Reviewed by Elvis Bakaitis
By Joseph Alexiou
Writer and photographer Mitch Waxman is the leading authority on the history of Newtown Creek, a toxically polluted industrial waterway on the border between Brooklyn and Queens. In addition to his reporting and documentation, Waxman leads regular tours on land and by boat while spreading the unique stories of New York’s most centrally located contaminated coastline to the community.
You are considered New York City’s foremost authority on Newtown Creek. What was the journey to becoming an expert on a federal Superfund site?
Famously how I ended up at Newtown is that I got sick with heart “stuff,” and my doctor told me to start running. The quote I always give everyone is that in the part of Brooklyn I’m from, you only run if someone is chasing you. So I walked. I walked around with camera and discovered Newtown Creek and discovered this wild thing in the center New York City.
Reviewed by Kara Murphy Schlichting
What metaphor captures the relationship between the Hudson River, the cities that line its shores, and the people who plie its waters? Is the river a touchstone by which thinkers trace American ideas about nature? Is it an allegory, teaching those humbled in the face of ecological change to repent humanity's role? Is it the exemplar of the declension narrative present in American environmental storytelling? Or is the river more like a battle cry, rallying those committed to environmental activism and resiliency? Hudson Rising, the new exhibit at the New York Historical Society, contends it is all of these things. This deeply researched, thoughtfully presented, and satisfyingly interdisciplinary exhibit introduces the visitor to myriad people who have used and shaped the river, confronted ecological ruin, and turned towards preservation to mitigate degradation.
Hudson Rising, New York Historical Society. March 1 – August 4, 2019.
Reviewed by Leslie Day
In the late nineteenth century, municipal officials and boosters of a regionally-scaled New York City endeavored to reshape the material nature of the cityscape. Debates about the physical nature of the urban fringe demonstrate how the city’s coastal edge was both an ecological system and a cultural and political landscape. The harbor environment included both sides of the high-tide line — riparian land and lands underwater. Developers looked to control the material characteristics of the coast through infrastructure. Landscape architects, engineers, and street commissioners approached the urban edge as a laboratory for regional planning. These city builders focused on regional environmental boundaries in contradistinction to laissez-faire urbanization and development that overlooked the conditions of environment and topography. Parks, channelized rivers, and street systems expanded the urban fabric into rural hinterlands.
Reprinted with permission from New York Recentered: Building the Metropolis from the Shore, by Kara Murphy Schlichting, published by the University of Chicago Press. © 2019 by the University of Chicago Press. All rights reserved.
Reviewed by Benjamin Serby
By Naomi Adiv
In the summer of 1870, New York City got its first municipal bath: swimming pools sunk into the rivers, through which river water flowed. An 1871 New York Times article describes them: “baths are of the usual house-like model, and have a swimming area of eighty-five feet in length by sixty-five feet in width. They are… provided with sixty-eight dressing-rooms, have offices and rooms in an additional story, and are well lighted with gas for night bathing.” In the year after they were built, the Department of Public Works reported that they were regularly used to their capacity, particularly on hot summer days. At their height, there were twenty-two such baths around the waters of New York City.
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