This was first published at the New Arab.
While we were in New York to talk about “Burning Country”, I visited the 9/11 Memorial, a commemoration of the spectacle that arguably set the tone for the 21st Century. I was advised to visit by a friendly progressive professor, the host of one of our events. He said the attached museum was a good example of America’s self-portrayal as the world’s supreme victim. He wasn’t alone. Philip Kennicott in the Washington Post described the museum as “an oversized pit of self-pity, patriotic self-glorification and voyeurism.”
I didn’t really agree about the museum, and the memorial to the day when the twin towers were hit and almost three thousand civilians killed seemed to me tasteful and correct.
At the precise site of each tower’s base there are two-tiered pools of falling water. These enormous bottomless basins are inversions of the towers, the very opposite of phallic triumphalism. Each implies absence and a hidden abyss. In a way they are beautiful, superficially calming, and their noise nearly drowns the rush of the city around. But ultimately they are terrible, because gravity’s incessant pull on the water, the sound and sight of continuous descent, is a reminder of the terror of jumping, falling people, those who chose to plunge rather than burn, and of the tumbling shoes, the floating paper, the towers themselves collapsing, so many tons of metal and concrete, so many volumes of dust and smoke.
In the museum the focus is on the trauma experienced by the victims. There are first-hand accounts played on audio, and photographs and films of shocked New Yorkers gazing skyward, or running for their lives, or trudging slowly, whitened by dust. A shock, literally out of the blue, for an America almost entirely untouched on its own soil by war, at least since its civil war (though native-Americans and African-Americans must be excluded from this peaceable account of history).
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