Brooklyn & Give me Liberty or Give me Decadence?

[Terrance Flaherty]

The ties of the Gothic novel to an emergent female authorship and
readership have been a constant for two centuries, and there has been a
history of useful critical attempts to look to the Gothic for
explorations of the position of women in relation to the changing shapes
of patriarchal domination. A less obvious point has to do with the
reputation for "decadence": the Gothic was the first novelistic form to
have close, relatively visible links to male homosexuality, at a time
when styles of homosexuality, and even its visibility and distinctness,
were markers of division
and tension between classes as much as between genders.

Notoriously, as well, the Gothic seems to offer a privileged view of
individual and family psychology. Certain features of the Oedipal family
are insistently foregrounded there: absolutes of license and
prohibition, for instance; a preoccupation possibilities of incest; a
fascinated proscription of sexual activity; an atmosphere dominated by
the threat of violence between generations. Even the reader who does not
accept the Oedipal family as a transhistorical given can learn a lot
from the Gothic
about the terms and conditions under which it came to be enforced as a
norm for bourgeois society. Indeed, traces of the Gothic are ubiquitous
in Freud's writing, and not only in literary studies like "The Uncanny"
or "Delusion and Dream"; it is not surprising, though maybe circular,
that psychoanalysis should be used as a tool for explicating these texts
that provided many of its structuring metaphors.

http://www.engl.virginia.edu/~enec981/Group/zach.intro.html

I'm gonna take you New York (Wack), 

You gotta beat the parade drum, hit all the bars
I want the moon and stars
I’m gonna take you, New York, I’ll make it happen

What was the Battery like when Mason joins the parade?