In high school I had a brilliant English teacher. She stood, terrifying, brilliant at the front of our American literature classroom and dictated to us the significance of our national mythologies. One of her favorite idioms was the following "to the East, moral demise, economic rise. West, economic demise, moral rise." I think this dichotomy was based primarily on two books The Great Gatsby and The Grapes of Wrath. It was a compelling vision: that your place in America and your direction signified something about your life. Something, in our individualistic culture, so profoundly deterministic. You go here, you become this.
And it might have been wrong, or be wrong, because that canny epigram doesn't acknowledge the change that Hollywood has wrought on our understanding of east and west. We're not the Joads, most of us, just trying to find a living. We're wanna-be actors, searching for fame, fortune, and maybe a spot in the "Stars Are Just Like Us" section of US Weekly
It's a midwestern idea, too, at heart, quoted by a midwestern woman who made, as we found out after her death, a profoundly Gatsby-like transition of her own. But the root of the idea is that we are neither east nor west. To her, we start, somewhere in the middle, in the heartland, and our coasts represent different flaws and strengths of our national identity.
I love Chicago. I've lived here my entire life, in the city, leaving for only a short while for college (met the east: moral demise? unsure. economic rise? Well, let's say I haven't fulfilled my potential on that front. Transformative, however).
Chicago represents the engine of this country. A big messy engine that propels you or compels you. In William Cronon's excellent history of the city, Nature's Metropolis he describes how the flow of commodities into Chicago changed the very nature of urban life. Wheat and pigs and lumber were never so fascinating. His major argument is that the Turner thesis - the idea that as long as the frontier was open, we had a sense of destiny and that the frontier created our national character - is fundamentally untrue. The way that cities processed the goods of the frontier decided how the frontier worked.
I'm not sure, though, that a sound national history can quite replace a starry-eyed national myth. The West, whatever it is, is still the west.
And moving still represents change. I'm not moving yet, so this is wholly speculative, but even thinking of it makes me, well, think of what that change might be. This is certainly not the conscious change that Jay Gatsby made, or the reluctant change that occurs when forces beyond your control push you forward (or so I think.)
In northern Michigan, I sometimes feel most at home, when it is dark and always cold on a summer night and you can stroll up a dirt or gravel road and see the stars or sit on a dock that stretches into black water and reflects the lights of home around the lake. That region sent their lumber down the lake to Chicago, tons and tons of it from the great north woods. There is a small island called South Manitou, with the best natural bay in that part of the lake, and the steamers would stop to refuel or take shelter from the storms. It is sandy and the forests are sparse around the edges because the trees were harvested for wood for the ship ovens. There is an old growth forest there, where it takes at least five ten year olds to wrap their arms around the biggest oak.
One of my favorite books is For Kings and Planets by an author named Ethan Canin. It tells the story of a midwesterner going east for college, and his friend, an easterner, running west. I think of it often because sometimes I feel like Orno and Marshall are the possibilities inside me. The struggle for what sort of life makes you happy: or the simple evolution of one that does.
The tone of that book is beautiful too, because it talks so much about the way light can tell you something. And in every part of the country I've been in, the way the light hits it at some time of day tells you the most about it. A city shining in the early morning is the promise of a city, not the humdrum dirt of noon. It's the city as you want to see it. A stormy frightening sky in the north woods is thrilling and humbling and exciting and being scared by rain when you're little is as exciting as watching the lightning crack when you're older. The flat gray sky of lower Michigan, the plain easy sunlight. The first day of spring in Chicago when the shadows get sharp.
I don't know who I want to turn into.
This is a picture someone took of a Chicago sky from my car on the way back from a good trip. It's a prairie sky, a lake storm, the middle of where I've been.
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