At the beginning of the 20th century, Flushing Meadows had been a vast dumping ground for all of Brooklyn’s garbage. In 1925, F. Scott Fitzgerald memorialized it in The Great Gatsby as a “valley of ashes—a fantastic farm where ashes grow like wheat into ridges and hills and grotesque gardens.” It had been a lifelong dream of another famous New Yorker, the cantankerous, high-handed city planner and Machiavellian master builder Robert Moses, to create the city’s greatest park on top of those ashes, one that might even be worthy of naming after himself.
Moses, whose career spanned much of the century, saw New York as an ever-expanding mural, with its population stretching farther and farther east. In his vision of the future, its citizens would drive on his parkways, past his monuments and parks and beaches, and gather together at its geographical center, in his sprawling Flushing Meadows Park. For years he had wanted to one-up Frederick Law Olmstead—his son designed Forest Hills Gardens—and upstage his stuffy, rinky-dink, 19th-century Central Park in Manhattan.
Forest Hills had been the earliest example in the U.S. of a "Garden City," part of a late-Victorian urban-planning movement that was started to counter the urban sprawl caused by industrialism. Olmstead, Jr., and his fellow Garden City designers thought the only way to maintain any kind of society, and sanity, within the urban jungle was by having people live in discrete, green neighborhoods. Tennis in Forest Hills fit that vision; all over the U.S., the sport’s clubs were part of the glue that held towns and suburbs and city districts together.
Robert Moses had a different vision. He believed in leveling old urban neighborhoods. In 1898, Garden City founder Sir Ebeneezer Howard set out his ideas for modern in a manifesto entitled "Tomorrow: A Peaceful Path to Real Reform." Fifty years later, Moses described his method in somewhat different language: “When you build in an overbuilt metropolis,” he said, “sometimes you have to hack your way with a meat axe.”
Moses believed in the car, and he believed that cities should be shredded to make room for the expressways that would carry them. His modern world would be vast and public: Jones Beach, which can hold half a million people on a summer day, and Shea Stadium were two of the creations of which he was most proud. (In retrospect, you have to wonder about the man’s historical judgment. He believed that Shea, which was knocked down in 2008, was New York’s answer to the Roman Colosseum.) He thought of Long Island as a potential Eden for the millions of people crammed into New York City. Moses, meat-axe in hand, would eventually build his expressways, his bridges, and his steel-and-glass office buildings. But he would never build his park.
Reading the Old Testament in the 1920s, Moses had come across the passage, “Give unto them beauty for ashes [so that] they shall repair the ruined cities . . . ” This would become his motivational slogan regarding Flushing Meadows. He succeeded in covering some of the dump with green for the 1939 World’s Fair, though the 50 million cubic yards of refuse that was removed barely made a dent in the ashes. In 1964, Moses got a second chance, in the form of another World’s Fair, again at Flushing Meadows. He had himself named president of the Fair, believing that the revenue it generated would allow him to build a green space there that was one-third larger than Central Park. Instead, it proved to be his undoing. The Fair, despite its kitschy, eye-catching mid-60s futurism, was disorganized and drew disappointing crowds. Moses, for one of the few times in his career to that point, was viewed as a deluded failure.