NEW YORK AS A CHARACTER

Ryan’s Perspective

I believe that in order to properly understand why the author chose to narrate this book through the interweaving perspectives of so many characters, you must first understand the time period and setting. Simply put, there are few instances in this nation’s history that are as turmoil-filled and uncertain as in the 1970s, and there’s no better place to analyze this peculiar moment than in New York City. Therefore, the author’s use of a variety of different characters is really the only way to capture that chaotic time, and before getting into the author’s purpose and the influence this novel approach has on the book, this time frame should be properly contextualized.

The base understanding of the city in this decade must come from the economic collapse it was facing due to the greater American stagflation crisis along with the kickstart of deindustrialization and austerity trends that would come to inflict the entire nation. This came in contrast to the previous age of American prosperity, a golden age lasting more than two decades that allowed for the outgrowth of a new, youthful middle class that fought against the traditional cores of American society, be it racism, sexism, war, etc. This group, while successful in many senses, still faced in response a severe reactionary backlash that was further amplified by the economic crisis of the 70s. Pair this with New York City’s usual status of accepting a complex array of migrant identities and it’s strong labor movement(at the time) and it seems unlikely you could truly capture the moment of this timeframe through just one person’s perspective.

To drive home this point, let’s draw out a few of the characters and compare them to actual historical trends in the demography of New York City. The most obvious perspective is simultaneously the most overtly political, as Judge Solomon represents very clearly the backlash of the white, right wing upper classes against the many progressive social advances made in the 60s and early 70s. His persecution of Tillie Henderson is a perfect example of who primarily faced this backlash, as Tillie could most easily be seen to represent many black people who, through the aptly named Great Migration, moved into urban areas throughout America only to face a myriad of discriminatory urban policies. The other, less persecuted, target were the youth of the time, best exemplified by Lara Liveman. Liveman’s inclusion is the most clear signifier of the young baby boomer class, full of anger at the political order though too solidified in upper middle class wealth to really bother outside of individualistic acts of defiant hedonism. However, just as the 70s marked the beginning of the end for this American middle class, for Lara it crystalized in police raids on her apartment, signalling to her that this mindless self indulgence would no longer suffice.

I could continue, get into Sam Peters representation of the military industrial complex birthing modern technology, or Claire Soderberg’s standing in for the assumed role of loving and emotionally suppressed housewife, one many women at the time had to live with. Overall, these dense and complex strata of people all existed and, especially in the 70s, contradict one another so much that writing about New York City at the time without accounting for different perspectives would lead to only a fraction of accuracy about the time period.

To unite the characters in Let the Great World Spin by origin, motivation, or ambition proves to be a daunting and utterly implausible task. The spontaneity of human affairs further fragments the ideal portrait of interconnectedness by exhibiting the inherent inclusiveness of New York City as a whole. Author Colum McCann examines the spectrum of opportunistic and poignant sensations which personifies New York, but what consistency truly lies within this spectrum, as to so seamlessly weave a compelling and multi-faceted narrative? We must contemplate what unites the characters beyond the universal setting and shared link to the peculiarity of the unknown. There’s an obvious symbolic motif McCann emphasizes in his storytelling: the vertical cross section of New York City illustrates a jungle. The characters occupy distinct canopies, from below ground to above even the apex of human interaction. At the very top we have the tightrope walker, and as you descend lower you find Claire in her extravagant penthouse, Corrigan in his fifth-floor apartment, Solomon in his courthouse, Tillie and Jazzlyn on the street, “The Kid” in his basement, and finally Fernando in the subway tunnels. Ciaran and Lara are two notable exceptions – not only do they not distinctly reside in a certain canopy but they also represent opposite sides of the emotional spectrum. Ciaran is very indifferent and bare-faced towards his surroundings, while Lara is perpetually concerned with the well-being of complete strangers and strives to impart a sense of purpose to her actions. The relationship that is kindled between these two amplifies the balance needed to stabilize the lives of the characters, as metaphorically achieved through the tightrope act.

Despite stirring up confusion he multiple perspectives work so effectively because of the cohesion of New York; the city itself displays a profound ability to rebound and recover from even the darkest plagues of human afflictions. Each character is merely a drop in an ocean of melancholia; the common strive to understand individual circumstances proves to be physically exhausting, but serves to impart an invaluable lesson to the reader. The mode of storytelling employed by McCann favors emotional constituencies over chronological ones; so often do we immerse ourselves into the same experience multiple times but learn from the wealth of perspectives. The obstacle faced by all characters is the inability to comprehend their surroundings and explain bizarre phenomena through coherent means. The real reason we are able to identify with the protagonists so readily despite the non-linear approach of the storytelling is that Colum McCann directly places us in a position of confusion to parallel the universal dilemma in the novel; this is achieved by abruptly and indirectly pursuing new paths. When a new character is introduced, we are denied their outward physical portraits in exchange for inner emotional dispositions. This strategy actively challenges the reader to contribute impartial judgment towards the characters and look beyond the confines of formulaic stereotypes and moral contingencies. It is worth noting that Fernando, despite being the most physically detached from the advent of the tightrope walk, instinctively snaps a stunning photograph of the event while others are consumed by their inability to comprehend the majestic feat. This observation crystallizes the true essence of the novel, which contends that there lies unity in the unknown and beauty in what’s not understood.

Quote from the foreword of the novel:
“All the lives we could live, all the people we will never know, never will be,
they are everywhere. That is what the world is.”
—Aleksandar Hemon, The Lazarus Project

The shifting perspectives of Let The Great World Spin contribute to the ever-evolving narrative by creating a conglomerate experience. The fluctuation of thoughts, beliefs, and circumstances add an intimate dimension to the novel. Each chapter introduces a new narrator as the author cycles through eleven protagonists. Through abrupt changes, the author forces the reader to comprehend the affairs of each narrator. One of the drawbacks associated with multiple narratives is the disconnect between perspectives, which can generate confusion and diminish the novel’s impact. Colum McCann recognizes this detriment and instead manipulates it to his benefit; the structural choice prompts intrigue and the desire to understand the non-linear pattern of the novel. The unannounced changes require the reader to start each chapter with a blank slate, as information must be collected to discern the new narrator. This principle elevates each perspective and the differences that define them. For example, the shift from Sam Peters to Tillie Henderson in book two is jarring. The author creates an intense comparison between ‘insiders’ and ‘outsiders’, forcing the reader to consider the idealistic portrayal of New York City versus the experiences of its residents. Sam Peters, a young Californian boy, and Tillie Henderson, a prostitute from the Bronx, lead entirely different lives. Sam Peters’ interaction with New York City revolves around the tightrope walker, a symbol of freedom and possibility. Metaphorically, his eyes are set towards the skies, vision tinted the color of roses. Conversely, Tillie’s life is shadowed by prejudice and pain; as a sex worker and as a mother, she grapples with profound struggles. The intense juxtaposition acknowledges New York City as an epicenter of inspiration with undercurrents of darkness, reflecting the diversity of experiences within the narratives. To put it plainly, this novel displays ‘the good, the bad, and the ugly’. The multifaceted experience constructed by the novel encompasses New York City as a whole while preserving the integrity of the individuals who endeavor to survive each and every day.

New York has a distinct character. Character in the sense of attitude, atmosphere, feel, flavor. Mentioning New York, no matter where you are in the world, has a certain connotation, often one of grandiosity and opportunity. This idea of New York’s character is at odds with that portrayed in the book, as it is often gritty and hopeless.

Much of the book takes place in the projects, specifically those of the Bronx. They are described as being extremely downtrodden, criminal, trash-infested, dirty. At one point, Ciaran describes a flying plastic bag as being the most beautiful element in the scene. At the same time, this place is also many of the characters’ home, and there’s nowhere else they would really belong. They also see a certain beauty in the grime and stationary people, and even Corrigan, an outsider, gains this sentiment. There are other areas in the book which possess a quality of dispossessed possession to characters, such as the city’s dark, graffiti-tagged subway tunnels, and its sex and drug-filled clubs.

This contrasts with the upper-class characters and places in the book, such as the Upper East Side and its Park Avenue. While this setting is more beautiful from an objective standard, (if that exists,) there’s a feeling of shame that comes along with its extravagance, especially when in the presence of non-residents.

All of these settings and their characters contribute to the overall character of the city, even though they contrast. And this contrast is what comprises possibly the most significant element of New York’s character: its diversity.