Upper East Side Quotes

Well, at least you know it works this time," she said, getting on behind him. "If we crash into the parking lot of a Key Food, I'll kill you, you know that?" "Don't be ridiculous," said Jace. "There are no parking lots on the Upper East Side. Why drive when you can get your groceries delivered?

I imagined loading the God of the Sea into a taxi and taking him to the Upper East Side.

THAT’S HOW MY STORY ENDS. With the loss of everyone I have ever loved. With me, in a big, beautiful Upper East Side apartment, missing everyone who ever meant anything to me. When you write the ending, Monique, make sure it’s clear that I don’t love this apartment, that I don’t care about all my money, that I couldn’t give a rat’s ass if people think I’m a legend, that the adoration of millions of people never warmed my bed. When you write the ending, Monique, tell everyone that it is the people I miss. Tell everyone that I got it wrong. That I chose the wrong things most of the time. When you write the ending, Monique, make sure the reader understands that all I was ever really looking for was family. Make sure it’s clear that I found it. Make sure they know that I am heartbroken without it. Spell it out if you have to. Say that Evelyn Hugo doesn’t care if everyone forgets her name. Evelyn Hugo doesn’t care if everyone forgets she was ever alive. Better yet, remind them that Evelyn Hugo never existed. She was a person I made up for them. So that they would love me. Tell them that I was confused, for a very long time, about what love was. Tell them that I understand it now, and I don’t need their love anymore. Say to them, “Evelyn Hugo just wants to go home. It’s time for her to go to her daughter, and her lover, and her best friend, and her mother.” Tell them Evelyn Hugo says good-bye.

I pictured my mom, alone in our little apartment on the Upper East Side. I tried to remember the smell of her blue waffles in the kitchen. It seemed so far away.

What I did with his automobile was fairly dramatic and somewhat risky, but still a lot easier than finding a parking place on the Upper East Side.

They were all on Klonopin, was my guess. They lived mostly in Brooklyn, another reason I was glad to live on the Upper East Side. Nobody up there listened to the Moldy Peaches. Nobody up there gave a shit about “irony” or Dogme 95 or Klaus Kinski.

I've lived in this city all my life. I grew up on the Upper East Side. And when I was ten years old, I was rich, I was an aristocrat. Riding around in taxis, surrounded by comfort, and all I thought about was art and music. Now, I'm 36, and all I think about is money.

The restaurant in the Upper East Side was within walking distance, though Gene and Rosie seemed to struggle for the final twenty blocks. Both needed to work on their fitness.

We were fairly protected from it on the Upper East Side, but I was still uncomfortable with the idea that Connor was growing up so close to so much chaos.

this crowd made Upper East Side girls look like Mennonites.

Armand keeps the island of Manhattan safe for them—Louis, Armand, and two young blood drinkers, Benjamin and Sybelle, and whoever else joins them in their palatial digs on the Upper East Side.

This was Yorkville, the Upper East Side. People were uptight. When I shuffled through the lobby in my pajamas and slippers on my way to the bodega, I felt like I was committing a crime, but I didn’t care.

Nothing stayed—or so I had always thought. Nothing stayed and nothing lingered. But I was wrong. Because there was an apartment in the Monroe on the Upper East Side that was full of magic, and it taught me how to say goodbye. And it was no longer mine. That didn't matter though, because I carried all of the good moments with me, the walls and the furniture—the claw-foot tub and the robin's-egg blue chair—and the way my aunt danced me around the living room, so no matter where I was, I would always be home. Because the things that mattered most never really left. The love stays. The love always stays, and so do we.

Walking through the West Village one night, he had a eureka moment: He would make a gay bar, but for straight people. It was a brilliant idea. Soon after, he opened the first T.G.I. Friday's on the Upper East Side.

Mom used to say New York was a great place to have no money. There’s so much free art and beauty, so much incredible, cheap food. But having money in New York, I remember her saying one winter as we window-shopped on the Upper East Side, Libby and I hanging on to her gloved hands, now that would be magical.

We played this game from the west village to the upper east side til around midnight when the Chrysler building was far behind us and we weren’t sure if we were in love anymore.

That's how my story ends. With the loss of everyone I have ever loved. With me, in a big, beautiful Upper East Side apartment, missing everyone who ever meant anything to me

That's how my story ends. With the loss of everyone I have ever loved. With me, in a big beautiful Upper East Side apartment, missing everyone who ever meant anything to me.

Christoph knew that East Eighty-Ninth Street was on the Upper East Side, but had no idea what life was like there. He had come to New York to make something of his life, and to sing.

On any given day, half of the subway cars smelled like urine, and attempting to get anywhere on time was nearly impossible. It was stressful to live in the city and I still hadn’t found my niche, but I had dreams. One day when I’d paid off my massive pile of student loans and was working for Vogue, I’d move to the Upper East Side and get to experience the city in a whole new light.

Some time later there was a song on all the jukeboxes on the Upper East Side that went "but where is the school-girl who used to be me," and if it was late enough at night I used to wonder that.

All good things must end,’ said Frances Price. She was a moneyed, striking woman of sixty-five years, easing her hands into black calfskin gloves on the steps of a brownstone in New York City’s Upper East Side.

It is a curious societal comment that the major agencies in New York serving the blind were on the genteel upper East Side or on tree-lined streets in Chelsea. The Society for the Deaf was in a place the police had forsaken.

There was a Dana Phelps with a son named Brandon, but they didn’t live on the Upper East Side of Manhattan. The Phelpses resided in a rather tony section of Greenwich, Connecticut. Brandon’s father had been a big-time hedge fund manager. Beaucoup bucks. He died when he was forty-one. The obituary gave no cause of death. Kat looked for a charity—people often requested donations made to a heart disease or cancer or whatever cause—but there was nothing listed.

He’d forgotten something essential about life, which was to make sure his children understood his values. No matter how many times you whispered your values to them, the thing that spoke louder was what you chose to do with your time and resources. You could hate the Upper East Side. You could hate the five-million-dollar apartment. You could hate the private school, which cost nearly $40,000 per kid per year in elementary school, but the kids would never know it because you consented to it. You opted in.

This is the kind of education that Donald Trump never bothered to get before becoming president. Although he lived and worked for decades only a few blocks from the Council’s headquarters in an elegant Upper East Side townhouse, he never showed any interest in its work or in US foreign policy more broadly. Even as president he has never once visited a war zone. He loves military symbols—hence his desire for a military parade in Washington—but shows no understanding of how the armed forces actually operate.

Some time later there was a song on all the jukeboxes on the Upper East Side that went "but where is the schoolgirl who used to be me," and if it was late enough at night I used to wonder that. I know now that almost everyone wonders something like that, sooner or later and no matter what he or she is doing, but one of the mixed blessings of being twenty and twenty-one and even twenty-three is the conviction that nothing like this, all evidence to the contrary notwithstanding, has ever happened to anyone before.

As filthy as any night was, a New York City morning is always clean. The eyes get washed. Flowers in white deli buckets are replenished. The population bathes, in marble mausoleums of Upper East Side showers, or in Greenwich Village tubs, or in the sink of a Chinatown one-bedroom crammed with fifteen people. Some bar opens and the first song on the jukebox is Johnny Thunders, while bums pick up cigarette butts to see what’s left to smoke. The smell of espresso and hot croissants. The weather vane squeaks in the sun. Pigeons are reborn out of the mouths of blue windows.

Why is it that we claim to want certainty? Only fools and cowards seek certainty. Certainty is a dead end; it’s a rich old widow living out the rest of her days on the Upper East Side with a little dog and big memories. Unless you are a senior citizen, you’ll go nuts after a few weeks of knowing what the rest of your life will bring. You’ll die of boredom. But uncertainty is what keeps us alive. It is that flip of a coin, that brief moment when it’s in the air or spinning on its side, that snaps us out of our daily stasis. Some invisible Odds Gods are giving you a chance to become better, smarter, richer. What fun it is to get paid if you earned it by the skin of your teeth, by the close call. And how dreadful it is to shoot fish in a barrel. Exposure to uncertainty earns you membership in a select tribe: You are a Padawan mastering the Force. Once the trade is on, once the die has been cast, you’re in a parallel, auspicious universe.

An “alternative” to the mainstream frat boys and premed straight and narrow guys, these scholarly, charmless, intellectual brats dominated the more creative departments. As an art history major, I couldn’t escape them. “Dudes” reading Nietzsche on the subway, reading Proust, reading David Foster Wallace, jotting down their brilliant thoughts into a black Moleskine pocket notebook. Beer bellies and skinny legs, zip-up hoodies, navy blue peacoats or army green parkas, New Balance sneakers, knit hats, canvas tote bags, small hands, hairy knuckles, maybe a deer head tattooed across a flabby bicep. They rolled their own cigarettes, didn’t brush their teeth enough, spent a hundred dollars a week on coffee. They would come into Ducat, the gallery I ended up working at, with their younger—usually Asian—girlfriends. “An Asian girlfriend means the guy has a small dick,” Reva once said. I’d hear them talk shit about the art. They lamented the success of others. They thought that they wanted to be adored, to be influential, celebrated for their genius, that they deserved to be worshipped. But they could barely look at themselves in the mirror. They were all on Klonopin, was my guess. They lived mostly in Brooklyn, another reason I was glad to live on the Upper East Side.

This explained why Upper East Side mothers all wore tiny medallions engraved with their children’s initials around their necks. And stacking rings, one for each child, on their fingers. And entered the names of other mothers in their contacts under the names of their children, so that, on so many of my new friends’ phone and email lists, I came up not as “Wednesday Martin” but as “Eliot M/ mother, Wednesday M.” We were our children, utterly merged together.

Relations among women on the Upper East Side are charged as they are perhaps nowhere else in the country or the world, and handbags, like cars, just might serve a lot of different functions all at once. A communication about where one stands in the inevitable hierarchy of Manhattan, a barometer of your wealth and connectedness and clout in a city where money and connections and clout are everything. A fashion statement. A security blanket, a way of self-soothing in a uniquely stressful town.

Millwall fans are an earthy bunch, and there’s nothing wrong with that, but many of them lack social graces, and the demographics are far removed from architect’s impressions of the New Den, which is a superb ground. It must be said, however, that their chant of, “Meerrrr!” sounds more like a flock of lambs being led to the slaughter. I don’t wish to disillusion the Millwall faithful, for they may feel that the “Meerrrr!” chant makes them sound tough ….. but it doesn’t. Trust me, from the East Upper Stand it sounds more like a bleat than a roar. When we got to London Bridge – still considered to be part of the Millwall Manor – I observed a man in his late thirties (old enough to know better) give the “Meerrrrr!” bleat, and it had a strange effect on him, for he immediately started to swagger. His knees pushed out to the side, he rolled his shoulders and his face lit up with an unpleasant smirk, as if to say, “Did you see me? I said Meerrrr!

I had thought the Upper East Side could shield me from the beauty pageants and cockfights of the art scene in which I’d “worked” in Chelsea. But living uptown had infected me with its own virus when I first moved there. I’d tried being one of those blond women speed walking up and down the Esplanade in spandex, Bluetooth in my ear like some self-important asshole, talking to whom—Reva? On the weekends, I did what young women in New York like me were supposed to do, at first: I got colonics and facials and highlights, worked out at an overpriced gym, lay in the hammam there until I went blind, and went out at night in shoes that cut my feet and gave me sciatica.

We couldn't afford to go inside. On other days, we would visit art museums. There was only enough money for one ticket, so one of us would go in, look at the exhibits, and report back to the other. On one such occasion, we went to the relatively new Whitney Museum on the Upper East Side. It was my turn to go in, and I reluctantly entered without him. I no longer remember the exhibit, but I do recall peering through on of the museum's unique trapezoidal windows, seeing Robert across the street, leaning against a parking meter, smoking a cigarette. He waited for me, and as we headed toward the subway he said, "One day we'll go in together, and the work will be ours.

That's how my story ends. With the loss of everyone I have ever loved. With me, in a big, beautiful Upper East Side apartment, missing everyone who ever meant anything to me. When you write the ending, Monique, make sure it’s clear that I don’t love this apartment, that I don’t care about all my money, that I couldn’t give a rat’s ass if people think I’m a legend, that the adoration of millions of people never warmed my bed. When you write the ending, Monique, tell everyone that it is the people I miss. Tell everyone that I got it wrong. That I chose the wrong things most of the time. When you write the ending, Monique, make sure the reader understands that all I was ever really looking for was family. Make sure it’s clear that I found it. Make sure they know that I am heartbroken without it. Spell it out if you have to. Say that Evelyn Hugo doesn’t care if everyone forgets her name. Evelyn Hugo doesn’t care if everyone forgets she was ever alive. Better yet, remind them that Evelyn Hugo never existed. She was a person I made up for them. So that they would love me. Tell them that I was confused, for a very long time, about what love was. Tell them that I understand it now, and I don’t need their love anymore. Say to them, “Evelyn Hugo just wants to go home. It’s time for her to go to her daughter, and her lover, and her best friend, and her mother.” Tell them Evelyn Hugo says good-bye.

einige gitarren, ein klavier, mikrophone von der decke, kleine schaumstoffpyramiden an den wänden. ein studio in new york an der upper east side. es ist ein warmer septemberabend draußen über der stadt. bob dylan verbrachte ihn bis etwa 5 p.m. auf der veranda seines freundes bill clinton, wo die beiden marihuana rauchten und kreatives schlafen praktizierten. bob braucht diese rituale mit freunden, bevor er ins studio geht, seit so vielen jahren, nach so vielen platten. jetzt, pünktlich um 7:34 p.m., sitzt er alleine hier im studio und schaut auf das geöffnete klavier. ähnlich wie helmut schmidt in deutschland darf auch bob dylan an jedem ort hemmungslos rauchen, selbst wenn an der wand ein großes, rot leuchtendes warnschild mit der aufschrift „do never smoke“ angebracht ist. die rauchwolken der siebenten camel filter ziehen wie magisch in den innenraum des flügels, sie stauen sich dort, scheinen sich einzunisten. vor den augen dylans aber wird das klavier zum sarg. er sieht im rauch eine spiegelung seiner eigenen gewohnt gelockten haare, er selbst daran mit dem kopf anmontiert, im besten anzug plus krawatte, eingebettet in verplüschte seitenwände. er wollte doch erste demos für die neue platte aufnehmen, nicht sich selbst im sarg visualisieren. verstimmt dämpft er die zigarette auf seinem linken unterarm aus und legt den stummel zärtlich zu den anderen auf den boden. er ist müde… das gras wirkt wohl immer noch. wie in trance steht er nun auf, verfügt sich zum flügel und platziert sich vor den tasten. im bleiernen halbschlaf geht es jetzt los. (0201)

Forbes cost of living extremely well index (CLEWI) An amazing thing I came across while researching the question of just what it is that very very rich people do with their money. As Forbes says, the CLEWI is to the very rich what the CPI is to “ordinary people.” There are forty items on it, and they are hilarious, though perhaps you shouldn’t show them to your left-wing aunt if she’s suffering from high blood pressure: Russian sable fur coats from Bloomingdale’s, shirts from Turnbull and Asser, Gucci loafers, handmade John Lobb shoes, a year at Groton boarding school, a yacht, a horse, a pool, a Learjet, a Roller, a case of Dom Perignon, forty-five minutes at a psychiatrist’s on the Upper East Side (!), an hour’s estate planning with a lawyer, and, amusingly/annoyingly, a year at Harvard.36 In 2012, the CLEWI went up 2.6 percent but the CPI went up only 1.4 percent.

They tell us that women make loud noises during sex “from the Lower East Side to the upper reaches of the Amazon”, overlooking the fact that as far as the Amazonian tribes are concerned, signs of female sexual enjoyment are sometimes discouraged and the existence of the female orgasm is often not even recognized. In all of these tribes where we have had the information, female sexual pleasure is either a non-issue, discouraged, or sex is as private and as quiet as possible.

Aging and reclusive Hollywood movie icon Evelyn Hugo is finally ready to tell the truth about her glamorous and scandalous life. But when she chooses unknown magazine reporter Monique Grant for the job, no one in the journalism community is more astounded than Monique herself. Why her? Why now? Monique is not exactly on top of the world. Her husband, David, has left her, and her career has stagnated. Regardless of why Evelyn has chosen her to write her biography, Monique is determined to use this opportunity to jump-start her career. Summoned to Evelyn’s Upper East Side apartment, Monique listens as Evelyn unfurls her story: from making her way to Los Angeles in the 1950s to her decision to leave show business in the late ’80s, and, of course, the seven husbands along the way. As Evelyn’s life unfolds—revealing a ruthless ambition, an unexpected friendship, and a great forbidden love—Monique begins to feel a very a real connection to the actress. But as Evelyn’s story catches up with the present, it becomes clear that her life intersects with Monique’s own in tragic and irreversible ways.

It was clear just how much Tommy loved the city. New York City. The CKY Grocery on Amsterdam had giant, bright red Spartan apples every day of the year, even if it wasn’t the right season. He loved that grocery, and the old, shaky Persian man who owned it. Tommy emphatically, yet erroneously believed that the CKY Grocery was the genuine heart of the great city. All five boroughs embodied distinct feelings for him, but there was only one that he’d ever truly romanticized. To him, Manhattan was the entire world. He loved everything between the East River and the Hudson; from the Financial District up to Harlem; from Avenue A to Zabar’s. He loved the four seasons, although autumn was easily the most anticipated. To Tommy, Central Park’s bright, almost copper hues in the fall were the epitome of orange. He loved the unique perfume of deli meats and subway steam. He loved the rain with such verve that every time it so much as drizzled, he would turn to the sky so he could feel the drops sprinkle onto his teeth. Because every raindrop that hit him had already experienced that much envied journey from the tips of the skyscrapers all the way down to the cracked and foot-stamped sidewalks. He believed every inch of the city had its own predetermined genre of music that suited it to a tee. The modal jazz of Miles Davis and Wayne Shorter was absolutely meant for the Upper East Side, north of 61st Street. Precisely between Gershwin and gospel. He loved the view from his apartment, even if it was just the leaves of the tree outside in July or the thin shadows of its bare branches crawling along the plain brick wall in January. Tommy loved his career. He loved his friends. And he loved that first big bite of apple I watched him take each and every morning. Everything was perfect in the city, and as long as things remained the way he wanted them to, Tommy would continue to love the city forever. Which is exactly why his jaw dropped when he opened the letter he found in his mailbox that morning. The first bite of still un-chewed apple fell out of his mouth and firmly planted itself within the crack of that 113th Street sidewalk.

I like rainbows. We came back down to the meadow near the steaming terrace and sat in the river, just where one of the bigger hot streams poured into the cold water of the Ferris Fork. It is illegal – not to say suicidal – to bathe in any of the thermal features of the park. But when those features empty into the river, at what is called a hot pot, swimming and soaking are perfectly acceptable. So we were soaking off our long walk, talking about our favorite waterfalls, and discussing rainbows when it occurred to us that the moon was full. There wasn’t a hint of foul weather. And if you had a clear sky and a waterfall facing in just the right direction… Over the course of a couple of days we hked back down the canyon to the Boundary Creek Trail and followed it to Dunanda Falls, which is only about eight miles from the ranger station at the entrance to the park. Dunanda is a 150-foot-high plunge facing generally south, so that in the afternoons reliable rainbows dance over the rocks at its base. It is the archetype of all western waterfalls. Dunenda is an Indian name; in Shoshone it means “straight down,” which is a pretty good description of the plunge. ... …We had to walk three miles back toward the ranger station and our assigned campsite. We planned to set up our tents, eat, hang our food, and walk back to Dunanda Falls in the dark, using headlamps. We could be there by ten or eleven. At that time the full moon would clear the east ridge of the downriver canyon and would be shining directly on the fall. Walking at night is never a happy proposition, and this particular evening stroll involved five stream crossings, mostly on old logs, and took a lot longer than we’d anticipated. Still, we beat the moon to the fall. Most of us took up residence in one or another of the hot pots. Presently the moon, like a floodlight, rose over the canyon rim. The falling water took on a silver tinge, and the rock wall, which had looked gold under the sun, was now a slick black so the contrast of water and rock was incomparably stark. The pools below the lip of the fall were glowing, as from within, with a pale blue light. And then it started at the base of the fall: just a diagonal line in the spray that ran from the lower east to the upper west side of the wall. “It’s going to happen,” I told Kara, who was sitting beside me in one of the hot pots. Where falling water hit the rock at the base of the fall and exploded upward in vapor, the light was very bright. It concentrated itself in a shining ball. The diagonal line was above and slowly began to bend until, in the fullness of time (ten minutes, maybe), it formed a perfectly symmetrical bow, shining silver blue under the moon. The color was vaguely electrical. Kara said she could see colors in the moonbow, and when I looked very hard, I thought I could make out a faint line of reddish orange above, and some deep violet at the bottom. Both colors were very pale, flickering, like bad florescent light. In any case, it was exhilarating, the experience of a lifetime: an entirely perfect moonbow, silver and iridescent, all shining and spectral there at the base of Dunanda Falls. The hot pot itself was a luxury, and I considered myself a pretty swell fellow, doing all this for the sanity of city dwellers, who need such things more than anyone else. I even thought of naming the moonbow: Cahill’s Luminescence. Something like that. Otherwise, someone else might take credit for it.

Not long after I learned about Frozen, I went to see a friend of mine who works in the music industry. We sat in his living room on the Upper East Side, facing each other in easy chairs, as he worked his way through a mountain of CDs. He played “Angel,” by the reggae singer Shaggy, and then “The Joker,” by the Steve Miller Band, and told me to listen very carefully to the similarity in bass lines. He played Led Zeppelin’s “Whole Lotta Love” and then Muddy Waters’s “You Need Love,” to show the extent to which Led Zeppelin had mined the blues for inspiration. He played “Twice My Age,” by Shabba Ranks and Krystal, and then the saccharine ’70s pop standard “Seasons in the Sun,” until I could hear the echoes of the second song in the first. He played “Last Christmas,” by Wham! followed by Barry Manilow’s “Can’t Smile Without You” to explain why Manilow might have been startled when he first heard that song, and then “Joanna,” by Kool and the Gang, because, in a different way, “Last Christmas” was an homage to Kool and the Gang as well. “That sound you hear in Nirvana,” my friend said at one point, “that soft and then loud kind of exploding thing, a lot of that was inspired by the Pixies. Yet Kurt Cobain” — Nirvana’s lead singer and songwriter — “was such a genius that he managed to make it his own. And ‘Smells Like Teen Spirit’?” — here he was referring to perhaps the best-known Nirvana song. “That’s Boston’s ‘More Than a Feeling.’ ” He began to hum the riff of the Boston hit, and said, “The first time I heard ‘Teen Spirit,’ I said, ‘That guitar lick is from “More Than a Feeling.” ’ But it was different — it was urgent and brilliant and new.” He played another CD. It was Rod Stewart’s “Do Ya Think I’m Sexy,” a huge hit from the 1970s. The chorus has a distinctive, catchy hook — the kind of tune that millions of Americans probably hummed in the shower the year it came out. Then he put on “Taj Mahal,” by the Brazilian artist Jorge Ben Jor, which was recorded several years before the Rod Stewart song. In his twenties, my friend was a DJ at various downtown clubs, and at some point he’d become interested in world music. “I caught it back then,” he said. A small, sly smile spread across his face. The opening bars of “Taj Mahal” were very South American, a world away from what we had just listened to. And then I heard it. It was so obvious and unambiguous that I laughed out loud; virtually note for note, it was the hook from “Do Ya Think I’m Sexy.” It was possible that Rod Stewart had independently come up with that riff, because resemblance is not proof of influence. It was also possible that he’d been in Brazil, listened to some local music, and liked what he heard.

Going to the Upper East Side is like taking a trek to the Himalayas practically.

Minna Agency errands mostly stuck in Brooklyn, rarely far from Court Street, in fact. Carroll Gardens and Cobble Hill together made a crisscrossed game board of Frank Minna’s alliances and enmities, and me and Gil Coney and the other Agency Men were the markers — like Monopoly pieces, I sometimes thought, tin automobiles or terriers (not top hats, surely) — to be moved around that game board. Here on the Upper East Side we were off our customary map, Automobile and Terrier in Candyland — or maybe in the study with Colonel Mustard.

Even the streetcars moved at a more languorous pace, like great serpents swimming through a darkness made thick by the cast-off regrets of the day. I forestalled answering my own question by stopping at the corner of Thirty-third Street to peer across the avenue at the moonlit remains of what once had been the mansion of John Jacob Astor. I had read in the newspaper that his son, to spite the mother, was going to raze the old building and erect a fine hotel. There it sat, half dismantled, like the rotting carcass of some behemoth washed ashore in a painting by Vedder. Here was a testament to the corrosive power of the city’s new wealth. Even the old gods and their legacies were not protected from its onslaught. The new deity was fortune, and there was an army of Reeds willing to adjust their moral barometers in order to join the priesthood. Its catechism trickled down from the upper reaches of Manhattan Island all the way to the Lower East Side, where immigrant families chased the insubstantial spirit of what they could not readily grasp.

At least, Hillary thought they were her people until she took their money and lost to Trump. I’ll never forget sitting in the Upper East Side home of one of Hillary’s most loyal Friends and Family shortly after the November election. “Look around,” this Friend said. I turned my head to scan the panoramic views of Manhattan, the winding marble staircase, the original Monet on the walls, the untouched crystal plate of macaroons on the table. “I’m not a loser. Hillary is a L-O-S-E-R,” the Friend said, making an L with one hand and holding it against the forehead.

from New Jersey who’d pretended to be from England, who’d created a character that specifically, smartly, preyed on the status-obsessed dupes of the Upper East Side.

I want to burn the fucking world.

....you told me you never wanted to see me again?” “I don’t think I said that.” “That’s what it felt like.” He gives me a weak excuse for a smirk. “You’re such an only child sometimes.

I’m not scared.” “Neither am I. And I’m falling in love with you.

Lie back for me, baby.” He whimpers against my mouth. “What happened to Peach?” “It was always supposed to be baby.

Because there was an apartment in the Monroe on the Upper East Side that was full of magic, and it taught me how to say goodbye. And it was no longer mine. That didn’t matter, though, because I carried all of the good moments with me, the walls and the furniture—the claw-foot tub and the robin’s-egg blue chair—and the way my aunt danced me around the living room, so no matter where I was, I would always be home. Because the things that mattered most never really left. The love stays. The love always stays, and so do we.

Whereas I set out to build a social media following as a long game to turn travel into a full-time job. Different paths to the same place. I mean, she’s still on the Upper West Side and I’m on the Lower East Side, but we’re both living advertisements.

CAROLINA WEISS, ONETIME RUSSIAN countess now A & E mechanic, boarded the 42nd Street Crosstown bus, westbound, at Second Avenue, the southern threshold of the fashionable Upper East Side, where every terrace is haunted by reminders of the past. Nervously she

It’s the kind of gratitude you have, she said, “when you’ve had a teacher who’s brilliant, who has shown you the way in a fundamental sense, not in a relative sense. Who has really been able to help you see for yourself the fundamental reality beyond the duality of good and evil.” Alas, she added, Zen Buddhists can “forget that we have to live in the relative world of good and evil, that we have to make choices based on right and wrong.

In the 1950s Detroit was undergoing changes in the city and factories with enormous political consequences. When I arrived in Detroit the city had just begun Urban Renewal (which blacks renamed “Negro Removal”) in the area near downtown where most blacks were concentrated. Hastings Street and John R, the two main thoroughfares that were the hub of the commerce and nightlife of the black community, were still alive with pedestrians. Large sections of the inner city, however, were being bulldozed to build the Ford Freeway crisscrossing the city from east to west, the Lodge Freeway bisecting the city from north to south, and the Fisher and Chrysler Freeways coming from Toledo and proceeding all the way north to the Upper Peninsula. These freeways were built to make it easy to live in the suburbs and work in the city and at the same time to expand the car market. So in 1957 whites began pouring out of the city by the tens of thousands until by the end of the decade one out of every four whites who had lived in the city had left. Their exodus left behind thousands of houses and apartments for sale and rental to blacks who had formerly been confined inside Grand Boulevard, a horseshoe-shaped avenue delimiting the inner city, many of whom had been uprooted by Negro Removal. Blacks who had been living on the East Side, among them Annie Boggs, began buying homes on the West Side and the North End. The black community was not only expanding but losing the cohesiveness it had enjoyed (or endured) when it was jammed together on the Lower East Side. New neighbors no longer served as extended family to the young people growing up in the new black neighborhoods. Small businesses owned by blacks and depending on black customers went bankrupt, eliminating an entrepreneurial middle class that had played a key role in stabilizing the community. By the end of the 1950s one-fourth of the buildings inside the Boulevard stood vacant. At the same time all Americans, regardless of race, creed, or national origin, were being seduced by the consumerism being fostered by large corporations so that they could sell the abundance of goods coming off the American assembly lines. All around us in the black community parents were determined to give their children “the things I didn’t have.

Sighing, she shifted restlessly in her seat. Her eyes felt gritty and hot, and her muscles ached with fatigue. She glanced down at her carry-on canvas bag, filled with final exams she needed to mark before she returned to her position as history teacher at Stirling Academy for Girls on Manhattan’s rarefied Upper East Side. She couldn’t face the exams yet and so she looked away, stabbing the button to power up the little screen installed in the back of the seat in front of her. Endless entertainment was what she needed.

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Most importantly, Bill and I welcomed the arrival of our grandson, Aidan, on June 18, 2016, at Lenox Hill Hospital on the Upper East Side of Manhattan. It was a sunny day with hardly a cloud in the sky—a prediction, perhaps, of his personality. He is the happiest little boy.

Around the Upper East Side, it’s not unusual to see cover-girl models on the street, but every so often you see one so stunning that you feel like passing out as she walks by.

John Berger deambulando por el primer piso de un centro comercial del Upper East Side de Manhattan mientras observa a los clientes es un ejemplo palmario de atención en acción. Vestido con una anodina chaqueta negra, camisa blanca, corbata roja y el walkie-talkie siempre en la mano,

It must have been quite the scandal. After all, Upper East Side princesses only ever do what they are told. Our only real purpose in life is to look pretty, obey, and breed. Like purebred bitches.

that I will never forgive the people who forced me to abandon the one person in the world who would never in a hundred lifetimes have abandoned me.

My sexual awakening was like a category five hurricane, and I haven’t escaped its path since. Those nine months with Fischer were the eye of the storm. Since he left, I’ve consumed the landscape. Yes, I’m obsessed with beauty, but I find beauty in all forms, and I revel in it.

He cared for my body with his hands and his time, but I credit the simple fact of his presence with the fact that I was able to regain the mental strength to go back to work. He held me together when I was in literal pieces, and I’ll never stop missing those days when I could reach back and find his hand any time I needed it. He was my silver lining.

You don’t have to ask, Fischer.” He sounds exasperated. “But I am asking.” “Why? You think now, all of a sudden I’m gonna say hey—this is weird, stop trying to snuggle up to me? If I didn’t want you, I wouldn’t be here.” My breath stills.

I’m terrified I might lose you,” he says, and it chills me, the thought of that. “I won’t risk it. I’ll pull out all the stops. I’ll fight dirty.

Would you have broken my heart?” “Not back then. I didn’t have it in me.” “But now?” “Now there is no me without you.

We’re finally in a groove. I have an important place in his life. He’s such a good friend and brother to me now—treating me with respect and even admiration. Gratitude and appreciation. I can’t handle fucking that up for something as stupid as an inappropriate crush.

The way I feel about my brother is complicated, but being with him is the easiest thing in the world.

What I also am—more painfully—is love starved. Matthew is warm, and while he’s not much

You’re a whole person,” he says, and he takes one of my hands. “Maybe we just happen to share a heart.

How do you want to deal with this?” I ask. “Did you want to have sex?” he asks. I bolt upright. “You don’t want to have sex with me, Matthew.” “I do, actually.” He mumbles into the pillow almost like he doesn’t want me to hear it. “I have for a while.” “What do you expect me to say to that?” “Nothing.

Did you have a good night?” I frown. “Yeah. Sure.” “What was your favorite part?” he asks. The moment his hands went up my shorts. “Watching you eat it on the rug.” He snorts a laugh and snuggles closer, wrapping his arm over my chest and resting his nose against the nape of my neck. His breath blows down my spine. “I liked it when you called me princess.

I bottom when I want to disappear. I never want to disappear with you. I do it when I don’t give a fuck who I’m with. When I need the noise to drown myself out. But I am insanely in love with you. I want to tattoo you on my soul.

I’m not sure I can go back to being his friend, and God knows, we’ve burned the brother bridge. I feel fucking paralyzed.

So, the options are we either fuck, or go back to being normal brothers.” “We were never normal, and we’re not brothers,” I remind him.

You’re fucking huge.” “Pass or smash?” I ask. He huffs a breath that almost sounds like a laugh. “Smash. The bigger the better.

One second, I think I’m making a huge mistake by leaving him here in this city, all by himself, and then the next thought that flashes through my mind involves pressing my mouth to his and showing him how much I appreciate him instead of all these cheap words he’ll forget the second I drive away. In the end, that’s how I know leaving is the only choice that won’t ruin us both.

We’re intertwined in a way I may never understand except to say that life without him would barely qualify as a life.

Sex and control are how I’ve coped with feeling like half a person. My muses have helped me through some of the rougher times. They offer sex with passion, which feeds my obsessive tendencies, but it’s all in the name of my art, which is an extension of me, but not me.

Maggie calls me a serial monogamist. But the truth is, my heart’s not available. It picked its person a long time ago.

Forget the fact that the idea of going twenty-four hours without him is giving me actual chest pain. And forget the fact that what I said to her on our walk the other day wasn’t “is this what love feels like?” It was “I get it now. It’s him.

Anything I want?” “Yes.” “It’s a lot. You think you can handle it, princess?” “I hope so,” he whispers.

Even if he does see me as a needy little brother, I consider him my best friend, and maybe a too frequently indulged fantasy.

I’ve been attracted to him for a long time, but last night that attraction felt like a whole other person inside of me—viscerally real and starving. Damn near chomping at the bit to put my mouth all over him.

I’ll come back whether we kiss or not,” I whisper. “I need you, too.” He gives his head a short shake, like I can’t possibly understand. “It’s not the same. You can go three weeks without seeing me in any meaningful way, and I can’t do that. I’m not asking to be everything to you again, but you’re kinda everything for me.

I’m sorry,” he gasps, “I’m so fucking sorry.” “I’m not.” “I’m not usually⁠—” “Shh…” “Like I’m fucking fourteen…” “It’s okay.

I’m not sure you were wrong to think my feelings for him could threaten my relationship with Vaughn. It’s—all-consuming. I’ve never felt like this before, and it’s terrifying to feel like you can’t breathe without someone who has so many other options.” “Is that what you want? To leave him free to explore his other options.” I feel the color drain from my face.

My love for him has its own drawer in my mind. Recently, I’ve cleared out a new drawer for him where I’ve put sex. But it would require an armoire built by both of us to contain in love.

I have an oral fixation about as impressive as the Empire State Building, and kissing Fischer satisfies it like nothing else ever has.

I sink into him the best I can, using my tongue to draw moans and whimpers from his throat.

I want to tell him I’ve been floating in a sea of denial, not of what I knew but of what I wanted—what I was denying myself because I thought he’d ruled me out years ago for too many reasons to count.

I feel like a part of a ritual. There’s no chanting, but there is rhythm. There are no spells, but I feel dizzy. He’s the leader, and I’m the sacrifice. You’re such a bottom, though…

It’s easier to think of us like we are now. Inevitable. Inseparable. Together.

What are you doing to me?” he says on a breath as he nuzzles into my neck, and I hold him close. “I’m trying to chain you to my soul,” I say, clearly out of my mind.

I want to make a mural of his scars. Paint it on my bathroom wall and try to make sense of them because I bet if I stared at them long enough, I’d have an epiphany.

I’ve had plenty of women. What I haven’t had nearly enough of is you.

After thirty-plus years as a latter-day robber baron and almost as many as a fiercely acquisitive retiree, the old man clapped both hands to his head, made a sound like a peevish crow, and collapsed to the floor. He landed in the middle of the immense Aubusson carpet in the Great Room of Galtonbrook Hall, the pile of marble that had been his home and would be his memorial. Galtonbrook Hall loomed less than half a mile from Columbia Presbyterian Hospital, and an ambulance got there in minutes, but they didn’t have to rush. Martin Greer Galton, born March 7, 1881, in Latrobe, Pennsylvania, was almost certainly dead by the time he hit the floor. Now, fifty years later, his house lived on. He’d devoted the first half of his life to making money and the second half to spending it, collecting art and artifacts in great profusion, and building Galtonbrook Hall to house himself for his lifetime and his treasures for all eternity. That at least was the plan, and he’d funded the enterprise sufficiently to see it carried out. What had been a home was now a museum, open to the public six days a week. Out-of-towners rarely found their way to the Galtonbrook; it didn’t get star treatment in the guidebooks, and it was miles from midtown, miles from the Upper East Side’s Museum Mile. As a result it was rarely crowded. You had to know about it and you had to have a reason to go there, and if you were in the neighborhood you’d probably wind up at the Cloisters instead. “We’ll go to the Galtonbrook the next time,” you’d tell yourself, but you wouldn’t. Neither Carolyn nor I had been there until our visit five days earlier, on a Thursday afternoon. We’d stood in front of a portrait of a man in a plumed hat, and its brass label identified it as the work of Rembrandt. The guidebook I’d consulted had its doubts, and repeated an old observation: Rembrandt painted two hundred portraits, of which three hundred are in Europe and four hundred in the United States of America. “So it’s a fake,” she said. “If it is,” I said, “we only know