The Apaches of New York — Reading Companion

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Lewis, Alfred Henry, 1857-1914 Project Gutenberg 2016 Not confirmed
Criminals -- Fiction; New York (State) -- Social life and customs -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 63,387
Reading time 276 min
Text sections 7

The Apaches of New York — Reading Companion can be approached with a clearer sense of reading commitment from its source measurements: 63,387 words, 4 hr 36 min estimated reading time, and 7 detected text sections.

The text analysis averages about 15.0 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Criminals -- Fiction,” connecting these edition facts with the source record’s subject description.

Alfred Henry Lewis's 1912 collection of true-crime sketches from New York's underworld, blending police testimony and gangster slang with a reporter's eye for detail. The narrative voice shifts between sardonic commentary and raw dialogue, capturing the violent, politically entangled world of Bowery saloons and Five Points gangs.
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Editorial Edition Score 4.7/5

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  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

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Read the Text

to the stairway, and was seen no more. The street returned to utter emptiness. There remained only the lifeless body of Eat-'Em-Up-jack. Nothing beyond, save the softly falling veil of snow, with the street lamps shining through.

II.--THE BABY'S FINGERS

It was a Central Office man who told me how the baby lost its fingers. I like Central Office men; they live romances and have adventures. The man I most shrink from is your dull, proper individual to whom nothing happens. You have seen a hundred such. Rigidly correct, they go uneventfully to and fro upon their little respectable tracks. Evenings, from the safe yet severe vantage of their little respectable porches, they pass judgment upon humanity from across the front fence. After which, they go inside and weary their wives with their tasteless, pale society, while those melancholy matrons question themselves, in a spirit of tacit despair, concerning the blessings of matrimony. In the end, first thanking heaven that they are not as other men, they retire to bed, to rise in the dawning and repeat the history of every pulseless yesterday of their existence. Nothing ever overtakes them that doesn't overtake a clam. They are interesting, can be interesting, to no one save themselves. To talk with one an hour is like being lost in the desert an hour. I prefer people into whose lives intrudes some element of adventure, and who, as they roll out of their blankets in the morning, cannot give you, word and minute, just what they will be saying and doing every hour in the coming twelve.

My Central Office friend, in telling of the baby's absent fingers, began by speaking of Johnny Spanish. Spanish has been sent to prison for no less than seven years. Dribben and Blum arrested him, and when the next morning he was paraded at the Central Office looking-over, the speech made upon him by Commissioner Flynn set a resentful pulse to beating in his swarthy cheek.

Not that Spanish had been arrested for the baby's lost fingers. That story in the telling came later, although the wrong it registered had happened months before. Dribben and Blum picked him up--as a piece of work it did them credit--for what occurred in Mersher Miller's place.

As all the world knows, Mersher Miller, or as he is called among his intimates, Mersher the Strong-Arm, conducts a beer house at 171 Norfolk Street. It was a placid April evening, and Mersher's brother, as bottle-tosser, was busy behind the bar. Mersher himself was not in, which--for Mersher--may or may not have been greatly to the good.

Spanish came into the place. His hat was low-drawn over his black eyes. Mersher's brother, wiping glasses, didn't know him.

“Where's Mersher?” asked Spanish.

“Not here,” quoth Mersher's brother.

“You'll do,” returned Spanish. “Give me ten dollars out of the damper.”

Mersher's brother held this proposal in finance to be foolishly impossible, and was explicit on that head. He insisted, not without scorn, that he was the last man in the world to give a casual caller ten dollars out of the damper or anything else.

“I'll be back,” replied Spanish, “an' I bet then you'll give me that ten-spot.”

“That's Johnny Spanish,” declared a bystander, when Spanish, muttering his discontent, had gone his threatening way.

Mersher's brother doubted it. He had heard of Spanish, but had never seen him. It was his understanding that Spanish was not in town at all, having lammistered some time before.

“He's wanted be th' cops,” Mersher's brother argued. “You don't suppose he's sucker enough to walk into their mitts? He wouldn't dare show up in town.”

“Don't con yourself,” replied the bystander, who had a working knowledge of Gangland and its notables. “That's Spanish, all right. He was out of town, but not because of the bulls. It's the Dropper he's leary of; an' now th' Dropper's in hock he's chased back. You heard what he said about comin' 'round ag'in? Take my tip an' rib yourself up wit' a rod. That Spanish is a tough kid!”

The evening wore on at Mersher's; one hour, two hours, three went peaceably by. The clock pointed to eleven.

Without warning a lowering figure appeared at the door.

“There he is!” exclaimed the learned bystander. Then he added with a note of pride, albeit shaky as to voice: “What did I tell youse?”

The figure in the doorway strode forward. It was Spanish. A second figure--hat over eyes--. followed hard on his heels. With a flourish, possible only to the close student of Mr. Beadle's dime literature, Spanish drew two Colt's pistols.

“Come through wit' that ten!” said he to Mersher's brother.

Mersher's brother came through, and came through swiftly.

Alfred Henry Lewis opens The Apaches of New York with a dedication that insists the stories are “true in name and time and place,” none occurring more than three years before publication. He claims to have gathered them directly from police and gangsters, yet immediately acknowledges a gap between moral and legal certainty: the police know many things they cannot prove in court, especially when the “snitch” is an abomination. This tension between reported fact and unprovable truth shapes the book’s narrative voice, which oscillates between a journalist’s matter-of-factness and a novelist’s flair for dialogue and scene-setting.

Voice and Vernacular in the Stag Saloon

The excerpts reveal a layered narrative voice. Lewis often adopts a detached, almost anthropological tone—describing Chick Tricker’s saloon as a “house of call” where “the thirsty sat about at sloppy tables and enjoyed themselves.” But when characters speak, the prose shifts abruptly into dense dialect. Auggy, left in charge, addresses slumming Fifth Avenue visitors with exaggerated courtesy: “It's an honor, loides an' gents, merely to see your maps in the Stag at all.” Anna Gold’s retort—“For th' price of a beer, I'd have snatched one of them baby-dolls baldheaded”—is laced with threat and class resentment. The contrast between Lewis’s polished framing and the raw, phonetic speech of his subjects creates a persistent friction, as though the author is translating a foreign language for his readers while letting its violence bleed through.

Pacing Through Dialogue and Digression

Lewis controls pace by alternating brisk narration with extended, digressive dialogue. A single paragraph can move from a character’s decision to step out into the snow to a flashback about a license revocation, then to a dispute over voting rights. Whitey Dutch’s tale of Pioggi’s release from Elmira Reformatory triggers the Humble Dutchman’s complaint about disfranchisement: “I've been up th' river twict, an' I've voted a dozen times every election since.” The argument is cut short by a diplomatic order of beer. These interruptions—a threat, a drink order, a change of subject—mimic the chaotic rhythm of saloon talk, where tension builds and dissipates without resolution. Lewis uses this stop-start structure to keep the reader off balance, mirroring the unpredictability of the underworld he depicts.

Recurring Details: The Politician and the Snitch

Two motifs recur across the excerpts: the politician as a corrupting link, and the snitch as the ultimate taboo. In the dedication, Lewis describes the Odd Fellows’ three links as an emblem for “the policeman, the criminal and the politician,” with the latter “the middle link, and holds the other two together while keeping them apart.” This image reappears implicitly in the Stag scene, where Auggy fears any disturbance will bring police attention—and political interference. The fear of the “snitch” surfaces in Anna Gold’s outburst: she threatens to snatch a slumming woman “baldheaded” but is warned that roughhousing will bring “the hurry-up wagon.” The characters operate in a world where squealing is the single great offense, yet the police are ever-present, gathering information they cannot use. Lewis’s narrative itself becomes a kind of snitching—recording what the police know but cannot prove.

Readers should attend to the way Lewis frames his stories as both documentary and entertainment. The dedication’s claim of truth is undercut by the narrative’s reliance on hearsay, dialect, and dramatic reconstruction. Pay attention to who speaks and who is silent: the police, the gangsters, the slumming tourists—each has a distinct register. The book’s value lies less in its factual accuracy than in its layered portrayal of a social world held together by violence, patronage, and the unspoken rules of the street.

Every now and then a book stays with me long after I close it, like the raw voices in that old New York underworld—their grit and tangled loyalties somehow echoing in quieter stories too. I caught myself thinking of Japonette — Story, Setting & Ideas the other day, its delicate strangeness sitting beside those saloon shadows, both leaving a sort of tender ache I keep turning over.

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