By Christiana Remarck
Growing up as a Guyanese-American, born from two Guyanese immigrants living in New York, at least once a month my family and I would make a trip to a place now called Little Guyana. It’s a small enclave in Richmond Hill, Queens from 104th to 130th street on Liberty Ave. Whether we were going for some produce for a traditional, Guyanese recipe or a new saree for a Hindu wedding, I believe it would have been impossible to preserve our culture in New York City without the establishments that were set up in this community. Guyanese people themselves are highly diversified from ethnicity to religion making some needs specific, while other needs are universal to Guyanese as a whole. This essay will highlight some staples of Guyanese culture that enable every Guyanese person to set up a home away from home within the confines of New York City. It will explore some of the most sought out spots on Liberty Avenue that a Guyanese living anywhere in New York City would visit when making a trip to Richmond Hill, whether for food, clothing, or religious goods.
One of the most striking features of many New York streets, however, is more intangible than length or shape. So many of these streets are metonyms, embodying a bigger concept than the physical space they denote. Wall Street: the world of American finance. Madison Avenue: mid-century advertising. And perhaps the most legendary of all: Broadway. For most people the name conjures the theater industry that occupies its center, full of bright lights, marquees, and creative ambition. This is a core component of Broadway, yet this street has so much more to it — it’s the longest street in Manhattan and stretches the entire length, cutting assertively across the grid with the force of a longer history behind it and leaving a trail of small parks and squares in its wake. On a beautiful spring day, some friends and I set out to walk the length of Broadway in Manhattan from top to bottom, a journey totaling 13.5 miles. In addition to 27 Starbucks and 18 McDonalds, here are some other highlights of what we saw:
By Daniela Sheinin
Much has been written on the American “New Woman,” what the historian Einav Rabinovitch-Fox calls “both an image and an appellation referring to a generation of women who came of age between 1890 and 1920 and challenged, through their attitudes and appearances, Victorian values and gender norms.” Her identity varied by race, class, ethnicity, and age. The New Woman breached gender norms, pressed for a public voice, and has been tied by some to feminism, the campaign for women’s suffrage, consumer culture, and female sexuality. New and sometimes radical fashion trends marked an expression of New Woman feminism and a break from a gendered, culturally confining past. These included versions of the Japanese kimono and the “ ‘Village smock,’ a bohemian version of the kimono and the dress item most associated with Greenwich Village feminists.” Moreover, there’s evidence that manufacturers produced low-price knockoffs of the kimono and other New Woman fashion trends, eagerly consumed by some working class women.
Melissa Meriam Bullard's Brooklyn’s Renaissance: Commerce, Culture, and Community in the Nineteenth-Century Atlantic World
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