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Nostalgia for the Mud: Cruising in Ruins
Detailed descriptions of sex at the West Side piers appear in David Wojnarowiczâs personal journals from the summer of 1977. Walking âthrough Soho and over to Christopher Streetâ that September, he found himself in the dilapidated districts he had spent time in as a hustling teenager, by âthe big pier past the old truck lines and the Silver Dollar CafĂ©/Restaurant.â1 There, he wrote, âaway from the blatant exhibitionist energies of the NYC music scenes gay scenes,â he felt âuncontrollably sane.â2 In journal entries, poetry, memoir essays, photographs, short films, and drawings, he depicted the derelict piers of the preâHIV/AIDS era as busy âsexual hunting grounds,â and the ruined waterfront as a liminal space âas far away from civilization as I could walk.â3 In an interview with the curator Barry Blinderman in 1990, years after many of the dilapidated structures had been torn down, Wojnarowicz recalled the pull of these âextraordinary warehouses where a lot of sexual activity occurred, where a lot of homosexual men would roam the hundreds of rooms of those abandoned shipping structures and engage in open sex.â4 The gargantuan buildings were, he wrote,
like some kind of museum with vast numbers of tourists rolling in off the streets in crowdsâgliding through the hallways and rooms, picking their way over trash and fire charred heaps. Upstairs they filled every room, half the ceiling fallen in and they stopped carefully around charred beams and rusted metal and glassâa guy here or there with shorts down around ankles playing with his hard cock or getting fucked by someone else.5
In Wojnarowiczâs writing from the late 1970s, as in that of Edmund White, Andrew Holleran, and John Rechy, the decaying form and dangerous character of the warehouses and piers assume an erotic role in the cruising that takes place there. The ruined piers are rendered in fleshy, bodily terms. John Rechy, in the opening chapter of his novel Rushes (1979), wrote of âhaunted male figures lurk[ing] for nightsex in the burnt-out rooms, among the rubble of cinder, wood, clawing cans, broken metal pipes, tangled wire like dry veins.â6 Decay was both mourned and celebrated, in what Holleran characterized as a ânostalgia for the mud.â7 There were âslight tracesâ in the warehouses, Wojnarowicz observed, of âdĂ©ja-vu, filled with old senses of desire,â with erotic remnants of the harborâs maritime history.8 In a journal entry from June 1979 he wrote of âthe semblance of memory and the associationsâ invoked as he cruised the West Side piers, reminded âof oceans, of sailors, of distant ports and the discreet sense of self among them, unknown and coasting.â9
In The Power of Place, Dolores Hayden argues for a history of place focused on the âtraces of time embedded in the urban landscape in every city,â for they âoffer opportunities for reconnecting fragments of the American urban story.â The recording of history in the urban context, she asserts, should be a collaborative, multitemporal process that âengages social, historical, and aesthetic imagination to locate where narratives of cultural historyâ are âembedded in the historic urban landscape.â10
In a similar way, ârestless walksâ through Manhattan to the West Side piers left Wojnarowicz âfilled with coasting images of sights and sounds . . . like some secret earphone connecting [him] to the creakings of the living cityâ and the erotic traces âembeddedâ therein.11 The waterfront was filled with traces of his own youthful experiences as a street hustler, as well as, in more general terms, its earlier sexual appropriations by sailors and stevedores when New Yorkâs harbor was still an active port. In a later essay, âLosing the Form in Darkness,â he wrote of the industrial paraphernalia that littered the warehouses: âpaper from old shipping lines scattered all around like bomb blasts among wrecked piece of furniture; three-legged desks, a naugahyde couch of mint-green turned upside down.â In the same essay, he reflected on âthe sense of ageâ in this âfamiliar placeâ:
The streets were familiar more because of the faraway past than the recent pastâstreets that I walked in those odd times when in the company of deaf mutes and times square pederasts. These streets are seen through the same eyes but each time with periods of time separating it: each time belonging to yet an older boy until the body smooths out and lines are etched until it is a young man recalling the movements of a complicated past.12
Wojnarowiczâs nostalgic cruising sensibility, his sense of these âtracesâ of cruising pasts rooted in the derelict warehouses of the waterfront, of a âsecret earphone,â offers a point of entry into an alternate history of Manhattanâs queer fringes and its erotic former uses that, through his conflation of the waterfrontâs erotic pasts and present, reflects the complex, multilayered relations between the cruising cultures of the trucks, the bathhouses, the piers, and the men who cruised there.
In Backward Glances, Mark Turner traces a history of urban cruising that begins with the Industrial Revolution and the development of the modern metropolis in the mid- to late nineteenth century. Cruising in both New York and London was and is, he writes, âan act of mutual recognition amid the otherwise alienating effects of the anonymous crowd.â It is, he argues, âa practice that exploits the fluidity and multiplicity of the modern city to its advantage,â a âprocess of counter movementâ that ânecessarily resists totalizing waysâ of narrating the temporal and spatial character of cruising. Cruising is, Turner emphasizes, âthe stuff of fleeting, ephemeral moments not intended to be captured.â13 Tim Dean offers a similar account in Unlimited Intimacy, his book on contemporary barebacking cultures. âSince cruising is a practice of the ephemeral and the contingent,â Dean argues, echoing Charles Baudelaireâs paradigmatic definition of the experience of modernity, and Turnerâs evocation of it in Backward Glances, âit is all the more remarkable that it has given rise to such a voluminous archive.â14
Cruising, then, even as it exploits urban anonymity and is structurally dependent on movement and ephemerality, has a queer historical orientation that is both imaginative and material, as is perceptible in the erotic use of ruined buildings along the Manhattan waterfront in the late 1970s. In this chapter, focusing on Wojnarowiczâs early written work and his sense of the waterfront as an imaginative space, embedded with vestiges of its erotic uses, I trace a material history of the waterfront area as a cruising ground, from historic bathhouses and empty trucks in the 1960s to warehouses and piers in the 1970s, rooting through archival ephemera and photographic traces of rusted metal and rotting wood.
From the trucks to the baths
In Manhattan in the early 1960s, underneath the elevated West Side Highway, commercial haulage vehicles were frequently parked overnight, waiting to load or unload goods at the warehouses on the nearby waterfront. In and between the trucks, men cruised for anonymous sex with other men. Since drivers routinely left the trucks âunattended, with the backs unlocked,â it was notoriously difficult for police to arrest cruisers on grounds of trespassing.15 Samuel Delany, in The Motion of Light in Water (1988), his memoir of 1960s West Village life as a black, queer writer (during the early years of his marriage to the poet Marilyn Hacker), describes moving through a labyrinthine landscape of âwaist-high tires,â the parked trucks forming âvan-walled alleysâ in the darkness.16 The labyrinth, as Ira Tattelman has observed, was a common spatial trope in urban areas appropriated for cruising during the 1960s, sites that offered means of evading exposure, arrest, and homophobic violence. âTo participate in sex that was prohibited in both private and public spaces,â he wrote,
gay men found out-of-the-way places in which to engage in sexual relations. Wooded parks, often called meat racks, became a web of passageways and meeting rooms. . . . Darkened alleys and dead-ends were disrupted by the watchful eyes of seemingly aloof but ultimately eager partners.17
The trucks beneath the highway became renowned as âa place to go at night for instant sex.â Delany remembers âbetween thirty-five and a hundred fifty (on weekends) men . . . slipping through and between and out of the trailers, some to watch, but most to participate in, numberless silent sexual acts.â On his first visit, he âstayed for six hoursâ and âhad sex seven or eight times.â18 He describes âa hugely ordered, highly social, attentive, silent . . . communityâ of men of between the trucks, where, at times, a state of what he terms âlibidinal saturationâ would be achieved:
cock passed from mouth to mouth to hand to ass to mouth without ever breaking contact with other flesh for more than seconds; mouth, hand, ass, passed over whatever you held out to them, sans interstice.19
Delanyâs account suggests a diverse community, in terms of class, age, and race. During one predawn visit, he notices âa tall black guy, in jeans and a red T-shirt, about thirty, whom Iâd seen there every night Iâd ever come,â then makes it with slightly balding âwhite guy in his late twenties, early thirtiesâ in âworkmanâs greens, short sleeves rolled up over muscular arms,â who âlooked like a driver from one of the trucks,â and then âa black guy whoâd stepped up to watch us.â Exhausted, the men leave the truck as âthe sky was getting lightâ; the nighttime river, he writes, âhad taken a blue glazeâ and âthe water shook and shimmered with the cobalt reflection.â20
The expansion of the cruising scene at the trucks coincided with âa massive campaign of police harassment against homosexualsâ across Manhattan under Mayor Robert Wagner, which peaked in 1963 âas the city began a concerted drive to make homosexuals invisible in time for the 1964â1965 Worldâs Fair.â21 This echoed an earlier crackdown, ordered by Mayor Fiorello La Guardia in preparation for the 1939 worldâs fair. But, as Burton Peretti has observed, while police then made a number of highly public arrests of âtransvestitesâ and closed down numerous popular and publicly visible gay venues, âthe city raised little objection . . . when gangsters began to underwrite a new network of clandestine and unpretentious gay bars.â22 These bars, throughout Greenwich Village and Harlem, provided Mafiosi a means to evade tax and sell contraband liquor after the repeal of the Eighteenth Amendment in late 1933 brought Prohibition to an end. The institutional homophobia of the State Liquor Authority (SLA), the post-Prohibition agency âauthorized to issue liquor licenses and . . . expected to revoke the licenses of establishments that served homosexuals and other groups considered disreputable, such as prostitutes and gamblers,â bolstered the association, forcing bar owners to âresort to police payoffs and protection from organized crime to avoid the common fate of license revocation.â23 In their salacious midcentury city guide New York: Confidential!, Jack Lait and Lee Mortimer note matter-of-factly that âall fairy night clubs and gathering places are illegal, and operate only through pay-offs to the authorities. They are organized into a national circuit, controlled by the Mafia.â24 An increase in police raids on gay bars in Greenwich Village in the mid- to late 1960s was accompanied by increased Mafia involvement in the areaâs nightlife. In 1966 younger members of the Genovese family, which allegedly controlled much of the New Jersey shore as Manhattan port activity declined in the 1950s, âput up $3,500 to reopen the Stonewall [Inn] as a gay club,â running it successfully without a liquor license.25
In the years preceding the June 1969 riots at the Stonewall Inn, where protests erupted after a routine police raid, as âsteady progress on court rulings . . . continually ate away at the SLAâs ability to revoke or withhold liquor licences from gay bars,â waterfront cruising at the trucks continued.26 As its visibility along the thoroughfares by the river increased by the late 1960s, âso did harassment and violenceâ by representatives of other city authorities, including the Transit Police.27 The Gay Liberation Front (GLF), founded in New York in 1969, began handing out flyers at the trucks, encou...