The New Yorker is one of the biggest Magazine outlets that people utilize for their weekly news coverage, provoking articles, and their daily dose of humor and poems. As I was browsing through the articles, the one that sparked my interest was “How the Neighborhood Had Changed”, by Jack Handey—in particular, the illustration that came with it, by Luci Gutiérrez.
With one side of the building consumed by smoke and “Mafia” murder through the windows, graffiti sprayed on the garage door, and dead fish all over the floor, the man in the suit turns the corner where the other side is completely different. There is a sense of “betterness” in this side of the building, with a more neat and unblemished feel to it. There are “flowers and daisies” encapsulating the windows and almost flowing out; rather than murder, a woman is sipping on her drink with poise; instead of a fish market or garage, a bakery and a gallery for art is depicted.
The use of Gutiérrez’s illustration was intentional. This juxtaposition of the two opposing appearances in each side of the building parallels the way Handey describes how the neighborhood has changed from dangerous and run down, yet “homey”, to one filled with a more “modern” and clean look that is suitable for people with money.
The “Mafia torture chamber” is now a “bar catering to college students”, whereas the “junk yard” that used to crush cars has transformed into an “art gallery”. Handey juxtaposes two completely different places with each other in order to emphasize how drastic change can be for the future, in this case, the effect it has on our neighborhoods. As he describes the past in a more descriptive and bleak manner, its negative diction gives off a dismal tone; however, the future is now short and sweet to contrast the abrupt change to what the place has currently become.
Through his use of humor that may appeal to our pathos, Handey clearly depicts the underlying impacts of gentrification in the future. Many of the small businesses and stores, or even an “old man that kept a bunch of pigeons” have transfigured into these big companies that appeal to our capitalistic society, such as “Goldman Sachs” here. His humor is evident to persuade his audience, however there is a sort of Marxist lens subtext that may reveal the lack of care people have for the past homey features that made up a neighborhood or the people that have been living there. A clear example: the old “Chesterton Hotel was torn down” while people were still staying inside.
Handey takes into account his medium of the New Yorker Magazine for his use of satire and irony. The fish market once consisted of fish that were “skinny” and had “dead eyes”. Though as it transformed into a modeling agency, it simply became a contrasting profitable place with the same description, when considering the stereotypical notion of models being “skinny” and always looking “miserable”. The fact that “crime is down” is written in a newspaper for people to read is as if to reassure that there are positive effects that have been caused due to this “change”, even when it’s basically gentrification if you really look at it. Our worlds—and our neighborhoods—are changing at such a rapidly accelerating rate for both the “good” and “bad”. We imagine our futures in different ways but it is certain that it will change. People from the past did not expect the present, and people today may not be able to predict what will happen in the future—we can only imagine it as gentrification and technology intensifies and with change in mind.