Author Christopher Morley’s Description Of West End Avenue
“Read, every day, something no one else is reading. Think, every day, something no one else is thinking. Do, every day, something no one else would be silly enough to do. It is bad for the mind to continually be part of unanimity.”
This was Christopher Morley’s final message to his friends before he died at the age of 66 in 1957.
Morley’s biggest commercial success was the 1939 novel Kitty Foyle, which was turned into an Academy Award winning movie starring Ginger Rogers.
Though Morley would write more than 50 books of all sorts and edit Bartlett’s Familiar Quotations, his name has been forgotten by modern readers. Below is a piece that paints a splendid picture of one of the least written about New York city streets.
This piece on West End Avenue appeared in Internal Revenue (1933) Doubleday, Doran.
You hear little about West End Avenue. It is too genteel to have much taste for publicity. But like all very decorous personalities it has its secret ligatures with grim fact. It begins at 106th Street, spliced into the western bend of Broadway, with a memory of the Titanic disaster (the Straus Memorial Fountain). It ends at 59th Street in Dead Storage and Loans on Cars, and in the gigantic Interborough Power House. Below that, though its uniformed hallboys do not like to admit it, it becomes Eleventh Avenue. 59th Street was the latitude where all those baseborn avenues of the old Tenderloin decided to 20 respectable by changing their names. Eighth became Central Park West, Ninth became Columbus, Tenth became Amsterdam, and Eleventh (or Death Avenue) became West End. But reform is as difficult for Streets as for persons. Broadway, careering diagonally across (trollops follow the Trade), drew ever upward its witch-fires and its sulphurous glow. Good old strongholds of middle-class manners were swamped. Apartments once gravid with refinement were given over to the dentist and the private detective (who cries Confidentially Yours in the window). When the MacFadden Publications burst into that part of town, reticences tottered. Even as far up as the 70’s the West Side struggles to disengage from sombre origins or too gaudy companionship. Then a Childs restaurant—unquestionable banner of fair repute – stems the tide on Broadway. Childs is too shrewd to step in on Doubtful Street. The church also comes to the rescue: a place of worship is combined with an apartment house. The Cross on top of this building, says a notice, “Guarantees Safety, Security, and Enjoyment.”
Of all this shifting struggle—so characteristic of New York and repeated in scores of regions all over town—West End Avenue is perfect symbol. The Interborough Power House, I dare say, gives it vitality to struggle successfully with the New York Central freight yards. It is humble enough here: it eats in Gibbs Diner and smokes its cob pipe in the switchman’s little house. It sees lines of milk cans on the sidings and is aware of the solid realities of provender and communication on which citizens depend. (Much of West End Avenue’s milk comes from Grand Gorge, N. Y., which is an encouraging name to find printed on the cardboard bottle-top when you rummage the ice-box late at night.) Then the Dodge and other automobile warehouses put ambition into it. It rises to a belt of garages and groceries. At 70th Street it makes as sudden a transformation as any street ever did—except perhaps that social abyss where Tudor City looks over the parapet onto First Avenue. “Here in A. D. 1877,” says the tablet in difficult Tudor script, as hen-track as Shakespeare’s, “was Paddy Corcoran’s Roost.” Who was Paddy? They have him in stone with an inverted Irish pipe. One day I walked through Tudor City with W. S. H., a heraldic expert, pursuivant of the various shields, emblems, armorial bearings and stained glaziery of that architect’s heyday. Cockle-shells, pelicans, griffons, lymphiads, bars and bends most sinister, nearly made an imbecile of my poor friend. Rouge Dragon himself could never unscramble that débris of the College of Arms. “The intended a boar, but it turned to a talbot,” cried W. S. H., examining one fierce escutcheon.
But West End Avenue, when it goes residential at 70th Street, does so in solid fashion, without freak or fantasy. For thirty-five blocks it has probably the most uniform skyline of any avenue in New York. It indulges little in terraces or penthouses; just even bulks of masonry. What other street can show me a run of thirty-five blocks without a shop-window? Few of its apartments have individual names. The Esplanade and the Windermere are two rare exceptions, as also the grand old Apthorp, the Gibraltar of our uptown conservatism: Inside its awful court-yard I have never dared to tread. We leave to the crosstown streets the need to hyperbolize their apartments with pretentious names.
Since 1822 five generations of William Simpson’s ran one of New York’s oldest and most respected pawn shops. The final namesake to run Simpsons Pawnbrokers at 91 Park Row, William Rooe Simpson sold out to his partners in 1937, ending the continuous line of William Simpson’s to own and operate the hockshop. William Rooe Simpson died in 1957 and his son William David Simpson never went into the family pawn business. He became a doctor settling in Shelby, North Carolina.
His wife Barbara “Bobbi” Taylor Simpson however Continue reading 
