NEXUS DOWN THE LINE

Forget the office towers, exclusive boutiques, world-class symphonies and operas, museums and galleries. Nothing defines a great metropolis as much as a subway. Consider the cities that have them: London, Paris, New York, Moscow … Then consider the remainder. Underground the collective psyche of a people and place ride.

For many individuals, a metropolis becomes a destination, a nexus where dreams play out. In its locus of massive power, culture, glamour, and wealth, not everyone enjoys all the benefits, a fact one cannot avoid noticing in the subway. In the tunnels appear the price tags of the social machine – the city itself – extracts from many whose labors make it function.

Perhaps it’s simply that ancient lure of adventure – the call of the open road and countryside beyond – that gave hitchhiking and its distant cousin, bumming the tracks, their timeless Gypsy appeal. Nothing symbolized freedom more than riding the rails as a hobo or flying down the highway in the company of colorful kindred spirits. Combining subway rails and hitchhiking, moreover, re-creates a time of collision, an era that encompasses the late Sixties through early 1990s.

The conflict – between old and new, past and present, limitations and desires, the given and the dreamed – is that of a generation attempting to live simultaneously in the countryside (the back-to-the-earth movement) and in the metropolis (Bright Lights, Big City). It’s the struggle of a generation that wanted to have its cake and eat it, too – only to discover there’s no such thing as a free ride forever.

Subway Hitchhikers is ultimately a metaphor of the search for meaning in this era, station by station leading into the vast universe before arriving in an unexpected and yet nearly familiar place of communion.

~*~

For more from my THIRD RAIL collection, click here.

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