulating the individual (if he wants it, and almost everybody wants or needs it) against all enormous and violent and wonderful events that are taking place every minute. Since I have been sitting in this miasmic air shaft, a good many rather splashy events have occurred in town. A man shot and killed his wife in a fit of jealousy. It caused no stir outside his block and got only small mention in the papers. I did not attend. Since my arrival, the greatest air show ever staged in all the world took place in town. I didn’t attend and neither did most of the eight million other inhabitants, although they say there was quite a crowd. I didn’t even hear any planes except a couple of westbound commercial airliners that habitually use this air shaft to fly over. The biggest oceangoing ships on the North Atlantic arrived and departed. I didn’t notice them and neither did most other New Yorkers. I am told this is the greatest seaport in the world, with 650 miles of waterfront, and ships calling here from many exotic lands, but the only boat I’ve happened to notice since my arrival was a small sloop tacking out of the East River night before last on the ebb tide when I was walking across the Brooklyn Bridge. I heard the Queen Mary blow one midnight, though, and the sound carried the whole history of departure and longing and loss. The Lions have been in convention. I’ve seen not one Lion. A friend of mine saw one and told me about him. (He was lame, and was wearing a bolero.) At the ballgrounds and horse parks the greatest sporting spectacles have been enacted. I saw no ballplayer, no race horse. The governor came to town. I heard the siren scream, but that was all there was to that—an eighteen-inch margin again. A man was killed by a falling cornice. I was not a party to the tragedy, and again the inches counted heavily.