Category Archives: A.J. Liebling

Beginning with the Undertaker, AJ Liebling

A.J. Liebling seems to love setting the scene. Location is given a big focus at the beginning of his stories. An in depth description is naturally apart of the location setup. “Beginning with the Undertaker,” starts off with “In the middle of any New York block there is likely to be one store that remains open and discreetly lighted all night,” from this line the reader get an immediate sense of location. Liebling is able to further develop the story into describing the inhabitants of the space. The use of description helps to organize the story by bringing about the dialogue with the characters the reader meets.

The sentence structure is the perfect mix of long and short allowing the reader to read with ease. The quotes from the characters tend to be long at times, but it is done to give the reader a sense of the personality of the person speaking. The grammar used with in the dialogue further hints at the cultural background of the speaker. “Oh, Madonna mia, she says, and what will do? So I says, Why don’t you forget all about it and purtend this is a new year,” is a perfect example of Liebling’s characterization style. The reader finally gets confirmation of the character’s nationality when Mayor Rizzo asks the police officer if he was Italian. The way libeling captures the essence of each character adds more life to the writing.

The only critique is the writing captures the time period in which it was written. It lacks timelessness in the sense of being able to be read without thinking of New York during the 1930,40s, and 50s.  However, the writing allows a comparison to be made with the New York today versus the New York of Yesterday. This helps the reader to see exactly what has changed, but more importantly what has remained the same.

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A.J. Liebling

A.J. Liebling’s “Apology for Breathing,” is a breathtaking and honest view into a city that’s filled with different people and personalized experiences that we can relate to. Liebling points out that the city is in constant change, which kind of makes the reader understand that we live in a city in which we are unavoidably exposed to other cultures and different types of ways to conduct your business.

His description of the city is one filled with points that show he grew up in the city, and that while he talks with great pride about the city, he also sounds nonchalant in describing situations that he grew up in. His talk of how millions of people go about their own business with not a single clue of what others around them are doing, is inspiring. Particularly I feel like the author’s job at describing the city is something all writers like ourselves should keep in mind, because his description in writing of New York city Is just the same as if hearing him speak of it in person.

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Apology For Breathing

In this interesting piece, A.J Liebling describes New York as one would describe a a western hometown, ‘back where they came from’. For Liebling, New York has always been his home, and he therefore speaks intimately about the city as a collection of “microcosms so nicely synchronized though unaware of each other…” This is reminiscent of the “gift of loneliness and the gift of privacy” that E.B White implored New York to offer. Liebling speaks fondly of his father’s upbringing, and of various characters in the neighborhood that made this city so complex and intriguing.

As if he is speaking about a remote mid-western village, Liebling describes the ‘regional’ language of New York, New Yorkese, which presents the residents as a remote sect of he country. He also describes New Yorkers, seemingly quite sarcastically, as the “best mannered people in America”, with the brightest children and the most beautiful women in the world. It seemed to me that he is merely describing his ‘village’ with the utmost exaggerated praise, like many of his friends from other places would frequently describe ‘back where they were from’. Overall, it was a very entertaining piece.

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Apology for Breathing by A. J. Liebling

A.J. Liebling digs deeper into New York’s essence by honoring the modern people of the city. Liebling viewed New York not through its history, but through the quirks that makes it a haven to so many people coming from different areas of the world today. One particular passage that really showcases this is his vivid description of the characters he meet in the city:

“I like to think of all the city microcosms so nicely synchronized through unaware of one another: the worlds of the weight-lifters, yodelers, tugboat captains and sideshow barkers, of the book-dutchers, sparring partners, song pluggers, sporting girls and religious painters, of the dealers in rhesus monkeys and the bishops of churches that they establish themselves under the religious corporations of law.”

The view of the city as a microcosm, as a tiny world full of thriving lives oblivious of each other’s existence is a very familiar thought that Liebling shares with many New Yorkers today. This microcosm of various faces and can be seen during commutes on the train, where people avoid others’ gazes despite being merely inches away from each other. There is a sense of freedom in the city that lets this people be—whether they’re religious painters or song pluggers. It’s a kind of freedom attained from New Yorkers who simply cannot care about anything else beyond what is on their daily agenda. As Liebling mentions, there are New Yorkers who die oblivious of their surroundings and history, and there are New Yorkers who rather ignore what they are aware of. Either way, it’s a paradox that defines New York City as the liveliest and loneliest sanctuary in the world.

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Apology for Breathing

A.J. Liebling’s “Apology for Breathing,” gave me a deeper understanding of what it is like to be a native New Yorker—one who is polite and knows when to interrupt in conversations.Not the New Yorker who is from a small town, used to having his or her thoughts seem grand and wise. But instead the true New Yorker accommodates and bends to the multitude of cultures and lifestyles that make the city whole.

The author does a wonderful job at uncovering these truths in a way that sounds like a little self-realization coupled with vivid portraits of the city’s inhabitants. It could have very well sounded like an anthropological assessment or an analysis. But it did not.

Since this piece reads like an anecdote,  of course the city’s representative inhabitants will change from time to time. I found it difficult to identify most of these people on Liebling’s list below. But I do get the undercurrent of his message : the city can sometimes look more like a mixed salad than a melting pot.

“I like to think of all the city microcosms so nicely synchronized though unaware of one another : the worlds of weight lifters, yodelers, tugboat captains, and sideshow barkers, of the book ditchers, sparring partners, song pluggers, sporting girls and religious painters, of the dealers in rhesus monkeys and the bishops of churches they established themselves…”

A sentence that I appreciated much from Liebling was his point later in the passage pointing out the city’s irony—its residents live so close, yet know nothing about each other.

“There are New Yorkers so completely submerged in one environment, like the Garment Centre or Jack and Charlie’s, that they live and die oblivious of the other worlds around them.”

This I believe was once a universal statement about the city, but now a notion which I think is under revision now with the fever of “The Tale of Two Cities,” the mantra of the city’s lead mayoral candidate Bill de Blasio.

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A.J Liebling: Tummler

A.J. Liebling is remembered as a critic of the press. He claimed he could write faster and better than his colleagues, which reminds me of the muckraker Seymour Hersh.

“I am a better American than 99% of the guys in the White House,” Hersh said.

And if I can draw those similarities, I see that Liebling preferred to approach news for what it was. It was not about puffery or trend but about withholding personal judgment and informing the masses.

“People everywhere confuse what they read in newspapers with news,” he said.

In Tummler, Liebling wrote about a scam artist, Hymie Katz. Just naming the piece “Tummler,” he portrays Katz from the point of view of the people who revered him. A tumbler is someone who is proactive in their profession, engaging others in an inspiring way. By all means, Katz employed people but they paid him to work for his clubs.

Liebling allowed Katz’s actions to speak for itself instead of telling readers that he should be condemned as a scammer. He detailed the process in which Katz funded his projects and made away with the profits.

“The investment of his own money, according to Hymie’s code, would be unethical.”

Liebling’s writing style is what I imagine his own speaking voice to sound like. He said things like, “many buildings between Longacre Square and Sixth Avenue had a joint on every floor.” He also made up names for people such as “Johnny Attorney,” a habit that got him fired at The New York Times.

His point of view does come into his writing when he said that “Hymie always enjoyed bouncing people in a nice way” and then wrote about how he would punch a heckler with a roll of quarters and toss them where police could find them.

In Liebling’s New York, it is not so easy to rent property and manage a club. There are not many “joints” that cover building floors unless codes and regulations are followed. With the present economy, it is not easy to get people to pay you for work unless you enter the human trafficking business.

Liebling’s writing is amusing and that voice has not changed in New York today. What has changed is that media has become a lot about business instead of informing the people.

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A.J. Liebling’s New York Block

In “Beginning With The Undertaker” Liebling describes the local hangout as the funeral parlor. This doesn’t really apply to present day New York. If someone today were to go hangout with the undertaker, they would be ridiculed. A passerby would probably snag a picture of them going inside a funeral parlor late at night, like how the policeman stopped by Liebling’s undertaker after his shift, and post it on the Internet for all to see.

As crazy as hanging out with the undertaker sounds, there is a root of today’s New York in his story–if the undertaker is viewed like “Mayor Rizzo.” I believe this to be Liebling’s intention. The idea of a communal hotspot on a New York City block is what Liebling really expresses. My Grandmother’s block in Queens had a similar hangout spot/block mayor. This was my Grandmother’s stoop, and she was the block mayor. She would sit out on her stoop with a cushion, waiting for her neighbors to stop by. Kids would say “hello,” the older couples on the block would bring chairs and sit for a while, and even the mailman would hang around for a chat.

Even as time passes and things change, Liebling’s New York block still exists.

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Apology for Breathing, A.J Liebling

I am amused by Liebling’s style of writing. He critiques New York City as if it’s nobody’s business. I think that this piece works in many areas because of the way Liebling introduces his topics and explains what he wants to say. “New York women are the most beautiful in the world. They have their teeth straightened in early youth… The climate is extremely healthy”. I noticed that he doesn’t say the people were healthy but later states that, “the average life expectancy is so high that one of our morning newspapers specializes in interviewing people a hundred years old and upward.” (18). This is valid because the life expectancy for New York City has increased causing people to have to delay their retiring age to 65+ and even though some people are past the expected age that they can retire they refuse to stop working. This is New York City in the year 2013.

“It is a distinction for a child in New York to be the brightest on one block, he acquires no exaggerated idea of his own relative intelligence.” (18). This is true because people push their kids to achieve all they can. New York City is made up of more immigrants and parents who are trying to make ends meet and want to give their children a better education so that they won’t have to struggle as much as them. This made a lot of sense to me when reading it because this ideas of, a “dream” for a brighter future still exists today.

Liebling also says, “It takes a real one to keep renewing itself until the past is perennially forgotten.” For some reason this doesn’t work for me in this piece because is statement reminded me of having a specific memory. For instance, 9/11 occurred a few years ago but it is still a topic that will keep a presence in our history. I don’t think that it would take “a real one” to forget such a tragic event but a real one to remember. I guess what he’s saying is that because of all our revolutions that we “New Yorkers” prefer to discuss the most recent.

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A. J. Liebling Reading

Read through all of the Liebling material and select one piece to critique on our blog. Please upload before class. Do not password protect this post.

Your critique should include what works and what doesn’t work with specific examples, and a discussion of the writer’s literary style.

How does Liebling’s New York compare to NYC in 2013?

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