by S. Abbas Raza
I just looked over at my digital clock and it happens to be 9:59 am.
At 9:59 am on September 11, exactly 20 years ago, I watched the South Tower of the World Trade Center collapse live on TV sitting in my living room only a few miles away and first realized that life was about to change in a big way, that we were living a pivotal moment of history. And I knew I would still be speaking of what was happening in that moment decades later. And I am.
And then the second tower fell. I didn’t know it at the time, but in that very moment my friend Ehtesham had died.
So it has been 20 years. Sitting outside at a cafe on Broadway in Manhattan that afternoon, fear and the smell of smoke in the air, government agents on street corners with submachine guns, military aircraft in the sky, I was naive enough to think that perhaps we would learn some valuable lessons from the events of that morning, that we might change some of the policies which led to such disasters. How foolish that thought seems in retrospect; how much the opposite of what actually followed.
Here’s something I wrote five years after that day as part of a series of reflections we published on the 5th anniversary of the attacks at 3QD.
And you can see other articles from that series here.
Finally, this is what I wrote about Ehtesham when Osama Bin Laden was killed.
And here Ehtesham and I are sitting in the same place in my Manhattan living room from which I later would watch the collapse of the tower in which he died.



In these dying days of summer, as I steel myself for the onslaught of an uncertain term ahead, I’ve been reading
The Italian author Sandro Veronesi’s latest novel, his ninth, The Hummingbird, is a clever book that offers the reader both literary pleasure and serious thought. The novel is essentially a family saga, and like all family histories and stories it has a complexity of interpersonal relationships and human emotions all woven into the story. It sounds so typical of life and the reader might begin to think that the novel is a family saga that could be tedious, but that is far from the truth. Veronesi has skilfully used structure to fracture any complacency or perception of the characters and the story, and his novel is a superb piece of skilled writing with unexpected twists and turns.
Andrea Chung. From the series Vex, 2020.
The day I began writing this essay, Portland Oregon braced for yet another round of uncharacteristic heat. Over several months of preparation, as I had been reading and pondering Kim Stanley Robinson’s big, detailed, hyper-realistic science-fiction book The Ministry for the Future, our normally cool northwest town had found itself repeatedly facing drought and high temperatures. Now we were about to be trapped under a “heat dome” of 115 degrees Fahrenheit (46° C) – Las Vegas temperatures, Abu-Dhabi temperatures – for days on end.

Theories that specify which properties are essential for an object to be a work of art are perilous. The nature of art is a moving target and its social function changes over time. But if we’re trying to capture what art has become over the past 150 years within the art institutions of Europe and the United States, we must make room for the central role of creativity and originality. Objects worthy of the honorific “art” are distinct from objects unsuccessfully aspiring to be art by the degree of creativity or originality on display. (I am understanding “art” as a normative concept here.)
Even though I arrived at Economics with the aim of interpreting history, it soon gave me a more general perspective. First, it showed me the value of precision and empirical testing in thinking about socially important issues. This immediately appealed to me, as two of the first courses I liked in college were on Deductive and Inductive Logic. More importantly, Economics gave me a deeper understanding of the incentive mechanisms that sustain social institutions. It made me think why some of the glib solutions suggested by my leftist friends were difficult to sustain in the real world, unless based on motivations/norms and constraints of people in that world. Why are cooperatives and nationalized industries, suggested as substitutes for private enterprise, often (not always) dysfunctional? Economics asks the question: if there is a social problem, why does it not get resolved by the people on their own, and if your answer is that it is the ‘system’ that is to blame—which was the main message of many leftist stories I read and plays/movies I watched—Economics teaches us to go beyond and look into the underlying mechanism through which that ‘system’ is perpetuated or occasionally broken.
Recently I came upon this photo of my friend Eric, me, and his father, tucked into a book that I was trying to place in the correct place on my shelves as a part of a recent book-organizing effort and it made me think about one of the scarier events in my life. It was 2004. It was also only a couple of years after 9/11 and by then the Patriot Act was in full effect and I personally knew completely innocent people who had been caught up in the “bad Muslim” dragnet and had been detained, deported from America, etc. It was in this atmosphere that I was invited to attend my good friend Eric’s wedding on a lake in Michigan. I found the cheapest ticket possible which would involve a stopover in Pittsburgh on the way to Detroit from NYC and a stop in Philadelphia on the way back. I also reserved a rental car at the Detroit airport to get to the rural lake where the wedding was going to be.
Philosophers are prone to define
This week I had planned to present the 3 Quarks Daily readership with a fluffy little piece about my memories of a grade school foreign language teacher. It was poignant, it was heartfelt, it was funny (if I do say so myself). Above all, it was intended as a brief respite from the nonstop parade of horrors scrolling past our screens every day—a parade in which my own recent writings have occupied a lavishly decorated float. We all deserve a break, I thought. It would be nice to look at some baton twirlers for a minute, listen to an oompa band.
Sughra Raza. Karachi Afternoon Sun, 2010.