The Conscience of Place: Where the Other Half Lived

The photographs of Jacob Riis confronted New Yorkers with the misery of Mulberry Bend -- and helped to tear it down.

A block below canal street in lower Manhattan, just a few hundred yards from City Hall, there is a small urban oasis called Columbus Park. Early on a spring morning, the sun rises over an irregular threshold of rooftops to the east of the park—a southern spur of Chinatown—and picks out details on the courthouses and state office buildings looming over the west side of the park. Carved eagles stare impassively into the sunlight. Incised over a doorway on the Criminal Courts Building is a strangely senseless quotation from Justinian. "Justice is the firm and continuous desire to render to every man his due," it says, as though justice were mainly a matter of desire.

Advertise on MotherJones.com

Beneath the sun's level rays high overhead, Columbus Park seems almost hollow somehow, and since it is open ground—open playground, to be accurate—it exposes the local topography. The land slopes downward from Bayard Street to Park Street, and downward from Mulberry to Baxter. At the north end of the park, temporary fencing surrounds an ornate shelter, the sole remnant of the park's original construction in 1897, now given over to pigeons. Plane trees lean inward around the perimeter of the asphalt ball field, where a tidy squadron of middle-aged and elderly Asian women stretches in unison, some clinging to the chain-link fence for balance. One man wields a tai chi sword to the sound of Chinese flutes from a boom box. A gull spirals down out of the sky, screeching the whole way. All around I can hear what this city calls early morning silence, an equidistant rumble that seems to begin a few blocks away.

I watch all of this, the tai chi, the stretching, the old men who have come to sit in the cool spring sunshine, the reinforced police vans delivering suspects to the court buildings just beyond it all, and as I watch I try to remember that Columbus Park was once Mulberry Bend. Mulberry Street still crooks to the southeast here, but the Bend proper is long gone. It was the most infamous slum in 19th-century New York, an immeasurable quantity of suffering compacted into 2.76 acres. On a bright April morning, it's hard to believe the Bend ever existed. But then such misery always inspires disbelief.

The Bend was ultimately torn down and a park built on its site in 1897 after unrelenting pressure from Jacob Riis, the Danish-born journalist and social reformer. In How the Other Half Lives, an early landmark in reforming literature whose title became a catchphrase, Riis provides some numbers for Mulberry Bend, which he obtained from the city's Registrar of Vital Statistics. In 1888, he wrote, 5,650 people lived on Baxter and Mulberry streets between Park and Bayard. If Riis means strictly the buildings within the Bend, as he almost certainly does, then the population density there was 2,047 persons per acre, nearly all of them recent immigrants.

By itself, that's an almost meaningless figure. But think of it this way: In Manhattan today, 1,537,195 persons live on 14,720 acres, a density of slightly more than 104 per acre. (In 1890, the average density within the built-up areas of Manhattan was about 115 per acre.) If Manhattan were peopled as thickly today as the Bend was in 1888, it would have more than 30 million inhabitants, an incomprehensible figure, the equivalent of nearly the whole of California jammed onto a single island. To put it another way, if the people who live in Manhattan today were packed as tightly as the immigrants in Mulberry Bend were, they could all live in Central Park with room to spare. But these are suppositions, imaginary numbers. The truly astonishing figure, of course, is 5,650 persons—actual human beings, every one of them—living in Mulberry Bend, among the highest population density ever recorded anywhere.

Now consider a final set of numbers: According to Riis and the city statistician, the death rate of children under five in Mulberry Bend was 140 per 1,000, roughly 1 out of 7. This is likely to be an underestimate. (Citywide, the number was just under 100 per 1,000 and falling fast.) Today, Mulberry Bend would rank between Lesotho and Tanzania in under-five mortality and worse than Haiti, Eritrea, Congo, and Bangladesh. Last year, the under-five mortality rate for the United States was 8 per 1,000, or 1 out of 125.

Numbers, even numbers as striking as these, do not do a good job of conveying horror. But when the horror is literally fleshed out, it begins to make an impression, as it did on Riis himself. After coming to America in 1870, at age 21, and enduring a vagrant existence for a few years, he found work at the New York Tribune as a police reporter and was sent to the office at 303 Mulberry Street, a few blocks north of the Bend and across from police headquarters. Night after night, Riis visited the Bend, sometimes in police company, often not, and he reported what he saw—especially the extreme overcrowding—to the Board of Health. "It did not make much of an impression," Riis wrote in The Making of an American. "These things rarely do, put in mere words."

So Riis put them in pictures. With a flashgun and a handheld camera, invented just a few years earlier, Riis began to take photographs of what he found in the Bend. "From them," he wrote, "there was no appeal." They made misery demonstrable in a way that nothing else had. No political or economic or cultural theory could justify the crowding his photographs document. There was no explaining away the sense of oppression and confinement they reveal. In picture after picture you see not only the poverty and the congestion of the Bend—the stale sweatshops and beer dives and five-cent lodging houses—but the emotional and psychological consequences of people living on top of each other.

Since the mid-20th century, Riis has been considered one of the founders of documentary photography. Over the years, his photographs of Mulberry Bend and other New York slums have become a part of the city's conscience. But his approach to photography was flatly utilitarian. "I had use for it," Riis wrote of the camera, "and beyond that I never went." Printing technology at the time meant that in books and articles his pictures had to be redrawn as wood engravings, considerably reducing their impact. The actual photographs were seen only in lantern slides accompanying his lectures. What mattered was not aesthetics but what the pictures showed. Riis had a similar use for words and statistics. They were merely tools to persuade New Yorkers to witness what was right in front of their eyes.

In one of his many articles on tenement housing, Riis printed a map of the Bend drawn from overhead, a silhouette showing the proportion of open space to buildings. Looking at that map is like looking at an old-fashioned diagram of a cell, a hieroglyphic of dark and light. It's hard to know what to call the spaces depicted by the white areas on Riis's map. Yard is too pastoral and air shaft too hygienic. Riis calls them "courts" and "alleys," but even those words are too generous. What the white spaces really portray are outdoor places where only a single layer of humans could live, many of them homeless children who clustered in external stairwells and on basement steps. In the tenements of the Bend—three, four, and five stories each—families and solitary lodgers, who paid five cents apiece for floor space, crowded together in airless cubicles. "In a room not thirteen feet either way," Riis wrote of one midnight encounter, "slept twelve men and women, two or three in bunks set in a sort of alcove, the rest on the floor."

For reformers, Riis included, the trouble with the Bend wasn't merely the profits it returned to slumlords and city politicians, nor was it just the high rents that forced tenants to sublet floor space to strangers. The problem was also how to portray the Bend in a way that conveyed its contagious force, the absence of basic sanitation, of clean water and fresh air, the presence of disease, corruption, and crime, the enervation and despair. It was, for Riis, the problem of representing an unrepresentable level of defilement. The power of his silhouette map, for instance, is flawed by its white margins, which falsely imply that conditions improved across the street, when, in fact, the entire Sixth Ward was cramped and impoverished. Even the grimmest of Riis's photographs show only a few people, at most, in the back alleys and basement dives. Powerful as they are, these pictures fail to convey the simple tonnage of human flesh in those dead-end blocks.

But the problem of Mulberry Bend was also how to interpret it. On a bright spring morning in the 1880s or early 1890s, a New Yorker—curiosity aroused, perhaps, by one of Riis's articles—might have strolled over to Mulberry or Baxter Street to see for himself. What he found there would depend on his frame of mind. It might have been, as photographs suggest, a bustling streetfront crowded with people going rather shabbily about the ordinary sorts of business, much as they might in other neighborhoods. Such a New Yorker—disinclined to push through to the dark inner rooms a few flights up or to the dismal courts and alleys behind or to the dank beer dives below—might conclude that perhaps Riis had exaggerated and that perhaps all there was to see here was a people, immigrants nearly all of them, who were insufficiently virtuous or cleanly or hardworking or American. It would be possible for such a person to blame Mulberry Bend on the very people who were its victims. But when the tenements were condemned and their inhabitants moved into decent housing, particularly in Harlem, they blended imperceptibly into the fabric of the city.

Riis has been faulted for his glib descriptive use of racial and ethnic stereotypes, a convention of his time that sounds raw and coarse to us now. In his defense, he came to understand that the power of a place like Mulberry Bend was enough to corrupt its residents, no matter who they were, as it had the Irish, and then the Italians who were their successors in the Bend. No iniquity within the Bend was as great, to Riis, as the political and financial iniquity that sustained the tenements there.

But the tragedy of Mulberry Bend isn't only that it came to exist and, once in existence, to be tolerated. It was also that when the city finally tore down the Bend and at last built the park that Calvert Vaux had designed for the site, a kind of forgetfulness descended. A New Yorker coming to the newly built Mulberry Bend Park in 1897, or to its renaming in 1911, or merely to watch the sun rise on a bright spring morning in 2001, might never know that there had been such a place as the Bend. The park that stands in its place is some kind of redemption, but without memory no redemption is ever complete. And without action of the kind that Riis undertook, justice remains only a matter of desire.