All this moral and even metaphysical generalisation was most fairly and most faithfully reproduced by the interviewer, who had actually heard it casually and idly spoken. But on the top of this column of political philosophy was the extraordinary announcement in enormous letters, ‘Chesterton Takes Sides in Trolley Strike.’ This was inaccurate. When I spoke I not only did not know that there was any trolley strike, but I did not know what a trolley strike was. I should have had an indistinct idea that a large number of citizens earned their living by carrying things about in wheel-barrows, and that they had desisted from the beneficent activities. Any one who did not happen to be a journalist, or know a little about journalism, American and English, would have supposed that the same man who wrote the article had suddenly gone mad and written the title. But I know that we have here to deal with two different types of journalists; and the man who writes the headlines I will not dare to describe; for I have not seen him except in dreams.
Another innocent complication is that the interviewer does sometimes translate things into his native language. It would not seem odd that a French interviewer should translate them into French; and it is certain that the American interviewer sometimes translates them into American. Those who imagine the two languages to be the same are more innocent than any interviewer. To take one out of the twenty examples, some of which I have mentioned elsewhere, suppose an interviewer had said that I had the reputation of being a nut. I should be flattered but faintly surprised at such a tribute to my dress and dashing exterior. I should afterwards be sobered and enlightened by discovering that in America a nut does not mean a dandy but a defective or imbecile person. And as I have here to translate their American phrase into English, it may be very defensible that they should translate my English phrases into American. Anyhow they often do translate them into American. In answer to the usual question about Prohibition I had made the usual answer, obvious to the point of dullness to those who are in daily contact with it, that it is a law that the rich make knowing they can always break it. From the printed interview it appeared that I had said, ‘Prohibition! All matter of dollar sign.’ This is almost avowed translation, like a French translation. Nobody can suppose that it would come natural to an Englishman to talk about a dollar, still less about a dollar sign—whatever that may be. It is exactly as if he had made me talk about the Skelt and Stevenson Toy Theatre as ‘a cent plain, and two cents coloured’ or condemned a parsimonious policy as dime-wise and dollar-foolish. Another interviewer once asked me who was the greatest American writer. I have forgotten exactly what I said, but after mentioning several names, I said that the greatest natural genius and artistic force was probably Walt Whitman. The printed interview is more precise; and students of my literary and conversational style will be interested to know that I said, ‘See here, Walt Whitman was your one real red-blooded man.’ Here again I hardly think the translation can have been quite unconscious; most of my intimates are indeed aware that I do not talk like that, but I fancy that the same fact would have dawned on the journalist to whom I had been talking. And even this trivial point carries with it the two truths which must be, I fear, the rather monotonous moral of these pages. The first is that America and England can be far better friends when sharply divided than when shapelessly amalgamated. These two journalists were false reporters, but they were true translators. They were not so much interviewers as interpreters. And the second is that in any such difference it is often wholesome to look beneath the surface for a superiority. For ability to translate does imply ability to understand; and many of these journalists really did understand. I think there are many English journalists who would be more puzzled by so simple an idea as the plutocratic foundation of Prohibition. But the American knew at once that I meant it was a matter of dollar sign; probably because he knew very well that it is.
Then again there is a curious convention by which American interviewing makes itself out much worse than it is. The reports are far more rowdy and insolent than the conversations. This is probably a part of the fact that a certain vivacity, which to some seems vitality and to some vulgarity, is not only an ambition but an ideal. It must always be grasped that this vulgarity is an ideal even more than it is a reality. It is an ideal when it is not a reality. A very quiet and intelligent young man, in a soft black hat and tortoise-shell spectacles, will ask for an interview with unimpeachable politeness, wait for his living subject with unimpeachable patience, talk to him quite sensibly for twenty minutes, and go noiselessly away. Then in the newspaper next morning you will read how he beat the bedroom door in, and pursued his victim on to the roof or dragged him from under the bed, and tore from him replies to all sorts of bald and ruthless questions printed in large black letters. I was often interviewed in the evening, and had no notion of how atrociously I had been insulted till I saw it in the paper next morning. I had no notion I had been on the rack of an inquisitor until I saw it in plain print; and then of course I believed it, with a faith and docility unknown in any previous epoch of history. An interesting essay might be written upon points upon which nations affect more vices than they possess; and it might deal more fully with the American pressman, who is a harmless clubman in private, and becomes a sort of highway-robber in print.
I have turned this chapter into something like a defence of interviewers, because I really think they are made to bear too much of the burden of the bad developments of modern journalism. But I am very far from meaning to suggest that those bad developments are not very bad. So far from wishing to minimise the evil, I would in a real sense rather magnify it. I would suggest that the evil itself is a much larger and more fundamental thing; and that to deal with it by abusing poor journalists, doing their particular and perhaps peculiar duty, is like dealing with a pestilence by rubbing at one of the spots. What is wrong with the modern world will not be righted by attributing the whole disease to each of its symptoms in turn; first to the tavern and then to the cinema and then to the reporter’s room. The evil of journalism is not in the journalists. It is not in the poor men on the lower level of the profession, but in the rich men at the top of the profession; or rather in the rich men who are too much on top of the profession even to belong to it. The trouble with newspapers is the Newspaper Trust, as the trouble might be with a Wheat Trust, without involving a vilification of all the people who grow wheat. It is the American plutocracy and not the American press. What is the matter with the modern world is not modern headlines or modern films or modern machinery. What is the matter with the modern world is the modern world; and the cure will come from another.
Some American Cities
THERE IS ONE POINT, almost to be called a paradox, to be noted about New York; and that is that in one sense it is really new. The term very seldom has any relevance to the reality. The New Forest is nearly as old as the Conquest, and the New Theology is nearly as old as the Creed. Things have been offered to me as the new thought that might more properly be called the old thoughtlessness; and the thing we call the New Poor Law is already old enough to know better. But there is a sense in which New York is always new; in the sense that it is always being renewed. A stranger might well say that the chief industry of the citizens consists of destroying their city; but he soon realises that they always start it all over again with undiminished energy and hope. At first I had a fancy that they never quite finished putting up a big building without feeling that it was time to pull it down again; and that somebody began to dig up the first foundations while somebody else was putting on the last tiles. This fills the whole of this brilliant and bewildering place with a quite unique and unparalleled air of rapid ruin. Ruins spring up so suddenly like mushrooms, which with us are the growth of age like mosses, that one half expects to see ivy climbing quickly up the broken walls as in the nightmare of the Time Machine, or in some incredibly accelerated cinema.
There is no sight in any country that raises my own spirits so much as a scaffolding. It is a tragedy that they
always take the scaffolding away, and leave us nothing but a mere building. If they would only take the building away and leave us a beautiful scaffolding, it would in most cases be a gain to the loveliness of earth. If I could analyse what it is that lifts the heart about the lightness and clarity of such a white and wooden skeleton, I could explain what it is that is really charming about New York; in spite of its suffering from the curse of cosmopolitanism and even the provincial superstition of progress. It is partly that all this destruction and reconstruction is an unexhausted artistic energy; but it is partly also that it is an artistic energy that does not take itself too seriously. It is first because man is here a carpenter; and secondly because he is a stage carpenter. Indeed there is about the whole scene the spirit of scene-shifting. It therefore touches whatever nerve in us has since childhood thrilled at all theatrical things. But the picture will be imperfect unless we realise something which gives it unity and marks its chief difference from the climate and colours of Western Europe. We may say that the back-scene remains the same. The sky remained, and in the depths of winter it seemed to be blue with summer; and so clear that I almost flattered myself that clouds were English products like primroses. An American would probably retort on my charge of scene-shifting by saying that at least he only shifted the towers and domes of the earth; and that in England it is the heavens that are shifty. And indeed we have changes from day to day that would seem to him as distinct as different magic-lantern slides; one view showing the Bay of Naples and the next the North Pole. I do not mean, of course, that there are no changes in American weather; but as a matter of proportion it is true that the most unstable part of our scenery is the most stable part of theirs. Indeed we might almost be pardoned the boast that Britain alone really possesses the noble thing called weather; most other countries having to be content with climate. It must be confessed, however, that they often are content with it. And the beauty of New York, which is considerable, is very largely due to the clarity that brings out the colours of varied buildings against the equal colour of the sky. Strangely enough I found myself repeating about this vista of the West two vivid lines in which Mr. W. B. Yeats has called up a vision of the East:—
And coloured like the eastern birds
At evening in their rainless skies.
To invoke a somewhat less poetic parallel, even the untravelled Englishman has probably seen American posters and trade advertisements of a patchy and gaudy kind, in which a white house or a yellow motor-car are cut out as in cardboard against a sky like blue marble. I used to think it was only New Art, but I found that it is really New York.
It is not for nothing that the very nature of local character has gained the nickname of local colour. Colour runs through all our experience; and we all know that our childhood found talismanic gems in the very paints in the paint-box, or even in their very names. And just as the very name of ‘crimson lake’ really suggested to me some sanguine and mysterious mere, dark yet red as blood, so the very name of ‘burnt sienna’ became afterwards tangled up in my mind with the notion of something traditional and tragic; as if some such golden Italian city had really been darkened by many conflagrations in the wars of mediaeval democracy. Now if one had the caprice of conceiving some city exactly contrary to one thus seared and seasoned by fire, its colour might be called up to a childish fancy by the mere name of ‘raw umber’; and such a city is New York. I used to be puzzled by the name of ‘raw umber,’ being unable to imagine the effect of fried umber or stewed umber. But the colours of New York are exactly in that key; and might be adumbrated by phrases like raw pink or raw yellow. It is really in a sense like something uncooked; or something which the satiric would call half-baked. And yet the effect is not only beautiful, it is even delicate. I had no name for this nuance; until I saw that somebody had written of ‘the pastel-tinted towers of New York’; and I knew that the name had been found. There are no paints dry enough to describe all that dry light; and it is not a box of colours but of crayons. If the Englishman returning to England is moved at the sight of a block of white chalk, the American sees rather a bundle of chalks. Nor can I imagine anything more moving. Fairy tales are told to children about a country where the trees are like sugar-sticks and the lakes like treacle, but most children would feel almost as greedy for a fairyland where the trees were like brushes of green paint and the hills were of coloured chalks.
But here what accentuates this arid freshness is the fragmentary look of the continual reconstruction and change. The strong daylight finds everywhere the broken edges of things, and the sort of hues we see in newly-turned earth or the white sections of trees. And it is in this respect that the local colour can literally be taken as local character. For New York considered in itself is primarily a place of unrest, and those who sincerely love it, as many do, love it for the romance of its restlessness. A man almost looks at a building as he passes to wonder whether it will be there when he comes back from his walk; and the doubt is part of an indescribable notion, as of a white nightmare of daylight, which is increased by the very numbering of the streets, with its tangle of numerals which at first makes an English head reel. The detail is merely a symbol; and when he is used to it he can see that it is, like the most humdrum human customs, both worse and better than his own. ‘271 West 52nd Street’ is the easiest of all addresses to find, but the hardest of all addresses to remember. He who is, like myself, so constituted as necessarily to lose any piece of paper he has particular reason to preserve, will find himself wishing the place were called ‘Pine Crest’ or ‘Heather Crag’ like any unobtrusive villa in Streatham. But his sense of some sort of incalculable calculations, as of the vision of a mad mathematician, is rooted in a more real impression. His first feeling that his head is turning round is due to something really dizzy in the movement of a life that turns dizzily like a wheel. If there be in the modern mind something paradoxical that can find peace in change, it is here that it has indeed built its habitation or rather is still building and unbuilding it. One might fancy that it changes in everything and that nothing endures but its invisible name; and even its name, as I have said, seems to make a boast of novelty.
That is something like a sincere first impression of the atmosphere of New York. Those who think that is the atmosphere of America have never got any farther than New York. We might almost say that they have never entered America, any more than if they had been detained like undesirable aliens at Ellis Island. And indeed there are a good many undesirable aliens detained in Manhattan Island too. But of that I will not speak, being myself an alien with no particular pretensions to be desirable. Anyhow, such is New York; but such is not the New World. The great American Republic contains very considerable varieties, and of these varieties I necessarily saw far too little to allow me to generalise. But from the little I did see, I should venture on the generalisation that the great part of America is singularly and even strikingly unlike New York. It goes without saying that New York is very unlike the vast agricultural plains and small agricultural towns of the Middle West, which I did see. It may be conjectured with some confidence that it is very unlike what is called the Wild and sometimes the Woolly West, which I did not see. But I am here comparing New York, not with the newer states of the prairie or the mountains, but with the other older cities of the Atlantic coast. And New York, as it seems to me, is quite vitally different from the other historic cities of America. It is so different that it shows them all for the moment in a false light, as a long white searchlight will throw a light that is fantastic and theatrical upon ancient and quiet villages folded in the everlasting hills. Philadelphia and Boston and Baltimore are more like those quiet villages than they are like New York.
If I were to call this book ‘The Antiquities of America,’ I should give rise to misunderstanding and possibly to annoyance. And yet the double sense in such words is an undeserved misfortune for them. We talk of Plato or the Parthenon or the Greek passion for beauty as parts of the antiqu
e, but hardly of the antiquated. When we call them ancient it is not because they have perished, but rather because they have survived. In the same way I heard some New Yorkers refer to Philadelphia or Baltimore as ‘dead towns.’ They mean by a dead town a town that has had the impudence not to die. Such people are astonished to find an ancient thing alive, just as they are now astonished, and will be increasingly astonished, to find Poland or the Papacy or the French nation still alive. And what I mean by Philadelphia and Baltimore being alive is precisely what these people mean by their being dead; it is continuity; it is the presence of the life first breathed into them and of the purpose of their being; it is the benediction of the founders of the colonies and the fathers of the republic. This tradition is truly to be called life; for life alone can link the past and the future. It merely means that as what was done yesterday makes some difference to-day, so what is done to-day will make some difference to-morrow. In New York it is difficult to feel that any day will make any difference. These moderns only die daily without power to rise from the dead. But I can truly claim that in coming into some of these more stable cities of the States I felt something quite sincerely of that historic emotion which is satisfied in the eternal cities of the Mediterranean. I felt in America what many Americans suppose can only be felt in Europe. I have seldom had that sentiment stirred more simply and directly than when I saw from afar off, above the vast grey labyrinth of Philadelphia, great Penn upon his pinnacle like the graven figure of a god who had fashioned a new world; and remembered that his body lay buried in a field at the turning of a lane, a league from my own door.
What I Saw in America Page 6