"How wild a history," I said to myself, "is written within that bosom!"

still it seemed that, in my then peculiar mental state, Icould frequently read, even in that brief interval of a glance, the history of long years.

j:uts_;;Jte nourished nOt only a renewal of feminism but also an !(1_::!~~-~mgly ;id~~read male. realization that. yes. women had s~:a!l.s:Jh.lng to tel!' us about~ the city and the life we shared,_ an!!__th;>!_~J!;:d i~~hed ou~ own· lives as well as thein ... QLJI_?!Jislef.!ffi.&. to !11emUJinow~

More Open Space for what? For muggings? For bleak vac-uums between buildings? Or for ordinary people to use and en-joy? But people do not use city open space just because it is there and because city planners or designers wish they would.

Man acts as though he were the shaper and master of language, while in fact language remains the master of man.

he relation of "building" to "dwelling" and the 1kind of "thinking" that results from attention to that relation.

from the vexed sexuality her position implies, and from her struggle to escape the status of spectacle and become spectator.

Traditionally, a woman walking the streets is a ‘street walker’ – ‘all body’ – part and symbol of the spectacle and decadence of urban culture. Women have historically been represented as an “interruption in the city, a symptom of disorder, and a problem”

People’s gender, class and racial background, and to what degree their bodies conform to conventions of desire, or movement and anatomy, for example, affect their ability to extricate themselves from the spectacle of the city enough to be its observer

To walk is to lack a place. It is the indefinite process of being absent and in search of ~Th

Its present invents itself, from hour to hour, in the act of throwing away its previous accomplishments and challenging the future.

To experience in the.active sense re-quires that one venture forth into the unfamiliar and experi-ment with the elusive and the uncertain

Emotion tints all human experience, including the highflights of thought.

People tend to suppress that which they cannot express.

From the security and stability of place we are awareof the openness, freedom, and threat of space, and vice versa.

Place is security, space is freedom

But let the mishap of disorientation once occur, and the sense of anxiety and even ter-ror that accompanies it reveals to us how closely it is linked to our sense of balance and well-being.

Nothing is experienced by itself, but always in relation to its surroundings, the sequen.ces of events leading up to it, the mem-ory. of past experiences

Fall to your knees and thank New York for making you strong.

Complaining is the natural opera of New York.

New York will briefly study my face and mutter “Who the fuck are you?" 

croachments ag

warn American youth against the arts of the seducer: Having watched the courses of those who seduce the young-their arts, their blandishments, their pretences;-ha

Although the term confidence man does not appear in the advice manuals, it accurately identifies the villain of the piece. The seducer-whether rake or pimp, gambler or, thief-begins his as-sault on the innocent youth by winning his confidence through an offer of friendship and entertainment. In

unprecedented numbers of young men were leaving their rural homes and families to seek work in the booming cities

ew York was no mere city. It was instead an infinitely romantic notion, the mysteri-ous nexus of all love and money and power, the shining and perishable dream itself.

ew York is just a city, albeit the city, a plausible place for people to live. B

hat it is like to be young in New York, how six months can become eight years wit

ogrammed by all the movies I had ever seen and all the songs I had ever heard sung and all the stories I had ever read about New York, informed me that it would never be quite the same again. In