How did New York City come to represent the best and worst of urban life?
The Making and Meaning of the New York City Landscape
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David M. Scobey
For generations, New Yorkers have joked about "The City's" interminable tearing down and building up. The city that the whole world watches seems to be endlessly remaking itself. When the locals and the rest of the world say "New York," they mean Manhattan, a crowded island of commercial districts and residential neighborhoods, skyscrapers and tenements, fabulously rich and abjectly poor cheek by jowl. Of course, it was not always so; New York's metamorphosis from compact port to modern metropolis occurred during the mid-nineteenth century. Empire City tells the story of the dreams that inspired the changes in the landscape and the problems that eluded solution.
Author David Scobey paints a remarkable panorama of New York's uneven development, a city-building process careening between obsessive calculation and speculative excess. Envisioning a new kind of national civilization, "bourgeois urbanists" attempted to make New York the nation's pre-eminent city. Ultimately, they created a mosaic of grand improvements, dynamic change, and environmental disorder. Empire City sets the stories of the city's most celebrated landmarksCentral Park, the Brooklyn Bridge, the downtown commercial centerwithin the context of this new ideal of landscape design and a politics of planned city building. Perhaps such an ambitious project for guiding growth, overcoming spatial problems, and uplifting the public was bound to fail; still, it grips the imagination.
"Lucidly written, deeply researched and thought through, Empire City zooms to the front rank of books about nineteenth century New York. Scobey examines the way real estate boosters, visionary reformers, business elites and Tammany politicos reshaped Gotham's cityscape, for good and ill. His analytical approach both illuminates a particular era, and provides a powerful general model for examining other times, other places."
"What made New York? In David Scobey's deft and deeply meditated account, it is not the blind forces of modernization nor the overarching will of an Haussman, but the complex interplay of interests, values and ideasand above all the grandiose cityand nation-building aspirations of the 'bourgeois urbanists' of the 1860s and 70s. Scobey's New York is both a supremely self-conscious projecta 'mission civilatrice,' as he writesand the battleground for the conflicting political, economic and social ambitions of an emergent world-city. This is a book for anyone who cares about citiestheir future as well as their past."
"Scobey has written a brilliant, evocative account of New York on the brink of economic and social chaos."
"Scobey's study is a significant contribution to literature in several fields... Perhaps most useful is Scobey's willingness to employ the lens of political economy to dissect the process of urbanization."
"It is best to treat [the book] not as a work of urban theory, but as a powerfully written (and very well illustrated) analysis of the specificities of class formation, class conflict and urban culture in the making of modern Manhattan."
"The most important achievement of David M. Scobey's study of New York city building and city planning in the 1860s and 1870s lies its combination of serious attention to political economy and culture."
"If there were any concern that Scobey might not fire the imagination like a feature film, I can assure you that Scobey does his best not to disappoint. The book is lavishly illustrated with sumptuous prints of the New York landscape [which] add to the atmosphere created by Scobey's warm and relaxed writing style."
"Erudite and wonderfully illustrated with contemporary maps and prints, the account illuminates the thought and action of a diverse yet intersecting group of elite New Yorkers..."
"[Scobey's] expertise shows in every page of the book. Scobey seamlessly blends data from newspapers, literature, real estate records, commission reports, government documents, and the papers of men like Olmsted to make Manhattan's history come alive."
"This is an excellent book: it is meticulously researched, full of insights, and beautifully written."
"The author of this study has written a graceful, tightly argued monograph that will appeal to all who are interested in the relationships among urban history, architecture, and landscape."
"Scobey's book appears as a timely and apt historical lesson.... this is an exhaustively researched, creatively argued, and beautifully written book that deserves to become an immediate standard for students and scholars of urban and cultural history as well as those of New York history... [His] argument is complex and multi-layered... Empire City is a densely packed, deeply thoughtful stuff of a city in the throes of change."
"This is an important book for historians of planning and will be of interest to anyone interested in the origins of planning in America."
"Scobey obviously understands buildings, but his larger interests lie in the economic forces, political trends, and cultural values that together determine what buildings and supporting infrastructure will be built where, when and for the benefit of whom….[O]ne cannot help, after reading Empire City, feeling a bit of nostalgia for the idealism and broad geographic mindedness of New York’s nineteenth-century urbanists."
Introduction: Can a City Be Planned?
1. Metropolis and Nation
2. The Midcentury Boom
3. The Rule of Real Estate
4. The Frictions of Space
5. Imagining the Imperial Metropolis
6. The Politics of City Building
8. The Failure of Bourgeois Urbanism
Appendix: Statistical Tables
In the series
Critical Perspectives on the Past, edited by Susan Porter Benson, Stephen Brier, and Roy Rosenzweig, is concerned with the traditional and nontraditional ways in which historical ideas are formed. In its attentiveness to issues of race, class, and gender and to the role of human agency in shaping events, the series is as critical of traditional historical method as content. Emphasizing that history is itself an interpretation of material events, the series demonstrates that the historian's choices of subject, narrative technique, and documentation are politically as well as intellectually constructed.