WEBVTT - A Memorial for the Living

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<v Speaker 1>Bushkin. In the space of a week, back before the

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<v Speaker 1>world came to a halt, I took two trips. One

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<v Speaker 1>was to downtown Manhattan to the nine eleven Memorial. I'm

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<v Speaker 1>ashamed to say I'd never visited before, even though I

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<v Speaker 1>live in Manhattan, one Express subway stop away. I'd seen pictures,

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<v Speaker 1>I'd walked right by it, but for some reason, I'd

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<v Speaker 1>never gone right up to it. So I did. Finally

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<v Speaker 1>saw the two big holes in the ground marking the

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<v Speaker 1>spot where the Twin Towers once stood, saw the waterfalls,

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<v Speaker 1>the black stone, the somber lines of trees surrounding the memorial.

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<v Speaker 1>It was pouring rain. There was no one else there.

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<v Speaker 1>My second trip was to Jacksonville, Florida, two unseasonably cold

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<v Speaker 1>winter days. I wanted to see a chart. I know

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<v Speaker 1>that might seem odd who goes to Florida to see

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<v Speaker 1>a chart? But there I sat in the conference room

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<v Speaker 1>of what looked like an old bank right by the freeway,

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<v Speaker 1>and someone hooked a laptop up to a big screen

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<v Speaker 1>and showed me a scatterplot X axis, Y axis, a

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<v Speaker 1>bunch of dots, each in the shape of a human figure.

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<v Speaker 1>At the time, I didn't think of my visit to

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<v Speaker 1>Florida and my visit to the nine eleven Memorial as connected.

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<v Speaker 1>They were just two random quests that seemed like they

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<v Speaker 1>might lead somewhere. That's what I do at the beginning

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<v Speaker 1>of every year when I start the research for a

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<v Speaker 1>new season of the show. I spend a lot of

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<v Speaker 1>time pursuing random ideas. But then March came and the

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<v Speaker 1>world turned very strange and very dark, and I sat

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<v Speaker 1>in my room and realized that those two trips were

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<v Speaker 1>about the same thing. My name is Malcolm Gladwell. You're

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<v Speaker 1>listening to Revisionist History, my podcast about things overlooked and misunderstood.

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<v Speaker 1>This is the final episode of a season that has

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<v Speaker 1>been preoccupied with understanding our attachments to objects, to rituals,

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<v Speaker 1>to traditions, to elaborate bits of machinery like airplanes. This

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<v Speaker 1>episode is about our attachment to our memories, the things

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<v Speaker 1>we choose to remember as a society, and the things

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<v Speaker 1>we choose to forget. In September of two thousand and one,

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<v Speaker 1>when two hijacked passenger jets crashed into the World Trade

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<v Speaker 1>Towers in New York City, a young architect named Michael

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<v Speaker 1>Arod was living in downtown Manhattan.

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<v Speaker 2>And a couple of nights after the attack, I was

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<v Speaker 2>on my bicycle and I made my way to Washington

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<v Speaker 2>Square Park and at two or three in the morning,

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<v Speaker 2>there were a dozen or so people standing around that

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<v Speaker 2>fountain in the middle of the park, and there was

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<v Speaker 2>no ceremony, there was no speech. There was just people

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<v Speaker 2>standing there together, not even you know, in ones and

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<v Speaker 2>twos and threes. And when I walked up to the

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<v Speaker 2>edge of that fountain and stood next to a stranger,

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<v Speaker 2>I felt, for the first time in two three days

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<v Speaker 2>since something shift that I was supported by these people,

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<v Speaker 2>and in turn, just by standing next to them, I

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<v Speaker 2>was supporting them. And I think that sense of belonging

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<v Speaker 2>for the first time pushed me some way to on

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<v Speaker 2>to participate in this idea for a memorial.

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<v Speaker 1>A memorial. The vision that came to a Rod was

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<v Speaker 1>of two two giant, empty concrete vessels in the Hudson River,

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<v Speaker 1>a few blocks from the twin towers, each roughly the

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<v Speaker 1>size and shape of the footprint of the towers.

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<v Speaker 2>Themselves, imagining the surface of the Hudson River somehow shorn open,

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<v Speaker 2>forming these two square voids in the water, cascading into

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<v Speaker 2>these voids and never filling them up, and so they

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<v Speaker 2>remained these empty, inexplicable vessels.

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<v Speaker 1>A few years later, the city set up a competition

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<v Speaker 1>to design a memorial for the site. It was the

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<v Speaker 1>largest design competition in history, over five thousand entries from

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<v Speaker 1>sixty three countries, including some of the most famous architects

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<v Speaker 1>in the world. Michael Arod was a nobody. He worked

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<v Speaker 1>for New York's Housing Authority designing police stations. He took

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<v Speaker 1>his original idea and moved it from the Hudson River

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<v Speaker 1>to the actual site of the fallen towers. Two deep

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<v Speaker 1>voids representing the footprint of the twin towers, each with

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<v Speaker 1>a waterfall and reflect pool, ringed by the names of

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<v Speaker 1>those who died. He entered, and he won.

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<v Speaker 2>The towers were about two hundred and twelve feet across,

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<v Speaker 2>and the reflecting pools that you see on the site

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<v Speaker 2>today are one hundred and seventy six feet across from

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<v Speaker 2>waterfall to waterfall. That waterfall is ringed by eight foot

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<v Speaker 2>wide water table that brings that out further to one

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<v Speaker 2>hundred and ninety six if I'm not mistaken, and then

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<v Speaker 2>surrounding that water table where the names are displayed is

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<v Speaker 2>an area where you can walk around the pools, and

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<v Speaker 2>that area is ringed by trees, and so that first

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<v Speaker 2>row of trees that surround each pool is precisely two

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<v Speaker 2>hundred and twelve feet across.

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<v Speaker 1>He called his design Reflecting Absence, a precise representation of

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<v Speaker 1>what was taken away on the morning of nine to eleven.

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<v Speaker 2>What I wanted to do is convey to people who

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<v Speaker 2>come here, very clearly without embellishment, how large these towers were.

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<v Speaker 2>And that's very evident when you stand at the edge

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<v Speaker 2>of that pool, and there is something that no photograph

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<v Speaker 2>can capture until you're there. At the sense of the

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<v Speaker 2>scale of the you as a person next to this

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<v Speaker 2>enormous space is you have to experience it there and

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<v Speaker 2>to see the thousands of names that surround these two pools.

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<v Speaker 2>To convey the loss of so many lives.

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<v Speaker 1>A rod conceived of something simple and beautiful. The task

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<v Speaker 1>of making it real fell to the Port Authority. The

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<v Speaker 1>Port Authority builds and runs much of the transportation infrastructure

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<v Speaker 1>in the New York region, the bridges, tunnels, airports. They're

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<v Speaker 1>like the metro areas in house engineer, contractor, and handyman

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<v Speaker 1>all in one. If your handyman had an annual budget

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<v Speaker 1>in the billions. They actually built the original World Trade Center,

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<v Speaker 1>and the responsibility for building the memorial was theirs.

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<v Speaker 3>Nice to see you on time today. Yeah, so we

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<v Speaker 3>were just so.

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<v Speaker 1>I asked the two former Port Authority executives who oversaw

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<v Speaker 1>the memorial project, Chris Ward and David Tweety, to meet

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<v Speaker 1>me at ground zero. I wanted to understand what it

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<v Speaker 1>means to make memory real in the way that Arod

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<v Speaker 1>was proposing.

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<v Speaker 4>What a complexity of just building it, then the complexity

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<v Speaker 4>of the symbolism and the culture of why did people

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<v Speaker 4>choose to put so much into the site, which then

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<v Speaker 4>exacerbated or made instructibility.

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<v Speaker 1>You can walk around a bit, sure, why don't we

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<v Speaker 1>start by really simple? I'm happy the nine to eleven

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<v Speaker 1>Memorial wasn't an ordinary project. The design committee made it

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<v Speaker 1>clear that they wanted something built on the site of

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<v Speaker 1>the old towers, which created a logistical nightmare because ground

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<v Speaker 1>zero isn't some vacant lot, It's one of the most

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<v Speaker 1>dense urban spaces in the country. I met the Port

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<v Speaker 1>Authority guys in the lobby of four World Trade Center,

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<v Speaker 1>which is seventy two stories high, but it is also

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<v Speaker 1>a one World Trade Center at one hundred and four

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<v Speaker 1>stories and a two or three, a planned five and

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<v Speaker 1>a seven World Trade Center, plus the nine eleven Museum,

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<v Speaker 1>a performing arts center, and a massive transit hub where

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<v Speaker 1>the Path commuter trains enter from New Jersey. The hub

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<v Speaker 1>looks like the bones of a beached whale or a

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<v Speaker 1>giant hair clip, depending on your perspective. That structure also

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<v Speaker 1>contains a mall, and underneath it all, running right through

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<v Speaker 1>the middle, is a subway line, the Number one train.

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<v Speaker 1>All of these structures had to be built at the

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<v Speaker 1>same time as Michael Arod's memorial Voids, and because everything

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<v Speaker 1>is basically on top of everything else, the logistics of

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<v Speaker 1>planning and building were overwhelming.

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<v Speaker 5>So you have memorialization, you have a museum, you have

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<v Speaker 5>real estate, you've got a security center, you've got an

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<v Speaker 5>ecumenical religious city. You pour all that in and then

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<v Speaker 5>you've got the overlag of the families were wondering, you know,

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<v Speaker 5>where's my commemoration?

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<v Speaker 3>Where will I warn? You put that all in?

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<v Speaker 5>And it's impossible to disentangle a stet of priorities.

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<v Speaker 1>Tweetywood and I stood by the two black Stone voids

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<v Speaker 1>in the pouring rain, and they tried to explain what

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<v Speaker 1>they went through.

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<v Speaker 5>So we use the analogy that the construction was so

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<v Speaker 5>difficult because it was like the children's game of pickup

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<v Speaker 5>sticks that if you if you know that little game

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<v Speaker 5>where you've got the multi colored sticks and if you

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<v Speaker 5>pick one up, the other one moves and then you lose.

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<v Speaker 3>Everything here is connected.

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<v Speaker 1>The political leadership in New York made it clear that

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<v Speaker 1>the memorial had to be finished in time for the

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<v Speaker 1>tenth anniversary of the attacks September eleventh, twenty eleventh.

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<v Speaker 3>Just to be tangible about it.

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<v Speaker 6>The memorial plaza, which we were on a huge pressure

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<v Speaker 6>to get done by the tenth anniversary, is sitting on

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<v Speaker 6>the ceiling of the hub.

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<v Speaker 1>The hub the place where all the underground transit lines converge.

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<v Speaker 6>We have to completely refashion the construction process of how

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<v Speaker 6>that hub got built. That huge costs by the way,

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<v Speaker 6>in order to get this done first, so they built

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<v Speaker 6>top down rather than the normal traditional.

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<v Speaker 1>The normal traditional way is to build from the bottom up,

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<v Speaker 1>start with the foundation, go from there, and Tweety says

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<v Speaker 1>the Port Authority originally had a plan to do things

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<v Speaker 1>that way.

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<v Speaker 5>The problem was when you did that schedule, the memorial

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<v Speaker 5>plaza wouldn't have been done until the end of twenty thirteen.

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<v Speaker 5>And so that's when we were starting to go, wait

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<v Speaker 5>a minute, the city is not going to tolerate the

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<v Speaker 5>port authority telling them me, telling them, you're gonna have

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<v Speaker 5>to wait till twenty thirteen before you can commemorate the anniversary.

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<v Speaker 3>And dates matter. I mean, ten.

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<v Speaker 5>Years is different than thirteen years, which is different than

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<v Speaker 5>twelve years. And you know, the engineers, a couple of

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<v Speaker 5>them came up with the idea build the ceiling first, basically,

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<v Speaker 5>go across the entire site with the ceiling, which is

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<v Speaker 5>the ceiling of what's.

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<v Speaker 3>Below, but most important, it's the floor.

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<v Speaker 5>Of the plaza. And then once you've done that, build

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<v Speaker 5>down from there.

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<v Speaker 1>As if that wasn't enough, the governor of New York

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<v Speaker 1>at the time insisted that the subway, the Number one line,

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<v Speaker 1>keep running throughout all this. So they had to build

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<v Speaker 1>a box around the subway tracks, suspend the box high

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<v Speaker 1>above the site, and work around it. Which is one

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<v Speaker 1>of those odd facts that you only think about if

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<v Speaker 1>you live in New York and you took the Number

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<v Speaker 1>one train, as I did many times. In those years,

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<v Speaker 1>and you suddenly realized that on all of those trips

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<v Speaker 1>you were in a real life version of Jenga, you know,

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<v Speaker 1>the game where you have a stack of building blocks

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<v Speaker 1>and you remove them one by one until everything crashes.

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<v Speaker 5>So there was a whole re engineering of how you'd

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<v Speaker 5>support the one train, how the path train would get protected.

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<v Speaker 3>And remember you got an operating railroad.

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<v Speaker 6>So you're building a temporary structure and housing the ceiling

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<v Speaker 6>of a hub with train tracks below you, below the

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<v Speaker 6>ones here, but the path trains were right under.

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<v Speaker 3>The building up platforms exactly, That's exactly.

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<v Speaker 1>And then you build a platform and then you plump

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<v Speaker 1>the memorial on top of the platform, and even as

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<v Speaker 1>things are going on there.

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<v Speaker 3>And then you're feeding. And that's what I was getting

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<v Speaker 3>up before.

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<v Speaker 5>You're feeding the construction horizontally rather than vertically, which you know,

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<v Speaker 5>added about sixty million dollars worth of additional cost to

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<v Speaker 5>handle them. Like I was saying, at one point, you

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<v Speaker 5>had people hand excavating underneath the one train because there

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<v Speaker 5>just wasn't room to get any heavy equipment down there.

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<v Speaker 1>If you could put the memorial in the Hudson River,

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<v Speaker 1>you wouldn't have this problem. Of course, you just build

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<v Speaker 1>some pilings into the riverbed, and if you didn't have

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<v Speaker 1>to race and finish by September eleventh, twenty eleven, your

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<v Speaker 1>life would be easier as well. You could start at

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<v Speaker 1>the bottom and build up the normal way, not start

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<v Speaker 1>at the top and build down. In the service of

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<v Speaker 1>fulfilling the very strict requirements of memory, something that would

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<v Speaker 1>have been straightforward was turned into something very complicated.

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<v Speaker 5>Okay, So again, take something as simple as exactly where

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<v Speaker 5>we're standing here. Yeah, here's the brass with all the names.

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<v Speaker 1>We were standing by the perimeter of one of the voids.

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<v Speaker 1>Ward was pointing at the rows of names of all

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<v Speaker 1>those who died in the attacks. The names are embossed

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<v Speaker 1>in brass and inlaid into the void's stone walls. It's

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<v Speaker 1>meant to be something solid that people can touch. But

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<v Speaker 1>if you're the port authority, you have to think through

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<v Speaker 1>the implications of that.

0:13:41.676 --> 0:13:44.916
<v Speaker 3>Due to the ability for brass to capture heat.

0:13:45.796 --> 0:13:48.476
<v Speaker 5>And then if on a really really hot day someone

0:13:48.516 --> 0:13:50.636
<v Speaker 5>could put their hand down on this, they could get

0:13:50.676 --> 0:13:52.876
<v Speaker 5>literally a second degree burn if the sun had been

0:13:52.916 --> 0:13:53.556
<v Speaker 5>on this all day.

0:13:53.836 --> 0:13:56.916
<v Speaker 3>So there's a cooling system underneath.

0:13:56.396 --> 0:14:00.716
<v Speaker 5>This brass so that it will always stay safe, so

0:14:00.756 --> 0:14:03.276
<v Speaker 5>people can end up touching it. At the same time,

0:14:03.676 --> 0:14:05.436
<v Speaker 5>if a little kid in the middle of winter when

0:14:05.436 --> 0:14:07.636
<v Speaker 5>it's freezing, came out here and wanted to stickness tongue

0:14:07.676 --> 0:14:09.756
<v Speaker 5>on it, you know, the famous get stuck to the

0:14:09.756 --> 0:14:10.876
<v Speaker 5>flagpole in the playground.

0:14:11.116 --> 0:14:14.116
<v Speaker 3>So there's a heating system underneath here as well.

0:14:14.476 --> 0:14:17.956
<v Speaker 5>So just to end up showing these names, you've got

0:14:17.956 --> 0:14:21.276
<v Speaker 5>a system which is both heating and cooling a copper

0:14:21.516 --> 0:14:23.956
<v Speaker 5>you know facade here for where the names are atched.

0:14:24.076 --> 0:14:26.276
<v Speaker 1>Well, if you just did concrete, would you have.

0:14:28.116 --> 0:14:29.676
<v Speaker 5>There are a lot of different ways you could have

0:14:29.716 --> 0:14:32.876
<v Speaker 5>put names, you know out there, but this was and

0:14:32.916 --> 0:14:35.356
<v Speaker 5>there they're all backlit as you can see.

0:14:35.396 --> 0:14:38.116
<v Speaker 3>So in some respects, would there.

0:14:37.956 --> 0:14:41.716
<v Speaker 6>Be a more efficient way to have names r absolutely,

0:14:41.796 --> 0:14:43.876
<v Speaker 6>but this is a special site.

0:14:48.876 --> 0:14:51.556
<v Speaker 1>In the end, the price tag for the National September

0:14:51.556 --> 0:14:55.436
<v Speaker 1>eleventh Memorial and Museum came to somewhere around seven hundred

0:14:55.516 --> 0:15:00.596
<v Speaker 1>million dollars. To put that in perspective, the cost of

0:15:00.636 --> 0:15:05.316
<v Speaker 1>the Vietnam Memorial in today's dollars was twenty million. The

0:15:05.356 --> 0:15:08.836
<v Speaker 1>cost of the Lincoln Memorial in today's dollars was forty

0:15:08.836 --> 0:15:14.156
<v Speaker 1>five million. Now, is seven hundred million dollars too much?

0:15:14.916 --> 0:15:17.596
<v Speaker 1>I don't know. It depends on what you're comparing it to.

0:15:17.676 --> 0:15:20.316
<v Speaker 1>I suppose the point is that we could have done

0:15:20.316 --> 0:15:24.396
<v Speaker 1>it for less, but we chose not to because we

0:15:24.436 --> 0:15:29.996
<v Speaker 1>wanted to memorialize that event as perfectly and precisely as possible,

0:15:30.596 --> 0:15:36.036
<v Speaker 1>down to its dimensions, location, and date of completion. When

0:15:36.076 --> 0:15:42.596
<v Speaker 1>we want to we take our memories very seriously. The

0:15:42.716 --> 0:15:45.716
<v Speaker 1>maintenance schedule on that kind of thing must be intense.

0:15:45.756 --> 0:15:48.676
<v Speaker 1>I mean, you're right, you can't fail, right, it's exactly.

0:15:48.876 --> 0:15:51.756
<v Speaker 3>On the ice in the winter issue, right, It's just

0:15:52.076 --> 0:15:54.556
<v Speaker 3>every part of that. Global warming makes it easier.

0:15:54.596 --> 0:15:57.196
<v Speaker 5>So one of the problems is if you'll see the

0:15:57.236 --> 0:16:01.676
<v Speaker 5>way the water flows underneath the perimeter, it's horizontal to

0:16:01.756 --> 0:16:04.556
<v Speaker 5>the ground. Here about the side, you get a heavy

0:16:04.556 --> 0:16:07.356
<v Speaker 5>wind in the wintertime and it whips across the top.

0:16:07.676 --> 0:16:11.036
<v Speaker 5>It picks up moisture and then blows it onto this brick,

0:16:11.556 --> 0:16:13.396
<v Speaker 5>which then potentially creates ice.

0:16:13.196 --> 0:16:18.716
<v Speaker 1>Conditions between keeping the fountains going and security and the

0:16:18.716 --> 0:16:22.156
<v Speaker 1>heating and cooling systems and the museum staff and chipping

0:16:22.236 --> 0:16:24.876
<v Speaker 1>the ice off the brick, the operating budget for the

0:16:24.916 --> 0:16:28.876
<v Speaker 1>memorial comes to another eighty million dollars a year. So

0:16:28.956 --> 0:16:32.836
<v Speaker 1>all told, we're somewhere over one point five billion dollars

0:16:32.996 --> 0:16:36.996
<v Speaker 1>for the memorial so far. The nine to eleven Memorial

0:16:37.156 --> 0:16:44.436
<v Speaker 1>is option number one for memory management. The alternative option

0:16:44.556 --> 0:16:48.356
<v Speaker 1>number two is Jacksonville.

0:17:02.476 --> 0:17:05.556
<v Speaker 7>Do you have your high school Clumbar Jr.

0:17:05.596 --> 0:17:09.276
<v Speaker 3>High School, Dicloma AMA veneer's degree from the University of Connective. Wow,

0:17:09.316 --> 0:17:09.956
<v Speaker 3>what'd you major in?

0:17:11.596 --> 0:17:12.996
<v Speaker 1>Okay?

0:17:13.476 --> 0:17:14.756
<v Speaker 8>Did you ever go to jailer Quicksand?

0:17:16.516 --> 0:17:20.556
<v Speaker 1>I went to Jacksonville, Florida during the count. Every homeless

0:17:20.636 --> 0:17:23.476
<v Speaker 1>organization in the country does this during the last ten

0:17:23.556 --> 0:17:26.996
<v Speaker 1>days of January. Volunteers go out and count the number

0:17:27.036 --> 0:17:30.036
<v Speaker 1>of people living on the streets. The group I went

0:17:30.076 --> 0:17:34.236
<v Speaker 1>to see Changing Homelessness had one hundred and eighty volunteers,

0:17:34.596 --> 0:17:39.556
<v Speaker 1>divided up into shifts morning, afternoon, and evening gathering information.

0:17:40.076 --> 0:17:40.956
<v Speaker 9>What are you working at?

0:17:41.516 --> 0:17:46.596
<v Speaker 3>I work, do someone and do what I already actually do?

0:17:47.716 --> 0:17:48.836
<v Speaker 6>Wherever were Yeah?

0:17:49.916 --> 0:17:51.196
<v Speaker 1>So when you became homeless?

0:17:51.196 --> 0:17:52.596
<v Speaker 3>Did you become homeless?

0:17:52.596 --> 0:17:54.236
<v Speaker 9>Did you like run away from a family?

0:17:55.396 --> 0:17:58.076
<v Speaker 3>Was there violence at home? Any kind of differences?

0:17:58.796 --> 0:17:59.156
<v Speaker 1>Jobs?

0:17:59.236 --> 0:18:00.516
<v Speaker 3>Did you start?

0:18:00.836 --> 0:18:01.516
<v Speaker 7>Okay?

0:18:02.596 --> 0:18:05.436
<v Speaker 1>Jacksonville did its first count more than fifteen years ago

0:18:05.916 --> 0:18:08.276
<v Speaker 1>more as an academic exercise than anything else.

0:18:09.116 --> 0:18:12.236
<v Speaker 7>I honestly thought, we knew, why do we need to

0:18:12.236 --> 0:18:12.836
<v Speaker 7>do a registry?

0:18:12.916 --> 0:18:13.036
<v Speaker 3>Right?

0:18:13.076 --> 0:18:13.996
<v Speaker 7>We know everybody?

0:18:14.676 --> 0:18:18.356
<v Speaker 1>That's Don Gilman, who runs Changing Homelessness. The more they

0:18:18.396 --> 0:18:21.116
<v Speaker 1>thought about this idea of a registry, the more they

0:18:21.116 --> 0:18:23.636
<v Speaker 1>wondered if they were missing people. What if there were

0:18:23.716 --> 0:18:26.316
<v Speaker 1>homeless people out there who never stayed in a shelter

0:18:26.716 --> 0:18:29.836
<v Speaker 1>or who never showed up looking for services. So Gilman

0:18:29.916 --> 0:18:31.396
<v Speaker 1>decided to do a real count.

0:18:31.556 --> 0:18:33.516
<v Speaker 7>So that was the first time we went out when

0:18:33.556 --> 0:18:37.036
<v Speaker 7>it was convenient for our clients and not convenient for us.

0:18:37.116 --> 0:18:41.596
<v Speaker 7>We went out between four and six am on a Tuesday, Wednesday,

0:18:41.596 --> 0:18:42.156
<v Speaker 7>and Thursday.

0:18:42.516 --> 0:18:43.076
<v Speaker 3>Yeah.

0:18:43.316 --> 0:18:46.076
<v Speaker 1>The idea being, if you're on the streets in the

0:18:46.076 --> 0:18:47.716
<v Speaker 1>early morning, you really are homeless.

0:18:47.756 --> 0:18:54.676
<v Speaker 7>You are homeless, that's where you spent the night.

0:18:55.516 --> 0:18:58.756
<v Speaker 1>So now for the count. The volunteers gathered before sunrise

0:18:59.316 --> 0:19:02.716
<v Speaker 1>College students, formerly homeless, people who remember what it was

0:19:02.796 --> 0:19:06.396
<v Speaker 1>like on the streets, teachers helping out before their day starts.

0:19:06.796 --> 0:19:13.596
<v Speaker 1>Nurses from the nearby hospitals. I carry with them hygiene kits, toothpastes, socks, soap, shampoo.

0:19:14.516 --> 0:19:19.156
<v Speaker 1>They fan out across Jacksonville looking under bridges, in park cars,

0:19:19.476 --> 0:19:23.196
<v Speaker 1>in abandoned buildings. If you're sleeping, they leave you alone.

0:19:23.476 --> 0:19:29.036
<v Speaker 1>If you're awake, they ask you questions. What they learn

0:19:29.116 --> 0:19:31.956
<v Speaker 1>gets fed into something called the by name list, and

0:19:32.036 --> 0:19:34.716
<v Speaker 1>the data from that list is graft as a scatterplot.

0:19:35.396 --> 0:19:38.596
<v Speaker 1>That was the chart I went down to Jacksonville to see.

0:19:38.676 --> 0:19:42.076
<v Speaker 1>Each homeless person they found is represented by an icon

0:19:42.156 --> 0:19:45.916
<v Speaker 1>on the chart. The vertical axis is a measure of vulnerability.

0:19:46.396 --> 0:19:49.196
<v Speaker 1>Do they have disabilities or mental illness? Can they take

0:19:49.196 --> 0:19:52.676
<v Speaker 1>care of themselves? The horizontal axis measures how long they've

0:19:52.716 --> 0:19:55.676
<v Speaker 1>been without housing. If your name appears down in the

0:19:55.756 --> 0:19:59.036
<v Speaker 1>left hand corner, that means you're pretty healthy and haven't

0:19:59.036 --> 0:20:01.396
<v Speaker 1>been on the streets that long. If you're in the

0:20:01.516 --> 0:20:05.196
<v Speaker 1>upper right hand corner vulnerable and homeless for an extended

0:20:05.236 --> 0:20:07.436
<v Speaker 1>period of time, that's a different story.

0:20:07.916 --> 0:20:11.236
<v Speaker 7>Looking at that scatter plan, it's not dots, it's little people.

0:20:11.756 --> 0:20:15.276
<v Speaker 7>So it's always bringing it back to even though we're

0:20:15.316 --> 0:20:18.196
<v Speaker 7>looking at aggregate data, we're always bringing it back to

0:20:18.236 --> 0:20:22.156
<v Speaker 7>that individual who's experiencing homelessness, so we know their name,

0:20:22.356 --> 0:20:23.276
<v Speaker 7>we know who they are.

0:20:25.196 --> 0:20:29.716
<v Speaker 1>The fundamental condition of homelessness is invisibility. Those on the

0:20:29.756 --> 0:20:33.756
<v Speaker 1>streets are the easiest to ignore and the easiest to forget.

0:20:34.396 --> 0:20:37.636
<v Speaker 1>The scatter plot reminds us who they are, what their

0:20:37.676 --> 0:20:41.516
<v Speaker 1>lives are like, what their needs are. I pointed to

0:20:41.556 --> 0:20:44.076
<v Speaker 1>someone way over on the right hand side, the side

0:20:44.076 --> 0:20:47.716
<v Speaker 1>where the most vulnerable people are clustered. Don Gilman's colleague,

0:20:47.756 --> 0:20:50.436
<v Speaker 1>Charles Temple, recognizes the name right away.

0:20:50.876 --> 0:20:54.996
<v Speaker 8>He's talked about every meeting that we have now that guy, that.

0:20:55.036 --> 0:20:57.556
<v Speaker 7>Guy, because he's our guy. We get him house like

0:20:57.596 --> 0:20:58.076
<v Speaker 7>our whole.

0:20:58.316 --> 0:21:00.116
<v Speaker 8>That drops our whole after time.

0:21:00.516 --> 0:21:03.116
<v Speaker 7>Some of these clients, even if they're not up on

0:21:03.156 --> 0:21:08.836
<v Speaker 7>the vulnerability index, they can be difficult people to work with.

0:21:09.516 --> 0:21:12.836
<v Speaker 1>Some people need all kinds of help. Others really only

0:21:12.876 --> 0:21:15.716
<v Speaker 1>need one thing. Housing But which.

0:21:15.476 --> 0:21:17.556
<v Speaker 7>Which ones are? Clay County guy that's been out there

0:21:17.556 --> 0:21:18.356
<v Speaker 7>for a long time.

0:21:18.796 --> 0:21:20.796
<v Speaker 8>He's been on the list for over a year, and

0:21:21.036 --> 0:21:24.236
<v Speaker 8>like you're saying, there's just nothing out there for him.

0:21:24.516 --> 0:21:27.236
<v Speaker 8>But we bring him up every week, We talk about

0:21:27.276 --> 0:21:29.596
<v Speaker 8>him every week, and actually just last week we may

0:21:29.636 --> 0:21:32.916
<v Speaker 8>have identified a housing resource hud Vash might take him,

0:21:33.076 --> 0:21:35.156
<v Speaker 8>make a waiver and actually accept him through.

0:21:36.276 --> 0:21:39.076
<v Speaker 1>Every Tuesday at one o'clock in the same room where

0:21:39.076 --> 0:21:42.276
<v Speaker 1>I'm sitting all the key housing advocates in Jacksonville gather

0:21:42.396 --> 0:21:45.916
<v Speaker 1>and comb through this list, all the names one by one.

0:21:46.556 --> 0:21:50.476
<v Speaker 7>What's happening? I mean, what is the barrier? Is it

0:21:50.516 --> 0:21:53.356
<v Speaker 7>because they want to stay in a particular part of

0:21:53.436 --> 0:21:55.916
<v Speaker 7>our community and there's not a whole lot of affordable

0:21:55.916 --> 0:21:59.436
<v Speaker 7>housing there? Is it because they have a very recent eviction?

0:21:59.676 --> 0:22:02.156
<v Speaker 7>Is it because they have a very recent or a

0:22:02.236 --> 0:22:04.756
<v Speaker 7>violent felony at some point? And how do we who

0:22:04.796 --> 0:22:07.316
<v Speaker 7>are our landlords that will maybe work with this person?

0:22:08.196 --> 0:22:12.076
<v Speaker 1>The names on the jack list are arranged deliberately. Where

0:22:12.116 --> 0:22:15.996
<v Speaker 1>they fall on the scatterplot gives each name meaning. And

0:22:16.076 --> 0:22:18.596
<v Speaker 1>I was struck as I sat in that conference room

0:22:19.036 --> 0:22:21.516
<v Speaker 1>by how similar that was to the names list at

0:22:21.516 --> 0:22:26.236
<v Speaker 1>the nine to eleven memorial. The victims there suffer from

0:22:26.276 --> 0:22:29.276
<v Speaker 1>the same condition of invisibility, and the list of the

0:22:29.356 --> 0:22:31.996
<v Speaker 1>names around the top of the voids is supposed to

0:22:31.996 --> 0:22:39.116
<v Speaker 1>give them permanence. Why not do it alphabetically like other

0:22:39.196 --> 0:22:39.796
<v Speaker 1>memorials do?

0:22:42.276 --> 0:22:46.196
<v Speaker 9>I think the biggest reason, at least in my mind,

0:22:46.436 --> 0:22:50.116
<v Speaker 9>is you lose so much of the story of these

0:22:50.156 --> 0:22:52.396
<v Speaker 9>people by doing that.

0:22:54.116 --> 0:22:56.436
<v Speaker 1>The job of figuring out which name went where on

0:22:56.476 --> 0:23:00.276
<v Speaker 1>the parapet fell to another architect on Michael Arod's team,

0:23:00.836 --> 0:23:01.716
<v Speaker 1>Amanda Sachs.

0:23:02.316 --> 0:23:04.916
<v Speaker 9>I think it's important to know if they were on

0:23:04.956 --> 0:23:08.236
<v Speaker 9>a plane, if they were in the North Tower or

0:23:08.436 --> 0:23:15.276
<v Speaker 9>South Tower, if they were a first responder. I think

0:23:15.396 --> 0:23:19.716
<v Speaker 9>it adds a level of meaning. It brings meaning to

0:23:19.796 --> 0:23:25.636
<v Speaker 9>their name as much as possible. I also think, you know,

0:23:25.676 --> 0:23:28.276
<v Speaker 9>one of the other reasons, just a very basic reason,

0:23:28.636 --> 0:23:30.476
<v Speaker 9>was there are there are a few people with very

0:23:30.556 --> 0:23:36.116
<v Speaker 9>similar names. There are people with names that only the

0:23:36.116 --> 0:23:39.756
<v Speaker 9>middle name is different. When you list these people alphabetically,

0:23:40.636 --> 0:23:44.356
<v Speaker 9>I think it loses you lose the sense of people

0:23:44.396 --> 0:23:45.596
<v Speaker 9>as individuals.

0:23:46.436 --> 0:23:50.036
<v Speaker 1>The guiding principle of Sex's work was something Michael Arod

0:23:50.076 --> 0:23:51.836
<v Speaker 1>called meaningful adjacency.

0:23:52.516 --> 0:23:58.956
<v Speaker 9>What it means is that every person is placed along

0:23:58.996 --> 0:24:03.876
<v Speaker 9>the parapet in a adjacency with one or two or

0:24:03.916 --> 0:24:11.036
<v Speaker 9>sometimes three people also obviously other victims that they were

0:24:11.076 --> 0:24:13.316
<v Speaker 9>in some way close with.

0:24:14.316 --> 0:24:17.316
<v Speaker 1>Two nine hundred and eighty two people died that day.

0:24:17.916 --> 0:24:20.316
<v Speaker 1>Their names are first grouped according to the floor of

0:24:20.356 --> 0:24:22.956
<v Speaker 1>the tower they worked on, or the plane they were on,

0:24:23.516 --> 0:24:26.636
<v Speaker 1>or if they were emergency rescue the latter company they

0:24:26.636 --> 0:24:30.956
<v Speaker 1>belonged to. Then within those groups, each name of the

0:24:31.036 --> 0:24:33.636
<v Speaker 1>dead was placed nearest to the people who meant the

0:24:33.716 --> 0:24:36.796
<v Speaker 1>most of them. Sachs had to work out each of

0:24:36.836 --> 0:24:41.476
<v Speaker 1>those relationships and determine the patterns behind all those long

0:24:41.556 --> 0:24:42.676
<v Speaker 1>columns of names.

0:24:42.996 --> 0:24:47.836
<v Speaker 9>I would say I spent two years to three years

0:24:48.316 --> 0:24:53.196
<v Speaker 9>on this arrangement just trying to understand the relationships, trying

0:24:53.236 --> 0:24:56.516
<v Speaker 9>to do these kind of tests and see how it

0:24:56.556 --> 0:24:57.156
<v Speaker 9>would work.

0:24:57.436 --> 0:25:03.756
<v Speaker 1>And were there any adjacencies that were particularly meaningful.

0:25:04.956 --> 0:25:09.796
<v Speaker 9>I have to say, I think for me, the whole

0:25:09.876 --> 0:25:17.156
<v Speaker 9>I mean, every every person on that memorial was I'm sorry,

0:25:17.196 --> 0:25:22.716
<v Speaker 9>I'm getting emotional. I can't say that any any adjacency

0:25:22.876 --> 0:25:29.916
<v Speaker 9>had any more important than than any other. I mean,

0:25:29.956 --> 0:25:37.036
<v Speaker 9>some stories are, you know, you think the kind of crazy, like,

0:25:37.236 --> 0:25:41.156
<v Speaker 9>for example, that there were two women on Fight one

0:25:41.276 --> 0:25:47.356
<v Speaker 9>seventy five and there was another woman on Fight eleven,

0:25:47.436 --> 0:25:52.316
<v Speaker 9>and I can't remember exactly what their relationship was, but

0:25:52.676 --> 0:25:55.236
<v Speaker 9>I think one of them was the godparents of the other.

0:25:55.396 --> 0:25:57.796
<v Speaker 9>And you know, Flight eleven went into the North tower

0:25:57.796 --> 0:26:05.436
<v Speaker 9>and Flight on seventy five was went into the South tower,

0:26:05.476 --> 0:26:07.276
<v Speaker 9>and the fact that there were people that knew each

0:26:07.276 --> 0:26:11.196
<v Speaker 9>other on those planes is insane.

0:26:11.916 --> 0:26:13.996
<v Speaker 1>Sax wanted to find a way to put the names

0:26:13.996 --> 0:26:17.516
<v Speaker 1>of those two people as close together as possible, maybe

0:26:17.556 --> 0:26:19.236
<v Speaker 1>at the point at which the group of names who

0:26:19.316 --> 0:26:21.796
<v Speaker 1>died in the North tower touched the group of names

0:26:21.796 --> 0:26:23.236
<v Speaker 1>from the South tower.

0:26:23.476 --> 0:26:28.396
<v Speaker 9>We actually wanted them to be ad as adjacent as possible,

0:26:28.436 --> 0:26:30.516
<v Speaker 9>So we wanted the one in the North pool to

0:26:30.556 --> 0:26:34.716
<v Speaker 9>be on the lower right hand corner, and the South

0:26:34.756 --> 0:26:40.076
<v Speaker 9>pool would anyway be towards the upper the north west corner.

0:26:40.836 --> 0:26:43.156
<v Speaker 1>She tried a hundred different ways to plant it out,

0:26:43.796 --> 0:26:44.836
<v Speaker 1>couldn't make it work.

0:26:45.276 --> 0:26:49.156
<v Speaker 9>So, yeah, that's kind of sad. The one adjacency that

0:26:49.196 --> 0:26:54.796
<v Speaker 9>we didn't get is the one that I'm that I'm remembering. Yeah,

0:26:55.316 --> 0:26:59.436
<v Speaker 9>but I just, you know, as I said before, just

0:26:59.596 --> 0:27:05.036
<v Speaker 9>every name, every person has so much importance. I can't

0:27:05.076 --> 0:27:06.916
<v Speaker 9>really say otherwise.

0:27:11.076 --> 0:27:13.756
<v Speaker 1>We have a memorial for the dead at ground Zero,

0:27:14.276 --> 0:27:17.996
<v Speaker 1>arranged according to their relationships, and we have a memorial

0:27:18.076 --> 0:27:21.956
<v Speaker 1>for the living in Jacksonville, a scatterplot of the homeless,

0:27:22.316 --> 0:27:27.036
<v Speaker 1>arranged according to their needs. Two memorials with the same intent,

0:27:28.156 --> 0:27:32.316
<v Speaker 1>because when we add context to names, names become real.

0:27:35.276 --> 0:27:38.956
<v Speaker 1>But of course, once you start reflecting on the similarities

0:27:38.996 --> 0:27:44.596
<v Speaker 1>between Ground Zero and Jacksonville, then inevitably you start thinking

0:27:44.636 --> 0:27:47.236
<v Speaker 1>about the differences.

0:27:56.916 --> 0:28:00.716
<v Speaker 2>Initially, I was actually drawn to eastern white pine trees.

0:28:00.716 --> 0:28:04.236
<v Speaker 2>They're very tall, towering, and there was just some an

0:28:04.236 --> 0:28:09.876
<v Speaker 2>evergreen and read somewhere description of them describe a sort

0:28:09.876 --> 0:28:12.156
<v Speaker 2>of the towering giants of the forest.

0:28:12.996 --> 0:28:16.196
<v Speaker 1>Michael Arod was told his original design for the nine

0:28:16.196 --> 0:28:19.756
<v Speaker 1>to eleven Memorial was too bleak, two voids on an

0:28:19.756 --> 0:28:23.916
<v Speaker 1>empty windswept plaza, so he decided to add trees.

0:28:24.516 --> 0:28:26.596
<v Speaker 2>And I thought there was something beautiful about the idea

0:28:26.636 --> 0:28:30.236
<v Speaker 2>of actually them directing your gaze upward toward the sky

0:28:30.396 --> 0:28:34.396
<v Speaker 2>while you were there, and developed a design that had

0:28:34.396 --> 0:28:38.396
<v Speaker 2>about seventy or eighty of them on the plaza, but

0:28:38.476 --> 0:28:41.236
<v Speaker 2>that you know, didn't feel quite right enough.

0:28:42.316 --> 0:28:45.396
<v Speaker 1>A Rod deliberated with his partner in the memorial's design,

0:28:45.876 --> 0:28:50.876
<v Speaker 1>the landscape architect Peter Walker. They settled on swamp white oaks,

0:28:51.556 --> 0:28:56.116
<v Speaker 1>a gorgeous tree, peeling bark, lustrous, lobed, two toned leaves,

0:28:56.516 --> 0:29:01.276
<v Speaker 1>green with a silvery underside. But then, of course it

0:29:01.356 --> 0:29:04.116
<v Speaker 1>was left to the port Authority, to David Tweety and

0:29:04.196 --> 0:29:07.076
<v Speaker 1>Chris Ward to figure out how to plant a forest

0:29:07.436 --> 0:29:09.076
<v Speaker 1>suspended atop a transit hub.

0:29:10.196 --> 0:29:13.796
<v Speaker 3>So then adding all of these trees of these trees.

0:29:14.076 --> 0:29:18.436
<v Speaker 5>Yeah, delayed for at least a year figuring out the

0:29:18.476 --> 0:29:21.156
<v Speaker 5>engineering to put all these tree pots. It's hard to

0:29:21.196 --> 0:29:23.196
<v Speaker 5>put all these trees in when it's not a dirt

0:29:23.436 --> 0:29:26.116
<v Speaker 5>necessary and the moisture that goes into the.

0:29:26.036 --> 0:29:29.596
<v Speaker 3>Dirt, and the weight because there's.

0:29:28.676 --> 0:29:31.316
<v Speaker 6>A void underneath ten dollars of a different structure, of

0:29:31.596 --> 0:29:34.676
<v Speaker 6>additional structural support on the hub buildings under.

0:29:34.716 --> 0:29:37.076
<v Speaker 1>Forty million just to support the weight of the trees.

0:29:37.916 --> 0:29:39.076
<v Speaker 1>And how many trees are.

0:29:38.916 --> 0:29:43.996
<v Speaker 3>There, We're going to say three and sixty and sixty

0:29:44.276 --> 0:29:47.636
<v Speaker 3>to each each tree. So here's a tree here? What what? What?

0:29:47.636 --> 0:29:52.356
<v Speaker 3>What's between the box and there's literally man made.

0:29:52.196 --> 0:29:56.036
<v Speaker 5>Dirt which is super light compared to nature made dirt

0:29:56.236 --> 0:29:59.196
<v Speaker 5>with a material in it which allows it to capture

0:29:59.276 --> 0:30:02.156
<v Speaker 5>moisture to be very efficient for maintaining the health of

0:30:02.196 --> 0:30:02.716
<v Speaker 5>the trees.

0:30:02.996 --> 0:30:04.516
<v Speaker 3>But each box has.

0:30:04.356 --> 0:30:07.476
<v Speaker 5>Its own moisture reader inside of it, so they can

0:30:07.516 --> 0:30:11.156
<v Speaker 5>tell you know when it's you know, the tree is threatened.

0:30:11.196 --> 0:30:13.196
<v Speaker 5>So you've got in each little part of it. You've

0:30:13.196 --> 0:30:16.316
<v Speaker 5>got this amount of technology to put anywhere else. You go,

0:30:16.436 --> 0:30:18.996
<v Speaker 5>oh my god, this is These are just trees.

0:30:19.316 --> 0:30:24.356
<v Speaker 1>But not just trees, perfect trees, peeling bark, lustrous slope,

0:30:24.396 --> 0:30:27.676
<v Speaker 1>two toned leaves, trees that are fed and cared for,

0:30:28.076 --> 0:30:29.916
<v Speaker 1>and each given their own place to live.

0:30:30.516 --> 0:30:33.876
<v Speaker 3>How big is the box? Ooh? Probably out to like

0:30:33.996 --> 0:30:38.556
<v Speaker 3>fear so like ten by ten, ten by twelve.

0:30:39.116 --> 0:30:41.996
<v Speaker 5>And the problem was when you began to move them

0:30:42.036 --> 0:30:46.956
<v Speaker 5>over areas where it was there was less infrastructure underneath it,

0:30:46.876 --> 0:30:49.916
<v Speaker 5>it got even more expensive to build the box and

0:30:49.956 --> 0:30:52.876
<v Speaker 5>then bring this infrastructure to support the.

0:30:52.836 --> 0:30:58.556
<v Speaker 1>Box trees with an expensive, bespoke, carefully engineered social support system.

0:30:59.396 --> 0:31:04.356
<v Speaker 3>Yeah, but again that was driven from good will you

0:31:04.836 --> 0:31:05.396
<v Speaker 3>turn that off?

0:31:05.396 --> 0:31:09.996
<v Speaker 1>As suddenly a security guard came running up. Apparently we

0:31:10.036 --> 0:31:14.756
<v Speaker 1>needed authorization to conduct our interview. The attention to detail

0:31:15.156 --> 0:31:17.956
<v Speaker 1>at the nine to eleven Memorial extends even to when

0:31:18.036 --> 0:31:21.356
<v Speaker 1>and how you are allowed to engage in recorded conversation.

0:31:22.436 --> 0:31:24.356
<v Speaker 3>These are the guys who built this whole thing. I

0:31:24.396 --> 0:31:26.996
<v Speaker 3>was the executive director of the port authority. They ran,

0:31:29.116 --> 0:31:31.956
<v Speaker 3>if we just talk to a police officer real quick?

0:31:32.836 --> 0:31:35.636
<v Speaker 7>Yes, But unfortunately the media department does not work and

0:31:36.036 --> 0:31:40.516
<v Speaker 7>they but yeah.

0:31:40.556 --> 0:31:43.316
<v Speaker 1>We ended up leaving the memorial plaza for the sidewalk

0:31:43.636 --> 0:31:53.396
<v Speaker 1>fifty yards away. We stood in the rain and looked

0:31:53.436 --> 0:31:57.516
<v Speaker 1>back at the exacting beauty of this act of collective memory.

0:31:58.116 --> 0:32:03.036
<v Speaker 1>The nine eleven memorial is perfect, but the Jacksonville Memorial

0:32:03.516 --> 0:32:08.996
<v Speaker 1>is not. It's messy, a work in progress. Names get

0:32:09.196 --> 0:32:11.876
<v Speaker 1>taking off the list when people find apartments or move away,

0:32:12.636 --> 0:32:15.316
<v Speaker 1>and new people get added to the list all the time.

0:32:16.356 --> 0:32:19.876
<v Speaker 1>Do the exits stay ahead of the entries.

0:32:20.036 --> 0:32:22.916
<v Speaker 8>We do measure our inflow outflow on a regular basis,

0:32:22.956 --> 0:32:28.476
<v Speaker 8>and we want to see our inflow less than our outflow.

0:32:28.796 --> 0:32:33.236
<v Speaker 8>But we are teetering pretty much on the same amount

0:32:33.356 --> 0:32:36.796
<v Speaker 8>that we are exiting. We're the ones we are housing.

0:32:37.076 --> 0:32:39.036
<v Speaker 8>It's the same amount that we are seeing. So it's

0:32:39.076 --> 0:32:42.276
<v Speaker 8>pretty close. But I think there's still a gap in there.

0:32:42.476 --> 0:32:47.316
<v Speaker 1>Yeah, so you're not over time. The rumber is not.

0:32:48.956 --> 0:32:52.876
<v Speaker 7>It is shrinking, but it is painfully slow.

0:32:53.596 --> 0:32:56.076
<v Speaker 1>There's no mystery why it's painfully slow.

0:32:56.996 --> 0:33:02.076
<v Speaker 7>We would love to master lease one hundred one bedroom

0:33:02.156 --> 0:33:04.836
<v Speaker 7>units that are at a price point that our rapid

0:33:04.876 --> 0:33:10.076
<v Speaker 7>rehousing clients could reasonably maintain, and we just can't find them.

0:33:10.676 --> 0:33:12.996
<v Speaker 7>There were a number of years, well where I've been here,

0:33:13.036 --> 0:33:14.916
<v Speaker 7>I think while you were been doing this too, where

0:33:14.916 --> 0:33:18.196
<v Speaker 7>we could find those they existed. They were out there,

0:33:20.596 --> 0:33:24.236
<v Speaker 7>like many other places some of those older units. They're

0:33:24.676 --> 0:33:28.556
<v Speaker 7>quirky and interesting. They're starting to get rehammed. The rents

0:33:28.596 --> 0:33:30.756
<v Speaker 7>will go up, and then the people that used to

0:33:30.796 --> 0:33:33.676
<v Speaker 7>be able to afford them cannot anymore.

0:33:34.556 --> 0:33:37.276
<v Speaker 1>Gilman said that right now she can find the money

0:33:37.276 --> 0:33:39.396
<v Speaker 1>to put her clients in apartments that run for up

0:33:39.396 --> 0:33:42.316
<v Speaker 1>to six hundred and fifty dollars a month, but there

0:33:42.356 --> 0:33:46.316
<v Speaker 1>just aren't any apartments in that range in Jacksonville. If

0:33:46.316 --> 0:33:48.436
<v Speaker 1>she could find the money for an eight hundred dollars

0:33:48.436 --> 0:33:52.156
<v Speaker 1>a month apartment, it would make things far easier. But

0:33:52.276 --> 0:33:54.076
<v Speaker 1>where are you going to find an extra one hundred

0:33:54.116 --> 0:33:56.796
<v Speaker 1>and fifty dollars a month? Who has that kind of

0:33:56.796 --> 0:33:57.956
<v Speaker 1>money lying around?

0:33:59.076 --> 0:34:02.196
<v Speaker 7>We are hitting the wall. We really now as a

0:34:02.236 --> 0:34:06.876
<v Speaker 7>community have to pay attention to this. If our goal

0:34:07.036 --> 0:34:09.756
<v Speaker 7>is to have fewer people out on the street instead

0:34:09.756 --> 0:34:12.316
<v Speaker 7>of more, we got to start figuring out how do

0:34:12.436 --> 0:34:16.916
<v Speaker 7>we build more deeply affordable housing faster.

0:34:18.516 --> 0:34:20.796
<v Speaker 1>Some portion of the people who do not get help

0:34:21.396 --> 0:34:25.196
<v Speaker 1>end up dying on the streets. Almost every community in

0:34:25.196 --> 0:34:28.436
<v Speaker 1>the country has a service for those who've fallen. It

0:34:28.476 --> 0:34:32.116
<v Speaker 1>happens in late December on Winter Solstice. It's become a

0:34:32.156 --> 0:34:37.356
<v Speaker 1>tradition in Jacksonville. The service is held at the City

0:34:37.396 --> 0:34:42.516
<v Speaker 1>Rescue Mission downtown. A choir sings, a local pastor gives

0:34:42.556 --> 0:34:47.396
<v Speaker 1>the homily, then don Gilman performs her final duty of

0:34:47.436 --> 0:34:47.796
<v Speaker 1>the year.

0:34:48.676 --> 0:34:50.636
<v Speaker 7>I've had the honor for the last ten years of

0:34:50.756 --> 0:34:53.636
<v Speaker 7>reading the names, and the list is always too long.

0:34:53.716 --> 0:34:57.116
<v Speaker 7>And before I read the name, I remind everybody that

0:34:57.196 --> 0:35:01.196
<v Speaker 7>there are six categories of homeless people, and that someone's

0:35:01.236 --> 0:35:07.396
<v Speaker 7>mother or someone's father, someone's son, or someone's daughter, or

0:35:07.476 --> 0:35:08.716
<v Speaker 7>their sister or their brother.

0:35:09.236 --> 0:35:11.556
<v Speaker 3>It's more than.

0:35:13.556 --> 0:35:15.356
<v Speaker 7>Dots on a scattered plot.

0:35:17.116 --> 0:35:19.516
<v Speaker 1>How many people were on the list last in December?

0:35:19.676 --> 0:35:23.836
<v Speaker 7>This December thirty thirty six, thirty six.

0:35:28.076 --> 0:35:31.556
<v Speaker 1>The optimist in me always thought that the ultimate purpose

0:35:31.596 --> 0:35:34.476
<v Speaker 1>of memorials was that they were dress rehearsals for our

0:35:34.516 --> 0:35:37.756
<v Speaker 1>collective memory, that in the course of building a shrine

0:35:37.756 --> 0:35:41.676
<v Speaker 1>to the fallen, we reminded ourselves of our broader obligations

0:35:41.956 --> 0:35:46.276
<v Speaker 1>to the vulnerable. You give the benefit of your empathy

0:35:46.436 --> 0:35:49.276
<v Speaker 1>and generosity to the memory of someone who was on

0:35:49.316 --> 0:35:52.596
<v Speaker 1>a plane hijacked by terrorists, or to the memory of

0:35:52.596 --> 0:35:56.356
<v Speaker 1>someone who worked in a toppled tower, and then it

0:35:56.436 --> 0:36:00.276
<v Speaker 1>becomes easier to extend that empathy and generosity to the

0:36:00.316 --> 0:36:05.116
<v Speaker 1>lonely and the suffering who are still among us. You

0:36:05.156 --> 0:36:08.636
<v Speaker 1>get good at meaningful adjacency for the dead, and that

0:36:08.716 --> 0:36:13.436
<v Speaker 1>makes you better at practicing it on the living. But

0:36:13.476 --> 0:36:18.516
<v Speaker 1>that's not what happens, is it. We go to any length,

0:36:18.636 --> 0:36:22.836
<v Speaker 1>any length, to commemorate one person's death, deploy armies of

0:36:22.916 --> 0:36:27.636
<v Speaker 1>architects and engineers, then, in the same breath, look the

0:36:27.676 --> 0:36:30.796
<v Speaker 1>other way as we step over someone lying on the street.

0:36:33.116 --> 0:36:38.116
<v Speaker 1>A gorgeous mausoleum for the dead, A scatterplot for the living.

0:36:42.476 --> 0:36:49.556
<v Speaker 3>Crystal Ponzer, age thirty two. Sam Sadowski, aged twenty five.

0:36:51.156 --> 0:36:55.036
<v Speaker 1>I went home from Jacksonville and spent an afternoon watching

0:36:55.076 --> 0:37:02.596
<v Speaker 1>Winter Solstice services on YouTube. Minneapolis, Philadelphia, Spokane, San Francisco.

0:37:05.036 --> 0:37:08.076
<v Speaker 1>Small groups of people huddled together in the cold of

0:37:08.116 --> 0:37:11.796
<v Speaker 1>a December night, holding candles, singing hymns.

0:37:17.596 --> 0:37:23.876
<v Speaker 3>Margaret, Josephine Thompson, Jacko Hudson, Margarita.

0:37:24.156 --> 0:37:28.156
<v Speaker 1>Then he's reading the names of the dead, hundreds of them.

0:37:28.276 --> 0:37:37.676
<v Speaker 8>George Randall Solivar, aged twenty three, Edward Wound age forty.

0:37:37.356 --> 0:37:43.236
<v Speaker 3>Seven, unknown, unknown unknown.

0:37:47.236 --> 0:38:25.356
<v Speaker 1>I watched until I couldn't anymore. Then I wept. Revisionist

0:38:25.396 --> 0:38:28.756
<v Speaker 1>history is produced by Meela Bell and Leeman Gestou with

0:38:28.916 --> 0:38:33.556
<v Speaker 1>Jacob Smith, Eloise Linton and on A naim Our. Editor

0:38:33.596 --> 0:38:37.756
<v Speaker 1>is Julia Barton. Original scoring by Luis Garra, mastering by

0:38:37.796 --> 0:38:43.876
<v Speaker 1>Flon Williams, fact checking by Beth Johnson. Special thanks to

0:38:43.916 --> 0:38:48.956
<v Speaker 1>the Pushkin crew Heather Feine, Carl Migliori, Maya Kaynig, Eric Sandler,

0:38:49.036 --> 0:38:55.356
<v Speaker 1>Maggie Taylor, Jason Gambrell and of course Jacob Weisberg, and

0:38:55.436 --> 0:38:58.516
<v Speaker 1>from everyone here at Pushkin, thank you for listening to

0:38:58.596 --> 0:39:02.316
<v Speaker 1>another season of revisionist history. You other reason we have

0:39:02.396 --> 0:39:11.676
<v Speaker 1>the privilege of revising history every year. I'm Malcolm glampadettor