This is an outtake from my reporting on Palmer Woods, a small affluent neighborhood in Detroit. See the final print version here.
Much of my attraction to writing about Detroit came from the stories I was reading at the time. In the main, they all seemed to follow a similar pattern--this city's going to hell in spectacular fashion. I did not doubt the factual accuracy of this frame, so much as I intuitively felt it to be incomplete. It's very easy to report on tragedy when you're a writer--the complications are obvious, and people generally want to talk. I'm not against such reporting, Indeed I think it is essential.
But there's a point where the gaze shifts from informative to lurid, from documentary to pornographic. I did not want to write something "positive" about Detroit. No writer should ever set out to do such a thing. But I did want to reflect a different sort of truth. I did want to get as far away from voyeurism as possible. Part of that urge lay in being black. Part of it lay in being from Baltimore. But most of it lay in being a writer. I wanted to understand the city, as much as possible, as though I were a native.
In that endeavor, one of the first things I had to get was that the concept of owning your own home, in Detroit, is different in degree and scope than in other cities. Homeownership is a religion in America, but the fanatics of Detroit are without peer: 85 percent of Detroit housing consists of single-family homes. In that sense, Detroit is reflecting Michigan's traditional ardor for the single family dwelling. In 1900, Michigan's home-ownership rate was 16 percentage points higher above the national average. In 2000, it was 7 points above. The gap had shrunk, but, overall, Michigan still had the third highest home ownership rate in the country.
The second thing to get was that the city was really built for the car. Woodward Avenue, which marks Palmer Woods' eastern border and was once the Sauk Indians' Saginaw Trail, is the country's oldest paved road. And the city's far-flung neighborhoods of detached homes, many of them with driveways, were built on the same suppositions as the surrounding suburbs. Space was dogma. Density, anathema.
Prewar Detroit spawned at an epic clip, its population doubling between 1910 and 1920, its assessed valuation quadrupling from $350 million to $1.4 billion. In 1914, Henry Ford announced the five dollar work day, summoning forth European immigrants and blacks from the South desperate for wages. In 1916, GM announced dividends of $50 a share, the largest in Wall Street history up to that point. "When Henry Ford did his five dollar a day, that was not by accident," said Dan Pitera, director of the Detroit Collaborative Design Center at the University of Detroit Mercy. "At that time you could buy a home and own a car on five dollars a day... . He made it possible for everyone he employed to buy a Ford."
During the boom years of the Big Three automakers, Detroit essentially functioned as a sprawling bedroom community for the auto plants in Highland Park, Hamtramck and Dearborn.
"I like to call Detroit the largest middle class city ever built," Jason Booza, a demographer at Wayne State told me. "Everybody had to have a car. What you have is, essentially, a flat city. New York and Boston were vertical. You didn't have that in Detroit.
"It was part of that American Dream, what you saw in the Levittowns. We didn't want to live in overcrowded tenements like the vertical cities. We had the ability, wealth and land to spread out. You couldn't do that as much in New York. Our only constraint was the river. We were completely flat. Nothing hindered our horizontal expansion."
Detroit, singular among America's older big cities, boomed in the first half of the 20th century, just as luxury items--specifically the car and the detached home--became available to the urban working classes. Thus the city was built on a kind neo-Jeffersonianism--detached single-lot homes with lawns, driveways for cars, and an undercurrent animus toward renters, many of whom happened to be black.
For decades, African-Americans were made to watch Detroit's middle class fantasy unfold like hired help peering in from the broiling kitchen of the city's overcrowded slums. During the riots of 1967--known, not as a riot, but an uprising among black Detroiters--the servants crashed the party. In 1972, they staged their own. That was the year Coleman Young, the city's first African-American mayor, came to power. Having been denied so long, through means legal and extra-legal, black Detroiters have been particularly taken by the city's Utopian proposition.
Detroit is the only city in the country where more African-Americans own homes than rent. Only in Detroit does the African-American homeownership rate (53 percent) approach the national white homeownership rate (56 percent.) Much has been made of the great poverty among Detroit's African-American residents, a problem stretching back to the early 20th century, when blacks started streaming up North from the South. Less has been made of the rise of black middle and upper-middle class in the last half century.
According to University of Michigan sociologist Reynolds Farley:
In 1950, only one-quarter of metropolitan Detroit blacks were in the economic middle class if that means having a household income twice the poverty line. Despite the loss of manufacturing jobs, this grew to more than one half of blacks in 1990. The removal of the Jim Crow occupational barriers was also followed by the emergence of an African American economic elite. One-sixth of the metropolitan black households, by 2004, had incomes more than five times the poverty line. The city's elegant neighborhoods with their expensive homes--Boston-Edison, Indian Village, North Rosedale Park, Palmer Woods, Sherwood Forest--are racially integrated, but are home to a large and prosperous black population not found in Detroit before.
Detroit has almost as many upper middle class African-American households as Chicago, (measured as households earning over $75,000 per year) despite having almost 100,000 fewer total African-American households. The city's black business class is a constant presence in Black Enterprise, the monthly bible of black entrepreneurs. Some of the largest chapters of the confrerie of black upper middle class organizations--the AKAs, the Alphas, The Links, The Boule--are in Detroit, where, in the midst of an urban crisis, a high shaman class has taken root.
Like the previous lords, their grand homes quartered in leafy redoubts of the city are their talismans. Even as Detroit groaned under the weight of crime, failing schools, and high taxes, these neighborhoods held steady. But the country's current financial straits, bookended by the housing crisis and the bankruptcy of the Big three automakers, was a direct assault on the very structural premises of the region, and thus its wealth. Now dying by the sword, metro Detroit has the highest foreclosure rate in the country, and the upper crust have not been spared. Now problems which were once unthinkable--crime, for instance--are cropping up, as Palmer Woods is brought back into the gravity of the city.
While walking with the Barefields, we stopped in front of a brick mansion, sprawling even for Palmer Woods. It'd been vacant for years. But in 2007, it was sold to a local realtor. Barbara interviewed the man for The Palmer Woods Post and took pictures of him standing in front of the venerable fixtures. "They had all these gorgeous antiques," said Barbara. "They had just moved in and had beautiful chandeliers and sconces and they got ripped off right away."
A few weeks later, the police caught another burglar in the neighborhood who informed them about an antique store where he was fencing his goods. When the police went to the store the found many of the antiques that had been ripped out of the local realtor's home. "The police said, 'How do we know these are your things,'" explained Barbara, "and I had just photographed his house for our newsletter. I had photographs of all the things that had been stolen."
Despite its residents fealty to Detroit, Palmer Woods origins reflect the impulse to what would later come to be called (erroneously, I maintain) white flight. Here's a portrait of Detroit, just after the turn of the century, from Robert Conot's engrossing American Odyssey:
Detroit [had]... more brothels than churches...far more prostitutes than deacons...[and] fourteen hundred saloons operating twenty-four hours a day, seven days a week." Much of the police department was illiterate, and on the take...Crime investigation consisted of beating confessions out of suspects. The 'curbstone court' was an accepted custom.
Progressive reformers like Jacob Riis and Jane Addams cheered on suburbanization as an escape from the overcrowded, corrupt and crime-ridden cities. It was in that spirit that Charles Burton developed Palmer Woods as "a safeguard from the encroachments of commercialism..cut off from Woodward Avenue's dust and noise."
In point of fact, many of Palmer Woods early residents were architects of the very "dust and noise" they sought to escape. Frank Couzens, whose father built a fortune as Ford's vice-president and general manager, erected 14 homes in Palmer Woods during the 20s. TIME coverboy twice-over William "Bunky" Knudsen, who served both as president of Ford and then GM, and headed Franklin Roosevelt's war mobilization board, built a home on Balmoral. The Fisher brothers, whose Fisher Body supplied carriages to almost every car company in the city, built twin mansions in the neighborhood. Here was a class of people essentially of their own creations. When restrictive covenants were ruled unconstitutional, they were joined by blacks.
"They were all well-educated," local historian, and Palmer Woods resident, Steve Williams told me. "The larger shared cultural norms were not very dissimilar. African-American professionals, many of them successful entrepreneurs, often embodied the values that a lot of whites thought they had a monopoly on."
Palmer Woods' newest influx fused the customs of black America's ancient regime with the ethos of old Detroit money. They pledged their children to Jack and Jill, joined the neighborhood association, and helped revive the home tour in the late '80s. They held potlucks and barbecues to raise money for local charities and black artists. In The Palmer Woods Post, the neighborhood newsletter, their kids beamed in hats made from balloons, and clutched popcorn and snow-cones.
A distinctly urban liberal outlook took hold along side the old Jeffersonianism. Palmer Woods now bills itself, not as enclave cut off from the city, but as a "Detroit neighborhood filled with harmony, diversity and warmth: multicultural residents, architectural treasures, and natural beauty in a wooded, urban setting." But a cult of home and hearth links the old and new. Architecture is heritage, and Palmer Woods is a monument to the majesty and splendor of Detroit's ancient glamour.
Among the country's elder big cities, Detroit--founded as a French fort in 1701--stands alone as a boomtown which, in barely a lifetime, flared up and died down. The homes of Palmer Woods, a charming gumbo of the British, the French and Italian, betray the work of men who suddenly found themselves flush, and then searched the world for pedigree.
The African-Americans who followed, some only a few generations out of slavery and others right out of Black Bottom, found themselves in the same way. But much as the Pope conferred the legitimacy of ancient Rome on to Charlemagne, Palmer Woods' venerable collage of irreplaceable homes conferred the legacy of old Detroit upon the city's lately lords. And just as the Franks became the guardians of a heritage that scorned their ancestors as barbarians, home-owners here--like African-Americans across the country--became custodians of a world founded on their exclusion.
In Palmer Woods, it is common to meet home-owners who can recite the biography of every home-owner that preceded them, and can cite years for any additions made to their home. When making additions--or even repairs-- themselves, residents scour the state in search of contractors specializing in the specific era of the home's vintage. Under the eyes of the neighborhood's most fervent devotees, furniture is scrutinized and only added if it complements.
Those who've left the neighborhood, even as children, are sometimes drawn back and find themselves wandering Strathcona or Balmoral, seeking out old memories. "On three separate occasions, we've had people call or stop at the door, unannounced, essentially saying 'I lived in the house when I was a kid or I remember visiting this place with my grandmothers," George Galster, who lives in Palmer Woods, told me. "These people would bring photographs of what the house looked like. We have a quite thick notebook with documents; photos, letters from former occupants, including photos of when it was first built, and photos of it as it was being built."
Nor is residency a necessary prerequisite to rapture. Gerald Hough, 78, worked a mail route in Palmer Woods from 1968 to 1998, and was so taken that he began making regular trips in his off hours to the historical libraries to research the people who'd lived there and the stories behind the homes. "I just loved the beautiful old homes, and the layout" Gerald Hough, 78, explained over the phone, "It was a high quality neighborhood." Hough's fascination reached an apex, when, at the invitation of one of the owners, he spent five years living in a wing of one of the Fisher mansions.
Over the past few years, Detroit, the blackest big city in the country, has been hot with reporters and film-makers who've assigned themselves the work of comparing the city's mythical past against its precarious present. Their diagnoses are mostly rendered in the manner of hospice nurses recounting morbid and lurid tales over drinks with slack-jawed friends. TIME magazine purchased a house in the sleepy and decidedly black middle class neighborhood of Indian Point neighborhood, then promptly kicked off its coverage with a photo-essay entitled "The Remains Of Detroit."
The Times, taking measure of the city, asserted that Detroit "looks more like Pompeii than, say, Buffalo--like a city whose demise arrived overnight rather than over decades." Then, waxing rhetorically, the paper wondered "is Detroit America's Rome?" The coverage mirrored broader cultural conclusions about city that echo back through the decades. Detroit is where you set horror films and anarchic thrillers like "The Evil Dead," "Robocop," and the reboot of "Assault on Precinct 13."
Detroit is what the New Urbanists say when searching out an antonym for Portland, Seattle or Denver. Detroit is not a place where human beings live and breathe, but a symbol of mystical disaster. "Not since the last days of the Maya have the Americas witnessed a transformation as traumatic as that which befalls the Motor City," intoned the narrator of the recent BBC documentary Requiem For Detroit. "Here time seems to be running backwards...What was once the frontier city of the American dream, the Paris of the Midwest is now in its strange beauty the first post-American city."
The hyperbole is comforting, and offers the viewer a safe distance from which to point and gawk. But there is nothing post-American about Detroit. It was never so much a big city, as a sprawling inner-ring suburb now plagued by many of the same issues that plague Hempstead, New York, and Landover, Maryland. The notion that Detroit is somehow alien, or post-American, originates in the dissonance between its decidedly American past as a place where a high-school drop-out could buy a home and start a family, and it impoverished present.
This is Detroit as the Lost Cause--a narrative that ignores the fact that America's populist paradise was once a place where black doctors were made to wait tables. Unlike Landover, Detroit--with its dual heritage of Henry Ford and Ossian Sweet--still holds a mass privileged class in its sway. Since the days of E. Franklin Frazier's Black Bourgoise through Malcolm X's riff on "House slaves vs. Field slaves," into our present time, the narrative treatment of the black middle class has typically ranged from outright contempt to freakish curiosity to utter disregard.
In Detroit, the latter is in vogue. The eye is drawn to those who can't flee Detroit, but, in so many ways, post-Civil Rights Detroit was built and maintained by those who can but choose not to. Whatever the problems of post-Civil Rights Detroit, it is the site of a great democratization, one that was obstructed and then abandoned by many of the city's whites and perpetrated by its blacks. In that sense, those who live in Palmer Woods are heirs to both the splendor of golden era Detroit, and to the revolution that overthrew it. Some of those heir are uninterested in the claim.
Karen Batchelor (who I mentioned in the lede of my story in the magazine) went on to a career in public affairs, and presently works as a consultant in social media. After tracing her mother's roots, Batchelor became the first African-American to join the Daughters of the Revolution.She's lived in different neighborhoods throughout Detroit, but remained committed to the city. "I think there was only one time that I ever thought about living somewhere else, which was after I got divorced," she told me. "But Detroit was like Cheers. It was like everywhere you went somebody knew your name."
Kwame Kilpatrick's tenure as mayor left Batchelor depressed and wounded. And then her son and daughter were carjacked while visiting her at her loft near Wayne State. "They called the police and no one came for a half an hour," said Batchelor. "They called back and someone hung up on them. My son and daughter in law didn't want to come down and visit me." Batchelor decided to move to Huntington Woods, north of the city. It's a decision which she still has not made total peace with. "I'm really into roots," she told me. "I'm into genealogy. Detroit was my roots. I really didn't want to leave...I had a passion for Detroit. Whatever I could do to make the city better, I tried to get involved in."
Ta-Nehisi Coates is a national correspondent at The Atlantic, where he writes about culture, politics, and social issues. He is the author of The Beautiful Struggle and the forthcoming Between the World and Me.
Thicker ink, fewer smudges, and more strained hands: an Object Lesson
Recently, Bic launched acampaign to “save handwriting.” Named “Fight for Your Write,” it includes a pledge to “encourage the act of handwriting” in the pledge-taker’s home and community, and emphasizes putting more of the company’s ballpoints into classrooms.
As a teacher, I couldn’t help but wonder how anyone could think there’s a shortage. I find ballpoint pens all over the place: on classroom floors, behind desks. Dozens of castaways collect in cups on every teacher’s desk. They’re so ubiquitous that the word “ballpoint” is rarely used; they’re just “pens.” But despite its popularity, the ballpoint pen is relatively new in the history of handwriting, and its influence on popular handwriting is more complicated than the Bic campaign would imply.
In the name of emotional well-being, college students are increasingly demanding protection from words and ideas they don’t like. Here’s why that’s disastrous for education—and mental health.
Something strange is happening at America’s colleges and universities. A movement is arising, undirected and driven largely by students, to scrub campuses clean of words, ideas, and subjects that might cause discomfort or give offense. Last December, Jeannie Suk wrote in an online article for The New Yorker about law students asking her fellow professors at Harvard not to teach rape law—or, in one case, even use the word violate (as in “that violates the law”) lest it cause students distress. In February, Laura Kipnis, a professor at Northwestern University, wrote an essay in The Chronicle of Higher Education describing a new campus politics of sexual paranoia—and was then subjected to a long investigation after students who were offended by the article and by a tweet she’d sent filed Title IX complaints against her. In June, a professor protecting himself with a pseudonym wrote an essay for Vox describing how gingerly he now has to teach. “I’m a Liberal Professor, and My Liberal Students Terrify Me,” the headline said. A number of popular comedians, including Chris Rock, have stopped performing on college campuses (see Caitlin Flanagan’s article in this month’s issue). Jerry Seinfeld and Bill Maher have publicly condemned the oversensitivity of college students, saying too many of them can’t take a joke.
The new drama series, which follows the Colombian kingpin’s rise to power, feels more like a well-researched documentary than the gripping saga it wants to be.
Netflix’s new series Narcos is possibly arriving at the wrong time: The doldrums of summer aren’t really the ideal moment for a narratively dense, documentary-like look at the rise and fall of the Colombian drug kingpin Pablo Escobar. Narrated in voiceover by DEA Agent Steve Murphy (Boyd Holbrook), the early hours of Narcos feel like a history lesson, though an visually sumptuous one.
As Netflix continues to expand its streaming empire, it’s making a concerted effort to appeal to worldwide audiences, and Narcos fits neatly into that plan, alongside last year’s expensive critical flop Marco Polo. Narcos was shot on location in Colombia and stars the acclaimed Brazilian actor Wagner Moura as Escobar. It takes full advantage of its setting, loaded with sweeping helicopter shots of the Colombian jungle where Escobar founded his cocaine empire, filling a power vacuum left by various political upheavals in late-’70s South America.
The billionaire’s campaign is alienating the fastest-growing demographic in American politics—and the talk-radio right treats damage control as heresy.
With Marco Rubio and Jeb Bush running for president, many Republicans hoped 2016 would be the year when the GOP won its biggest ever share of the Hispanic vote. Now Donald Trump is the frontrunner. And if he hangs on to win the nomination, the GOP will almost certainly do worse among Hispanic voters than ever before. Earlier this week, Gallup released an extraordinary poll about how Hispanics view the Republican candidates. Jeb Bush is easily the most popular. Ted Cruz is least popular among the traditional choices. Nearly everyone else fits in between them in a range so narrow that the 5 percent margin of error could scramble their order.
But not Trump, who is wildly, staggeringly unpopular among Hispanics:
Grasses—green, neatly trimmed, symbols of civic virtue—shaped the national landscape. They have now outlived their purpose.
The hashtag #droughtshaming—which primarily exists, as its name suggests, to publicly decry people who have failed to do their part to conserve water during California’s latest drought—has claimed many victims. Anonymous lawn-waterers. Anonymous sidewalk-washers. The city of Beverly Hills. The tag’s most high-profile shamee thus far, however, has been the actor Tom Selleck. Who was sued earlier this summer by Ventura County’s Calleguas Municipal Water District for the alleged theft of hydrant water, supposedly used to nourish his 60-acre ranch. Which includes, this being California, an avocado farm, and also an expansive lawn.
The case was settled out of court on terms that remain undisclosed, and everyone has since moved on with their lives. What’s remarkable about the whole thing, though—well, besides the fact that Magnum P.I. has apparently become, in his semi-retirement, a gentleman farmer—is how much of a shift all the Selleck-shaming represents, as a civic impulse. For much of American history, the healthy lawn—green, lush, neatly shorn—has been a symbol not just of prosperity, individual and communal, but of something deeper: shared ideals, collective responsibility, the assorted conveniences of conformity. Lawns, originally designed to connect homes even as they enforced the distance between them, are shared domestic spaces. They are also socially regulated spaces. “When smiling lawns and tasteful cottages begin to embellish a country,” Andrew Jackson Downing, one of the fathers of American landscaping, put it, “we know that order and culture are established.”
On the desperation behind the migrant tragedy in Austria
On Thursday, as Krishnadev Calamur has been tracking in The Atlantic’s new Notes section, Austrian authorities made a ghastly discovery: a truck abandoned in the emergency lane of a highway near the Hungarian border, packed with the decomposing bodies of 59 men, eight women, and four children. They are thoughtto be the corpses of migrants who suffocated to death, perhaps two days earlier, in the bowels of a vehicle whose back door was locked shut and refrigeration and ventilation systems weren’t functional. Stray identity documents suggest that at least some of the victims were Syrian—refugees from that country’s brutal civil war. The truck featured an image of a chicken and a slogan from the Slovakian poultry company that the lorry once belonged to: “I taste so good because they feed me so well.”
The Republican frontrunner has offered Bush the perfect chance to display some passion—but he’s declined to take it.
Donald Trump has gotten a boost in his efforts to maul Jeb Bush in recent days from an unexpected source: Jeb Bush himself.
Trump’s attack on Jeb isn’t mostly about issues. As with most things Trump, it’s mostly about persona. The Donald thinks Jeb is a dud. “He’s a man that doesn’t want to be doing what he’s doing,” Trump said in June. “I call him the reluctant warrior, and warrior’s probably not a good word. I think Bush is an unhappy person. I don’t think he has any energy.”
Over the last week, Jeb has proven Trump right. Trump, and his supporters, continue to demonize Mexican American illegal immigrants. On Tuesday, Trump threw the most popular Spanish-language broadcaster in America out of a press conference. That same day, Ann Coulter warmed up for Trump in Iowa by offering gruesome details of murders by Mexican “illegals,” and suggesting that once Trump builds his wall along America’s southern border, tourists can come watch the “live drone shows.”
Every time you shrug, you don’t need to Google, then copy, then paste.
Updated, 2:20 p.m.
All hail ¯\_(ツ)_/¯.
In its 11 strokes, the symbol encapsulates what it’s like to be an individual on the Internet. With raised arms and a half-turned smile, it exudes the melancholia, the malaise, the acceptance, and (finally) the embrace of knowing that something’s wrong on the Internet and you can’t do anything about it.
As Kyle Chayka writes in a new history of the symbol at The Awl, the meaning of the “the shruggie” is always two, if not three- or four-, fold. ¯\_(ツ)_/¯ represents nihilism, “bemused resignation,” and “a Zen-like tool to accept the chaos of universe.” It is Sisyphus in unicode. I use it at least 10 times a day.
For a long time, however, I used it with some difficulty. Unlike better-known emoticons like :) or ;), ¯\_(ツ)_/¯ borrows characters from the Japanese syllabary called katakana. That makes it a kaomoji, a Japanese emoticon; it also makes it, on Western alphabetical keyboards at least, very hard to type. But then I found a solution, and it saves me having to google “smiley sideways shrug” every time I want to quickly rail at the world’s inherent lack of meaning.