Free Distrust That Particular Flavor by William Gibson

potency.
    Gazing into E. Buk's window, for me, has been like gazing into the back reaches of some cave where Manhattan stores its dreams. There is no knowing what might appear there. Once, a stove-sized, florally ornate cast-iron fragment that might have been a leftover part of the Brooklyn Bridge. Once, a lovingly crafted plywood box containing exquisitely painted models of every ballistic missile in the arsenals of the U.S. and the U.S.S.R. at the time of its making. This last, redolent of both the Cold War and the Cuban Missile Crisis, had particularly held my attention. Itwas obviously a military learning aid, and I wondered what sort of lectures it had illustrated. It seemed, then, a relic from a dark and terrible time that I remembered increasingly as a dream, a very bad dream, of childhood.
    But the image that kept coming to me, last week, was of the dust that must be settling on the ledge of E. Buk's window, more or less between Houston and Canal streets. And in that dust, surely, the stuff of the atomized dead. The stuff of pyre and blasted dreams.
    So many.
    The fall of their dust requiring everything to be back-read in its context, and each of Buk's chosen objects, whatever they may have been, that Tuesday: the dust a final collage element, the shadowbox made mortuary.
    And that was a gift, I think, because it gave me something to start to hang my hurt on, a hurt I still scarcely understand or recognize; to adjust one of my own favorite and secret few square yards of Manhattan, of the world, to such an unthinkable fate.
    They speak of certain areas in Manhattan now as "frozen zones," and surely we all have those in our hearts today, areas of disconnect, sheer defensive dissociation, awaiting the thaw. But how soon can one expect the thaw to come, in wartime?
    I have no idea.
    Last year I took each of my children for a first visit to New York. I'm grateful now for them both to have seen it, for the first time, before the meaning of the text was altered, in such a way, forever. Ithink of my son's delight in the aged eccentricities of a Village bagel restaurant, of my daughter's first breathless solo walk through SoHo. I feel as though they saw London as it was before the Blitz.
    New York is a great city, and as such central to the history of civilization. Great cities can and invariably do bear such wounds. They suffer their vast agonies and they go on--carrying us, and civilization, and windows like Mr. Buk's, however fragile and peculiar, with them.
    Written about two weeks after 9/11, this piece became part of my decision not to abandon a novel-in-progress. I had been having more trouble than usual, getting it started. A woman from New York wakes alone, in an absent friend's apartment, feeling something I could somehow neither describe nor name. My immediate assumption, the day after 9/11, was that the narrative, very deliberately not set in the future, couldn't continue. I felt I had no idea what a character from New York would feel, now, and to attempt to do so would be presumptuous. Meanwhile, I continued to talk and email with friends in New York. When The Globe and Mail asked for something about 9/11, I wrote this, and shortly thereafter was visited by a conviction that Cayce, the protagonist who so far had adamantly refused to reveal herself, had been gazing into Mr. Buk's window as the first plane arrived. And that that, and all that hadhappened subsequently, was the cold enormous inexplicable thing she wakes with in London.
    In the book, eventually, the geography shifted. The window that catches her attention is on the wrong side of the street, and the street itself slightly to the north. As happens in prose perhaps as often as in dream.

JAPAN, 1996: A woman's nineteen-year-old son hasn't been doing well in school. He goes into his room one evening and closes the door.
    He only leaves his room when he's certain that she and his father are either absent or sleeping.
    She stands silently before his door for