Showing posts with label 9/11. Show all posts
Showing posts with label 9/11. Show all posts

Wednesday, September 11, 2019

18 years ago this morning ...

I ran a little late and got caught in the rush-hour crowds that prevented me from getting a seat on my EL train. But as I stood there—a relatively new Chicagoan—I was still in awe of the fact that I actually lived in Chicago and rode a train to work and I reveled in the fact that I was one of THEM: my fellow Chicagoans packed in the train car with me, commuting to (or from) our jobs as waiters, insurance brokers, construction workers, actuaries, janitors, bankers, personal trainers, writers and every other career and purpose in our big, always-moving city.

When I finally arrived at work and got off the elevator, I saw everyone in my office crowded around the TVs in our glass-walled conference room. My first thought was that my colleagues would see I was late. But after joining them and watching the towers burn and fall, seeing the gaping wound in the Pentagon, learning of the disappearance of an entire airplane and its passengers in a fiery pit, I was struck by the fact that my underground commute that morning with my fellow train riders—a microcosm of the city, if not the country—was our last collective moment of innocence before we had access to any news and we suddenly had to face the sickening, horrifying, misanthropic enormity wrought by other human beings on a scale none of us could have imagined.

18 years ago today I never felt closer to colleagues, friends, family members and even strangers as we worked to understand the hatred and comprehend the savagery of perhaps the ugliest tragedy in our lifetimes.

18 years ago today we lost a certainty in our collective safety but we gained a powerful strength in our ability to care for and protect and even love each other when we needed to ... and even when we didn't.

18 years ago today, our world changed immeasurably. Our hearts broke irreparably. Our determination grew mightily. Our humanity spread defiantly. Time may erode the intensity of our initial united magnanimity, but we will never forget.

September (2009); Gerhard Richter

Like Picasso, Matisse, Pollock and a host of iconic 20th century painters, Gerhard Richter has developed a signature visual vocabulary of sometimes photorealistic images obscured to varying degrees in scrapes, blurs, flecks, and pulls of wet and dry paint. Evoking at once powerful movement and misty tranquility, his works require a commitment of effort and time to absorb. His September (2009) utilizes this technique to stunning effect. Two silvery twin towers, the tops of which disappear into monumental clouds of opaque browns and blacks, stand defiantly against horizontal winds of scrapes and streaks and blurs. The painting captures a moment of enormity with grace and respect and breathtaking radiance.

Sunday, April 14, 2019

The RMS Titanic hit an iceberg and started sinking 107 years ago today, at almost exactly the time I’m posting this

I’ve had a lifelong fascination with the tragedy—mostly from the perspective of wanting to know what it was like to be on such a grand ship ... and then to have it slowly, terrifyingly disappear under my feet. I’ve recorded the sinking as an annual event on my google calendar so I get a pop-up reminder every year to take a moment to think about the people who died and the horrors they and the survivors endured.

I just saw a matinee of the incredible musical Come From Away, which tells the story of the small town in Newfoundland that almost doubled in size for a week when American airspace was closed on 9/11 and flights from all over the world were diverted there. Now every flight out of NYC was canceled tonight due to weather, and I’m stranded here until Tuesday. But I’m safe. And I’ve found that these two events have subtly enriched whatever emotional connection I’ve given myself to the Titanic passengers and crew I technically know nothing about but still mourn.

Don’t wait for tragedy. Don’t wait for averted tragedy. Take a moment every day to be thankful for the people you love in your life.

The irony is our last flight out tonight just got canceled so we’ll be staying an unplanned night here

The fortuitous thing is we’d already booked an extra night in our hotel because we had points and we didn’t want to haul our luggage to the theater.

Friday, December 21, 2018

Thirty years ago today ...

I’d finished my classes for the semester and my dad had come to pick me up from college for the holiday break. 1988 had been an emotional roller coaster for our family. We’d lost four family friends in a small plane crash Easter morning, my mom had undergone a radical mastectomy in October and she was just starting her first rounds of chemo before Christmas. I was in the middle of my junior year in college, and I’d finally found a major I was willing to stick with: English. But since I’d waited a full two years to admit to myself I always should have been an English major, I had a lot of catching up to do. And my first-semester courseload had been heavy.

December 21 is the winter solstice—the day of the year with the shortest amount of sunlight—but it was beautiful and sunny in Eastern Iowa that afternoon in 1988. And Dad and I had a nice chat over the 40-minute drive home. My family has always been close, so when we saw Mom standing in the driveway as we pulled up to the house, I figured she was just excited to see me.

But she was sobbing.

I assumed she’d gotten some bad news about her cancer while Dad was gone, so I jumped out of the car before it even came to a stop and I ran up to hug her. But the bad news was something entirely different ... something so random and so unexpected that the shock of the words literally didn't make sense to me: Miriam’s plane had gone down.

Miriam was a friend of mine who had spent the 1988 autumn semester in London studying under the auspices of Syracuse University. I’d just visited her over the Thanksgiving break, and we’d had an awesome time seeing the sights, exploring the museums and taking in all the shows we could afford on our college-student budgets. Among the four we saw were Les Misérables and what ended up being a definitive revival of Stephen Sondheim’s Follies. Sondheim was just starting to appear on our collective radar, and we both agreed that seeing Follies together was a mountaintop experience for us to have shared over our magical week together in London.

But by December 21, I’d come home, a whole month had passed and I’d been so caught up in my finals and holiday preparations that I’d had no idea Miriam was flying back to the States that day—much less what flight she was on. Neither had my mom. But our friend Jody in Ohio did. And when the initial reports that Pan Am flight 103 had disappeared out of the sky over Lockerbie, Scotland, started washing over the newswires, Jody had called everyone she could think of.

Mom and Dad and I raced to the family room and crowded around the TV that crisp, sunny Iowa afternoon to see what we could find out about Miriam’s plane. It was the early days of CNN and 24-hour news, so we were able to get (spotty) information right away about the mysterious crash, along with grainy images of the wreckage shining dimly in the emergency lights that were working so hard to pierce the solstice blackness six time zones away. Dimly seeing what we could of it and haltingly learning more and more about it over the next hours was at once horrifying and comforting, filling us with both hopefulness and helplessness.

Over the next few months and weeks, the world came to learn about the bomb, the Libyans, the retribution, the embargoes, the bankruptcies. We cautiously wrapped our brains around the unthinkable efficiencies of global terrorism at the dawn of the Information Age. And the friends and families of the victims of the 103 bombing started experiencing the bizarre dichotomy of watching our personal tragedy play itself out on the world stage.

In the years since Miriam’s murder, I’ve befriended her parents and friends. I’ve gotten in touch with the roommates she lived with in London, none of whom had been on her plane with her that day. I’ve written pieces about my relatively removed perspective on the bombing that were published in newspapers and scholarly journals and read on NPR. And since I had been in London and had hung out with a lot of the murdered Syracuse students a month before the bombing, I’ve actually been interviewed by the FBI.

And as I’ve grieved and matured over the last thirty years, I’ve discovered that I now tend to be efficiently emotionless when I hear about catastrophic tragedies like the 9/11 attacks and the Stoneman Douglas massacre and the devastating 2018 wildfires ... though I’ll still burst into tears over emotional pablum like Christmas cookie commercials.

Thirty years ago today, the world learned what a volatile mix misanthropy and religion and blind nationalism can be in a global melting pot.

Thirty years ago today, Miriam and her fellow passengers and their families and friends learned violently and unwillingly about harsh brutalities that the rest of the world got the relative luxury of absorbing over time.

Thirty years ago today, I learned that the distant tragedies that so often happen to “other people” should never be observed as abstractions.

I discovered that news of plane crashes and acts of terrorism that play endlessly in 24-hour news cycles can be both disturbing and strangely comforting. I learned that life is precious, that there are no guarantees, that people who waste your time are robbing you of a precious and very limited possession, that small gestures can make heroic impressions, that your pain and suffering and anguish and heartbreak both do and don't make you special, that no matter how bad it gets you should work to find solace in the fact that it will probably get better … or at least easier.

Thirty years is enough time for someone to raise a child and send him or her off into the world. Enough time for eight presidential elections and four new Sondheim musicals. (Six, if you count Saturday Night and The Frogs.)

It’s enough time for a gangly, unsure college boy to cycle through four cars and eight houses and eight jobs and three cities as he grows into a successful (more or less), confident (more or less) man.

It’s enough time for him to realize that the world is not fair. That bad things happen to good people. That the bad people who did them don’t always get punished. That horrible tragedy gets easier to accept over time, even though it remains impossible to forget. That the hate that some people burn into your heart never entirely leaves ... and that the smug, satisfied self-righteousness you experience when you finally see images of the bloodied, abused corpse of Moammar Gadhafi—who denied to his last hopefully excruciating, terrified breath every credible report that he'd ordered the Pan Am bombing—feels powerfully good.

I often wonder what Miriam would be if she were alive today. Tony-winning actor? International journalist? Have-it-all mom? She was among those people you just knew were going somewhere big with their lives. I’m sure that wherever the fates would have taken her, she’d be someone people knew about.

I also wonder if we would still be friends. We’d met that summer when we were singing and dancing in the shows at Darien Lake amusement park just outside Buffalo, New York. Our friendship lasted just seven months until she was murdered. I’m only barely in touch with the other friends I made at the park that summer. Miriam’s family and I aren’t in touch nearly as much as I’d like either (though her mother recently published a book of Miriam's writings along with essays from people who knew and loved her, including me).

Would Miriam and I have drifted apart as well?

Since at this point I’m the only one in control of our story, I choose to believe that by now I’d have sung in her wedding and befriended her kids on Facebook and marched in pink hats with her in Washington and lost countless hours texting ridiculous memes back and forth with her.

And I’m pretty sure she’d have written the same story for me if our fates had been reversed.

Thirty years ago today was the last, devastating act in a year that had shaken—and strengthened—my family to its core. It was the day my worldview changed from naive to guarded, from optimistic to cynical, from insular to secular.

It was the day my friend Miriam was murdered.

And it was just another day for most people.

And though the world continues to spin forward—as it should—and people’s memories continue to fade—as they do—I will never forget.

Tuesday, September 11, 2018

#ArtThrob: September

Like Picasso, Matisse, Pollock and a host of iconic 20th century painters, Gerhard Richter has developed a signature visual vocabulary of sometimes photorealistic images obscured to varying degrees in scrapes, blurs, flecks, and pulls of wet and dry paint. Evoking at once powerful movement and misty tranquility, his works require a commitment of effort and time to absorb. His “September” (2009) utilizes this technique to stunning effect. Two silvery twin towers, the tops of which disappear into monumental clouds of opaque browns and blacks, stand defiantly against horizontal winds of scrapes and streaks and blurs. The painting captures a moment of enormity with grace and respect and breathtaking radiance.

17 years ago today

17 years ago this morning I ran a little late and got caught in the rush-hour crowds that prevented me from getting a seat on my EL train. But as I stood there—a relatively new Chicagoan—I was still in awe of the fact that I actually lived in Chicago and rode a train to work and I reveled in the fact that I was one of THEM: my fellow Chicagoans packed in the train car with me, commuting to (or from) our jobs as waiters, insurance brokers, construction workers, actuaries, janitors, bankers, personal trainers, writers and every other career and purpose in our big, always-moving city.

When I finally arrived at work and got off the elevator, I saw everyone in my office crowded around the TVs in our glass-walled conference room. My first thought was that my colleagues would see I was late. But after joining them and watching the towers burn and fall, seeing the gaping wound in the Pentagon, learning of the disappearance of an entire airplane and its passengers in a fiery pit, I was struck by the fact that my underground commute that morning with my fellow train riders—a microcosm of the city, if not the country—was our last collective moment of innocence before we had access to any news and we suddenly had to face the sickening, horrifying, misanthropic enormity wrought by other human beings on a scale none of us could have imagined.

17 years ago today I never felt closer to colleagues, friends, family members and even strangers as we worked to understand the hatred and comprehend the savagery of perhaps the ugliest tragedy in our lifetimes.

17 years ago today we lost a certainty in our collective safety but we gained a powerful strength in our ability to care for and protect and even love each other when we needed to ... and even when we didn't.

17 years ago today, our world changed immeasurably. Our hearts broke irreparably. Our determination grew mightily. Our humanity spread defiantly. Time may erode the intensity of our initial united magnanimity, but we will never forget.

Monday, September 11, 2017

Flights

I found this on Twitter yesterday. It's purportedly an FAA graphic tracking planes that were in the air at some point during Irma's landfall. Whether or not it's real, the stark absence of planes over Florida is fascinating to contemplate in the context of the immense impact a hurricane or other disaster can have on all aspects of the human experience. And it's a sobering microcosmic reminder of the absolute silence in the skies while all planes were grounded in the days after the 9/11 attacks.

Gerhard Richter: "September" (2009)

Like Picasso, Matisse, Pollock and a host of iconic 20th century painters, Gerhard Richter has developed a signature visual vocabulary of sometimes photorealistic images obscured to varying degrees in scrapes, blurs, flecks, and pulls of wet and dry paint. Evoking at once powerful movement and misty tranquility, his works require a commitment of effort and time to absorb. His “September” (2009) utilizes this technique to stunning effect. Two silvery twin towers, the tops of which disappear into monumental clouds of opaque browns and blacks, stand defiantly against horizontal winds of scrapes and streaks and blurs. The painting captures a moment of enormity with grace and respect and breathtaking radiance.

16 years ago today

16 years ago this morning I ran a little late and didn't get a seat on the EL train. But as a relatively new Chicagoan I was still in awe of the fact that I actually lived in Chicago and rode a train to work and I reveled in the fact that I was one of THEM: my fellow Chicagoans packed in the train car with me, commuting to (or from) our jobs as waiters, insurance brokers, construction workers, actuaries, janitors, bankers, personal trainers, writers and every other career imaginable.

When I finally arrived at work and got off the elevator, I saw everyone in my office crowded around a TV in a conference room. My first thought was that my colleagues would see I was late. But after joining them and watching the towers burn and fall, seeing the gaping wound in the Pentagon, learning of the disappearance of an entire airplane and its passengers in a fiery pit, I was struck by the fact that my underground commute that morning with my fellow train riders -- a microcosm of the city, if not the country -- was our last collective moment of innocence before we had access to any news and we suddenly had to face the sickening enormity wrought by other human beings on a scale none of us could have imagined.

16 years ago today I never felt closer to friends, family members and even strangers as we worked to understand the hatred and comprehend the savagery of perhaps the ugliest tragedy in our lifetimes.

16 years ago today we lost a certainty in our collective safety but we gained a powerful strength in our ability to care for and protect and even love each other when we needed to ... and even when we didn't.

16 years ago today, our world changed immeasurably. Our hearts broke irreparably. Our determination grew mightily. Our humanity spread defiantly. Time may erode the intensity of our initial united magnanimity, but we will never forget.

Monday, May 15, 2006

Flight 93

I was surprised how hard I had to look to find anyone who wanted to see this movie. But I finally got three people together Saturday: a guy in my building and two guys I’ve met through the AIDS Marathon. We saw it that night, only two hours after brief introductions in a car and a quick dinner at a chain restaurant.

Flight 93 is not the ideal movie for four people just getting to know each other. But it’s pretty spectacular.

There’s nothing I can say about it that really hasn’t already been said. It’s as brutal and raw and painful as you’d imagine. It’s a grand opera punctuated by small, poignant details: the routine closing of an airplane door, a choked call on a cell phone, the incredulous comments of an air traffic controller as he struggles to stay focused.

The story isn’t new. We all know what happens. In fact, the film assumes its audience is steeped in enough context that it brushes over basic narrative elements—which is fine today but which might make the film harder to grasp in 50 years.

The film is two stories, actually: the air traffic controllers across America desperately trying to comprehend and manage multiple hijackings, and the events aboard Flight 93 itself. Both stories are riveting, though the events on the ground—in the relative safety of the control towers—are certainly easier to digest, if only because you know everyone will survive.

There is a masterful moment halfway through the film where the Flight 93 pilots have been warned about the World Trade Center attacks and told to be alert for potential cockpit intrusions. It’s told in such a way that you find yourself hoping that maybe—just maybe—the pilots won’t open the cockpit door and set in motion catastrophic events that await them.

But that element of hope is a tiny beacon among crashing waves of dread and panic and anguish and devastating sorrow—waves that left me repeatedly with the urge to throw up as I watched. Where my urge to vomit was stronger than what I’d felt when it fully dawned on me exactly what had happened to my friend Miriam in the bombing of Pan Am Flight 103. Than when I watched breast cancer and the effects of chemotherapy almost destroy my mom. Than when my dad and I cleaned up a family friend’s bloody murder scene so her son and grandson wouldn’t have to do it.

Yet I had to see the movie all the way through. Ever since Pan Am 103, I've had this compulsion to understand devastating tragedies on deeper levels than the it-must-be-horrible-to-die-this-way abstract. It’s the same reason I needed to see Titanic. Silly love story aside, the movie shows you exactly what it was like to watch your world literally disappear beneath your feet, to be crushed by tons of iron and steel, to freeze to death among thousands of wet, screaming, terrified people who were powerless to save themselves.

My complaints about Flight 103 are small, and they’re made only in the spirit of hoping for a more powerful tribute to the victims of the attacks. For starters, the hand-held camera technique, while great for imparting feelings of chaos and panic and immediacy, quickly becomes upsetting in an unhelpful way. And Paul Greengrass’ decision to let his actors—especially his amateur actors—ad lib produced a lot of dialogue that’s awkward, forced, inefficient, self-aware and distractingly unrealistic. For instance, in all my years of flying, I have never had a flight attendant greet me at the door of the plane, check my ticket and point me to my seat. Even first-time flyers can tell that all the seats are to the right anyway. Nobody needs to point. Yet the Flight 93 flight attendants repeatedly said things like “Seat 12B—to your right” as the passengers boarded the plane.

In contrast to these distractions, John Powell’s score is masterful, enhancing the story without ever resorting to manipulation. It’s both spare and charismatic, borrowing traditions of chordant dissonance from Pärt, poignancy from Vaughan Williams and the proud resignation that haunts Górecki’s third symphony. It anchors the final moments of the film, providing a sure-footed foundation for the chaos and panic and uncertainty that drive the story to its devastating conclusion.

The popular consensus is that it’s too soon for this movie, but I disagree. I think the timing is perfect. As a nation, we’ve collectively reached the point of emotional fatigue, where we’re squabbling over memorial architecture and the political posturing of legal action. We’ve started losing sight of the enormity of the events of September 11, the human cost, the transcendent level of Greek tragedy that played out in major cities and lonely fields and 24-hour news stations and private living rooms across the continent—the globe, even—that morning.

It takes us back to the human story. The story that really matters. The story we can’t—we should never—forget.