Emptiness at Ground Zero
May 30, 2002
by John Bloom

NEW YORK, May 30  --The emptiness of Ground Zero didn't really bring the emotional release we expected.

There were remarkably few tears at the closing ceremony, as the caissons brought out first the empty stretcher, then the flag-draped 58-ton steel girder. The drummers tapped out a faint tattoo, pipers marched slowly up the ramp, and the honor guard for the missing led the serried ranks of policemen, firemen and all the other uniformed civil servants who represented the ghosts of the place.

Ground Zero is illuminated 24 hours a day, and sometimes in the middle of the night you can see yellow and orange men with rakes and hoes, moving in isolation like characters in a Beckett play. They finished their job this week. They had been looking for pieces of bodies, fragments of stone or metal that might belong to an unidentified dead man. There was very little talking among them. There was the realization, however, that as many as 1,700 people had been vaporized or cremated to become particles of debris or perhaps the dust on the backs of their necks.

There was a feeling that a formal closing ceremony, a memorial, a marking of the moment, would somehow be a healing moment for both the kinsmen of the dead and the living who moved among these ghosts.

But under a warm haze--a sadder, more overcast sky than the beautiful brightness of September 11th--there was never that moment of catharsis, and the whole thing seemed slightly off- kilter and improvised.

At precisely 10:29 a.m., the minute when the second tower fell on September 11th, a bereaved captain rang a fire bell 20 times, in four sequences of five, in the traditional dirge for a fallen fireman. It's not a solemn gong but a tinkly tiny clang, and after each sequence he would muffle the last note so that the sound was unfinished.

The symbolic stretcher had 14 "bearers," but they couldn't all get close enough to touch it. The fife and drum corps shuffled at first, as though uncertain as to when to begin.

As the tractor trailer moved up the ramp, Column 1,001-B of World Trade Center 2 was adorned with a floral arrangement and flanked by police officers in hard hats. Two buglers, one for fire and one for police, played the echo version of "Taps," but the first bugler cracked the first high note.

Five police helicopters flew over Ground Zero in a "missing man" wedge formation, and then the bagpipers played "America" and the dignitaries applauded the officers and firefighters and widows bearing photos of their lost husbands. A riderless horse followed the procession as it moved past "Point Thank You," the viewing point where people have stayed for eight months, 24 hours a day, for no other reason than to applaud each rescue worker as he leaves his shift.

And then it was over. People milled, but no one left. It was eerie to see Ground Zero empty. Something didn't seem quite right about it. I could sense that some of the yellow men and orange men with their rakes and their hoes would awaken the next morning and be confused by having nothing to do.

But it was a fitting symbol, creepiness and all. Downtown New York has changed. All the major companies that resided in these towers have moved away, to midtown, to New Jersey, to Connecticut, to Long Island, and only one or two have any definite plans ever to come back.

There are tourists downtown every day now, in a neighborhood that had very few tourists before. I have a feeling that there will continue to be tourists here, as there were at Gettysburg, long after all the people involved are dead.

There were no speeches and, except for one strain of "America the Beautiful," no music. It was what was needed, because it offered no false hope and it summed up the futility of all the volunteers who showed up last September, hoping to rescue people and save lives. After the first two or three hours, there weren't really any to be saved.

And you understand that when you see the size of the hole, seven stories down, silent and tuneless.

 

 

© Copyright 2002 United Press International and John Bloom

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