What we have here is a war—the war of matter and spirit. In the classical era, spirit was in harmony with matter. Matter used to condense spirit. What was unseen—the ghost of Hamlet’s father—was seen—in the conscience of the king. The spirit was trapped in the matter of theater. The theater made the unseen, seen. In the Romantic era, spirit overwhelms matter. The glass of champagne can’t contain the bubbles. But never in the history of humanity has spirit been at war with matter. And that is what we have today. The war of banks and religion. It’s what I wrote in Prayers of the Dawn, that in New York City, banks tower over cathedrals. Banks are the temples of America. This is a holy war. Our economy is our religion. When I came back to midtown a week after the attack—I mourned—but not in a personal way—it was a cosmic mourning—something that I could not specify because I didn’t know any of the dead. I felt grief without knowing its origin. Maybe it was the grief of being an immigrant and of not having roots. Not being able to participate in the whole affair as a family member but as a foreigner, as a stranger—estranged in myself and confused—I saw the windows of Bergdorf and Saks—what a theater of the unexpected—my mother would have cried—there were only black curtains, black drapes—showing the mourning of the stores—no mannequins, just veils—black veils. When the mannequins appeared again weeks later—none of them had blond hair. I don’t know if it was because of the mourning rituals or whether the mannequins were afraid to be blond—targets of terrorists. Even they didn’t want to look American. They were out of fashion after the Twin Towers fell. To the point, that even though I had just dyed my hair blond because I was writing Hamlet and Hamlet is blond, I went back to my coiffeur immediately and told him—dye my hair black. It was a matter of life and death, why look like an American. When naturally I look like an Arab and walk like an Egyptian.
The door suddenly jerks open. A wideeyedteenager bursts out. She stares at me in dazed horror. In a strangeway, I both know and don’t know what has just happened. As the fragmentsbegin to converge, they convey a horrible reality: I must havebeen hit by this car as I entered the crosswalk. In confused disbelief, I sinkback into a hazy twilight. I find that I am unable to think clearly or towill myself awake from this nightmare.A man rushes to my side and drops to his knees. He announces himselfas an off-duty paramedic. When I try to see where the voice is comingfrom, he sternly orders, “Don’t move your head.” The contradictionbetween his sharp command and what my body naturally wants—toturn toward his voice—frightens and stuns me into a sort of paralysis.My awareness strangely splits, and I experience an uncanny “dislocation.”It’s as if I’m floating above my body, looking down on the unfoldingscene.I am snapped back when he roughly grabs my wrist and takes mypulse. He then shifts his position, directly above me. Awkwardly, hegrasps my head with both of his hands, trapping it and keeping it frommoving. His abrupt actions and the stinging ring of his command panicme; they immobilize me further. Dread seeps into my dazed, foggy consciousness:Maybe I have a broken neck, I think. I have a compellingimpulse to find someone else to focus on. Simply, I need to have someone’scomforting gaze, a lifeline to hold onto. But I’m too terrified tomove and feel helplessly frozen.