Showing posts with label New York. Show all posts
Showing posts with label New York. Show all posts

Monday, January 5, 2015

Goodbye To All That: 5 Reasons Why I'm Leaving New York


When I think about it objectively, there are hundreds of reasons why I could never leave New York.
Many of them flood my mind as sensory images: the sight of spring's first cherry blossom trees lining the streets in pink, the Halal Guys in Midtown slinging plates of hot food to men in suits, shards of sunlight glittering over the East River and the smell of salt water rolling in.
Other reasons are personal memories. I grew up in Westchester County, in a suburban town just outside New York, so the city was ingrained in me from a young age.
My father came home from his Manhattan job each evening smelling of newspapers and Metro North's imitation leather seats. My mom brought our family into the city on Saturdays to see a new exhibit at the Met or to see a Broadway play.
I love New York City right down to its concrete streets, its tonnage, its unstoppable pulse and mesmerizing allure. But, in three weeks, I am leaving.
As extraordinary and irreplaceable as New York is, it can be equally as frustrating and difficult. New York is like the boyfriend you love and hate at the same time. It's the relationship you stay in far longer than you should, based on the idea of how good it could be.
Joan Didion's famous essay, "Goodbye to All That," should be mandatory reading for anyone who has ever love-hated New York. In it, Didion discusses her magnetic draw to the city and her ultimate decision to leave it for LA.
Forty-six years later, Sari Botton compiled and published a collection of essays called, "Goodbye to All That: Writers on Loving and Leaving New York" (another must-read), in which various writers take up on Didion's literary legacy and describe their experiences arriving and living in New York, holding it on a pedestal and then deciding to leave (and sometimes, come back again).
Love-hating New York is a longstanding trend.
As Didion says in the opening line of her essay, "It is easy to see the beginnings of things, and harder to see the ends." It's one of those lines that hits home because it's so true. It's made me think specifically about why I'm leaving a place I love.
I've moved away from New York before only to come back, so I understand what I am giving up. After thoughtful consideration, here are the five main reasons why I'm leaving New York:

The People

I don't like to make sweeping generalizations, but New Yorkers have a bad reputation for a reason. Many of them just aren't very nice. New Yorkers have that edge that makes them blunt, pushy, disingenuous and uncompromising.
I often take pride in my New York edge when it surfaces internally, remembering with conceit, "That's right, I'm from New York."
But, then, I take a step back and wonder why I'm sneering at my barista for using the wrong kind of milk and snapping at the airport security guard for making me throw out my Chanel No. 5 because I'm the idiot trying to carry on a liquid over 3.4 ounces.
It's unnecessary to be rude, and I hate being rude; yet, New York seems to draw out my rudeness and cynicism.
Mary Schmich has a well-known quote:
Live in New York City once, but leave before it makes you hard. Live in Northern California once, but leave before it makes you soft.
She nailed it. You have to have the balance (too much time in Northern California will make you soft). I need a break from the hardness because I can feel myself getting that way and putting up with people who are that way.
We are reckless with each other's emotions. Sometimes, I feel like New York teaches us not to care about each other and to only invest in ourselves. I'm tired of the sharks, the bitchy coworkers on power trips and the pretentious name-droppers.
After a while, it all starts to get the best of you.

The Cost

It's a common complaint, but NYC is too expensive. There comes a point when you simply cannot justify paying $18 for an elderflower cocktail and $1700 a month to live in a shoebox.
I have no doubt it would be a dream to live in New York if you had money to spend. But, for 20-somethings, rents are high and salaries are low, and for most of us, that means eating a lot of pasta and sneaking flasks into concerts to avoid the $12 beers.
The best of New York – the world-renowned restaurants, Soul Cycle classes and amazing outfits from Intermix – are out of the question. Unless you work in finance or have a trust fund, being in New York in your 20s can feel more like surviving than living.
The guilt that results from taking a cab instead of the subway or ordering that second glass of wine at dinner is exhausting.

Too Many Workaholics

Work is a critical part of life. In addition to the fact that we need to make money in order to survive, we would all go crazy if we didn't put energy into a career.
A strong work ethic is important and having a job you love can be one of the most enriching aspects of life. But, many New Yorkers are so focused on work that there is room for little else.
Everyone is hustling and busy and under pressure; rarely do people have time to stop and have genuine conversations — ones that don't start with "What are your Q4 numbers," or "My boss has that sweater in red."
Working too much makes us self-involved. It's a big world with a lot going on and a ton of other things that could benefit from our attention besides work.
Your job is certainly a part of you, but it shouldn't define you.

Fresh Air (Or Lack Thereof)

New York is a beautiful city in its own way (some areas more than others), but it's called the concrete jungle for a reason.
I'm tired of the gritty streets, the packs of tourists that ensure claustrophobia on every block, the chalky gray air and the endless noise. I miss the sight of the sky all around me and the feeling of breathing in clean, untouched oxygen.
I want to see mountains and lakes and meadows and snow that sticks. I want to go hiking and camping and skiing on the weekends. We need nature more than we realize. It's good for the soul.

If Not Now, When?

New York will always be New York. Yellow taxis will always whoosh down Fifth Avenue; the big Christmas tree will rise up in Rockefeller Center each December; runners will jog the Central Park loop on crisp fall mornings, and kind-faced men will continue playing saxophones in the subway.
New York City is not going anywhere. It might change in small ways, like all of us will, but the heart of it will remain the same. So, if you've ever had the urge to explore another part of the world, now is the time. You can always come back.
John Updike said,
The true New Yorker secretly believes that people living anywhere else have to be, in some sense, kidding.
I agree with that statement, which is exactly why I need to get up and go.

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The Long Goodbye - NYTimes.com


Matthew Woodson
By ALEX WILLIAMS
Published: November 22, 2013 112 Comments

"New York was no mere city," Joan Didion wrote in her landmark 1967 essay, "Goodbye to All That," explaining why she abandoned her adopted home of New York, seemingly for good, at the age of 29. "It was instead an infinitely romantic notion, the mysterious nexus of all love and money and power, the shining and perishable dream itself."
Ms. Didion, who was originally from California, did more than just capture, and explode, the enduring image of the young writer chucking it all to make it in New York. She spawned a new literary cliché: the not-quite-so-young writer beating a hasty retreat from the city, but transforming the surrender into a literary triumph via a "Goodbye to All That, Redux" essay.
The literature may be thin when it comes to "See ya, Chicago" or "Later, Los Angeles" odes, but ever since Ms. Didion set the standard 46 years ago, the "Goodbye New York" essay has become a de rigueur career move for aspiring belle-lettrists. It is a theme that has been explored continuously over the years by the likes of Meghan Daum in The New Yorker and Luc Sante in The New York Review of Books.
Lately, the "Goodbye" essay has found renewed life, as a new generation of writers works out its love-hate relationship with the city in public fashion. Recently, opinion-makers like Andrew Sullivan and David Byrne have scribbled much-discussed New York-is-over essays; literary-minded Generation Y writers have bid not-so-fond farewells to the city on blogs like Gawker and The Cut; and a dozen-plus writers, including Dani Shapiro and Maggie Estep, published elegies to their ambivalence toward New York in "Goodbye to All That: Writers on Loving and Leaving New York," an anthology published last month.
"If you can make it here, you can make it anywhere, the song goes," Mr. Sullivan wrote in a Sunday Times of London column last week, explaining his decision to flee New York after only a year and return to Washington. "But why would anyone want to make it here? The human beings are stacked on top of one another in vast towers that create dark, narrow caverns in between. Gridlocked traffic competes with every conceivable noise and every imaginable variation on the theme of human rage and impatience."
New York, I can't quit you. Or maybe I can.
On first glance, contemporary entries to the genre tend to follow the same arc as Ms. Didion's essay. Basically, it is a classic femme (or homme) fatale story, with New York as siren, New York as lover-substitute, an eight-million-headed stand-in for those sexy bad-news types we all fall for, to our peril, when we are young.
"No man could compete, in my mind, with the lure of a summer night in Greenwich Village," writes Hope Edelman in "You Are Here," her contribution to the anthology.
To Ann Friedman, whose essay "Why I'm Glad I Quit New York at Age 24" recently ran in the New York magazine blog The Cut, New York is not just a guy, it's that guy. "I've always been partial to the friendly guy who doesn't know how hot he really is (Chicago) or the surprisingly intelligent, sexy stoner (Los Angeles)," Ms. Friedman wrote, "as opposed to the dude who thinks he's top of the list, king of the hill, A-number-one."
The New York-you-broke-my-heart essay has become such a trope for young female writers that Jezebel recently asked, "Is Dumping New York City a 'Girl Thing?' "
(Apparently not. Mr. Sullivan also invoked the romantic-love theme in a recent blog post, describing New York as his "mistress," though he felt "married to Washington," his once and future home. And in a 2010 exit essay on The New York Times blog City Room, Christopher Solomon, who came from the Pacific Northwest, wrote: "Oh, I pursued you. We went to the opera, to plays, to gritty little restaurants in Queens. You — the city — were always my date. But you never belonged to me. Eventually you, too, moved on, taking your buzzing neon promise of fame to the next newcomer.")
By framing the relationship as a love affair, it makes the inevitable breakup with the literary capital seem less like a career failure than a coming to the senses after a youthful infatuation.
"In my early twenties, I felt that my life could be one big experiment, and in my mid-twenties I am coming to terms with the fact that no, my life is actually my life," wrote Chloe Caldwell in her anthology entry, "Leaving My Groovy Lifestyle."
In putting it so, Ms. Caldwell echoed Ms. Didion's description of how she rationalized the move that she and her husband made to Los Angeles (they returned to New York in the 1980s): "I talk about how difficult it would be for us to 'afford' to live in New York right now, about how much 'space' we need. All I mean is that I was very young in New York, and that at some point the golden rhythm was broken, and I am not that young anymore."
For Ms. Didion, in other words, money was simply an excuse. The reality was, in the relatively cheap New York of the 1960s, even a Vogue junior staff member like her — making $70 a week — could secure a centrally located Manhattan apartment with a view of, she thought, the Brooklyn Bridge ("It turned out the bridge was the Triborough," she dryly amended) and pay for taxis to parties where she might see "new faces." Sure, the early days were tough — "some weeks I had to charge food at Bloomingdale's gourmet shop in order to eat," she wrote. But in general, she could afford to hang around long enough to determine when she had stayed "too long at the Fair." In sum, she could afford to fall out of love with the city slowly.
Not so for the would-be Didions of today. In their New York, the nice apartments with the bridge views tend to go to the underwriters of bond issues, not to the writers of essays for literary anthologies. The unaffordability of New York on a writer's budget is a theme running through several contemporary variations on the theme.

"New York makes it easy to forget that many Americans would probably find paying $950 for a 10-by-10 room overlooking garbage cans either unaffordable or unappealing, or both," wrote Mr. Jefferson, who added that sometimes he was "so broke that a $3 falafel" from Oasis in Williamsburg "was all I'd eat for a day."
(His description called to mind another widely linked article from The Onion in 2010: "8.4 Million New Yorkers Suddenly Realize New York City A Horrible Place To Live." "At 4:32 p.m. Tuesday," the article read, "every single resident of New York City decided to evacuate the famed metropolis, having realized it was nothing more than a massive, trash-ridden hellhole that slowly sucks the life out of every one of its inhabitants.")
Money is not just crowding out writers; it is crowding out ideas, according to Mr. Sullivan. "If you think you'll find intellectual stimulation, you're thinking of another era," he wrote. "The conversations are invariably about money or property or schools. I've never been more bored by casual chat."
No less a New Yorker than David Byrne — Mr. Talking Heads, Mr. Downtown — threatened to bolt the city he epitomizes in a much-discussed Guardian essay if it continues to morph into a clubhouse for money shufflers, like Hong Kong or Abu Dhabi. "Those places might have museums, but they don't have culture," he wrote. "Ugh. If New York goes there — more than it already has — I'm leaving."
No wonder that Sari Botton, who edited the anthology, titled her own essay in the book "Real Estate." The essay recounts how she was forced to bolt upstate in 2005 after the rent on her below-market loft on Avenue B tripled, to $6,600, and was rented out to a movie star.
"A really big factor in why I did this book now is that more and more people are finding they can't afford to live in New York if they're in a creative field," Ms. Botton said.
In an era when rents are spiking, book advances shrinking and magazines shuttering, New York may no longer be a necessary destination for the young writer, she acknowledged. It may not even be a feasible one.
"If you are a young writer," she added, "you're going to have to share an apartment with a number of people, you're not going to have any privacy, you're barely going to be able to make a living in whatever job you're going to get. It's just not conducive to a creative life."
In a more innocent era, it seems, writers chose the moment in life that they were ready to serve the city its "Dear John" letter. These days, New York is likely to dump them first.
Perhaps the next anthology will be titled simply "Good Riddance."



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Goodbye to All That, by Joan Didion

How many miles to Babylon?
Three score miles and and ten—
Can I get there by candlelight?
Yes, and back again—
If your feet are nimble and light
You can get there by candlelight.
     It is easy to see the beginnings of things, and harder to see the ends. I can remember now, with a clarity that makes the nerves in the back of my neck constrict, when New York began for me, but I cannot lay my  finger upon the moment it ended, can never cut through the ambiguities and second starts and broken resolves to the exact place on the page where the heroine is no longer as optimistic as she once was. When I first saw New York I was twenty, and it was summertime, and I got off a DC-7 at the old Idlewild temporary terminal in a new dress which had seemed very smart in Sacramento but seemed less smart already, even in  the old Idlewild temporary terminal, and the warm air smelled of mildew and some instinct, programmed by all the movies I had ever seen and all the songs I had ever read about New York, informed me that it would never be quite the same again. In fact it never was. Some time later there was a song in the jukeboxes on the Upper East Side that went "but where is the schoolgirl who used to be me," and if it was late enough at night I used to wonder that. I know now that almost everyone wonders something like that, sooner or later and no matter what he or she is doing, but one of the mixed blessings of being twenty and twenty-one and even twenty-three is the conviction that nothing like this, all evidence to the contrary notwithstanding, has ever happened to anyone before.
     Of course it might have been some other city, had circumstances been different and the time been different and had I been different, might have been Paris or Chicago or even San Francisco, but because I am talking about myself I am talking here about New York. That first night I opened my window on the bus into town and watched for the skyline, but all I could see were the wastes of Queens and big signs that said MIDTOWN TUNNEL THIS LANE and then a flood of summer rain (even that seemed remarkable and exotic, for I had come out of the West where there was no summer rain), and for the next three days I sat wrapped in blankets in a hotel room air conditioned to 35 degrees and tried to get over a cold and a high fever. It did not occur to me to call a doctor, because I knew none, and although it did occur to me to call the desk and ask that the air conditioner be turned off, I never called, because I did not know how much to tip whoever might come—was anyone ever so young? I am here to tell you that someone was. All I could do during those years was talk long-distance to the boy I already knew I would never marry in the spring. I would stay in New York, I told him, just six months, and I could see the Brooklyn Bridge from my window. As it turned out the bridge was the Triborough, and I stayed eight years.
     In retrospect it seems to me that those days before I knew the names of all the bridges were happier than the ones that came later, but perhaps you will see that as we go along. Part of what I want to tell you is what it is like to be young in New York, how six months can become eight years with the deceptive ease of a film dissolve, for that is how those years appear to me now, in a long sequence of sentimental dissolves and old-fashioned trick shots—the Seagram Building fountains dissolve into snowflakes, I enter a revolving door at twenty and come out a good deal older, and on a different street. But most particularly I want to explain to you, and in the process perhaps to myself, why I no longer live in New York. It is often said that New York is a city for only the very rich and the very poor. It is less often said that New York is also, at least for those of us who came there from somewhere else, a city only for the very young.
     I remember once, one cold bright December evening in New York, suggesting a friend who complained of having been around too long that he come with me to a party where there would be, I assured him with the bright resourcefulness of twenty-three, "new faces." He laughed literally until he choked, and I had to roll down the taxi window and hit him on the back. "New faces," he said finally, "don't tell me about new faces." It seemed that the last time he had gone to a party where he had been promised "new faces," there had been fifteen people in the room, and he had already spelt with five of the women and owed money to all but two of the men. I laughed with him, but the first snow had just begun to fall and the big Christmas trees glittered yellow and white as far as I could see up Park Avenue and I had a new dress and it would be a long while before I would come to understand the particular moral of the story.
     It would be a long while because, quite simply, I was in love with New York. I do not mean "love" in any colloquial way, I mean that I was in love with the city, the way you love the first person who ever touches you and you never love anyone quite that way again. I remember walking across Sixty-second Street one twilight that first spring, or the second spring, they were all alike for a while. I was late to meet someone but I stopped at Lexington Avenue and bought a peach and stood on the corner eating it and knew that I had come out out of the West and reached the mirage. I could taste the peach and feel the soft air blowing from a subway grating on my legs and I could smell lilac and garbage and expensive perfume and I knew that it would cost something sooner or later—because I did not belong there, did not come from there—but when you are twenty-two or twenty-three, you figure that later you will have a high emotional balance, and be able to pay whatever it costs. I still believed in possibilities then, still had the sense, so peculiar to New York, that something extraordinary would happen any minute, any day, any month. I was making only $65 or $70 then a week then ("Put yourself in Hattie Carnegie's hands," I was advised without the slightest trace of irony by an editor of the magazine for which I worked), so little money that some weeks I had to charge food at Bloomingdale's gourmet shop in order to eat, a fact which went unmentioned in the letters I wrote to California. I never told my father that I needed money because then he would have sent it, and I would never know if I could do it by myself. At that time making a living seemed a game to me, with arbitrary but quite inflexible rules. And except on a certain kind of winter evening—six-thirty in the Seventies, say, already dark and bitter with a wind off the river, when I would be walking very fast toward a bus and would look in the bright windows of brownstones and see cooks working in clean kitchens and and imagine women lighting candles on the floor above and beautiful children being bathed on the floor above that—except on nights like those, I never felt poor; I had the feeling that if I needed money I could always get it. I could write a syndicated column for teenagers under the name "Debbi Lynn" or I could smuggle gold into India or I could become a $100 call girl, and none of would matter.
     Nothing was irrevocable; everything was within reach. Just around every corner lay something curious and interesting, something I had never before seen or done or known about. I could go to a party and meet someone who called himself Mr. Emotional Appeal and ran The Emotional Appeal Institute or Tina Onassis Blandford or a Florida cracker who was then a regular on what the called "the Big C," the Southampton-El Morocco circuit ("I'm well connected on the Big C, honey," he would tell me over collard greens on his vast borrowed terrace), or the widow of the celery king of the Harlem market or a piano salesman from Bonne Terre, Missouri, or someone who had already made and list two fortunes in Midland, Texas. I could make promises to myself and to other people and there would be all the time in the world to keep them. I could stay up all night and make mistakes, and none of them would count.
     You see I was in a curious position in New York: it never occurred to me that I was living a real life there. In my imagination I was always there for just another few months, just until Christmas or Easter or the first warm day in May. For that reason I was most comfortable with the company of Southerners. They seemed to be in New York as I was, on some indefinitely extended leave from wherever they belonged, disciplined to consider the future, temporary exiles who always knew when the flights left for New Orleans or Memphis or Richmond or, in my case, California. Someone who lives with a plane schedule in the drawer lives on a slightly different calendar. Christmas, for example, was a difficult season. Other people could take it in stride, going to Stowe or going abroad or going for the day to their mothers' places in Connecticut; those of us who believed that we lived somewhere else would spend it making and canceling airline reservations, waiting for weatherbound flights as if for the last plane out of Lisbon in 1940, and finally comforting one another, those of us who were left, with oranges and mementos and smoked-oyster stuffings of childhood, gathering close, colonials in a far country.
     Which is precisely what we were. I am not sure that it is possible for anyone brought up in the East to appreciate entirely what New York, the idea of New York, means to those of us who came out of the West and the South. To an Eastern child, particularly a child who has always has an uncle on Wall Street and who has spent several hundred Saturdays first at F.A.O. Schwarz and being fitted for shoes at Best's and then waiting under the Biltmore clock and dancing to Lester Lanin, New York is just a city, albeit the city, a plausible place for people to live, But to those of us who came from places where no one had heard of Lester Lanin and Grand Central Station was a Saturday radio program, where Wall Street and Fifth Avenue and Madison Avenue were not places at all but abstractions ("Money," and "High Fashion," and "The Hucksters"), New York was no mere city. It was instead an infinitely romantic notion, the mysterious nexus of all love and money and power, the shining and perishable dream itself. To think of "living" there was to reduce the miraculous to the mundane; one does not "live" at Xanadu.
     In fact it was difficult in the extreme for me to understand those young women for whom New York was not simply an ephemeral Estoril but a real place, girls who bought toasters and installed new cabinets in their apartments and committed themselves to some reasonable furniture. I never bought any furniture in New York. For a year or so I lived in other people's apartments; after that I lived in the Nineties in an apartment furnished entirely with things taken from storage by a friend whose wife had moved away. And when I left the apartment in the Nineties (that was when I was leaving everything, when it was all breaking up) I left everything in it, even my winter clothes and the map of Sacramento County I had hung on the bedroom wall to remind me who I was, and I moved into a monastic four-room floor-through on Seventy-fifth Street. "Monastic" is perhaps misleading here, implying some chic severity; until after I was married and my husband moved some furniture in, there was nothing at all in those four rooms except a cheap double mattress and box springs, ordered by telephone the day I decided to move, and two French garden chairs lent me by a friend who imported them. (It strikes me now that the people I knew in New York all had curious and self-defeating sidelines. They imported garden chairs which did not sell very well at Hammacher Schlemmer or they tried to market hair staighteners in Harlem or they ghosted exposés of Murder Incorporated for Sunday supplements. I think that perhaps none of us was very serious, engagé only about our most private lives.)
     All I ever did to that apartment was hang fifty yards of yellow theatrical silk across the bedroom windows, because I had some idea that the gold light would make me feel better, but I did not bother to weight the curtains correctly and all that summer the long panels of transparent golden silk would blow out  the windows and get tangled and drenched in afternoon thunderstorms. That was the year, my twenty-eight, when I was discovering that not all of the promises would be kept, that some things are in fact irrevocable and that it had counted after all, every evasion and ever procrastination, every word, all of it.
     That is what it was all about, wasn't it? Promises? Now when New York comes back to me it comes in hallucinatory flashes, so clinically detailed that I sometimes wish that memory would effect the distortion with which it is commonly credited. For a lot of the time I was in New York I used a perfume called Fleurs de Rocaille, and then L'Air du Temps, and now the slightest trace of either can short-circuit my connections for the rest of the day. Nor can I smell Henri Bendel jasmine soap without falling back into the past, or the particular mixture of spices used for boiling crabs. There were barrels of crab boil in a Czech place in the Eighties where I once shopped. Smells, of course, are notorious memory stimuli, but there are other things which affect me the same way. Blue-and-white striped sheets. Vermouth cassis. Some faded nightgowns which were new in 1959 or 1960, and some chiffon scarves I bought about the same time.
     I suppose that a lot of us who have been very young in New York have the same scenes in our home screens. I remember sitting in a lot of apartments with a slight headache about five o'clock in the morning. I had a friend who could not sleep, and he knew a few other people who had the same trouble, and we would watch the sky lighten and have a last drink with no ice and then go home in the early morning, when the streets were clean and wet (had it rained in the night? we never knew) and the few cruising taxis still had their headlights on and the only color was the red and green of traffic signals. The White Rose bars opened very early in the morning; I recall waiting in one of them to watch an astronaut go into space, waiting so long that at the moment it actually happened I had my eyes not on the television screen but on a cockroach on the tile floor. I liked the bleak branches above Washington Square at dawn, and the monochromatic flatness of Second Avenue, the fire escapes and the grilled storefronts peculiar and empty in their perspective.
     It is relatively hard to fight at six-thirty or seven in the morning, without any sleep, which was perhaps one reason why we stayed up all night, and it seemed to me a pleasant time of day. The windows were shuttered in that apartment in the Nineties and I could sleep for a few hours and then go to work. I could work the on two or three hours' sleep and a container of coffee from Chock Full O' Nuts. I liked going to work, liked the soothing and satisfactory rhythm of getting out a magazine, liked the orderly progression of four-color closings and two-color closings and black-and-white closings and then The Product, no abstraction but something which looked effortlessly glossy and could be picked up on a newsstand and weighed in the hand. I liked all the minutiae of proofs and layouts, liked working late on the nights the magazines went to press, sitting and reading Variety and waiting for the copy desk to call. From my office, I could look across town to the weather signal on the Mutual of New York Building and the lights that alternately spelled TIME and LIFE above Rockeffeler Plaza; that pleased me obscurely, and so did walking uptown in the mauve eight o'clocks of early summer evenings and looking at things, Lowestoft tureens in Fifty-seventh Street windows, people in evening clothes trying to get taxis, the trees just coming into full leaf, the lambent air, all the sweet promises of money and summer.
     Some years passed, but I still did not lose that sense of wonder about New York. I began to cherish the loneliness of it, the sense that at any given time no one need know where I was or what I was doing. I liked walking, from the East River over to the Hudson and back on brisk days, down around the Village on warm days. A friend would leave me the key to her apartment in the West Village when she was out of town, and sometimes I would just move down there, because by that time the telephone was beginning to bother me (the canker, you see, was already in the rose) and not many people had that number. I remember one day when someone who did have the West Village number came to pick me up for lunch there, and we both had hangovers, and I cut my finger opening him a beer and burst into tears, and we walked to a Spanish restaurant and drank bloody Marys and gazpacho until we felt better. I was not then guilt-ridden about spending afternoons that way, because I still had all the afternoons in the world.
     And even that late in the game I still liked going to parties, all parties, bad parties, Saturday-afternoon parties given by recently married couples who lived in Stuyvesant Town, West Side parties given by unpublished or failed writers who served cheap red wine and talked about going to Guatalajara, Village parties where all the guests worked for advertising agencies and voted for Reform Democrats, press parties at Sardi's, the worst kind of parties. You will have perceived by now that I was not one to profit by the experience of others, that it was a very long time indeed before I stopped believing in new faces and began to understand the lesson in that story, which was that it is distinctly possible to stay too long at the Fair.
    I could not tell you when I began to understand that. All I know is that it was very bad when I was twenty-eight. Everything that was said to me I seemed to have heard before, and I could no longer listen. I could no longer sit in little bars near Grand Central and listen to someone complaining of his wife's inability to cope with the help while he missed another train to Connecticut. I no longer had any interest in hearing about the advances other people had received from their publishers, about plays which were having second-act trouble in Philadelphia, or about people I would like very much if only I would come out and meet them. I had already met them, always. There were certain parts of the city which I had to avoid. I could not bear upper Madison Avenue on weekday mornings (this was a particularly inconvenient aversion, since I then lived just fifty or sixty feet east of Madison), because I would see women walking Yorkshire terriers and shopping at Gristede's, and some Veblenesque gorge would rise in my throat. I could not go to Times Square in the afternoon, or to the New York Public Library for any reason whatsoever. One day I could not go into a Schrafft's; the next it would be the Bonwit Teller.
     I hurt the people I cared about, and insulted those I did not. I cut myself off from the one person who was closer to me than any other. I cried until I was not even aware when I was crying and when I was not, I cried in elevators and in taxis and in Chinese laundries, and when I went to the doctor, he said only that I seemed to be depressed, and that I should see a "specialist." He wrote down a psychiatrist's name and address for me, but I did not go.
     Instead I got married, which as it turned out was a very good thing to do but badly timed, since I still could not walk on upper Madison Avenue in the mornings and still could not talk to people and still cried in Chinese laundries. I had never before understood what "despair" meant, and I am not sure that I understand now, but I understood that year. Of course I could not work. I could not even get dinner with any degree of certainty, and I would sit in the apartment on Seventy-fifth Street paralyzed until my husband would call from his office and say gently that I did not have to get dinner, that I could meet him at Michael's Pub or at Toots Shor's or at Sardi's East. And then one morning in April (we had been married in January) he called and told me that he wanted to get out of New York for a while, that he would take a six-month leave of absence, that we would go somewhere.
   It was three years ago he told me that, and we have lived in Los Angeles since. Many of the people we knew in New York think this a curious aberration, and in fact tell us so. There is no possible, no adequate answer to that, and so we give certain stock answers, the answers everyone gives. I talk about how difficult it would be for us to "afford" to live in New York right now, about how much "space" we need, All I mean is that I was very young in New York, and that at some point the golden rhythm was broken, and I am not that young anymore. The last time I was in New York was in a cold January, and everyone was ill and tired. Many of the people I used to know there had moved to Dallas or had gone on Antabuse or had bought a farm in New Hampshire. We stayed ten days, and then we took an afternoon flight back to Los Angeles, and on the way home from the airport that night I could see the moon on the Pacific and smell jasmine all around and we both knew that there was no longer any point in keeping the apartment we still kept in New York. There were years when I called Los Angeles "the Coast," but they seem a long time ago.

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Ask A Native New Yorker: Why Is The NY Times Making Leaving NYC A Thing?: Gothamist



A young Dobkin thinks about the future, when he'll tell people who write extensively about leaving NYC, "Just die." (Courtesy Private Jake Dobkin Collection)
Usually our Native New Yorker, Gothamist publisher Jake Dobkin, answers questions about living in our fine city. But today we managed to rouse him from his usual drunken weekend state and troll him with this NY Times Styles section article, The Long Goodbye, about people writing about leaving New York.
This article about these writers (or as Dobkin calls them, "whiny bitches") enraged him—"Like anyone who leaves New York is, ipso-facto, a tourist—who gives a fuck what a tourist thinks of our city?"—sufficiently enough for him to compose this missive while in the shower:
To All The Sad Young Artists Thinking About Leaving New York:
You should go! Return home to your native villages and smaller cities, to the love and acceptance of your friends and family, and the peace of mind that comes with a lower cost of living.
I have written about this before, and do not want to belabor the point, but you are doing no one a favor by sticking it out here. Your suffering is painful, not just to you, but to your New York acquaintances who are forced to read your "essays" and "personal narratives." Your physical presence is also driving up rents, leading to longer lines at overpriced coffee bars, and generally harshing the emotional scene on L Train platforms between Union Square and Ridgewood, and in many bars in Prospect Heights.
You have been here long enough to absorb whatever urban atmosphere you need to spice up the unpublished poems and small-press books you will write in the coming years—staying longer will add nothing to your literary output.
And there is no shame in leaving! Millions before you have come and gone. They are not mourned here, and some have gone on to be celebrated in less difficult places. We natives will keep in touch with you on Facebook, and admire the Pinterest boards you assemble while decorating your large, affordable homes. We will be grateful for you making way, because the space you vacate will soon be filled with bright-eyed newcomers, whose spiritual energy we will quickly consume to continue our own vampiric New York lives.
There may be one or two of you who are still on the fence! You are definitely better off leaving, but if you really wish to stay, here is a little heart-to-heart advice:
1) Consider a more commercial line of work. Many of you seem to be writing "literary fiction," which, to the extent I understand it, seems to be 300 page books about sad, literary types in their 20s and 30s struggling against ennui. This does not seem like an easy way to make money. While you may never wish to condescend to writing for a commercial, soul-sucking enterprise media company like Buzzfeed, or even for a less commercial, humanist enterprise like Gothamist, there are still plenty of jobs you can do with your literary and artistic skills that will help you make rent. Consider teaching, non-profit work, union pipe-fitting jobs, etc.
2) Your cost of living will be much reduced if you find a significant other to move in with. Rent is the most unaffordable part of living in New York, and getting into a committed relationship is the quickest path to reducing those costs. What is love, anyway? The truest mark of affection is co-signing a lease with someone you can tolerate!
3) Stop thinking so much about yourself and your own situation. Turn your focus to the problems of others, especially those worse off than you. This will improve your artistic output, enliven your mood, and generally make you more tolerable to the rest of us. Stop writing about how sad you are!
Please consider this advice: It is given with the best intentions and in full sympathy for the difficulties of surviving here. New York is not an easy place to live, but some of us have no choice but to go on here. For our sakes, and for yours, stop perseverating and commit to it, or (and please read this in the kindest possible voice that it is intended) get the fuck out.
- A Native New Yorker
If you'd like to Ask A Native New Yorker something, email your questions to tips@gothamist.com

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