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26 pages 52 minutes read

E. B. White

Here Is New York

Nonfiction | Essay / Speech | Adult | Published in 1948

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Background

Historical Context: Nuclear Weapons

“Here Is New York” was published in 1949, just four years after World War II. The destruction and death wrought by the conflict, specifically by nuclear weapons, is apparent in the way White describes the city’s vulnerability to aerial attacks. Specifically, White writes that “of all targets, New York has a certain clear priority” (54). In describing the type of attack that New York might be the target of, White says “a single flight of planes” could “burn the towers, crumble the bridges, turn the underground passages into lethal chambers, cremate the millions” (54). This last phrase, “cremate the millions,” suggests historical context for White’s fears. In August 1945, the United States dropped atomic weapons on Japan via airplane, in a bid to end the war. The bombings of Hiroshima and Nagasaki destroyed those cities and killed tens of thousands of people instantly.

As the Cold War dawned, the fear of nuclear weapons being used against major cities in the United States escalated. In the 20 years after the publication of “Here Is New York,” the American people—especially those living in major cities—became increasingly aware of the threat nuclear weapons posed. The Cuban Missile Crisis of October 1962 is perhaps the closest the world has come to the kind of large-scale annihilation White describes. In this incident, the Soviet Union and the United States came close to war over the presence of Soviet missiles in Cuba. These missiles had the capacity to reach the continental United States. After a heated standoff between US President John F. Kennedy and Soviet Premier Nikita Khrushchev, the situation was resolved peacefully and the Soviet Union agreed to remove the missiles from Cuba. However, this encounter showed that the fears of nuclear war alluded to by White were a real, persistent anxiety for many Americans during the midcentury.

Historical Context: The Harlem Renaissance

White acknowledges New York’s racial and ethnic makeup, noting that of the 700,000 Black people living in New York at the time, 500,000 resided in Harlem. He describes Harlem as “a city in itself” (47). Harlem, a neighborhood in Upper Manhattan, was the center of the Harlem Renaissance, a flourishing of Black art, music, literature, and culture in the 1920s and 1930s. During the Harlem Renaissance, musicians like Louis Armstrong and Duke Ellington and writers like Langston Hughes and Zora Neale Hurston were active. Though the height of the Harlem Renaissance occurred 10 to 20 years before the writing of “Here Is New York,” its legacy and artistic output remained influential.

White references the artistic accomplishments of the Harlem Renaissance, noting that Black New Yorkers “get on well in the theater, in music. in art and literature; but in many fields of employment the going is tough” (48). White writes that New York “lacks the more conspicuous elements of Jim Crowism” (47). He references Jim Crow laws, discriminatory legislation passed after the Civil War that enforced segregation in public spaces and prevented Black Americans from voting. Despite being free to use public transit, White notes that Black Americans face exclusion based on race in private housing. He describes Harlem as symbolizing segregation, because it was a primarily Black neighborhood.

The history of Black New Yorkers in the first half of the 20th century is one of immense achievement as well as structural barriers to full participation in economy and society, as evident in White’s essay.

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