Southside Stories

I am gripped by these voices in my ears. Through my earphones I am listening to an audio documentary about the Southside of Williamsburg, narrated by members of certain of the neighborhood’s fast fading communities – Hispanics, Hassids and others. I follow instructions on where to direct my feet and gaze, transposing vibrant scenes and characters, inaudible to others, onto the streets around me.

In the 1980s in Los Sures, as the Southside of Williamsburg is still known to its Hispanic inhabitants, life overflowed onto the streets, which were filled with violence and drugs; survival was top of the agenda. Los Sures was the poorest neighbourhood of New York City, with a population of 20,000 Hispanics, suffering from abandoned real estate, crooked landlords, racial tension and inadequate local resources. The voice of a long-time resident tells me “Violence ruled the street. The movies were right outside… the action was there.”

This is one of Williamsburg’s many realities related to me on the audio documentary. Titled Southside Stories, the walking tour is part of Living Los Sures, a collaborative project made up of many documentaries over the course of the last four years. The project takes as its starting point a 1984 piece of cinéma vérité by Diego Echeverria, which looked at the hostile conditions of the time, but also the strengths of the community: culture, creativity and a hope to lift themselves out of their sordidness. Southside Stories finds voices of remaining members of that splintering community, as well as some new voices. Its stated hope is to ”reunite a neighborhood around a sustainable future.”

Although the speakers are quite alive (they were interviewed in 2013), the imagined world that plays behind my eyes seems like the past – it feels as though I am conjuring ghosts. I stand outside what used to be a crack house, peering up into the windows, while a former drug lord regales me with the play by play of a drug deal – telling me whose job it was to stand at what street corner on the lookout for cops – and about the “line of junkies from the beginning of the hallway all the way down to the second floor, everybody buying drugs.” Nearby, I feel the bustle of La Villita bakery, as I stand in the middle of the sidewalk, imagining a scene that’s now been replaced by a boarded up shop front. An overnight doubling of the rent pushed them out of business – but in any case, the bakery had catered to the workers in the Domino Sugar Factory, whose closure had long since sent them packing.

Some of the stories are set in the present. The Caribbean Club on Grand Street is very much still going, thanks to the endless dedication of its founding owner and touchstone of the community, Maria Antonia Cay, known by regulars as Toñita. The audio documentary calls this “the last remaining Puerto Rican club” – thereby designating it the exception and the sole survivor of its kind. Toñita’s mantra is that the club will stay open until she can’t stand any more. But after that, then what? Toñita’s daughter has chosen to move back to Puerto Rico where life is easier, and as for her friends: who can now afford to pay $2,800 a month for the same one bedroom apartment that went for $250 in 1984?

These few original businesses are perceived as curios, time capsules, relics of days gone by. It feels as though they will soon form part of another stratum in the layers of people who have lived here. Bohemian, young middle class residents move in and new businesses cater to these wealthier clients, transforming the face of the high street and the focus of the neighborhood.

What happens to your sense of self, I wondered, when it is built around a world that no longer exists? Some think of themselves as out of place in their own home, as new residents take root: “Everybody’s going to Florida,” says a voice in the documentary. “We’re the only schmucks that stood here. But you know what, this is our neighbourhood, this is where we grew up. People look at us … and I feel like a foreigner.” As long time residents become sparser, their sense of community and self-recognition weakens. Some long time residents go so far as to  “I loved it here, I love it here now, I love it even more now with all these restaurants. “I just miss my people that are this place.”

This fading out of long time residents is not for lack of tenacity. There are those who make their presence felt by taking the strongest stand available to them against total transformation of the area: they refuse to sell their property. An eighty-six-year-old Puerto Rican woman named Carmen is a caretaker of a disused lot which was owned by a man who in his lifetime refused to sell it to developers. She continues his tradition: she does not sell the priceless land, but instead tends to the plants and a life-size stuffed gorilla toy who stares out at passers by, dressing him in different costumes. He’s been in that spot for years, his mouth agape in amusement at the world changing around him.

In fact, no matter what the action of long time residents, this transformation is inevitable and as old as New York City. Sixty-five years ago, E.B. White put it like this: “New York never quite catches up with itself, is never in equilibrium.” Many different cultures have lived here with fierce affection; nearly 80 years ago, Henry Miller declared himself in his 1936 novel Black Spring as a “patriot of the Fourteenth Ward” (as the South Side was then known), though his Williamsburg was yet another version: “Where others remember of their youth a beautiful garden, a fond mother, a sojourn at the seashore, I remember, with a vividness as if it were etched in acid… the ironworks… the black hands of the iron-molders, the grit that had sunk so deep into the skin that nothing could remove it, not soap, nor elbow grease, nor money, nor love, nor death.”

He too was distressed by Williamsburg’s transformation; after his parents moved to Bushwick, he decided to return to Williamsburg to attend the Eastern District High School on Marcy Avenue, hoping to find the life and warmth he’d known there as a child. Instead, he found his old haunts “like a dirty mouth with all the prominent teeth missing, with ugly charred stumps gaping here and there, the lips rotting, the palate gone.” He was complaining of the changes brought about by the abrupt influx of Italians and Jews spilling over from the Lower East Side after the opening of the Williamsburg Bridge.

There is a common phenomenon in New York, whereby different ethnicities live in what amounts to parallel universes on the same map space, whether it’s Los Sures and the Southside, Loisaida and the Lower East side, or 紐約華埠 and Chinatown. They are kept apart by their different languages and engage with the elements of the area that refer to their own culture. Williamsburg has belonged to many – both then and now – and has always been a neighbourhood of different groups living cheek by jowl. In fact, this moment is one of the least fractious in the area’s history.

The neighborhood is teetering on the brink of transition into a new phase of identity, but this does not mean that its long time residents should feel relegated to the status of outsiders. There are various ways in which a sustainable future can be forged for those that remain. As an outsider, and a Londoner used to easy vitriol directed toward gentrification, I am surprised by the level of acceptance of change. I meet a man who tells me he prefers Los Sures as it is today: “I’ve been living here nineteen years. [Back then] you had to hustle, people were dying – now it’s sweety pie.” He proceeds to try to sell me cocaine “the good stuff from Texas,” before telling me about a place in Williamsburg that he enjoys – the Southside Community Garden, into which I am peering.

In the documentary, Adam, an N.Y.U. graduate and new resident also extols the pleasures of the garden. Previously, the space was a rubbish dump alleged to be two storeys high, but in 1993, members of a Los Sures improvement project turned it into its present incarnation, which is parceled out to locals, for free. This includes Adam, who realised the significance of the garden when he was writing the required application letter explaining why he would value being a part of the garden: “I realised the only time that you effect change is the change that’s the closest to you, that you can make in your community… Williamsburg didn’t really feel like a community ever. The neighborhood’s changing; it’s very transient and it’s always evolving, so it’s really hard to latch onto community here… [This is] the most solid community effort that I’ve seen in this neighbourhood.” His participation forms a connection from the older generation of Williamsburgers to the new, through which accretions of the area’s history can form to remain a part of the landscape.

The documentary is a platform for local voices to sound in the intimacy of your ear, and for these stories to be witnessed as the story of a neighborhood. It bridges the gap between past and present narratives, allowing long time residents to be celebrated and recognised as a part of today’s Southside, by others and by themselves. On the receiving end, stories have an intense power to engage the empathy of the listener, breaking down all manner of barriers.

Southside stories is not just for the stories though. It actively strengthens the community: the listener is encouraged to interact with locals along the way: each participation creates new stories and carves its own imprint. It’s a jumping off point – having participated in the tour, the listener should feel more comfortable interacting with other cultures of the neighborhood. Perhaps in the future you will be enticed into The Caribbean Club, where you have learnt that anyone is welcome and conversation flows freely, or join the Community garden you hadn’t noticed before, or befriend the postman now that he has a name (Irvan). The hope is not only to identify the issues, but to prompt the social connections, awarenesss and understanding that will instigate real life solutions.

Spelling is Americanized for an American publication.

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Preview: The Moth StorySLAM, The Book Club

Members of the public compete to tell the best stories in this much awaited cult event which has gathered a huge following on both sides of the Atlantic.

The New York phenomenon that has been sweeping The States and beyond has finally come to London: The Moth StorySLAM tickets are an outrageous £5 for this not-for-profit, and sold out immediately for the first two London events, so keep your fingers on the buzzer for this one – the release date has been announced, and tickets will go on sale on the 24th September.

Stories are everywhere. From the young child who desperately begs to be told a story at bedtime, to the grandparent who tells and retells favourite narratives from a life already lived, the need for stories is an urgent one, present in everyone – all ages, all cultures, both tellers and listeners. This is what The Moth StorySLAM has tapped into, and which audiences flock to – like moths to a flame.

This not-for-profit organisation goes deeper than appealing to our natural nosiness. We all have stories that we tell ourselves, stories that make up our identities. We narrativise our lives in an attempt to gain access to ourselves. To tell a story is to learn by finding patterns and poetics in the otherwise arbitrary events of one’s life. On the receiving end, stories have an intense power to engage the empathy of the listener, breaking down all manner of barriers.

At The Moth StorySLAM, storyteller hopefuls (who’ve prepared a tale based on the theme of the month) will put their names in The Moth hat. Names are picked and, one by one, storytellers take the stage. Each teller  has just five minutes, and those tellers are scored by teams of judges selected from the audience. Storytellers have no page in front of them. They are, true to the open mic format, ordinary people who have had something extraordinary, or hilariously ordinary, happen to them, given a chance to share it with a diverse audience in their own voice.

If you haven’t already spent years yearning to see The Moth live from this side of The Pond, you can get a taster by listening to their podcast. Our favourite Moth story is entitled Life on a Möbius Strip , told by a young astrophysicist who finds wild parallels in her research and personal life.

Originally published by Culture Whisper.

Preview: Will Self, Polly Stenham, Ruth Padel, Howard Jacobson, Esther Freud, 5×15 stories, The Tabernacle

A truly unrepeatable evening with a selection of the top writers of our time, each of whom would like to tell you a story.

Five towering names of today’s literary world, spanning theatre, novels, poetry and non-fiction, come together for one evening to elicit your wholehearted attention while they pour their hearts out in five 15-minute stories.

Will Self, Umbrella author, journalist, and speaker of dizzying agility on any number of topics – from psychiatry to psychogeography – is undoubtably a phenomenal storyteller. Not comfortable with conformity, Self’s biting intelligence provides hilarity, disruptive controversy, and always an enthralling experience.

Polly Stenham, ‘Tusk Tusk’ writer, is the 28-year-old who has been a revered playwright since the age of 19 when her debut play ‘That Face’ premiered at the Royal Court Theatre. Theatre critic Charles Spencer said “This is one of the most astonishing debuts I have seen in more than 30 years of theatre reviewing.” She has recently been living up to the hype with her absorbing and ascerbic play, ‘Hotel’, which ended its run at the National’s temporary Shed theatre this month.

Ruth Padel is not only a well loved poet, but also a critic, nature writer, musician, conservationist, regular broadcaster on BBC radio, and recently a novelist with her book Where the Serpent Lives . She will be speaking at this event on just two of her passions – poetry and music.

Howard Jacobson, Booker Prize winner with his novel The Finkler Question in 2010, is running again this year for J . We predict the writer will speak about his experiences in light of recent conflict in Gaza; this is an unmissable moment to hear a man best known for exploring issues surrounding British Jewry, whether it be through non-fiction or in his comic novels.

Esther Freud, Hideous Kinky author and great granddaughter of Sigmund, has been named one of the 20 ‘Best of Young British Novelists’ by Granta. Her latest novel, Mr Mac and Me, published this September, is rooted in the real life story of Scottish architect Charles Rennie Mackintosh, painting a portrait of the home front community during the First World War.

Originally published by Culture Whisper.