Showing posts with label trauma. Show all posts
Showing posts with label trauma. Show all posts

Thursday, June 22, 2017

The Pen Behind Jeremiah Moss (Vanishing New York) + 27 Cooper Square Dedication

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For a decade, a blogger writing under the nom de plume Jeremiah Moss has been chronicling the Bloomberg and post-Bloomberg era gentrification--hypergentrification--of New York City, primarily through posts that tally the disappearance of countless small and medium-sized, often longstanding businesses. While not always avoiding nostalgia and though he has mostly focused on Manhattan, Moss's blog, Vanishing New York, has set the standard in consistently demonstrating city and state policies favoring plutocratic real estate interests, in combination with the national and global neoliberal economic system, have had a devastating effect on so much of the city's social ecology, its distinctive neighborhoods, and its diverse cultural vibrancy, let alone affordability, all of which have drawn creative people in particular to New York for more than a century.

Though gentrification in New York is hardly new, Moss has detailed how over the last 10 years, particularly in the lead-up to and through the Great Recession, whole sections--and increasingly boroughs--of New York have transformed into hollowed out museums of themselves. (Lost City was another blog that contemporaneously recorded the loss of many New York landmarks, from 2006 through 2014. Gothamist also provides updates amidst its general news about the city.) Among the terms I've learned from Moss's blog are yunny (young urban narcissists), zombie urbanism, and hypergentrification, to name just a few.  From my first encounter with Moss's lamentations--appropriately enough, an early entry from 2007 bore that title--and jeremiads, I became a fan, finding in his posts arguments that compellingly articulated what I saw happening as far back as the period right after 9/11, in 2001, and also underway simultaneously and without explanation, in Chicago.

From Jeremiah's
Vanishing New York
Certainly many have written persuasively about gentrification and its effects, and we can always use more informed takes. But Moss has also urged readers to go beyond mourning and support the pro-small business, cultural landmarking, anti-chain approach of SAVE NYC. Moss also has tried to address readers' questions, including why he began the blog, whether gentrification is (ever) good for working-class and poor people, how Bloomberg's tenure really affected New York (for the worse), and how New York City has become increasingly suburbanized, or a dense, vertical simulacrum of the suburban--an elite suburb, that is. Notably, he also has not shied away from addressing questions of race, class, and political access, among other topics key to the problem of hypergentrification.

For his efforts he has received a great deal of press, and some awards. Until now, Moss has not compiled his thoughts in book form, but that is set to change with Vanishing New York: How a Great City Lost Its Soul (HarperCollins), which will hit bookshelves shortly. A book party is set for July 27, in SoHo.

What also has remained unknown to most readers of Moss's blog is who the writer really is. (In fact I have to admit I was quite willing not to have his real identity revealed.) Recently, however, in a New Yorker "Talk of the Town" piece by Michael Schulman, Moss does share with the world who he really is: Griffin Hansbury, a transgender psychoanalyst, social worker, and aspiring novelist who has lived in New York for more than a quarter of a century. He lives in the East Village, and has shifted, as Schulman points out, from elegist to activist, when he rallied readers behind the attempt to save Midtown's Café Edison, which did not succeed but which fed into the #SAVENYC campaign.
So why did Moss (Hansbury) unmask himself?

[He] decided to reveal himself, he said, so he can show up at his own rallies and on panels. Also, “Vanishing New York” is now a book. Walking down St. Mark’s Place, past a dark-glass building that he called the Death Star, he mentioned a study that measured pedestrians’ skin conductivity outside a sleek Whole Foods and on a more diversified street. “They found that blocks that are all this glass stuff actually shorten the lives of senior citizens, because they’re so depressing,” he said.

And, as I can attest, they can turn into giant magnifying glasses, scorching the ground around them. I hope to share this and other thoughts--like the increasingly disturbing lack of adequate infrastructure in New York and New Jersey, especially to handle all of the building, new arrivals, or catastrophic contingencies like a worse version of the 2003 blackout (which I experienced firsthand) or another tropical storm as strong as or stronger than 2012's Hurricane Sandy-- in person with him, at his book event or another, but either way, I'll be picking up a copy of Vanishing New York, the book version, while continuing to read his blog.

***


A few days ago, another New York City blog I regularly browse, EV Grieve, posted about a plaque dedication at 27 Cooper Square on June 21. Though increasing swaths of Manhattan and New York City have been or are being leveled or built over in favor of the kinds of cookie-cutter designer glass luxury towers that Moss has decried on his blog, 27 Cooper Square managed to survive the wrecking ball, mainly because, as EV Grieve points out, two of the building's resident, including acclaimed poet and memoirist Hettie Jones, balked at moving out so that the Cooper Square Hotel could be built next door. Jones and her fellow tenant had secured artist loft status in the 1980s, and thus had the law on their side. Now, as the luxe Cooper Square Hotel looms beside them and an increasingly hypergentrified Downtown New York surrounds them, the Greenwich Village Society for Historic Preservation (GVSHP), in partnership with Two Boots Foundation, will commemorate 27 Cooper Square's importance as a cultural node during the 1960s.

The 1845 building, as the plaque announces, was the home of several key artistic figures during the 1960s. Quoting EV Grieve (and the email the site received from GVSHP):

In the 1960s, this 1845 former rooming house became a laboratory for artistic, literary and political currents. Writers LeRoi [later Amiri Baraka] and Hettie Jones, their Yugen magazine and Totem Press, musician Archie Shepp and painter Elizabeth Murray all had homes here. The vacant building was transformed into a vital hub of cultural life, attracting leading figures including those from the Beats and the world of jazz. It was also the childhood home of a second generation of East Village artists and thinkers.

GVSHP and Two Boots Foundation will install a plaque on the building at 27 Cooper Square to mark the significance of the site in the artistic legacy of the East Village.

The event's slated speakers included Archie Shepp's son Accra Shepp, a noted photographer, and Hettie Jones, as well as a representative of the GVSHP, and poet and Bowery Poetry Club co-founder Bob Holman. You can watch a video of the dedication on YouTube, and see photos on Flickr. Though cultural producers still live in the area, as Jones pointed out in the 2008 New York Times article on her successful battle against the Cooper Square Hotel, "This used to be an area where people got their start. Now it’s a place to land once you’ve made it." And it's only more so these days, but the plaque will remind people, at least those who stop and read it, that the area was once more, much more, than a hub of global lucre.

Thursday, July 07, 2016

Black Lives Matter, Summer 2016: Sterling/Castile/Robinson--

Union Square, July 7, 2016
Photo © by Jack Mirkinson 
UPDATE: Tragedy begets tragedy...last night in Dallas, Texas, during a peaceful protest against the police killings of Alton Sterling and Philando Castile, a gunman or gunmen ambushed and shot five police personnel dead, and wounded 7 others. Also injured were two civilians, including a mother who was trying to shield her son from the bullets. Police officials identified the gunman, a 25-year-old African American US Army reserve member and veteran, Micah Xavier Johnson. The shooter allegedly was angered by the killing of black people and wanted to target white police officers in retribution.

After a standoff with police, they sent in a bomb squad robot, armed with an explosive device, and killed him. Police and social media had initially misidentified the gunman as an African American man who had who was openly carrying his registered weapon. (This begs the question of whether open-carry and concealed weapon laws do not apply to or for African Americans, Latinxs, and others, and only for white people.)

I mourn the deaths of these officers, and continue to grieve for the people I list below who were killed by the police or in police custody. The answer is not more violence, but an end to it all, and if that means that we have to rethink and then rebuild the very foundations of this society, built on domination, violence and oppression, then we must do it. But peacefully. And that means we have to begin by addressing one of the root problems in all of these deaths: guns, and their easy availability in the US.

On and on and on it goes. State-sanctioned police murders of black people. Veterans, lunch room workers, fathers, daughters, loved ones, people seeking medical help. Supply the category and someone searching through the roster of those slain can find a name to fit. This has occurred my entire life, in various forms, usually leading to marches and protests, calls for accountability and legal and technological changes, prosecutions of the police (which rarely happens), and occasionally, as happened in Ferguson and Baltimore, as in Miami and other cities in the past, uprisings. It is no less painful to witness, to live through today than it was when I was a child or teenager.

These last few weeks, these last few days, have filled with the names of the newly dead: Alton Sterling in Louisiana. Philando Castile in MinnesotaAngelo Brown and Stephanie Hicks in Illinois. Darius Robinson in Oklahoma. As the Guardian's statistics show, over 566 people have been killed by cops or while in police custody this year. The Huffington Post points out that 136 black people have died at the hands of cops. The highest rate in 2016, 3.4 per 1 million people, is among Native Americans, with African Americans dying at only slightly lower frequency at 3.23 per 1 million people. As horrifying as last year's numbers were, this year's should give us pause to reflect, and a charge to act.

I've written on here before about how these deaths represent a slow genocide playing out before our eyes--or some of our eyes--and how what these state-sanctioned killings, which mirror the state's brutality elsewhere in the world, underline again and again, as the Black Lives Matter movement has pointed out, is how dehumanized and disposable black people--and brown people--remain in this society, a fact that not only the Donald Trump campaign's imagery, rhetoric and surrounding discourse testify to on a regular basis, but also the toothless responses from Democrats and Republicans alike. (As BREXIT, the rise of the nationalist right in Europe, the Brazilian coup and state-sanctioned police killings there of black youth and teenagers, the fanatics in the Middle East, and so on make clear, the same could be said for the globe as a whole.)

While technology has allowed witnesses to these state killings to record and broadcast via social media imagery of what occurred, offering proof to what has too long been viewed by people not directly affected as mere anecdote or exaggeration and creating documentation, as well as a space for witness, memorialization and mourning, I also think that the subsequent hyper-circulation and replaying, as the news media often do, of the deaths can habituate and inure us to the deaths of these victims and magnify the suffering their loved ones feel, while only increasing the centuries long trauma at the core of this society. We have to look directly at what is happening, but to the extent possible, avoid turning these tragedies into spectacle. Moreover, they attest that our melancholia and fear are not groundless; it arises from the danger and blood that saturates the very ground we walk on every day. Many of us rightly fear that we are a cop's bullet or baton away from becoming a meme and statistic.

These deaths also underpin the ironic force and truth at the core of the statement that cannot be proclaimed enough, "Black Lives Matter." That this statement of affirmation has been turned inside out points to the perverse social and political logic in which we live. Like the deaths, the iconic phrase, and the movement that has arisen around it, demands that we realize and act upon the truth in the statements STOP KILLING BLACK PEOPLE & STOP KILLING US!

Here is a powerful poem by Jericho Brown that captures the horror and tragedy of these state-sanctioned killings and deaths in a way that only poetry can. The poem is called "Bullet Points," and I have borrowed it from Buzzfeed, where I first saw it. The copyright is Jericho's and Buzzfeed's.


Wednesday, September 11, 2013

Meditations on 9/11


1. More than anything about the World Trade Center before 2001, I remember the subterranean maze of the concourse, always pulsing with the hustle and bustle of people zooming from one set of trains to the next, gliding from restaurants to stores, moving, always moving beneath the vast, windy, unwelcoming plaza. I remember sitting upstairs outside and hearing a jazz band perform there, its melodies wafting off in the relentless summer air. I remember holding down food wrappers so that they wouldn't blow away as I tried to each lunch; I remember always perceiving the impossibly tall towers looming above as so high and immense that it dizzied me to look up as I stood beneath them. I remember going up to the top, to the observation area, and feeling something akin to vertigo, despite the sublime portrait of the city spreading out before me. I did it once and vowed I would never do it again. For years I could not grasp the geography of the plaza, the train stations, the streets, anything of that portion of lower Manhattan above ground, but the concourse I grasped almost immediately. Even today when I ascend the steep escalators from the lower level where the PATH trains power in from New Jersey, in almost Pavlovian fashion I look for that concourse. My memory walks it even if I follow the new route, fully understood and memorized, towards the terminal at Fulton Street.

2. In 2000, I read in the Barnes & Noble beneath the World Trade Center towers, with Asha Bandele. I cannot remember who invited us, or why we were paired together, but I recall enjoying meeting her, and I recall the reading, at which she read from her memoir The Prisoner's Wife, and I read poems. New York 1 taped and broadcast us, and the screening of that reading provided me with the only bit of public fame I have ever had (outside of a childhood performance as John Henry at Loreto-Hilton during the Bicentennial Year, and among adolescent readers of my poetry in Sicily). Several times people recognized me on the street, including in the post office on 10th Street, off 6th Avenue. My poems were nothing to speak of, but one wasn't so bad, a paean to Jackie Robinson and St. Louis, and an old man even blurted out to me, apropos of nothing but his delight at seeing someone from TV, "I liked your baseball poem." That experience seared into my consciousness the power of television, but also made me wonder later what show had broadcast our event, why couldn't I find the email or notes of who had invited me to participate, why everything but the aftermath of the reading was such a blur. I cannot even say that I remember where in that concourse the Barnes & Noble was, though I do know I went in there once or twice just to browse. Does that tape of that reading even still exist, and would it not be too macabre to see it now?

3. On the morning of September 11, 2001...well, I have recounted this many times elsewhere, but I will only say that I had begun the second stage of my commuting-to-teach life, to Providence, for a wonderful year-long stint for which I will always be grateful. That day was the first I was supposed to teach. It goes without saying that it was tumultuous, wrenching, impossible. I did not know if my partner and his colleague were on one of the hijacked, weaponized planes. I did not know if there were other attacks, as the landlady of the little inn where I was lodging asserted, based on what she had seen on TV. We watched it that morning together, in shock and horror. I did not know if I could even bear to teach, or if my students could sit through a class. (I did, they could, we all were nevertheless shaken.) What I most recollect about that day, beyond seeing the towers being attacked on TV, beyond the cars with open doors broadcasting the news, beyond several of my colleagues breaking down in tears, beyond trying, using the rotary phone in the old building where the Creative Writing (Literary Arts) Program was then housed, to reach C and make sure that he was okay, was the seemingly interminable faculty meeting I and everyone else had to sit through, some of the senior people on the verge of breaking down. We went through every bullet point on the agenda. Every single one. I don't, however, remember getting my university ID card, which still bears the proof that it was issued that afternoon: September 11, 2001.

4. The hysteria and spectacle that rightly or wrongly followed the terrible events of 9/11 caught and continue to snare us in their net. On the train I rode back to New York the following day, September 12, a phalanx of police--local, state, auxiliary, etc.--scoured every car, with dogs and machine guns in tow, based on the report of man in a turban carrying a knife. The terrorists had seen fit to continue, by way of Providence. It turned out to be a Sikh passenger carrying his ritual knife, though I did not learn this until the train finally was pulling into New York City, which was on high alert given the tragedy that had just unfolded and was still ongoing. I and everyone else got off that train even more frazzled that we could have imagined. There were more reports and accounts of attacks or strange incidents on the day of the attacks and in the days after, but all were but immediately efflorescences, soon to lose their horrible blooms, of a trauma that lingered, that still lingers, a decade on.

5. In the days and weeks, in the months after 9/11, New York City felt ghostly--figuratively, and literally. There was the gravesite, a smoldering wound, at which thousands of people had died, and legions were working heroically to search. There were the many people who had lost loved ones, the many who had escaped, the many, like a friend of ours who was living in Battery Park City at the time, who lost everything but their lives, and were displaced. There was a vulnerability and fear so raw they might erupt like a volcano, and a resolve and determination as strong as the most tempered armor. But what was going to become of New York? And to a lesser degree, New Jersey, which is always hasped to the city but so easily and readily forgotten? Friends of ours moved away; they couldn't deal with the undiminished horror, the danger, the uncertainty. Some went "home"; some moved to Atlanta; some just scattered to wherever life took them. One of my closest friends, a brilliant man, began to suffer a nervous breakdown shortly after the attacks from which he never recovered. He is, the last I heard, still homeless. Every September the city holds its memorial for those lost in the attacks, and there is a memorial museum which will anchor memories for the rest of time; the site where they occurred is transforming into a New York-style zone of nostalgia and commerce; and the empty storefronts and makeshift tributes and scars of 12 years ago are mostly erased, having given way to luxury skyscrapers and bike lanes and bedizened parks and a level of prosperity, at least among the super-rich, to rival the Gilded Age. The wound remains, if concealed. All who lived through that moment carry it around, and those who have arrived since do to, even if they cannot feel or imagine it.

6. That wound: the city, the country, and the globe have never fully recovered. The horrific attacks became the pretext for wrongheaded, unending wars, a monstrous hyper-surveillance and security state, a military-industrial complex so out of control, so rapacious, that we are yet again at the precipice of an unnecessary, ill-conceived, potentially disastrous intervention that an overwhelming majority of Americans, and people across the globe, do not want to occur. We have a nebulous "War on Terror" that is as unjustifiable today as it was shortly after 9/11. Meanwhile, so many basic questions surrounding the 9/11 attacks have never been answered satisfactorily. We have rampant spying on American citizens and, as we have learned from Edward Snowden's disclosures, on everyone and everything across the globe that moves or breathes, have had it since before 9/11, but we still have no assurance that the basic sharing of classified, flagged information, that would have prevented or at least stunted the attacks in 2001, is occurring. Despite the fact that Russia tried to warn the US about one of the terror suspects in the Boston Marathon bombing, he was still able to proceed to his murderous goals. Yet we are told lie after lie about the entire security apparatus we are living under, at the same time we hear the word freedom uttered as readily as greetings. Are we free? Were we ever? We certainly are, by many measures, far less free. That is one of the wounds we all live with. All the airport security theater, the secret courts and unwarranted warrantless wiretapping, the cameras on every corner and in every hallway, the truly nefarious militarization of law enforcement, and of our culture: these are all signs of that still open wound. They are symptoms of a fever that has not broken. They are the residue of our inability to deal with the root causes of what led to those terrible attacks. Someday, perhaps in my lifetime, we will come together and figure out why we did not do what we needed to before the fact, why we persist in the grip of our delusion, why we cannot rightly diagnose the problem, ourselves, and prescribe the right medicine. We do not have to live this way. But we will continue to unless we recognize why we do.

7. I wrote, on the train heading and returning, on the comforter-covered bed in the inn where I stayed, at my desk at our old apartment from which we once could see the Empire State Building, the Chrysler Building, and the Twin Towers, a short piece, a fragment, that was to be the beginning of a longer work. I was never able to finish it. I published it in an anthology edited by the friend of a friend, a professor at NYU. I had not thought it dealt at all with 9/11, but it was if I had distilled the moment before and the long period after into a dialogue, or monologue, depending, that could not go any further. The echo of that failure, of the absent text that was supposed to precede what I had written, haunted me for years. I used to think, if only I could have forced it, but those voices were meant to go where they were meant to go.

7. I am mildly obsessed with photographing--to the point of having to stop myself at times--the new World Trade Center Tower, the Freedom Tower, which may not be its name any longer and which sounds jingoistic and hyperbolic, though I have that name stuck in my head and when I see the tower, which is visible from Jersey City, from Hoboken, from Bayonne, from many a vista in Manhattan, which looms above everything, that name comes to mind. It has not erased the Twin Towers in my mind, but it has joined them. I see the one tower but somewhere, in a chamber of my thinking, there are three. Tonight the original two are columns of bluish-white light, but when I pass by the solid, impregnable base of the new tower, the Freedom Tower, a giant obelisk of steel and glass and who knows what else, those invisible towers, that unmanageable plaza, the phantasm of that teaming concourse return. The head can hold as much or more than it can bear. Memory can hold even more. We cannot and must not forget what happened on September 11, 2001, or all who died that day and afterwards as a result of the attacks, or all those who essentially gave their lives and health in the process of rescue and recovery, or all those who lost loved ones and continue on with those losses inside. We cannot and must not forget as well what has transpired since those attacks, what we as a nation have become, what sense of the world we had as a people, and what it will take to recover it.

Monday, May 28, 2012

On Memorial Day

Installation View, Emily Prince
at the Saatchi Gallery,
via Saatchi Gallery
Today, with Memorial Day in mind, I was thinking of artists who've attempted to capture the scale of loss the US and other countries have experienced as a result of the two recent wars (one sort-of-but-not-really-ended, in Iraq, the other ongoing with a sort of-deadline-in-sigh, in Afghanistan), and I recalled having come across the work of Emily Prince, a California-based artist specializing in process-driven, often durational art, who since 2004 has been, in her words, "drawing wallet-photo sized portraits of the American servicemen and women who have died in the wars in Iraq and Afghanistan." (Each of the images includes a drawn portrait, information on the casualty, and color-coding keyed to the deceased soldier's skin color.) The project's title is American servicemen and women who have died in Iraq and Afghanistan, but not including the wounded, nor the Iraqis, nor the Afghans, and she has exhibited in in various cities across the globe for the last 7 years.

Emily Prince’s Installation American Servicemen and Women
at the Saatchi Gallery, via ArtDaily

I learned about her powerful metonymic artwork via an online article I read on her 2010 show at the Saatchi Gallery. She is still drawing the portraits, and reconfiguring them, and so long as we have troops stationed in Iraq and a war, however hazy its aims since the deposition years ago of the Taliban and the subsequent assassination of Osama bin Laden, she will have portraits to draw, stories to record. But on day like today, her drawings can stand, as I see it, not just for the soldiers lost in these two wars, but for all the US servicepeople and civilians working with or on behalf of the military who have sacrificed their lives throughout US history.

American servicemen and women who have died in Iraq and Afghanistan, but not including the wounded, nor the Iraqis, nor the Afghans, by Emily Prince

As naïve and simplistic as it sounds, we have to push for a time when Emily Prince will have no more US soldiers slain in Iraq or Afghanistan to draw.  A time when no artist, for that matter, will have cause to draw any deceased or wounded US or US-coalition military personnel, or the civilians in the countries they have been ordered to invade. It is not impossible. War should be as rare as coelacanths, or pure rose alba, or fullerenes, or byssus, or Escorial wool, no matter how frequently warmongers invoke it, or commanders-in-chief send troops to prosecute it. Let's remember our fallen servicemembers today, but also let's work to ensure they will be few in number in the future.

Some below images from Emily Prince's project; all images copyrighted, and for illustrative use only.

Kaite M. Loenksen (© Emily Prince)

Curtis L. Glawson, Jr. (© Emily Prince)

Gabriel J. Figueroa (© Emily Prince)