Yuri’s neighbor, Jimmy, had a small part in the movie Superfly as a junkie (in his own
apartment, because part of the movie was filmed at their East 11th
street building.) The piano sculpture on the wall is one of many that the
author created, using the constant flow of junk from the constantly emptying
apartments. Today the author, and the
neighborhood’s Slavic community, are mostly forgotten. This book is pretty much
forgotten too, and I’m not even sure how I heard of it. It was written in 1974,
reissued only once back in 1998, and my research shows that Kapralov died in 2005,
a lifelong hard drinker. A true “starving artist,” he made his living tending
bar and doing odd jobs. Well-known only in local circles, he had several
marriages, a daughter who was murdered in San Francisco in the 1980’s, and
wrote some forgotten novels and story collections. Other than that, not much
remains.
Now, a little
about the book. Kapralov writes about all the poor, disgusting, and hopeless
people that lived in the East Village of New York City from the 1950’s through
the 1970’s. He captures the dirty, greasy, and grimy essence of the area which
seems to change in stages. First comes the period up into the 1960’s, when the
area was working class, and a multiracial one at that, lots of Puerto Ricans,
Blacks, Eastern Europeans, and poor Jews. Next comes the mid 1960’s, when the
hippies, whom he disliked immensely, descended on the area, along with heroin.
Finally comes the 1970’s, when the building were abandoned and burned, the
junkies had died, and just about everyone and everything else had died too.
As for Yuri Kapralov,
he was born in Russian Carpathia in the 1930’s, survived WWII, came to the USA
as a “displaced person” in 1949, wandered the Northeast, ended up in the East
Village in the 1950’s. The area had a large population of Slavs who came here
after the war, and most of them had surrendered to the Americans to avoid being
persecuted by the Soviets. They stayed in Manhattan until the late 60’s, by
which time most of them went to Greenpoint, in Brooklyn, or to New Jersey. The
book describes most of the neighborhood’s Slavic residents as being desperately
poor, and the only ones who stayed were the ones who couldn’t escape no matter
what. At least they had their own church, school, mutual support network, but
Kapralov’s writing doesn’t make anything positive. The Poles and Ukrainians are
all old, tired, sorry, defeated, and depleted. They drink too much, and while
they don’t get into fights, their kids end up leaving or ending up on heroin.
The author seems to
accept the dirty aspects of the neighborhood, the junkies, the trash, and the
crime. He disliked the hippies immensely, however, even more than the junkies,
because he thought they were exploiting a poor enclave when they had the money
to do better. As for the trash, he relishes it, because he got to make
sculptures out of the old pianos that were thrown out. But he writes heavily on
the summer riots, despising both the bottle throwing kids and the police, whom
he considers bullies and cowards. “The garbage man can’t refuse to enter a bad
neighborhood, nor can the fireman refuse to enter the burning building” he
writes, “yet the police will call for backup rather than charge into danger.”
You might say that these are all symptoms of the neighborhood’s hopelessness,
where everyone involved is guilty in some way.
I would not
absolve Kapralov of wrongdoing, however, because he did manage to waste his
money on alcohol, and he could’ve moved away if he’d tried. Maybe he liked having
the freedom to lose? I doubt he made enough money to support his kids, and
seeing as how this book is mostly forgotten, it wasn’t like his accomplishments
had a lasting impact. I will, however, give merit to this book, because it
tells me a lot about the East Village that I wasn’t aware of before. It dwells
heavily on the history of the Slavic residents, few traces of them remaining
other than a Ukrainian museum, a few Ukrainian restaurants, and a curio shop on
14th street which has since closed.
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