Tuesday, September 10, 2002

Quasi
an outlet for young writers

September 10, 2002
Volume 1, Issue 13



September 11


   I was standing on the roof of New York City Fire Station 1010, a three story building about 100 feet from the edge of the pit at Ground Zero. It was January 26, 2002, more than four months after the collapse after the Twin Towers. On the roof with me was a middle-aged woman who had come from New Jersey in the week after the attack to help, who spent much of her time driving an all terrain vehicle around the perimeter of the site, picking up and delivering supplies.
   Also there was a Salvation Army captain, who was there from the Midwest for a two-week shift to oversee the SAs food and counseling operation.
   To our left was the Bankers & Trust Building, a very tall structure with black netting across its face and a large American flag hung from its peak. To our right was St. Peter's Cathedral, which amazingly withstood the impact of the falling buildings and became a sanctuary for the recovery and cleanup workers.
   And in front of us was the gaping, gigantic hole, the pit. One woman aptly said, "It was so big that I couldn't comprehend it, I couldn't take it in."
   In a few brief moments I tried to take in as much as I could, trying to process not only the physical and geological meaning of the sight, but also its deep historical, cultural and spiritual significance.
   The workers had reduced a three story pile of twisted steel beams, concrete and fire to a hole the size of several city blocks by that time. Even at cold, early morning hour, the scene was ablaze with light, run by steadily humming generators, and the work of cleaning up America's worst nightmare by ordinary, heroic Americans went busily on.
   It was as we unwillingly turned to go, tearing our eyes away, that the Salvation Army captain said something to the ATV driver. It was something to the effect of, "We will never forget those who died here that day," and he choked up as he said it.
I stood by watching, and said and did nothing in response. I only looked back once more at the rubble, and in that moment, I did not know whether that man meant what he said or not.
   From the very first few days after the September 11 attacks, I observed a strong emotional response from people across the country. Granted, most of my observations were taken in as I sat in front of my TV, but I think that America wore its heart on its sleeve for much of that week.
   There was certainly, however, in my opinion, a mixture of genuine and ungenuine emotional displays taking place as events unfolded. Those that seemed most genuine were almost always connected with the loss of a loved one, by a family member or close friend trying his or her very best to restrain themselves, but absolutely crushed by their tragic grief.
   I also saw many people respond to those kinds of people in genuine ways--in heartfelt empathy, pity, sorrow, and even anger, grieving with those who grieve.
   But then I thought I saw, to no surprise of mine, some people precipitating emotion, pursuing it, generating it, almost fabricating it, or maybe faking the emotions they saw everyone around them experiencing.
   It is in the behavior of the SA captain that this second group may have been typified. I do not know what was in their motivations. For the SA captain, if he did engineer the moment, I understand his actions. In the face of something that one knows with one's mind is truly momentous, one knows that there should be some emotional response.
   In the absence of such a response, perhaps many drew upon themselves to manufacture such a display in the days following the terrorist attacks.
   Certainly such a phenomenon is taking place now, as we stand one year--hundreds of days and thousands of hours and countless events--removed from that day.
   It is hard to reengage with the emotions we may have truly felt on September 11 and in the following weeks. It is hard to touch them, get reacquainted with them. After all, in many ways, we have moved on. We have not forgotten, but we have grown distant.
   Now, with memorials and remembrances provoking much emotional and grave showmanship, I sense some people reacting in a negative way to any thought of reminiscence or remembrance with emotion.
   But we cannot forget both the awful events of that day, and what it wrought in our country. There is so much to be learned from 9/11. It teaches us that we cannot grow proud, either in our national outlook or in our spirits, and it taught us that we are vulnerable, breakable creatures in need. It opened our eyes for a few moments, and it does us good to return and stand in the place where for a brief time we stood, fixed and immobile, heavy hearted and focused, humbled, desperate.
   I remember, and will always remember, how I learned that the world would never be the same.
   I was unemployed and a little sick, so I was sleeping at 9:00 a.m. on Tuesday. September 11. I was woken by the TV of all things. It was turned up so loud that it woke me up a floor below. I came out of unconsciousness, heard the TV, and knew immediately that something was up.
   I was totally unprepared for what I was about to see, however. Maybe someone had been assasinated, I thought as I stumbled upstairs. I lurched into the living room, my eyes still half shut and squinting from the morning sun, and wiped the sleep from my eyes as the replay showed the second plane, which had just hit.
   My eyes blinked groggily as it was replayed over and over, and after a couple moments, it sunk in. A plane had hit the World Trade Center. Not just one plane. Two.  ...That's not an accident. Oh God.
   I watched TV for two days straight. I watched it all day that day, pausing only to eat and to go outside to look up at the sky as fighter planes screeched overhead. I went to bed, shell shocked. I woke up the next morning around 8, got out of bed, and walked to the next room, turned the TV on, and watched it all day, grieving, mourning, processing.
   I confess I did not know exactly what to feel. I felt overwhelmed more than anything else, partly with the wide range of emotions that were before me. Anger? There was some of that, but I was not seething. Sadness? Certainly, but I also felt detached in some odd way. Patriotism? I thought of joining the armed forces with a kind of determined dread. Fear? Absolutely.
   Most inspiring to me was the hope and courage I saw displayed by those who had lost loved ones, by the ordinary people who rushed to help, and by our nation's leaders.
   The true good which undeniably came out of such tragedy made the following days so bittersweet. It was John Adams who said, "What horrid creatures we men are, that we cannot be virtuous without murdering one another."
   The unity of our country, the massive turning to God for help and hope, the wide outpourings of support from other countries, and strangers helping strangers--all those things lifted my spirits.
   But after time, as 9/11 receded in our memories, this atmosphere faded.
   Not so, however, in New York.
   Or at least, not so fast. When I went to visit my brother there in late January, there was something about that city that absolutely captured me.
   There was a freshness to the city, an air of renewal, fragility, and love that invigorated me and was so exciting.
It was not until last week that I finally realized what was at the bottom of all that. It was humility. New York, the proudest city on the face of the earth, had been humbled.
   They had not, and have not, lost any of their spunk. They have, however, regained an appreciation for caring for people, especially those in need. Instead of fearing and hating one another, they began to build each other up.
   The Bible says that there is "a time to weep, and a time to laugh; a time to mourn, and a time to dance" (Ecc. 3:4).
   Much of the past year has been, appropriately, about learning to laugh again, and remembering how to dance. But to keep our laughter pure, and our dancing heartfelt, we observe these times of grieving and remembrance.
   Now is most certainly a time to grieve and a time to mourn, a time to weep for the loss of innocent life one year ago, and it is a time to pray, that God may have mercy on our country as we enter a new phase of history.


jonwardeleven@earthlink.net
Quasi
an outlet for young writers

August 15, 2002
Volume 1, Issue 12



4 Great Quotes...


   ...go read a book. No, just kidding.
  Here are a couple great quotes from John Updike on writing that will get this issue off to a great start. A little food for thought.
  Quote #1: "You can only teach so much about writing. You can do some things about point of view and try to clean up spelling and punctuation, but basically, I think, of all the higher arts it's the most self-taught. You learn through the example of the writers who move and impress you."  
  For those of you who write, that quote's meant to make you feel important, in case you missed it. But it's really quite true; we rarely write with passion unless we have already seen it done.
  Quote #2: "I think the best writing is often the first flow, because you're in the groove, you're in the rhythm, and so it's with some trepidation that I try to revise myself. It think it's important to at least feel you're writing as well as you can as you go along, and to build each sentence or paragraph upon a happy and sound base."  
  Those of us who write like this will love it. Those who don't write like that might be confused. Maybe not.
  Quote #3:  "It's easy to revisit characters once you've named them, once you've established their tics and their environment."
  Updike is talking about writing fiction here. He's addressing probably the single biggest obstacle that fiction writers face: how to advance the plot. Updike is saying that if you put work into creating characters that are real and multi-dimensional, even before you write the story, you will have an engine.
  Quote #4: "You try to write in such a way as to give others pleasure...I've just tried to write in a way that would entertain and please me, if I were the reader."
  This is the age old question answered quite well. Who should we write for? Updike answers the question deftly.
  Keep sending in your stuff to Quasi. A number of you have, so thank you.
  This issue contains a humorous sketch on writing, a poem by Hannah Baker, and an editorial on the second best story ever told.         


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Desperate Day -- A Sketch
By Lumbar Enob

     Jeffrey sat in his back yard, reading a New Yorker article about some old editor who dressed like Jay Gatsby and called himself a pimp.  Jeffrey didnt read it so much out of interest in the pimp as he did because he was a writer and he figured he should read about an editor, just in case there was some valuable information to be had.
 That was the way Jeffrey functioned.  Cover all the bases.  

  Jeffrey sat at a black metal table, three empty chairs around it.  The sun was out, and the early April day was perfect.  His t-shirt and the sun kept him barely warm enough.  The only things around him were his magazine, the green lawn beneath his feet, and the Schmidts beer on the metal-latticed table.

  "No wonder they sell this stuff for five bucks," Jeffrey chuckled to himself as he took a sip.

  For all his quirks, the pimp started saying some interesting things, real quotables.  It was a custom of Jeffrey's to let a lone average quote pass unnoted, but when two or more really good ones appeared, it was time to get a pen.

  Jeffrey hopped up from his chair.  I need a pen.  And another beer, he thought.  A pen and another beer, Jeffrey repeated to himself as he walked up the deck steps.  And a sweatshirt, its a little cold.  Jeffrey repeated his growing list to himself as he walked inside.  And my computer, he thought, in case I want to write.

  A pen, a beer, my sweatshirt and then my computer.  Jeffrey's brain struggled to keep track of the inventory it had just compiled.  It was the way of the writer--be seized by moments of spontaneity then scramble to keep track of everything until it could be recorded.

  Jeffrey grabbed his Compaq Presario and headed for the back door again, pen in his pocket, beer in hand, and sweatshirt draped over his shoulder. It had been a successful trip. Jeffrey swelled with pride at his competence.

  As he walked across the grass to his chair, it hit Jeffrey. He could write about the last five minutes--the crazy mental scrambling hed gone through just to collect a few odd items and set himself up for a more comfortable half hour. Either people would relate or have no idea what he was talking about.

   "Maybe I'll just write a scene description then store it away for a desperate writing day," he thought, and started pecking away.

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Slam This!  Poet's Forum


My Question for the Magician
by Hannah Baker


My question for the Magician-
the one with bunny ears harvesting in his hat,
who mesmerizes the audience with a twig of plastic,
whose fingertips dribble comets and slam dunk sunsets on top of our heads,
and no one keeps up with his ab-ra-ca-da-bra,
his wand zigzags like bolts shredding the sky apart,
he cuts a woman in thirds, people clap, ooh, and ahh
he sets a man on fire, zaps a child all before our very eyes,
but, the evidence was here and then it wasn't,
like a hunter’s fingernails clawing a lion's mane limp as tassel,
raising the gaping jaw, the streaming throat in shouts of victory,
just as the beak of the universe gobbles it up in flight,
and those on flat earth trip, squinting over their horizon
to see what really happened, beneath the surface of things,
nudging and pinching itself over the wild display of death,
as the Magician beams,
content that no one sees a thing,
not anything he does from his platform,
as his wand gestures to heaven,
and the lights are out below in the audience,
except for him in disco lights,
where women are slit in thirds,
men swallow fire,
children disappear-
is why do you keep secrets?


Hannah's email is hbaker1005@hotmail.com

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Mouthin' Off
Jon Ward



Bound by the Ring


  Only 126 days until the "Two Towers"! Yes! Let the countdown begin--we are within striking distance.
  Seriously, I am pumped. They just released the first movie, "Fellowship of the Ring," on VHS and DVD, and all of a sudden I am back in Middle-Earth la la land.
  I watched "Fellowship" last weekend, and then it ocurred to me. I had about fifty pages left to go in "Return of the King," which I had put down over six months ago. So down I went to my room. I put on the soundtrack to the "Fellowship" and drifted into Middle Earth for an hour and a half. I was captivated by the final chapter of the saga, where Frodo, Sam, Merry and Pippin return to the Shire, only to find they have one more battle to fight.
  Not only was it great to be back in Middle-Earth (in case you have no experience of the Lord of the Rings, it is widely agreed upon that when you read the story you do actually go to Middle-Earth), but I noticed some interesting things about J.R.R. Tolkien's story.
  It stood out to me, the way that Tolkien illustrated the decay and downfall of the Shire, contrasted with how he illustrated its rebirth. Plant life had a great deal to do with it. When Frodo and his pals return, all the trees are cut down, and when they have restored the Shire, one of Sams main priorities is to plant new trees, upon which he sprinkles dust given him by Galadriel, the Elvish queen.
  Plants and trees represent growth, and life, unrestrained, natural, as the Creator made it. They are wild, yet they are good‹they replenish our oxygen, provide us shade, and refresh the eye.
  Tolkien also illustrates evil and good with the contrasting behavior of the ruffians and the hobbits. The ruffians who have overtaken the Shire spend much of their time lounging, doing nothing, being lazy and unproductive. When they are not lounging, they are raiding the stores of hobbits who have worked to produce tobacco and wheat. Upon the hobbits they impose a laundry list of rules, controlling them by tyranny.
  Juxtaposed to that is what happens when evil is banished and the rebuilding begins. Days are filled with vigorous, purposeful labor‹everyone pitches in, united by a shared purpose. At night, old stores of food and beer supply celebrations which are not governed by do's and don'ts. One can easily imagine the joyful scene of old hobbits enjoying their pipes while young hobbits drink, talk, laugh and dance together, their hearts made light by drink and the sense that their lives are meaningful because they are contributing to something meaningful.
  Out of this environment love easily grows. The story bears witness to this itself. The year 1420 was known for its number of children born and begotten, as well as for its marriages, Tolkien writes. What else is this but that men and women are drawn together by merriment and love of life, by a shared community that spends time with one another, and by a life of working and playing with equal enthusiasm. They are, in short, living life to the fullest, enjoying its simplest pleasures.
  So that's a serious explanation, I guess, of why I love "The Lord of the Rings," even if it is woefully insufficient. But the bottom line is, it's just a darn good story, and I can't wait to see the second book on the screen.

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