This article focuses on examining how the American novelist Henry Miller takes ‘bridge’ as a threshold from which to explore the multiplicity of the metropolis New York through his 1936 work Black Spring. Instead of treating bridge as a passage or backdrop for his narrative construction, Miller activates it as a territory where his past memories and present experiences, as well as disparate and fleeting impressions and imaginations, meet altogether, which release a plethora of urban affects in aleatory and haptic ways. In this respect the Brooklyn Bridge is the very place that repeatedly appears in Black Spring, which plays as a critical point of departure enabling Miller to set up a world in which he weaves together instances of everyday life without subsuming one over another. Although subtle and implicit, Miller brings forth a way of taking the capitalist city space as an affective terrain in a Deleuzian sense, which encourages us to be attentive to the vibrancy and dynamism immanent in the modern metropolis despite its alienating nature.