Around the time
Lehman falls, the Director of the University Writing Program at UCR calls a
meeting to let ten lecturers on one-year contracts know there won’t be ten of
us next year. After the news we’re
being kicked back down the ladder, I pick up some classes in Sun City, where
the pay is half plus four-dollars—only, instead of getting laid off, for the
next 52 weeks, I work 3 jobs 80 hours a week.
Because time is
all that matters to me when Christmas break rolls around, I don’t schedule a
flight to Washington or make holiday plans. When Lola flies to her dad’s in Seattle and the roommate
drives to his mom’s, I don’t tell anyone I’m home alone for three weeks—until
tonight, a Wednesday two days before New Year’s Eve, when Isaac calls to tell
me he has to reserve a room for two nights to get tickets for the Raveonettes
New Year’s Eve show at the Standard.
“That’s rude,” I
say.
“Who cares?”
“I care. It’s greedy.”
But Isaac wants to
go ahead with it, and I want to see the Growlers at the Echo on Friday
anyway.
On Tuesday, still
sequestered in an empty Riverside rental the night before I answer my phone,
I’m sprawled out on bad carpet before my Mac, searching LA venues for live
music when I come across this Spanish-sounding cowboy surf rock playing in San
Diego at 10. It’s 8:45. I think about driving there, but it
would mean not drinking for another hour and half or two by the time I get a room,
find the venue, and manage to get a ticket to the show. This does not seem worth it. This seems desperate. I open a beer instead and lay on the
couch, snapping Hipstamatic photos of my Converse.
In Bellingham, it
was easy to get some. You stepped
out of the apartment, walked down two stairwells, and made a left to enter the
Up & Up or 3-B or you kept walking and made your way to the Ranch Room
inside the Horseshoe, ordered a gin and tonic, and sat back to listen to Tom
Waits on the jukebox and wait for the one that wanted you to come. That, or you turned over in bed and
woke Arlan.
I listen to the
Growlers for awhile, thinking about the lead singer’s smirky expression. The songs sound alike, but the sound
has power somehow, smug power.
Nielson reminds me of Johnny Depp, but without the script, or with a
script he was writing himself with no help from Hollywood producers or the
stacks of cash banks reserve for them.
I’m undecided about Nielson as I listen, trying to discern whether he
uses his smugness for good or evil.
In 2001, when I
meet Isaac, who’s just come from Kenya and Uganda following his parents who
sought political asylum from Idi Amin, he’s still a skinny African beating
rednecks at pool in the bar below his apartment, living on red vines and a beer
someone, usually a bartender, finagles him.
The day we’re
supposed to meet for lunch the first time, years before either of us has cell
phones, I’m two hours late. He’s
still there. I sit down and
apologize, touched by the softness of his voice, the way he raises his hand to
his head to twist a piece of hair as he listens to me talk about Thomas
Sankara, the West African president who quoted Marx and recommended women not
marry so long as marriage continued to exploit them—all this in the 1980s, when
Reagan ate coconut cake at the White House, his war on drugs somehow missing
the coke stash of his Vice President’s son.
A decade later,
Isaac was a software engineer for Geodelic, the start-up trying to beat Groupon
to the punch. He was the lucky
one: his mom, dad, sisters—they
were all thinking about going back.
When his dad one
day stopped paying the rent on an Inglewood house where his mom and three of
his sisters lived, Isaac started paying it. Then a sister lost her job and couldn’t make her car
payment, so he took that over, too, which is how we drive to the Echo on
Thursday in a BMW.
The night air stings. “It’s freezing fucking cold outside,” I
say. As I say it, I see a body in
an alley doorway and gasp.
Then I see it’s
not a body, but a person lying on the concrete floor, legs drawn up like a
fetus.
“It’s freezing,
Isaac. Should we offer to let him
sleep in your car?”
“I don’t
know. What do you think?”
I try to play the
scene out in my head. We offer the
guy the backseat, then what? Ask
him to get out when we’re ready to go?
I think of my alcoholic friend, Tim. How angry is this guy?
Our laptops are in the car.
“Let’s see if
there’s a second-hand store. We
can get him a jacket or something.”
When we turn the
corner, I see one.
We rifle through
coat racks, trying to find the warmest one. I choose an army-colored parka lined with down and pick up a
sock hat from a rack near the register, where a handmade sign taped to the
counter reads like a challenge: No Discounts. No Exceptions. Still, when I tell the cashier the
jacket is for a homeless guy in the alley, he gives me 10 percent off.
We walk back to
the alleyway and find him still lying there, eyes shut. If he’s drunk or high and I startle
him, I might get punched. So I
work my way up to it. “Hi,” I
say. “We got you a jacket. Do you want it?”
He doesn’t answer
or open his eyes, like he’s too cold to sit up and put the jacket on.
“I’m going to lay
the jacket over you,” I tell him.
“Then I’m going to take off your baseball cap, put on a warmer hat, and
then put your cap back on, okay?”
I kneel next to him and drape the jacket over his body. Then I take the cap off his head and
pull the hat over it.
Up close, his face
is devastating, his features drawn into the expression of suffering, like
soundless weeping. I feel like I’ve
kneeled over a body wasted by gunfire, struck by an image of the two of us
alone in a Middle Eastern desert, his face cradled in my hands, like I’ve come
across a soldier in the end times—only he’s not a soldier. He’s innocent. I must look strong kneeling beside him,
like he’s going to be okay now, but all I have is my anger. The contrast is sharp—my anger, his
innocence. A minute later, Isaac
will call it humility.
I let my hands
linger before I pull them away. I
put the baseball cap over the hat and adjust the coat. Then I stand up and we walk away.
I am walking away
from the first time I’ve loved since I can remember, like the first pure
emotion I’ve had in months or years, every minute more conscious of the hole
where love should be, of the shallow emotional landscape of whole
countries.
“Do you know what
you just did?”
“Don’t,” I say. “I
should have touched him longer. I
didn’t want to—impose. He was so
innocent. I looked in his face and
I saw his innocence.”
“He was
humble.”
I look at Isaac
and nod, it suddenly occurring to me his own humility is more disciplined than
accidental, that humility is something one works towards, that I almost went
along without even trying to be the one good thing.
We eat at the
pizza place next door to the Echo.
I pull a straw wrapper into pieces, wad the pieces up, and roll the
paper in the condensation from my glass.
When I thought the
man in the doorway was a body, my reaction is the one Freud describes as the
uncanny—that thing we recognize and then fight to the death to feign we don’t
recognize, like an arm thrown up to keep something close at bay. Then, when I realize it’s not a body,
but a man out in the cold, I’m disgusted all over again.
“Why are people not rioting?”
“I don’t know.” He takes a bite of his salad, his skin
smooth and dark cherry. “Where do
you think he was from?”
“I don’t know.
Where do you think?”
“I think
Cambodia. Because otherwise what
makes it worth it, you know?
Anywhere else, you could just go back.”
In line to buy
tickets an hour before the doors open, we hear a guy announce the show is at
capacity, but Isaac manages to get two anyway.
We go to the wine
bar across the street and sit at stools facing the bar mirror. He asks me about the conference papers
I’m supposed to deliver at the MLA in eleven days, one for a panel called “The
Lives of Part-Time Faculty.”
“Fine,” I
shrug. “I’m just saying what
happened.”
“You’re too good
for that job.”
“Dogs are too good
for that job.”
He thinks I should
write. I don’t say I have no faith
in that either. I nod. It’s New Year’s. “I want to go talk to these guys after
the show tonight, okay?”
“What guys?”
“The band.”
“Yeah?”
“Yes.”
“Ok.”
Throughout dinner
and drinks, I keep thinking about him—why we don’t put him in the car and drive
him to my house, why we leave him there to freeze. It seems like a risk we don’t think about, as if we are
aware only that our legs are pegs on a track under someone else’s control.
A week earlier, as
I’m driving Lola to the airport during the rains, when the brakes and steering
go out on the freeway and we hit the meridian wall, careening across five lanes
of traffic to the shoulder, I notice it then, too.
I’d asked Jen to
take over a winter intersession class for me so I could manage my schedule at
the other two schools, but now that I needed the car I’d loaned her back, she
didn’t want the class. Two days
before Christmas, we drafted another letter to the department chair at Moreno
Valley College and waited to be pinballed around.
At 9:30, we make
our way back to the Echo, order drinks, and stand before the stage. Before I finish my beer and go outside
to smoke, I take some pictures of the band, and Nielsen’s face shows up pink,
like a Warhol print, in all of them.
When I try to get
back in, the bouncer points at a sign that reads No Ins and Outs, like “Ins and Outs” is a thing, like Idiocracy, like You know, ins and outs, Scro. My girlfriend was a tard, now she’s a
pilot.
“What’s this for
then?” I ask, pointing at the wristband.
“Alcohol.”
“We just spent
fifty bucks on fifteen-dollar tickets.”
“Too bad.”
“I drove up from
Riverside to see this show.”
“Not my problem
you can’t read,” he says.
The third time he
says it, I can’t help myself. “I
teach College English, which means I teach people how to read, so when you
suggest I can’t read, I don’t feel like I’m illiterate, I feel like you’re a
tool.”
“You need to
leave.”
“Then you need to
give us our money back.”
“That’s not gonna
happen.”
“Then I’m not
leaving.”
It goes back and
forth like that until a woman stumbles outside clutching her stomach, and I try
to push past him before he puts himself in front of me, Isaac appearing at the
door. He tries to smooth things over,
but neither of us will budge.
For a minute, the
bouncer puts his hands up like he’s going to lay them on me.
I look at him,
curious but daring him, too.
“You just see a
big fat black guy.”
“You’re just
telling everyone what you’re insecure about.”
He links a rope
through some poles to forge a divider between us. When I don’t move, he takes a phone out of his pocket and
dials the cops.
I think he’s
bluffing until I hear him say, “It’s a woman” and back off to sit on the curb
and wait.
“What are you
doing?” Isaac says, “Let’s go.”
“I want to tell
the cops they took our money.”
“Kathryn. They don’t care. Let’s just go.”
“It’s wrong,
Isaac.”
“I know.
Then I am sobbing
on a Los Angeles street curb, waiting to tell some cops why a business that
takes your money should provide a service, and why it’s their job to see to
that, how important it is understand what crime is, real crime not prime time
TV, how the transfer of money is a record of criminality, how intangible
injustice because it is a relationship, not a thing, how you can’t get a handle
on it like you think you can, the way you think you can make a fist around time
but you can’t, time is thin air—but they don’t come.
Isaac sits next to
me on the curb. I let him pull me
up and walk me to the car, his arm around my waist. When I look for the man in the doorway, he’s gone. I’m overcome with guilt and the fear we
let him die. Did an ambulance come
for his dead body? Did he walk
away? Did a better person lead him
into her home?
On the drive back,
suddenly ashamed of the space I take up in Isaac’s car, of making someone
listen to that, I rub my eyes dry, my face grainy with salt. Tomorrow, it will be a record of
tonight.
“Isaac, he said I
thought he was fat and black.”
“I know. It’s okay.”
In a minute we’ll
walk through glass doors into the lobby, take the elevator up to our room,
press our faces into bleached sheets and wake up to drink coffee at a nearby
Starbucks on the last day of the year.
Why does love
weaken our resolve? Is resolve a
dam? Are tears, like a gag reflex,
the sign we have registered another’s love? A sign of its effect on us? Is everyone who cries just somebody loved?