Immigration, Damon Runyon,
And New York City
by
R.E. Prindle
In the 2019 March-April
issue of Foreign Affairs devoted to discussion of the idea of New Nationalism,
Jill Lepore a Harvard Professor of History opens the discussion with an article
entitled: The New Americanism. No, she isn’t talking about Pres. Donald
Trump. Her proposition is this: Why a Nation Needs a National Story.
Apparently
Liberals have given up on the idea that there is no such thing as a nation. Even a social construct needs a reason to
exist. I quote here first two paragraphs:
Quote:
In 1986, the Pulitzer Prize-winning, bowtie-wearing Stanford historian Carl Degler delivered something other than the usual pipe-smoking, scotch-on-the-rocks, after-dinner disquisition that had plagued the evening program of the annual meeting of the American Historical Association for nearly all of its centurylong history. Instead, Degler, a gentle and quietly heroic man, accused his colleagues of nothing short of dereliction of duty: appalled by nationalism, they had abandoned the study of the nation.
“We can write history that implicitly denies or ignores the nation-state, but it would be a history that flew in the face of what people who live in a nation-state require and demand,” Degler said that night in Chicago. He issued a warning: “If we historians fail to provide a nationally defined history, others less critical and less informed will take over the job for us.”
Unquote.
I empathize
with Prof. Degler’s concerns, however ‘nationally defined history’ already
exists and has existed for some time, it is called the Immigrant Narrative of
American History. According to it ‘Americans’
are good people, indeed, the very best but only because we have opened our hearts,
minds and national home to immigrants from wherever and whatever condition
provided only that they be colored, POC (People of Color); that is, not
White. We know by this narrative that
Whites have caused all the ills of the world while not deserving to live.
In the
nineteenth century, it’s true that after the country became a nation in 1793
the immigrants, much to our shame today, were White, with the exception of African
Negroes who were needed for work that White people wouldn’t do. That immigration would have the direst
consequences even though the Negroes are good hearted POC who wouldn’t never do
nobody no harm.
The
principle port of entry was NYC, first at a facility called Castle Gardens and
then the fabled sacred site of the Immigrant Narrative, Ellis Island. It was there that the ‘wretched refuse’ of ‘Europe’s
teeming shore’ as Emma Lazarus’ poem quaintly expressed it and she pasted it on
the base of the Statue of Liberty. Thus
the Immigrant National Narrative was enshrined.
They were
coming to America as the Jewish poet Neil Diamond sang in the twentieth century
from every country in Europe and a great many of them stuck in New York City
giving that town its peculiar character.
Immigration
was cut off at the knees by Conservative bigots beginning in the 1920s
coinciding with that abominable experiment, Prohibition. This was a license to steal for the
immigrants. Whoo, boy howdy, was that a
combination- immigration and prohibition.
A third ingredient was the introduction of women’s suffrage. The ladies obtained the vote. And somewhen at this time the Hero of our
national narrative also arrived in NYC, Damon Runyon. He was the redoubtable historian with the
national narrative much longed for by Carl Degler.
Damon Runyon
sat in his favorite hangout of Mindy’s Deli in the heart of NYC’s Satan’s
Square Mile and surveyed the scene. Of
course, his history is fictionalized but no matter it is accurate, playfully
accurate.
Some will
say his history is too one sided but then so are all national narratives, they’re
all fictional too, cut to measure from the whole fabric. It’s something like Einstein’s ‘fabric of
space and time’ which no one has ever seen or touched but is still an article
of faith.
For those
who don’t know Damon Runyon, perhaps America’s least known historian, who wrote
about ninety years ago, you may have seen an even more fictional representation
of the work in the movie Guys And Dolls starring Marlon Brando and Frank
Sinatra, two legendary characters that were once flesh and blood, if you follow
them, in 1955 nearly seventy years ago if you’re still too young to remember.
So, Damon
Runyon sat studying the immigrant type for that is what he portrays. The key nationalities that he describes are
the Irish, the Sicilians and the Jews.
The main Irish influx arrived in the 1840 and hence were the most
assimilated, but only partially so, while the Jews and Sicilians were in the
gold rush to America from 1890 to 1914.
Those two groups were all only partially assimilated, the Sicilians
least of all.
In Runyon’s
stories they are all criminals. Like,
who else hangs around in Satan’s Square Mile?
Runyon really romanticizes these criminal types. Without knowledge of the situation they were
all a bunch of lovable guys and dolls.
Who could not like the Butch of Butch Mind’s The Baby. The only problem is that Butch is a killer wherein
the humor of a thug minding a baby.
I first
became acquainted with Runyon’s stories when I was sixteen. Perhaps my attention was called to him by the
movie Guys and Dolls that was released at that time. Not being familiar with the context I was
entranced by Runyon’s undeniable Flash.
I was knocked off my feet and remained so until the last several
years. Over time I reread the stories
with a fair amount of regularity, each time gaining in worldly experience and a
deepening sense of reality as to the deeper meaning of the stories content.
I still read
the stories with some regularity having acquired original copies of the
collections and a number of collections from a few stories to omnibus comprehensive
collections. However when I now read it
is with a sickening realization of their underlying brutality. For instance, the story, The Old Doll’s House,
that particularly enchanted me, that involves a thug evading a shoot out in the
process of which he jumps a wall and seeks refuge in the Old Doll’s house.
The Old
Doll, we’re talking Guys and Dolls here and all women are Dolls, is a lady of
advanced years. As she is blind she can’t
see the thug waving his gun around and pleased to have company invites him to
tea. Orienting himself the thug sees a
clock that reads 12:30 which is the approximately correct hour. A half hour later it still reads 12:30 and
that clues him in to the fact that the Old Doll is blind. Now he won’t have to
kill her because she can’t identify him.
The story
stops being funny on the third or fourth reading, twenty or thirty years later.
And so with
all the stories. Dream Street Rose for
instance. On a first reading Dream
Street has a figurative meaning but in fact, Dream St. is a couple of blocks in
Satan’s Square Mile. When they designate
the square mile as Satan’s they aren’t just whistling Dixie either. That square mile was the criminal sink of
NYC, the US, the world and without doubt the universe and beyond. The Metropole Hotel was there.
If you start
researching Runyon’s characters you find people like the Jewish newspaper columnist
Walter Winchell. If you want a fictional
portrayal of Walter Winchell view the movie The Sweet Smell Of Success. And then there is the Jewish criminal mastermind
called the Brain by Runyon who was Arnold Rothstein. The Brain Goes Home is pretty much a true
story. The stories in their own way are
real and out of the clothing of ‘poetry’, true.
At this time
and experience in my life I find the stories blood curdling, even the Lily of
St. Pierre, one of my favorites. You
need a little background to understand Lily.
St. Pierre is an island in the North Atlantic fishing grounds, back when
the cod were plentiful. During
Prohibition the Mob moved in and used the island as a way station for
booze. St. Pierre et Miquelon was a
French administrative unit. So, the
world was corrupted by Prohibition and ‘American’ immigrant criminals.
Of course,
as ‘Americans’, these partially assimilated Immigrants blackened the eye of
native Americans who were tarred with the same brush as these ‘American’
criminals. And in the United States according
to the Immigrant National Narrative those natives were styled ‘bigots’ and
racists for declining to accept responsibility for what were actually native
Europeans activities.
So, Miss Lepore
and her hero Carl Degler, the ‘American’ historian may find no national
narrative lacking; they’re just not looking in the right place. The national narrative may not be very
attractive but then it’s not very American either. Immigration has consequences.