Sunday, October 12, 2008

Brighton Beach, Brooklyn


A jubilant, boisterous Russian language greets me on arrival to Brighton Beach Boulevard. This is the true southern terminus of the borough. It has the genuine character of a foreign world. Not a word of English reaches my ears as I wander from shop to shop; from bookstore to supermarket and from corner to corner. The Q train, shuddering overhead, is making its way to Coney Island. I cross under the elevated tracks onto a more peaceful stretch. These homes are in medium repair: Paint peels away from eaves; splintered doors bear the scars of heavy winters astride the sea. Women in Muslim headdress watch their children from stoops. The neighborhood kids are yelling and playing ball in the private drives between houses. Clouds, which obstruct the sun for some minutes, eventually submit to the repeated triumphs of sunlight. The neighborhood descends into darkness before returning to light.
Oceanview Avenue—these days in view more of the elevated train tracks than any ocean—reveals clusters of single-storey bungalows. The bungalows line side paths and side lanes with names like “Brighton 4 Walk,” and “Brighton 5 Court.” Most of these little buildings are in disrepair, and the lanes and walkways are overgrown with weeds and dominated by the odor of urine. Half-constructed towers of new development rise above this section of bungalows. I observe how not one of the new towers is completed. Each is a steel and concrete skeleton, seemingly abandoned mid-construction. The resulting atmosphere haunts a lonely sightseer like me.



Throughout the area the light of a beach town glows: A soft orange sea light accented by the cool, salty breeze down streets.
On Brighton Beach Boulevard the impressive fruit and vegetable stands are teeming with afternoon customers. It takes the skill of a linebacker to break through the wall of concentrated, shopping bodies. Energy spent like that brings on pangs of hunger. I dash into a tiny establishment on Brighton 2 Street, called Varenichnaya.
For $6.50 I buy a pile of vareniki with potatoes. I look around the place as the cooks prepare my order. Patrons seated at the tables are watching Russian television. A picture of the Hasidic head Rabbi Menachem Mendel Schneerson hangs on the wall beside the kitchen.




I take my food to go. I walk through streets of pre-war coops to the boardwalk. I find a comfortable bench in view of the sand and the green ocean. I open the to-go container. The vareniki are boiled pierogi-type dumplings topped with thin strips of uber-caramalized onions, with a side of sour cream. At first I worry that I won’t be able to finish the whole batch; $6.50 apparently buys you a plentiful pile of vareniki. But I’m hungry, and when I finally finish I remember where I am, and I take a look around. An Anglophone visitor is chatting with a group of men in Russian—testing his skills. Though it’s cold enough for a jacket, two men in swimsuits walk side-by-side on the sand. Far off in the distance I see Coney Island’s Wonder Wheel, unmoving, a mystical shadow. And a strange, pink-yellow, grey-blue sky rests low over the Atlantic. I could sit here till dark, listening to Russian conversations, and watching the sun weaken as it cracks through the ocean clouds.

The Bridge


I feel like I’ll be walking a half-mile on this ramp before I’m truly on the Brooklyn Bridge. The rooftops and facades of post-industrial America rise up ahead, and I espy a curious sign painted across the exterior of a building: Read God’s Word The Holy Bible Daily. I get it: To read a quotidian dose of the (presumably Christian) bible. But without the tools of punctuation I’m left with more than one message.
Maybe it’s an advertisement for a God-owned daily newspaper called the Holy Bible. Or maybe “God’s Word” isn’t found in hundreds of pages of ancient text, but in a single, three-worded phrase, to be recited daily: “The Holy Bible.” Chanting those three simple words each day promises the devotee an afterlife of enduring happiness and peace.
Grey-bellied clouds hover over the East River. They threaten menace and chaos. I start ascending the concrete slopes of Roebling’s masterpiece. To the right, the Manhattan Bridge rises over Dumbo, but it’s only an illusion, because the rooftops facilitate a disappearing act. The Manhattan Bridge is suddenly out of sight.
The Brooklyn Bridge approach: Redefining Visceral. Lanes of traffic underneath roar and choke and honk, shaking the pedestrian walkway above; those grey clouds sweep in with a mind to consume the sky; helicopters swirl among downtown Manhattan spires; and faraway views of Jersey and Staten Island show unreachable, exotic lands.
The Statue of Liberty emerges. It mollifies the velocity of traffic, the ferocity of the clouds.
The descent into Manhattan is a circus. Hordes of roving tourists wield cameras in an assault of flashes and laughter. The anonymous reporter strains all muscle to dodge the photography. He ducks into the City Hall subway, and flees.