By MICHAEL PERKINS
ALONG WITH EVERYONE ELSE FROZEN IN PLACE BY 2020’s GREAT HIBERNATION, I’ve found myself riffing through my video collection in search of long-form diversion. In recent weeks, as New York struggled to emerge from the first massive crush of horror borne by the virus tragedy, I was seeking a kind of Manhattan-flavored comfort food, and unearthed my old copy of Ric (brother of Ken) Burns’ epic documentary on the history of the island from the time of the Dutch settlers to the final days of 1999. After 9/11, feeling that something incredibly important had been left unsaid, Ric went back into production on an eighth and final chapter,The Center Of The World, which told the detailed history of the specific lower Manhattan neighborhoods of “Ground Zero” as they existed before the attack, and concluding with a post-script on what was, at the time, the first stirrings of rebirth at the site. Re-watching this for the first time in years sent me into an archive of another kind: my own still images from roughly the same time frame.
Marian and I made our first pilgrimage to the site in 2011, right after access was opened to the memorial pools that were fashioned from the remains of the foundations of the twin towers of the original World Trade Center. The first replacement structure was not completely clad in glass at that time (see left), and entry to the area was by means of a ton of secured cyclone fencing and very long lines. Signs promised a yet-to-be-built memorial. Almost everything else in the rebirthing of the site was likewise still on the drawing board. The empty space across the street from the old 90 Church Street post office (which is the beige building in the middle of the lower image) would eventually become the great winged Oculus, the new entry point for the rebuilt PATH terminal and underground connector to various new business and retail complexes, themselves also under construction at the time. Barely ten years after a searing scar had been burned into the Manhattan streets and hearts, resurrection was already well under way. That’s New York, a city which would have been well served to steal its motto from the book title by Jesse Ventura, I Ain’t Got Time To Bleed.
The idea of rebirth is with me a lot these days, informing either the personal, immediate pictures I make in quarantine or the visual stories I’m hungry to find whenever it’s safe to venture out. I’m not an official chronicler of this mess, but I know we’ll create a vast and very human archive from all this misery. Like all things in life, it will pass, and we will creatively struggle with ways to mark the passage. To take measure of our own scar tissue, and the corrective surgery we will undergo to make the scars less obvious. In the meantime, even the pictures we make while isolated are important ones. See how long my hair got? Oh, sure, that was the home office we improvised. Yeah, this was my favorite window to look out: it kept me anchored.
Photographs are as remote or as personal as we determine them to be, but, even at their most introspective, they will say something about the human condition in general. This is how I got through. And maybe it’s similar to how you did it. There will be remembrance, but there will be no lingering over smoking ruins. We ain’t got time to bleed. Woodrow Wilson once compared the relatively new art of motion pictures to “teaching history by lightning”. That’s the pace now. We move rapidly from the role of mourners to the role of builders. And we will etch the resulting lightning inside our cameras, to simply state, we passed this way.