The Immigrant's Prayer

Why did you come to the United States? Perhaps no one knows the real answer. I know that migrants, when they are still on their way here, learn the Immigrant's Prayer. A friend who had been aboard La Bestia for a few days, working on a documentary, read it to me once. I didn't learn the entire thing, but I remember these lines: "Partir es morir un poco / Llegar nunca es llegar"—"To leave is to die a little / To arrive is never to arrive."

—Valeria Luiselli, Tell Me How It Ends: An Essay in Forty Questions (2017)

"the singular spectacle called The Stroll"

By the 1940s, ... Harlem was a mature and well-established capital of black cultural life, having peaked with the Harlem Renaissance, plunged into Depression after the 1929 stock market crash, climbed back to life during World War II, and, unbeknownst to the thousands still arriving from Florida, the Carolinas, Georgia, and Virginia, ... was at that precise moment as rollickingly magical as it was ever likely to be.

Seventh Avenue was the Champs-Élysées, a boulevard wide and ready for any excuse for a parade, whether the marches of the minister Father Divine or several thousand Elks in their capes and batons, and, on Sunday afternoons, the singular spectacle called The Stroll. It was where people who had been laundresses, bellmen, and mill hands in the South dressed up as they saw themselves to be—the men in frock coats and monocles, the women in fox stoles and bonnets with ostrich feathers, the "servants of the rich Park and Fifth Avenue families" wearing "hand-me-downs from their employers," all meant to evoke startled whispers from the crowd on the sidewalk: "My Gawd, did you see that hat?"

—Isabel Wilkerson, The Warmth of Other Suns: The Epic Story of America's Great Migration (2010)