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A Coney Island ReaderThrough Dizzy Gates of Illusion$

Louis Parascandola and John Parascandola

Print publication date: 2014

Print ISBN-13: 9780231165730

Published to Columbia Scholarship Online: November 2015

DOI: 10.7312/columbia/9780231165730.001.0001

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(p.90) Boredom
A Coney Island Reader

Maxim Gorky

Columbia University Press

Russian author and political activist Aleksey Maksimovich Peshkov (1868–1936) is better known by his pseudonym, Maxim Gorky. One of the founders of the Socialist Realism movement, Gorky is a major figure in Russian literature, perhaps most famous for his play The Lower Depths (1902). Fearing arrest in Russia because of his political activism, Gorky traveled to the United States in 1906 at the invitation of such supporters as Theodore Roosevelt and Mark Twain. Gorky demonstrated an appreciation for the splendor of Coney Island, but ultimately—as shown in “Boredom,” published in the Independent on August 8, 1907—he condemned it for its stultifying sense of boredom, which overpowers the observer. Coney seems to remind its visitors of the soulless horror of their lives, which is vented through wanton acts of jealousy, greed, and cruelty.

this is coney island.

On Monday the metropolitan newspapers triumphantly announce:

“Three Hundred Thousand People in Coney Island Yesterday. Twenty-three Children Lost.”

“There’s something doing there[,]” the reader thinks.

First a long ride by trolley thru Brooklyn and Long Island amid the dust and noise of the streets. Then the gaze is met by the sight of dazzling, magnificent Coney Island. From the very first moment of arrival at this city of fire, the eye is blinded. It is assailed by thousands of cold, white sparks, and for a long time can distinguish nothing in the scintillating dust round about. Everything whirls and dazzles, and blends into a tempestuous ferment of fiery foam. The visitor is stunned: his consciousness is withered by the intense gleam; his thoughts are routed from his mind; he becomes a particle in the crowd. People wander about in the flashing, blinding fire (p.91) intoxicated and devoid of will. A dull-white mist penetrates their brains, greedy expectation envelopes their souls. Dazed by the brilliancy the throngs wind about like dark bands in the surging sea of light, pressed upon all sides by the black bournes of night.

Everywhere electric bulbs shed their cold, garish gleam. They shine on posts and walls, on window casings and cornices; they stretch in an even line along the high tubes of the power-house; they burn on all the roofs and prick the eye with the sharp needles of their dead, indifferent sparkle. The people screw up their eyes, and smiling disconcertedly crawl along the ground like the heavy line of a tangled chain.

A man must make a great effort not to lose himself in the crowd, not to be overwhelmed by his amazement—an amazement in which there is neither transport nor joy. But if he succeeds in individualizing himself, he finds that these millions of fires produce a dismal, all-revealing light. Tho they hint at the possibility of beauty, they everywhere discover a dull, gloomy ugliness. The city, magic and fantastic from afar, now appears an absurd jumble of straight lines of wood, a cheap, hastily constructed toy-house for the amusement of children. Dozens of white buildings, monstrously diverse, not one with even the suggestion of beauty. They are built of wood, and smeared over with peeling white paint, which gives them the appearance of suffering with the same skin disease. The high turrets and low colonnades extend in two dead-even lines insipidly pressing upon each other. Everything is stripped naked by the dispassionate glare. The glare is everywhere, and nowhere a shadow. Each building stands there like a dumbfounded fool with wide-open mouth, and sends forth the glare of brass trumpets and the whining rumble of orchestrions. Inside is a cloud of smoke and the dark figures of the people. The people eat, drink and smoke.

But no human voice is heard. The monotonous hissing of the arc lights fills the air, the sounds of music, the cheap notes of the orchestrions, and the thin, continuous sputtering of the sausage-frying counters. All these sounds mingle in an importunate hum, as of some thick, taut chord. And if the human voice breaks into this ceaseless resonance, it is like a frightened whisper. Everything ’round about glitters insolently and reveals its own dismal ugliness.

(p.92) The soul is seized with a desire for a living, beautiful fire, a sublime fire, which should free the people from the slavery of a varied boredom. For this boredom deafens their ears and blinds their eyes. The soul would burn away all this allurement, all this mad frenzy, this dead magnificence and spiritual penury. It would have a merry dancing and shouting and singing; it would see a passionate play of the motley tongues of fire; it would have joyousness and life. […]

Inside the buildings the people are also seeking pleasure, and here, too, all look serious. The amusement offered is educational. The people are shown hell, with all its terrors and punishments that await those who have transgressed the sacred laws created for them.

Hell is constructed of papier maché and painted dark red. Everything in it is on fire—paper fire—and it is filled with the thick, dirty odor of grease. Hell is very badly done. It would arouse disgust in a man of even modest demands. It is represented by a cave with stones thrown together in chaotic masses. The cave is penetrated by a reddish darkness. On one of the stones sits Satan, clothed in red. Grimaces distort his lean, brown face. He rubs his hands contentedly, as a man who is doing a good business. He must be very uncomfortable on his perch, a paper stone, which cracks and rocks. But he pretends not to notice his discomfort, and looks down at the evil demons busying themselves with the sinners.

A girl is there who has just bought a new hat. She is trying it on before a mirror, happy and contented. But a pair of little fiends, apparently very greedy, steal up behind her and seize her under the armpits. She screams, but it is too late. The demons put her into a long, smooth trough, which descends tightly into a pit in the middle of the cave. From the pit issue a gray vapor and tongues of fire made of red paper. The girl, with her mirror and her new hat, goes down into the pit, lying on her back in the trough.

A young man has drunk a glass of whisky. Instantly the devils clutch him, and down he goes thru that same hole in the floor of the platform.

The atmosphere in hell is stifling. The demons are insignificant looking and feeble. Apparently they are greatly exhausted by their work and irritated by its sameness and evident futility. When they fling the sinners unceremoniously into the trough like logs of wood, you feel like crying out:

“Enough, enough nonsense, boys!”

(p.93) A girl extracts some coins from her companion’s purse. Forthwith the spies, the demons, attack her, to the great satisfaction of Satan, who sits there snickering and dangling his crooked legs joyfully. The demons frown angrily up at the idle fellow, and spitefully hurl into the jaws of the burning pit everybody who enters hell by chance, on business or out of curiosity.

The audience looks on these horrors in silence with serious faces. The hall is dark. Some sturdy fellow with curly hair holds forth in a lugubrious voice while he points to the stage.

He says that if the people do not want to be the victims of Satan with the red garments and the crooked legs, they should not kiss girls to whom they are not married, because then the girls might become bad women. Women outcasts ought not to steal money from the pockets of their companions, and people should not drink whisky or beer or other liquors that arouse the passions; they should not visit saloons, but the churches, for churches are not only more beneficial to the soul, but they are also cheaper.

He talks monotonously, wearily. He himself does not seem to believe in what he was told to preach.

You involuntarily apostrophize the owners of this corrective amusement for sinners:

“Gentlemen, if you wish morality to work on men’s souls with the force of castor oil, you ought to pay your preachers more.”

At the conclusion of the terrible story a nauseatingly beautiful angel appears from a corner of the cavern. He hangs on a wire, and moves across the entire cave, holding a wooden trumpet, pasted over with gilt paper, between his teeth. On catching sight of him, Satan dives like a fish into the pit after the sinners. A crash is heard, the paper stones are hurled down, and the devils run off cheerfully to rest from their labor. The curtain drops. The public rises and leaves. Some venture to laugh. The majority, however, seem absorbed in reflection. Perhaps they think:

“If hell is so nasty, it isn’t worth sinning.” […]

Thus, when night comes, a fantastic magic city, all of fire, suddenly blazes up from the ocean. Without consuming, it burns long against the dark background of the sky, its beauty mirrored in the broad, gleaming bosom of the sea.

(p.94) In the glittering gossamer of its fantastic buildings, tens of thousands of gray people, like patches on the ragged clothes of a beggar, creep along with weary faces and colorless eyes.

Mean panderers to debased tastes unfold the disgusting nakedness of their falsehood, the naïveté of their shrewdness, the hypocrisy and insatiable force of their greed. The cold gleam of the dead fire bares the stupidity of it all. Its pompous glitter rests upon everything ’round about the people.

But the precaution has been taken to blind the people, and they drink in the vile poison with silent rapture. The poison contaminates their souls. Boredom whirls about in an idle dance, expiring in the agony of its inanition.

One thing alone is good in the garish city: You can drink in hatred to your soul’s content, hatred sufficient to last thruout [sic] life, hatred of the power of stupidity!