One of the most quoted lines about New York City is the one from Norman Podhoretz: the first sentence of his 1967 memoir, Making It, goes: “One of the longest journeys in the world is the journey from Brooklyn to Manhattan”.
This is, of course, not simply a geographical journey, but a journey between worlds. It’s one travelled by many in the film and entertainment worlds, both the real (Woody Allen) and the fictional (John Travolta’s character Tony Manero in Saturday Night Fever).
In the case of Woody Allen, Nathan Heller (“Little Strangers” in The New Yorker, November 19, 2012, pp. 85-90) describes Allen’s film Annie Hall as a prime example of “disparate worlds” and “a narrative of horizontal identity, a story about being born ‘out of step’ with your family and joining a community alien to your parents’ milieu”. In this case the Alvy Singer move from “the deep-seated Brooklyn coral of roller coasters, diabetees, and tallis salsemen” to a Manhattan “post-Freudian paradise of entertainment-biz parties” is the massive shift.
A great quote, and a good idea. But we are forgetting the second half of that first sentence from Podhoretz, one which follows the hypen: “— or at least from certain neighborhoods in Brooklyn to certain parts of Manhattan.”
A qualification to be sure. So Manhattan is an idea – sophistication, fame, fortune – and Brooklyn, in this instance, is the opposite – working class, mundane, pedestrian. Hmm, tell that to the residents living in Brooklyn Heights living in their multi-million dollar homes with outstanding views overlooking the East River and the skyline of Manhattan.