The Man Who Built a 40-Foot Spite Fence Around His Neighbor’s Home

Nicholas Yung considered himself a lucky man. A German who immigrated to the United States in 1848, Yung had worked hard to carve out a living for himself and eventually prosper as the owner of a mortuary in San Francisco. The business allowed him and wife Rosina to purchase a modest lot on the top of California Street Hill, where they built a quaint, cottage-style home and planted a beautiful garden. Every day, California sunlight and fresh air would stream in through their windows.

Yung had no reason to believe that anything could interrupt his idyllic life, or that any one person could somehow deprive him of the beautiful days he had worked so hard to enjoy. But Yung also hadn’t accounted for Charles Crocker, a very rich and very petty man who would eventually become both his neighbor and the bane of his existence. With enough lumber to build a 40-foot-tall, blighting fence around much of Yung’s property, Crocker and his spite fence became a legendary revenge tale, a tourist attraction, and a lesson in the danger of escalating tempers.

Spite fence enthusiast Charles Crocker. Wikimedia Commons

At 6 feet tall and 300 pounds, Charles Crocker cut an imposing figure. He had filled his bank account by being one of the "Big Four" barons behind the building of the Central Pacific Railroad. By the 1870s, he could afford whatever he desired. And what he wanted was to loom over San Francisco like a gargoyle.

Crocker and his wealthy partners began scouting California Street Hill for its scenic views and proximity to the city’s financial district. One of his "Big Four" associates, Leland Stanford—former governor of California and future founder of Stanford University—suggested that the area would make for a beautiful residential plot if a cable car could bring residents up and down the hill. Stanford arranged to have one installed, and soon a group of wealthy men, including Crocker, were buying up all the homes on their chosen blocks. By the time Crocker was finished, he had erected a 12,000-square-foot mansion. With its new, wealthy inhabitants, California Street Hill was renamed Nob Hill.

As the project neared completion in 1876, there was one nagging detail: On the northeast corner of the block, Nicholas Yung was reluctant to sell. His cottage was dwarfed by the mansions going up, but he had come to enjoy the neighborhood.

There are varying accounts of what happened next. Some say Crocker offered Yung $6000 for his slice of the block. After some deliberation, Yung agreed to sell the land for $12,000. Crocker countered with $9000; Yung declined. The other story is that Yung became irascible, agreeing to a $3000 transaction and then bumping up his price every time Crocker capitulated, first to $6000, then $9000, and finally $12,000. At this latter figure, Crocker was said to have balked, spewing profanity and walking away from negotiations.

With one or both men causing acrimony, the end result was that Yung was not moving. Crocker's workers were busy razing the entire block, creating a steamroller of activity that should have seen them swatting Yung’s cottage down like a cardboard box. In an ominous sign of his frustration, Crocker ordered his workers to arrange their dynamite blasts so that rock debris would pelt Yung’s house.

If the goal was to drive Yung away, it had the opposite effect. Yung doubled down, refusing to move. Crocker refused to raise his offer. The two men were at a stalemate. Although Yung's obnoxious negotiating methods didn't make him blameless, it was Crocker who had the means to provide a real disruption.

At a reported cost of $3000, Crocker had his workers construct a wooden fence on his land that towered over three sides of Yung’s home. With its 40-foot-tall panels, the enclosure acted like a window shade, blotting out the sun and cool air and immersing Yung in darkness.

While Crocker gleefully had gardeners decorate his side with ivy, Yung saw his beautiful garden wilt. Despite the obvious interruption of Yung's environment, Crocker’s “spite fence,” as the papers came to call it, was perfectly legal.

Without other recourse, Yung threatened to install a flagpole that would fly a skull and crossbones, an act of defiance that might help blight Crocker’s view; he also wanted to place a coffin on his roof, ostensibly for advertising his business, but clearly to agitate Crocker as well. He had some members of the media on his side, who condemned “Crocker’s Crime” and criticized the financier for using his immense wealth to bully a family of more modest means. The San Francisco Chronicle later called it a “memorial of malignity and malevolence.” Tourists would take the cable car and ride up to Nob Hill just to gawk at the massive fence. But Crocker wouldn’t budge.

In October 1877, the pro-labor Workingmen’s Party of California (WPC) organized a protest rally near Crocker’s home. Condemning his hiring of Chinese immigrants, organizers led 2000 men through a demonstration. One man, known only as Pickett, stood up and admonished Crocker for the spite fence, telling him it would be torn down by Thanksgiving or the WPC would do it for him. But when WPC leader Denis Kearney was arrested on another site for inciting a riot, he told the press that his group had no reason to target Crocker or his fence.

If Yung harbored any hope that some vigilante justice would resolve the situation, it never came to pass. He and his family threw in the towel and moved out—but they still refused to sell the land to Crocker.

A look at the dark corner created by the spite fence. The Strand

Crocker may have thought the feud would end with Yung’s death in 1880. It didn’t.

His widow, Rosina, continued to rebuff offers to sell the now-vacant land, which was slowly becoming a place for empty cans and other garbage. After Crocker passed away in 1888, his heirs were just as unsuccessful in persuading Rosina to let the land go. In 1895, she tried to appeal to the city's Street Committee, arguing that the fence was a nuisance and rendered her property worthless.

The city agreed, but their legal counsel didn’t: There was no justification for having the Crockers remove the fence, which had been cut down to 25 feet after strong winds had repeatedly threatened to topple it over. (In or around 1956, California would put a law on the books prohibiting the construction of fences meant for the express purpose of irritating neighbors and/or obstructing their views. Most states cap the height of a fence at 6 feet for similar reasons.)

When Rosina died in 1902, the rivalry appeared to die with her. Her four daughters finally gave in to Crocker's descendants in 1904, selling the land—said to be worth $80,000—for an undisclosed sum. With no more neighbors to spite, the fence was torn down in 1905.

In retrospect, the Yung/Crocker feud would ultimately prove pointless. In 1906, an earthquake and related fire swept through San Francisco, gutting the Crocker mansion and neighboring buildings. Rather than rebuild, the family decided to donate the block to charity.

In a strange twist, the place where Crocker had once built a monument to spite and malice became a home for compassion and warmth. In donating the site, the Crockers opened an opportunity to erect Grace Cathedral, an Episcopalian place of worship.

Main image courtesy of Gawain Weaver Art Restoration and used with permission. Original photograph by Eadweard Muybridge and held at the Society of California Pioneers.

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Marie Antoinette's Jewelry Is Up for Sale
Michael Bowles, Getty Images for Sotheby's
Michael Bowles, Getty Images for Sotheby's

Rare jewelry that once belonged to Marie Antoinette and hasn't been seen in public for 200 years will be heading to the auction block this fall, according to The Adventurine.

A diamond parure (jewelry set), three-strand pearl necklace, and other gems that once adorned the last queen of France will be sold on November 12 in Geneva, Switzerland, as part of Sotheby's "Royal Jewels from the Bourbon-Parma Family" auction. The family in question is related by blood to some of Europe's most important rulers, including former kings of France and Spain and emperors of Austria.

A diamond jewelry set
Courtesy of Sotheby's

Although Marie Antoinette was known for her opulent fashion choices, her jewels have scarcely been seen since the French Revolution, The Adventurine reports. The Smithsonian owns a pair of earrings that are believed to contain diamonds from the queen's collection, and a diamond necklace that appeared at a Christie's auction in 1971 "hasn't been seen since." The jewelry magazine notes that many of Marie Antoinette's jewels were dismantled, but a few—like the ones featured in this latest collection—managed to survive.

A pearl necklace
Courtesy of Sotheby's

According to Sotheby's, Marie Antoinette placed all her jewels in a wooden chest in March 1791 and shipped them off to her nephew, the Austrian Emperor, for safekeeping [PDF]. That following year, the royal family was imprisoned, and in 1793 Marie Antoinette and King Louis XVII were executed by guillotine. Their only surviving child, Marie Thérèse de France, retrieved the jewels and later passed them along to her niece, since she had no children of her own. They ultimately ended up with Robert I, the last ruling Duke of Parma in Italy.

The most valuable piece, a pearl pendant featuring a bow made of diamonds, is expected to fetch between $1 million and $2 million, according to the auction house's estimates. In the late 18th century, pearls were just as coveted as diamonds because of their rarity. Marie Antoinette, of course, wore them often.

A diamond and pearl pendant
Courtesy of Sotheby's

"It is one of the most important royal jewelry collections ever to appear on the market and each and every jewel is absolutely imbued with history," Daniela Mascetti, of Sotheby's European jewelry division, said in a statement.

[h/t The Adventurine]

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12 Facts About James Joyce
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Hulton Archive/Getty Images

June 16, 1904 is the day that James Joyce, the Irish author of Modernist masterpieces like Dubliners and A Portrait of the Artist as a Young Man, and who was described as “a curious mixture of sinister genius and uncertain talent,” set his seminal work, Ulysses. It also thought to be the day that he had his first date with his future wife, Nora Barnacle.

He was as mythical as the myths he used as the foundations for his own work. So in honor of that June day in 1904—known to fans worldwide as “Bloomsday,” after one of the book’s protagonists, Leopold Bloom—here are 12 facts about James Joyce.

1. HE WAS ONLY 9 WHEN HIS FIRST PIECE OF WRITING WAS PUBLISHED.

In 1891, shortly after he had to leave Clongowes Wood College when his father lost his job, 9-year-old Joyce wrote a poem called “Et Tu Healy?” It was published by his father John and distributed to friends; the elder Joyce thought so highly of it, he allegedly sent copies to the Pope.

No known complete copies of the poem exist, but the precocious student’s verse allegedly denounced a politician named Tim Healy for abandoning 19th century Irish nationalist politician Charles Stewart Parnell after a sex scandal. Fragments of the ending of the poem, later remembered by James’s brother Stanislaus, showed Parnell looking down on Irish politicians:

His quaint-perched aerie on the crags of Time
Where the rude din of this century
Can trouble him no more

While the poem was seemingly quaint, young Joyce equating Healy as Brutus and Parnell as Caesar marked the first time he’d use old archetypes in a modern context, much in the same way Ulysses is a unique retelling of The Odyssey.

As an adult, Joyce would publish his first book, a collection of poems called Chamber Music, in 1907. It was followed by Dubliners, a collection of short stories, in 1914, and the semi-autobiographical A Portrait of the Artist as a Young Man (in which Clongowes Wood College is prominently featured) in 1916.

2. HE CAUSED A CONTROVERSY AT HIS COLLEGE’S PAPER.

While attending University College Dublin, Joyce attempted to publish a negative review—titled “The Day of the Rabblement”—of a new local playhouse called the Irish Literary Theatre in the school’s paper, St. Stephen’s. Joyce’s condemnation of the theater’s “parochialism” was allegedly so scathing that the paper’s editors, after seeking consultation from one of the school’s priests, refused to print it.

Incensed about possible censorship, Joyce appealed to the school’s president, who sided with the editors—which prompted Joyce to put up his own money to publish 85 copies to be distributed across campus.

The pamphlet, published alongside a friend’s essay to beef up the page-count, came with the preface: “These two essays were commissioned by the editor of St. Stephen’s for that paper, but were subsequently refused insertion by the censor.” It wouldn’t be the last time Joyce would fight censorship.

3. NORA BARNACLE GHOSTED HIM FOR THEIR PLANNED FIRST DATE.

By the time Nora Barnacle and Joyce finally married in 1931, they had lived together for 27 years, traveled the continent and had two children. The couple first met in Dublin in 1904 when Joyce struck up a conversation with her near the hotel where Nora worked as a chambermaid. She initially mistook him for a Swedish sailor because of his blue eyes and the yachting cap he wore that day, and he charmed her so much that they set a date for June 14—but she didn’t show.

He then wrote her a letter, saying, “I looked for a long time at a head of reddish-brown hair and decided it was not yours. I went home quite dejected. I would like to make an appointment but it might not suit you. I hope you will be kind enough to make one with me—if you have not forgotten me!” This led to their first date, which supposedly took place on June 16, 1904.

She would continue to be his muse throughout their life together in both his published work (the character Molly Bloom in Ulysses is based on her) and their fruitful personal correspondence. Their notably dirty love letters to each other—featuring him saying their love-making reminded him of “a hog riding a sow” and signing off one by saying “Goodnight, my little farting Nora, my dirty littlef**kbird!"—have highlighted the NSFW nature of their relationship. In fact, one of Joyce’s signed erotic letters to Nora fetched a record £240,800 ($446,422) at a London auction in 2004.

4. HE HAD REALLY BAD EYES.

While Joyce’s persistent money problems caused him to lead a life of what could be categorized as creative discomfort, he had to deal with a near lifetime of medical discomfort as well. Joyce suffered from anterior uveitis, which led to a series of around 12 eye surgeries over his lifetime. (Due to the relatively unsophisticated state of ophthalmology at the time, and his decision not to listen to contemporary medical advice, scholars speculate that his iritis, glaucoma, and cataracts could have been caused by sarcoidosis, syphilis, tuberculosis, or any number of congenital problems.) His vision issues caused Joyce to wear an eye patch for years and forced him to do his writing on large white sheets of paper using only red crayon. The persistent eye struggles even inspired him to name his daughter Lucia, after St. Lucia, patron saint of the blind.

5. HE TAUGHT ENGLISH AT A BERLITZ LANGUAGE SCHOOL.

In 1904, Joyce—eager to get out of Ireland—responded to an ad for a teaching position in Europe. Evelyn Gilford, a job agent based in the British town of Market Rasen, Lincolnshire, notified Joyce that a job was reserved for him and, for two guineas, he would be told exactly where the position was. Joyce sent the money, and by the end of 1904, he and his future wife, Nora, had left Dublin for the job at a Berlitz language school in Zurich, Switzerland—but when they got there, the pair learned there was no open position. But they did hear a position was open at a Berlitz school in Trieste, Italy. The pair packed up and moved on to Italy only to find out they’d been swindled again.

Joyce eventually found a Berlitz teaching job in Pola in Austria-Hungary (now Pula, Croatia). English was one of 17 languages Joyce could speak; others included Arabic, Sanskrit, Greek, and Italian (which eventually became his preferred language, and one that he exclusively spoke at home with his family). He also loved playwright Henrik Ibsen so much that he learned Norwegian so that he could read Ibsen's works in their original form—and send the writer a fan letter in his native tongue.

6. HE INVESTED IN A MOVIE THEATER.

There are about 400 movie theaters in Ireland today, but they trace their history back to 1909, when Joyce helped open the Volta Cinematograph, which is considered “the first full-time, continuous, dedicated cinema” in Ireland.

More a money-making scheme than a product of a love of cinema, Joyce first got the idea when he was having trouble getting Dubliners published and noticed the abundance of cinemas while living in Trieste. When his sister, Eva, told him Ireland didn’t have any movie theaters, Joyce joined up with four Italian investors (he’d get 10 percent of the profits) to open up the Volta on Dublin’s Mary Street.

The venture fizzled as quickly as Joyce’s involvement. After not attracting audiences due to mostly showing only Italian and European movies unpopular with everyday Dubliners, Joyce cut his losses and pulled out of the venture after only seven months.

The cinema itself didn’t close until 1919, during the time Joyce was hard at work on Ulysses. (It reopened with a different name in 1921 and didn’t fully close until 1948.)

7. HE TURNED TO A COMPLETELY INEXPERIENCED PUBLISHER TO RELEASE HIS MOST WELL-KNOWN BOOK.

The publishing history of Ulysses is itself its own odyssey. Joyce began writing the work in 1914, and by 1918 he had begun serializing the novel in the American magazine Little Review with the help of poet Ezra Pound.

But by 1921, Little Review was in financial trouble. The published version of Episode 13 of Ulysses, “Nausicaa,” resulted in a costly obscenity lawsuit against its publishers, Margaret Anderson and Jane Heap, and the book was banned in the United States. Joyce appealed to different publishers for help—including Leonard and Virginia Woolf’s Hogarth Press—but none agreed to take on a project with such legal implications (and in Virginia Woolf’s case, length), no matter how supposedly groundbreaking it was.

Joyce, then based in Paris, made friends with Sylvia Beach, whose bookstore, Shakespeare and Company, was a gathering hub for the post-war expatriate creative community. In her autobiography, Beach wrote:

All hope of publication in the English-speaking countries, at least for a long time to come, was gone. And here in my little bookshop sat James Joyce, sighing deeply.

It occurred to me that something might be done, and I asked : “Would you let Shakespeare and Company have the honour of bringing out your Ulysses?”

He accepted my offer immediately and joyfully. I thought it rash of him to entrust his great Ulysses to such a funny little publisher. But he seemed delighted, and so was I. ... Undeterred by lack of capital, experience, and all the other requisites of a publisher, I went right ahead with Ulysses.

Beach planned a first edition of 1000 copies (with 100 signed by the author), while the book would continue to be banned in a number of countries throughout the 1920s and 1930s. Eventually it was allowed to be published in the United States in 1933 after the case United States v. One Book Called Ulysses deemed the book not obscene and allowed it in the United States.

8. ERNEST HEMINGWAY WAS HIS DRINKING BUDDY—AND SOMETIMES HIS BODYGUARD.

Ernest Hemingway—who was major champion of Ulysses—met Joyce at Shakespeare and Company, and was later a frequent companion among the bars of Paris with writers like Wyndham Lewis and Valery Larbaud.

Hemingway recalled the Irish writer would start to get into drunken fights and leave Hemingway to deal with the consequences. "Once, in one of those casual conversations you have when you're drinking," Hemingway said, "Joyce said to me he was afraid his writing was too suburban and that maybe he should get around a bit and see the world. He was afraid of some things, lightning and things, but a wonderful man. He was under great discipline—his wife, his work and his bad eyes. His wife was there and she said, yes, his work was too suburban--'Jim could do with a spot of that lion hunting.' We would go out to drink and Joyce would fall into a fight. He couldn't even see the man so he'd say, 'Deal with him, Hemingway! Deal with him!'"

9. HE MET ANOTHER MODERNIST TITAN—AND HAD A TERRIBLE TIME.

Marcel Proust’s gargantuan, seven-volume masterpiece, À la recherche du temps perdu, is perhaps the other most important Modernist work of the early 20th century besides Ulysses. In May 1922, the authors met at a party for composer Igor Stravinsky and ballet impresario Sergei Diaghilev in Paris. The Dubliners author arrived late, was drunk, and wasn’t wearing formal clothes because he was too poor to afford them. Proust arrived even later than Joyce, and though there are varying accounts of what was actually said between the two, every known version points to a very anticlimactic meeting of the minds.

According to author William Carlos Williams, Joyce said, “I’ve headaches every day. My eyes are terrible,” to which the ailing Proust replied, “My poor stomach. What am I going to do? It’s killing me. In fact, I must leave at once.”

Publisher Margaret Anderson claimed that Proust admitted, “I regret that I don’t know Mr. Joyce’s work,” while Joyce replied, “I have never read Mr. Proust.”

Art reviewer Arthur Power said both writers simply talked about liking truffles. Joyce later told painter Frank Budgen, “Our talk consisted solely of the word ‘No.’”

10. HE CREATED A 100-LETTER WORD TO DESCRIBE HIS FEAR OF THUNDER AND LIGHTNING.

Joyce had a childhood fear of thunder and lightning, which sprang from his Catholic governess’s pious warnings that such meteorological occurrences were actually God manifesting his anger at him. The fear haunted the writer all his life, though Joyce recognized the beginnings of his phobia. When asked by a friend why he was so afraid of rough weather, Joyce responded, “You were not brought up in Catholic Ireland.”

The fear also manifested itself in Joyce’s writing. In Portrait of the Artist as a Young Man, the autobiographical protagonist Stephen Dedalus says he fears “dogs, horses, firearms, the sea, thunderstorms, [and] machinery.”

But the most fascinating manifestation of his astraphobia is in his stream of consciousness swan song, Finnegans Wake, where he created the 100-letter word Bababadalgharaghtaka-mminarronnkonnbronntonnerronntuonnthunntrovarrhounawnskawntoohoohoordenenthurnuk to represent a symbolic biblical thunderclap. The mouthful is actually made up of different words for “thunder” in French (tonnerre), Italian (tuono), Greek (bronte), and Japanese (kaminari).

11. HE’S THOUGHT OF AS A LITERARY GENIUS, BUT NOT EVERYONE WAS A FAN.

Fellow Modernist Virginia Woolf didn't much care for Joyce or his work. She compared his writing to "a queasy undergraduate scratching his pimples," and said that "one hopes he’ll grow out of it; but as Joyce is 40 this scarcely seems likely."

She wasn't the only one. In a letter, D.H. Lawrence—who wrote such classics as Women in Love and Lady Chatterley’s Loversaid of Joyce: “My God, what a clumsy olla putrida James Joyce is! Nothing but old fags and cabbage stumps of quotations from the Bible and the rest stewed in the juice of deliberate, journalistic dirty-mindedness.”

“Do I get much pleasure from this work? No," author H.G. Wells wrote in his review of Finnegans Wake. “ ... Who the hell is this Joyce who demands so many waking hours of the few thousand I have still to live for a proper appreciation of his quirks and fancies and flashes of rendering?”

Even his partner Nora had a difficult time with his work, saying after the publication of Ulysses, “Why don’t you write sensible books that people can understand?”

12. HIS SUPPOSED FINAL WORDS WERE AS ABSTRACT AS HIS WRITING.

Joyce was admitted to a Zurich hospital in January 1941 for a perforated duodenal ulcer, but slipped into a coma after surgery and died on January 13. His last words were befitting his notoriously difficult works—they're said to have been, "Does nobody understand?"

Additional Source: James Joyce

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