A Trip to Zerbst

 

St. Nicolai Zerbst Final

 

It was 1995, roughly five and a half years since the Berlin Wall had come down and Germany had become unified. I was a frizzy-haired sixteen year-old with Coke-bottle glasses, a prominent retainer, and a faded, royal blue, second-hand coat at least one size too big for me. I clutched my Euro-rail pass, an Agatha Christie novel, and a brown paper bag full of waffles. I was on my way to Zerbst, the town whose last name I share – a name with a storied past, a cumbersome amount of consonants, and a first letter which always put me at the end of a line, not to mention a name for which I had been teased about my entire life.

I had been studying in Paris that winter and had taken the train to Dusseldorf, where a friend, who had been an exchange student at my school the year before, lived. It was the first time I’d traveled to Germany. I had instantly liked Dusseldorf, which gleamed with shiny streetcars, colorful flowers, and idyllic, quaint neighborhoods right out of a museum painting.

One afternoon, while having tea with my friend’s mother, she asked me about my name.

“You know there is a town called Zerbst in Germany, don’t you?”

“Yes, I know.”

“Wouldn’t you like to go there?” I shrugged and she immediately picked up the phone. She was a judge in Dusseldorf, and so she contacted the court in Zerbst. Wouldn’t some high-school student in Zerbst like to have an American exchange student for the weekend, that is, arriving the next day? And so, it was arranged. And so, I found myself on the ICE heading east.

I didn’t have a proper seat. The Berlin-bound bullet train was crowded. I sat on the floor by the bathroom, next to a dozing soldier sitting on his duffle bag. Despite the discomfort, the train felt cozy; the passengers were dressed colorfully and were chatting away, reading or playing cards. Children slept with their heads on their parents’ shoulders. I stared out the window, watching the countryside pass by – fields of various shades of green and brown, church steeples nestled in the distance, and endless amounts of giant, geometric, almost anthropomorphic telephone towers, which seemed to dutifully march along carrying graceful strings of telephone wires. The farther east we travelled, the telephone towers became fewer and fewer, and at some nondescript, unnoticed location their shapes changed entirely.

The train pulled into Magdeburg, our first major city in the former East Germany. I got out. Everyone looked at me as I got off, as if they were concerned and felt they should ask me if I wasn’t getting off at the wrong station; I was the only one who left the train.

I descended into a world where everything was grey, including the sky. For as far as the eye could see, there were rows of barren, concrete train platforms, and somewhere in the distance through the din was the dark outline of some sort of industrial complex with large smoke stacks and lots of wires.  Not a single person was to be seen. I felt as if I were standing on an empty stage and there might be an echo if I opened my mouth. I apprehensively watched as the train pulled away from the station.

I pulled a limp train schedule out of my pocket. My friend’s mother had circled the train I was supposed to take next, but I couldn’t figure out where to go. As if on cue, a conductor appeared on the platform. I tried to ask her where I should go (there was no echo), but she spoke no English, and no French. I decided at that moment that I had to learn German (which I started studying the following year.) Somehow, I managed to find in the maze of empty platforms the train to Zerbst.

It had gotten dark. I hesitated for a moment before stepping onboard. The train was army green, dented, and all the lettering was in Russian. On the inside, it felt more like the old, beat-up New York City subway cars I knew from home than it did a regular train. None of the few passengers paid any attention to me, except the conductor who when he got to me, clearly didn’t know what to do with my Euro-rail pass and, after realizing I didn’t speak German, simply punched several random holes in it with gusto.

The train clacked and swayed as we moved along. The stations we pulled up to were lit only by a single light bulb suspended from a dark ceiling. I couldn’t see any signs indicating the names of the towns. I became nervous that I would miss my stop. Fortunately, however, Zerbst had a better lit station, and when I got out, I was greeted by a smiling girl my age, a kind-faced woman who was clearly her mother, strangely, a woman enthusiastically playing an accordion, and an awkward, pock-faced young man with a large, old-fashioned camera hung around his neck. Despite the entourage, I had to have a moment to stare at my name painted in large letters on the station wall. Zerbst. What a discombobulating feeling. It is a strange name, after all, and there it was on the wall. Could someone still make fun of me if my name appeared in large letters on a wall?

There was a flurry of greetings and an introduction to the man, who was a journalist from the Zerbst Gazette. Again, how strange! The journalist wanted to know, was I descended from Catherine the Great? She was, after all, a Zerbst too. Frankly, I didn’t really know. My grandfather always said we were related. He liked to point out his resemblance to her in a portrait of her as an old woman. I have to say, it is the only portrait of her where I see any resemblance, and I think apart from sharing a large, aquiline nose, their only other similarities were that they were both elderly. The journalist took lots of pictures anyway.

My host family drove me to their home full of smiles. They tucked me into bed, after a laugh about the bottom of my socks, which had Zerbst written in marker so they wouldn’t get lost in the school laundry. In the morning, I was proudly shown their collection of telephones and remote controls for their television. I bathed using a crude, rubber hose attached to the faucet in the bathtub, which offered only a trickle of water. And then, we were off to explore the town.

I quickly noticed that their house was far nicer than the others in the neighborhood. But despite the crumbling exteriors of the houses, they all had little satellite dishes pointed in the same direction. Behind their street was a wide row of gardens where several of their neighbors were stooped in the mud tending to vegetables. We waved to them, and they cheerfully waved back.

Crusaider Memorial Zerbst Final

We drove through town, where there was row upon row of drab, Soviet-style blockhouses which seemed to have been plopped haphazardly on the ground over crisscrossing cobble stoned streets, many of which had old trolley tracks which ran under the buildings, the ghosts of a more bustling era in the town history. Zerbst, I learned, had been heavily bombed in early April 1945 by the Americans. I didn’t really need to be told. The scar of the war was everywhere. A lone statue dating from the sixteenth century commemorating the soldiers lost in the crusades stood dejected, surrounded by bloc housing. Every church or cathedral we passed was a charred, roofless skeleton, surrounded by rubble and barbed wire fences. Several of the churches were covered with blue tarp, where inside parishioners still held services.  I was proudly shown a bright yellow phone booth, the only speck of color in the whole town it seemed, which had been the only phone for the whole town until a few years prior. I then understood why my host family had been so keen to show me their phones. We went too to the ruins of the castle, which had been a hospital during the war until it was bombed, killing all the patients inside. We picked our way through the barbed wire fence and over the litter and chunks of debris circling the ruins and entered the building. Inside, the great hall was covered in graffiti and broken glass and the sweeping, grand staircase where perhaps a young princess once descended in a splendid gown, led only to the sky.

Oddly, when I made the trip back to Dusseldorf, more than the fact that I had been to a town whose name I share, I was struck by the lasting impact and burden of a war fought fifty years before, a war we in America have no daily reminder of, where we as a society have no such reminder of the brutality of war at all.

Hong Kong Riots: A Historical Perspective

2016-2-9_mk_protests_4Hong Kong is practically synonymous with good food—think dim sum. Especially in the 1950s and ‘60s, street food vendors used to roam the streets with carts full of all sorts of delicacies. In the 1970s, the British colonial government imposed regulations on the beloved food carts for sanitation reasons, which have become stricter over the years. Earlier this month, however, riots erupted in Hong Kong when the police shut down unlicensed vendors during a Chinese New Year celebration. The rioters represented a localist movement which protests the perceived infringement by mainland China upon Hong Kong’s distinct culture and rights promised to them at the time of the 1997 handover from Britain. Clearly these riots were not just about street food. Looking to history, however, we see mixed themes of discontent in Hong Kong and its relations to both the Chinese and British who have governed it.

Hong Kong has experienced violent riots only twice in its otherwise peaceful history. The most recent of these was in 1967, when full-blown riots by mainland Chinese supporters protesting British rule led to fifty-one deaths over an eighteen-month period. At the time, there was a palpable fear in Hong Kong of an invasion by the Chinese. Much has been written comparing these riots to the most recent ones. In 1956, however, even more violent, and lesser-known riots broke out killing almost sixty people in a matter of days.

What caused those riots? Although they too were clashes with Communist Chinese supporters, social issues, however, were a fundamental catalyst. At the time, there were hundreds of thousands of Chinese migrants and refugees living in abysmal conditions in Hong Kong. They lived in sewage-seeped shantytowns tucked in the hills with no running water. Fires and mudslides were rampant. The only access to health care or education was from charities, which could only access a small percentage of that population. These migrants provided much of the work force for the economy of Hong Kong, which had one of the highest growth rates in the world, and accounted for a large percentage of the British GDP. Though their discontent was noted by the British colonial government and did lead to some more public housing, the infrastructure to accommodate the hundreds of thousands of people fleeing China simply never materialized, and made Hong Kong a transitive city for many.

Hong Kong has never truly been a Chinese city, nor was it ever truly a British city. Built by the British upon a pile of rocks, hard working Chinese migrants and entrepreneurs from all over the world created one of the most vibrant, cosmopolitan cities on Earth, one which was, in several ways, a model for modern China. Regardless of who has ruled Hong Kong, and who supports whom, there has long been a unique identity and flavor to Hong Kong that should be respected. Fortunately, the 2016 riots resulted in no fatalities, nor did the 2014 protests. But, until issues of the evolving leadership of Hong Kong have been resolved, we will likely see more such demonstrations. Let’s hope, however, they remain peaceful and respectful resolutions can be made so that Hong Kong retains its special place in the world.

The Discipline of Creativity

Discipline of Creativity v2I used to think writers only wrote when they felt inspired. Somehow, I thought writing a book must be an amalgamation of lots of consecutive brilliant moments that somehow came out just the way they appear in the final version, or at least something very similar. I thought this was the case in all the arts really. This is a very convenient thought for someone, such as myself at the time, looking for an excuse to not write. I wasn’t in the mood. The chair was uncomfortable. I didn’t feel inspired. I mean, I did say that the chair was uncomfortable, right?

Right.

My great-grandfather was an author of thirty some-odd books. He wrote in his memoir that being a writer meant putting your bottom on a chair and writing every day, or at least regularly. This is very inconvenient for someone with little time to write. I decided I would rather wait for the inspirational approach to writing. (He really did use the word “bottom” by the way.)

I didn’t get very far. Maybe once a year or so I’d have some brilliant set of ideas for my story and I’d go write them down. But then, nothing more would happen. A book was not just going to grow over night because I had some supposedly great idea. I had to actually write it.

So, eventually I committed to write on weekends. All weekend, every weekend. I’d start every Saturday taking a painfully long time trying to pick up where I left off the previous weekend. (This would be interrupted by frequent coffee refills, FaceBook updates, and spontaneous decisions to do something more productive, like fold laundry.) It was a head-banging slog. I was getting nowhere, and when Monday rolled around, I was exhausted.

So, I decided to restructure my writing schedule so that I accomplished a cumulative ten hours of work a week, broken down with a formula so that most days of the week I was working on it, even just a little bit. (I actually call it “Edie time,” named for my main character, because, really, a lot more goes into producing a book than just writing it.)

This goal was much more attainable, but, for a long time it was hard to shift from my corporate “hat” to my writer “hat.” There were too many spreadsheets, team meetings and status reports in my head. (Remember TPS Reports?) Yet, once I had broken down the hours into manageable daily sessions and learned to plant seeds for the next day, it became easier and easier. I could even imagine and write scenes down at lunch in my company cafeteria after a team meeting!

What do I mean by planting seeds? Research, outlining and storyboarding, which germinate into, what I call, “inhabiting” the story. The more regularly I worked on research for the book, which included everything from the international affairs behind the espionage to the details of life in a different era and country, the more of top of mind the story was. I would live my life, carrying around in my mind the ripe ingredients for the story, and at any moment I could pretend I was in the world of my characters. Then, as ideas came up, I would put them on a white board and string them together, filling in or erasing links as necessary. I realized that being creative was like a muscle that once conditioned, becomes stronger. Whenever I did, after all that germination, sit down and write, it came slipping right out. Not once did I have a writer’s block after that.

Now, that doesn’t mean that everything I wrote was great. A lot of it wasn’t. Maybe this isn’t even any good. But, part of the discipline of creativity is the development of craft, which includes understanding the value of drafts (and mistakes!), letting go of your ego enough to listen to criticism, and to cut or revise work you spent ages on. The more you work on it, and the more open you are, the better it gets.

 

Observations on the Imagination

River of Imagination v4As a writer, I am frequently asked, “How do you come up with the ideas for your stories?” That seems like a pretty straightforward question, which is usually followed with, “Where do your characters come from? Are they based off of real people? Is your main character really you?” I can provide a well-rehearsed response about the inspirations for my stories and characters, and no, while there are similarities, they are certainly not based on me, my life, or anybody else’s whom I know. I made them all up.

But, they did have to come from somewhere. And that’s when it gets tricky. It is rather humbling to admit, but I feel as if my characters came to me, told me their story, and I just wrote it down. Fortunately, I know I’m not the only writer who feels this way, otherwise I might feel a little crazy. Ideas come to me in bursts at any random time, frequently at inconvenient moments, such as while driving on the highway, and I scramble to jot them down (though not while I’m driving, of course). Later, I string the ideas together and when I sit down at the computer, the story just flows as if I were in a river of dreams, and it just takes me wherever it wants to go. Of course, that doesn’t mean what comes out initially is necessarily good. The final product goes through many rounds of revisions and lots of outlining comes into play, so it’s not as if I sit down on a boat, drift down a river, and turn out a book. But, in working on my first novel I became very aware of, in tune with, and organized around this river of creativity which seems to contain elements of everything I have ever seen, done and felt in my life. I am not even the first person to write about this ethereal, elusive, fleeting river concept of the imagination—the first breath required in the creative process. But that is exactly what it feels like.

I’ve recently been reading a lot about neuroscience, and had an ah-ha moment about the source of this “river” when I read about the emotional brain. Apparently, the “emotional brain,” which is basically the subconscious, stores all of our memories and experiences, and uses them to find patterns which enable the brain to do everything from learn new skills, to recognize signs of danger, to execute daily tasks you no longer have to think consciously of how to do. It is the home of intuition, dreams, and the imagination. It made sense to me that as the brain absorbs and stores every observation, experience, and feeling in life, it recognizes patterns, which the subconscious processes, making seemingly surreal connections and symbolisms, of the sort which frequently appear in dreams, and I believe also provide the foundation for imaginative thinking. It is the fluid, abstract and rapid connections between these elements that lead to the creation of new ideas—including stories and characters.

I know it is a rather abstract answer to a pretty simple question, but there you have it. I can delve into the individual elements of my life which helped form my stories and characters, but not talking about that “river,” would be omitting a huge piece of the answer. Taking the initial ideas that spring from the imagination and crafting them into the final product of a novel with fully developed characters, however, takes discipline and craft, which will be the topic of my next post.