Wilderness

When I was a kid, I became enchanted with Cinderella stories, but my versions never had princesses.  They had houses and they had witches.  It was the house and the witch who would be transformed and made beautiful.  Homes should always be sweet; women should always be gorgeous. I must have thought this as a kid and clearly popular society is still largely convinced its true.

My favorite place to draw was the dining room because there was no place else to spread out the typing paper I took from my mother’s desk and the assortment of random colored pencils that hadn’t gone missing yet.  There were corner windows in that room, looking out over a pasture and a scrap of back yard.  When the chickens were out, they littered the grass like folds of white towels – the crowns each a smear of blood.  Sometimes when I looked up through the smudged glass I saw my mother coming back from the barn.  Her plaid jacket was frayed at the cuffs and her hair was ruffled messily by the work.  She always seemed tired.

The first iteration.

I would draw a house and a woman softly, the pencil whispering on the page and leaving only the vaguest impression.  The woman would have worried bags under her eyes and a ragged gown.  The house would have loose shudders and a shaggy lawn.  It had to be drawn lightly so that I could cover it over with the magical transformation.  I thought it was cheating to erase the lines, so instead I would add more pigment on top, burying the first and deliciously tragic version under the adorable cheer to follow.

The change.

With bold strokes of my pencil the house would be reimagined with pristine woodwork and flowering shrubbery.  Birds would appear in the formerly barren skies, a few limp letters ‘m’ that are somehow sparrows or larks in flight. Even to grownups one never need explain that these are birds.

A sun with lines of radiant warmth appeared over the trees.

With greater care still the burdened witch became a mighty queen, her eyes ringed with such lashes that the dimly drawn wrinkles were all but undetectable. With my pencil I sketched over her dismal schmatta, layering on top a diaphanous skirt with hundreds of folds. Messy hair vanished under a mantle of exuberant curls; the bitter mouth fold budded  into a hopeful rose.  If I could find the crayon called peach, I’d bring the blood to her cheeks.

I made the messy and neglected into something ordered, manicured, and styled.  If it failed to convince me, I added flowers and more eyelashes.  I might have flourished in marketing.

In truth I was playing at something adults rarely learn to examine, whether or not the picturesque is superior to the authentic.  There is a reason that we have apps to place crowns of flowers on our Snapchat photos; a glow to our Instagram selfie to blur away the pores; the framework of Facebook to describe the perfect weekend, leaving out the parts where we quarreled over which credit cards to use.  We are terrified of loose ends, of things and people gone ragged.  Perhaps the animal in us knows how quickly we can be toppled, the way a rabbit knows that once the fox has them in its jaws, there are only seconds before the end.

The blood widens a pink circle in the snow as the black eyes of the rabbit reflect a cloudless blue sky.  Burying its nose in the warmth of the rabbits breast, the fox eats quickly amid the smell of iron and meat and frosty grasses.  His breath rises up around them, a fog veil to soften the truth that this is how the circle goes unbroken.

If we are to survive on the terms that make us human, cooperation within the growing village of humanity, without losing our grip on the one power that helps us maintain our place, a self-convincing sense of contentment, we must embroider reality, making over everything that we find dim with bright colors.  If our grip on the story loosens and we are forced to see how quickly our shutters rot, perhaps the entire fabric of our narrative will spill out of control.  Grass that needs our hands to chase away the chicory and pokeberry might return to wilderness.

We may go wild ourselves.

Learning Curve

Vancy Jordan was on the fast track at the prestigious Paris-based couture house Millard et Jaspes until last week, when she stumbled unwittingly into a decades-old political scandal. Miles Orne, the creative director of M & J’s American studio, Haute Shack, was Jordan’s biggest fan until this week, calling her a ‘rising star’ in a People Magazine article earlier this year.  Now the junior designer is out of a job and wondering if she’ll ever work in fashion again.

Enter Monica Lewinsky, a figure in a political scandal that Vancy admits she knew only a little about until this week. “It’s weird to think my political hero is basically the reason I’m now a pariah in the world of couture.”  Jordan blushed as she mused, “I mean, fashion and culture and history are all this byzantine tapestry. I get it. I just didn’t connect the right threads.”

pariah-quote

In July, Millard et Jaspes did what all fashion forward design houses are doing this year, bidding to design the most coveted outfit of the season.  No, it isn’t the next red carpet dress for Michelle Obama.  The one frock all of the fashion world is vying to create is the outfit Hillary Clinton will wear to her inaugural ball.

“This is her-story in the making, ” Miles Orne said in July.  “Everyone is asking, what will it be? Is it a tux with tucks? Or a dress with pant legs hiding coyly in the drape of the cloth?  Speculation is high and we’re not getting any help from the Clinton camp.”

Indeed, when pressed for details on how the Secretary of State will approach fashion when she takes office, the former first lady has been conspicuously vague, saying on Ellen in February, “I don’t NOT like dresses, but – you know – I’m someone who likes to get things done and, boy, that sure is easier in flats and a pantsuit.”

And when asked by Joy Behar on the View in August what she’d wear to her Inaugural Ball, Secretary Clinton replied, “I’ll cross that bridge when and if the American people choose me to be their next president.”  Amid a roar of applause from the audience, Clinton added, “But probably white.”

This was just the kind of glimpse into the candidate’s mind that Millard et Jaspes had been wanting.  The five second clip went viral in the fashion community, with Isaac Mizrahi tweeting, “I’d love to drape this wonk goddess head-to-toe in platinum chain mail. She’s a warrior! Fierce!”

mizrahi

Last week as the team at Shack finalized drawings for their ball gown concept, Miles Orne turned over the design of Secretary Clinton’s swearing-in ceremony outerwear to Jordan.

“I was thrilled.  The image of Secretary Clinton taking her oath of office will live down in history.  I wanted a hat for her that was both cozy grandma and world traveler. It needed a dash of Paris, but I wanted something fuzzy and warm because January.  Blue just seemed right on so many levels.”  That was when she grabbed a lapis coloring pencil and in a few confident strokes perched a blue beret on the head of the former FLOTUS.

Jordan claims she didn’t really know about the hat Monica Lewinsky famously wore. When Orne first saw her submissions, he laughed, saying, “You’re naughty, Vancy.  Now show me your real drawings.”

But once Orne realized Jordan had intended to submit a sketch of Secretary Clinton wearing a blue beret to her own inauguration ceremony, his laughter quickly subsided.

“He was like a mad man,” Jordan said. “He accused me of being a plant.  He said that with our deadline on the bid so tight, my drawings might very well have been overlooked.  Then he said people had been hanged for less and I was like OMG.”

Still reeling from the events of the past week, Vancy is considering taking her case to the courts in the hopes that her story will change the way junior designers are treated in the fashion world.  Over a cappuccino at Toby’s Estate in Williamsburg on Friday, she admitted that’s a long shot.

“All I’ve done for the past three years is eat, sleep – I don’t know, breath? – the world of Millard et Jaspes.  Fashion has been my life since I was a kid.  When they were working me full-time for basically lunch money, my Dad was like, ‘Come home, baby.’  He offered me a job at his psychiatric practice.  Even when I barely had enough to go to yoga or to keep my brows on fleek, I wouldn’t give up.”

While catastrophe was avoided before the controversial sketches left the inner sanctum of Millard et Jaspe, the fallout for Vancy Jordan has been profound.  In addition to having security escort her out of the studio, Shack’s entire team of senior designers have been spreading the word around the clock that in Orne’s eyes Jordan is a saboteur.

“I’m basically blacklisted.”

A harsh history lesson indeed.

Momentos

As my high school graduation grew nearer, my father sent away for my class ring.  I wore it for about a year or two before it embarrassed me to put it on.  No one I knew advertised they finished high school through jewelry and I didn’t want to either.  The ring was exactly what it should have been: large and golden with a ruby stone and engravings to show I concentrated on The Arts.  A pair of brushes cross over a painter’s amoebic palette and some Greek letters make the case for the man my father thought I was becoming. 

The ring still surfaces now and then, floating to the top of a box of forgotten things from about the age of ten up through my twentieth year.   In that box there is also a keychain with a picture of an old friend in it; a few chess pieces from a set my mother made me in ceramics class;  blue and white shards of a Chinese umbrella holder that I cut my knee on when I was nine; shells from a beach where a girl and I sat in the blast of January winds not talking about things we might.


The keychain is a tapered square of turquoise plastic with a white tip on the narrow end.  In the tip there is a lens and when you look through it you see my old friend.  She is on the beach, her thick dark blond hair pushed behind one ear in defiance of a breeze off the water behind her.  When she and I first became friends, my world was small; my best friends were family and it was a joyful discovery to build my own friendship from scratch. We were close at one time and luckily it did not end in fire, as some of my relationships did when I was younger.  Rather we just drifted apart, first in our interests and later geographically.  Before social media, we were as good as invisible to one another for over a dozen years.  Now we reach out from time to time to say hello.

During all those years when many friendships were considered not only diminished but severed by lost addresses and by telephone numbers that no longer worked, I would occasion upon that keychain, squint into it and try to remember something about how she came to give it to me.  Had she gone to the beach alone or with one of her more loyal childhood friends?  Had we met for lunch, she proffering the memento as I worked out in my head who I’d be partying with later that night?


My mother didn’t handle my growing up very well.   Two dreamers who were much happier at home than out in the world, we needed one another mutually when I was young.  It must have been hard to see me making friends and moving outward into the world, while she was still fixed in a place defined by her phobias and her traditionalism.  When I was seventeen she and I were at our most tumultuous point.  In between our heated arguments about where I was going and who I was going out with – why did I like so and so more than my own family and what did we know about their people? – she would be moved to do very kind things.  One of them was the chess set, although by the time she finished it and presented it at Christmas, there were already changes in my worldview that made me feel only lackluster about the gift. 

Rendered in blue and grey, the Civil War iteration of the game did not suit who I was becoming – a person with growing disgust for a romantic take on rich southern slaveowners who turned on their own neighbors rather than follow the shifting moral imperative of their country. 

Having watched the film Gone With the Wind at nine and consuming the book greedily afterward, I spent the first half of my teen years in a love affair with the antebellum south. I wrote and rewrote novels with heroines who lived on plantations and wore hoop skirts.  With each rewrite my shifting principles showed evermore. As I discovered feminism, my heroine became pluckier.  I added character details to make her seem less organized around feminine norms.  Now she liked to sneak off bare footed to go fishing when she wasn’t sparring with our enigmatic and handsome hero. 

As I discovered my empathy for the economically disadvantaged, my heroine developed a friendship with a ‘po-white’ family down the road from the Big House and helped their ‘clean but respectable’ Irish children with their lessons in between trips to the trout creek.  Just as I may have been likely to start writing a slave rebellion into the plot, I grew tired of the whole Southern aristocracy schtick altogether.  By the time I received the chess set, it felt like a postcard from another year to another me, although I was careful to pretend I loved it.  My mother is very, very sensitive.


At the age of ten I was well in the midst of my romance with all things old world and opulent  when I discovered an umbrella holder in the cluttered storage cum laundry room in our basement.  Made of thick china and hand-painted in the Asian fashion with blue flowers and birds on a white field, it seemed like a relic from a much finer home than our fly-specked little ranch house in the country.  Perhaps this was the last vestige of the grand manor our family used to own on the Mississippi, I speculated – until my mother told me they were a dime a dozen in the seventies.

The top was broken and looked a little like the shape of the Coliseum, with pierced arches left incomplete where the missing pieces used to fit.  I found some of the broken bits in the bottom of the vessel and pestered my parents to buy me crazy glue so I could fix this treasure.  I was still working on the restoration months later – frustrated that not all the pieces had been saved by my parents – when a tumble with my sister landed me on a jagged point that split my knee open like a cruel smile.  They stitched it closed and it still looked like a punished mouth for weeks, weeping blood at the iodine-stained threads when I flexed my leg a bit too much.  For a couple years easily I worried that somehow I’d crack it open again, even when all that was left was a quite sturdy white scar, a lumpy albino worm where the mouth had once ruefully grinned.  I still have the umbrella holder and the shards; the mend was never complete.


I don’t remember gathering the shells with Jenny, but a visceral thread woven into the beginning of my manhood hangs free of me, teased even now by the mood of a wintry beach.  When all the umbrellas have been tucked away and the children have returned to school, beach towns become something more like wilderness again.  They become raw and savage: the breakers are cold knives nosing the sand, the blackened tangles of seaweed like so many Medusa headdresses abandoned. No matter where I am, when cold air that smells like salt water hits me, I am taken back to a Carolina beach and seventeen.

We walked with our heads down, our chins protecting our throats as the wind tore at our curls and rippled our too thin clothes.  It had been an awkward holiday, me liking Jenny’s green-haired artist friend we had come to visit so much that the three of us fell into a strange discord. In youth we wear our jealousy loosely on chapped lips, with faces still too childlike to hide our fleeting pain and rage.  Yet we are already learning to ignore what we think we will not be able to change.  And so Jenny continued to love me and I made funny faces and let the incoming storm off the water lift my hair into a wild black mop that she caught in her camera.  When my whimsical bravura was spent, we sat in the sand not talking about anything, unsure yet sure that the holiday had already pulled loose what had gathered us together.  The silence felt intimate, but we were no longer.

In the cold mist we watched the tide go out while three broken shells found a home in my pocket.  It has been over twenty years and I have yet to send them back to sea.

Black Man

It was true that he lurked outside the A & P and true too that he stared.  When one glanced away from him, Russell had moved from his typical base – a shuffling path among the shopping carts just outside the electronic doors – to walking right alongside your car.  It was startling how he seemed to have teleported the distance.  Mom always locked the doors when we saw Russell in the parking lot.

“Some say he’s harmless,” she’d say. “But I don’t know…”

a-and-p

We were terrified of Russell Green.  A tall black man of indeterminate years, he was a fixture of our childhood.  At least on days when we went grocery shopping.  Looking back, I can’t think of a single thing he ever did in our presence to evoke our response to him. Except perhaps to be born black – something that in the south is a handicap and a risk in the eyes of many.

Mom once said she’d heard he was quite a scholar in his youth, but that he’d been roughed up by some boys (I always assumed they were white) and had taken a blow on the head. Her tone implied it was pitiable, but she still locked up the station wagon when she saw him.  I didn’t know what to do with his backstory when I was a kid, but in the years since I’ve colored it until he is almost a mythic martyr.  I imagine him as a slender youth, dressed in a cardigan, wearing smart glasses like Malcolm X.  The light glints off of the frames as he sits under a tree, writing an essay for school.  His mother is Oprah Winfrey and she nails it in a calico apron, a modern day queen sitting in makeup for three hours to give her the dry elbows of a hotel maid.

The truth is it is hard to imagine it differently for me.  My understanding of the black struggle has been spoon fed to me through the lens of too many white film makers. Perhaps the legend of Russell was partly true – that he was good in school.  But maybe he would have wanted to use those smarts to get a job at IBM and not to change the world in protest.  That would not occur to me because when white storytellers tell black lives, they talk about blacks who changed America via the remove of a dais and a microphone.

When I try to put the pieces together about Russell – and maybe it is fetishizing to even try or an exercise in lancing the boil of childhood’s racism – I come up short.  He was a black man and some said a mad man and he was a lurker and a looker, but more than that he was a stranger.  The fact that he spent his time skulking or loitering the parking lot of the grocery store gave him an unglamorous fame and because of that he sticks out in my memory.  To be fairer still, the A & P was in his neighborhood and he never bothered anyone, never hurled insults or begged favors.  He was just there.  In an odd way, showing up on the regular gave him name recognition, a perverse argument in favor of the marketing stratagem of consistent exposure.

Nowadays it might not happen so, if for no other reason than that the grocery store would be on the outskirts of town in a well-lit suburban haven on the other side of too many highways for the lost or the deranged of neighborhoods to wander upon.  The A & P of my childhood was on South Street, but all the white grownups I knew called that area Nigger Town. This because this short road of small stucco houses – being evermore bought up and leveled for strip malls and burger huts – was where black people lived.  It had no jurisdiction of its own, no real autonomy and independence from the mechanisms of a white establishment.  So while there was nothing to threaten the status quo on these three blocks except perhaps one mad man walking the rows of the parking lot, daring to stare at white families in their wood-paneled station wagons – it clearly needed a name to delineate it from the rest of town, to demarcate the differences between us and to levy upon the darker skinned a moniker meant to demean.

Then black artists took that same word and made it their own.  Still white people chafe not that it exists but that now it is wielded by black hands, spoken by black lips, linked to new cultural moorings by black ingenuity and will.  We hear the debate: why is it okay when they say it?  I will not speak for black people to answer; they have their own voice.  What little I can do is to peel back every ignorant thing I ever learned to expose and dismiss it, one remembrance at a time.

In the minds of my people, Russell was to be feared and to locked out, but it has become clear to me in my life that the real social menace was on the inside of the glass all along.

 

 

The Virtue of Arrogance

When I was thirty I opened my own interior design business.  From the concept to completion – with a lot of friends chipping in on the grunt work – I went from employee of one firm to the host of an open house for my own in just about eight months.  The night was a blur.  All I can remember is misplacing the cream for the coffee and later finding it in an armoire in my office.

Black coffee notwithstanding, I was proud of myself in my own low key kind of way. Being a nose-to-the-grindstone person, I don’t take a lot of time to jump in the air and high five passersby. Looking back on it, I should have been pleased with myself.  Whenever I wasn’t working at my primary job – or the part time one I kept at my sister’s bookstore to help her with her own new enterprise – I was meeting with prospective landlords and researching market statistics at various government agencies; crafting my business plan; emailing my lawyer friend who was helping me set up the paperwork.  Some days I was meeting with vendor reps at a coffee shop near my workplace, careful to sit facing the door so that I could drop a notebook over the stacks of catalogs should a co-worker stop in for a macchiato before their shift .  I remember one tenacious rep – always eager to sign up a new account – who met me during a snow storm.  I flipped through pages of accessories giddily as the parking lot turned white.

When I eventually signed a lease, I spent hours revising layouts for the shop buildout. (I negotiated that enough to my advantage that I imagine my peddler grandfather would have been proud.)  With every free moment, I went back over my order list to cut corners as needed, determined to stay within the capital I had to invest.  I guarded that start up money jealously because I wanted to have enough to pay my expenses and my salary for at least three months after opening.  Since that same money came from the lengthy process of refinancing our house, I would care for it like a gardener with only so many seeds – and no promises from the heavens.

I was seeing new clients independently, starting projects that I developed from stacks of crisp, never-before-used fabric books that littered my guest room during the build out stage of the shop.  I was discovering that the energy accompanying big change and bold thinking is fairly magnetic.  From the moment I quietly began to let clients know I was going out on my own, they were not only excited for me, but they started to add more to their projects and clamor for business cards to share with friends.  It’s heart-warming now to look back on how supportive these individuals were to me in that fledgling stage.

I marvel now that I was so bold, so organized, so driven – and so sure that it would not only be worth it but would also be a success.  It would take self-confidence verging on arrogance to act in the way that thirty year old did then.  Arrogance.  It is a severe and dubious virtue, alienating as much to self as to others, yet highly constructive at times.  In the way that the word implies, I was driven to serve self the most.  I don’t make the observation as self criticism.  I think my dream had worth and luckily was protected by that buffer zone of ego.  It helped me.

Later that pride would take a hit when the economy down-turned and – after much agonizing – I was compelled to draft emails to a few likely clients asking if they wanted to get a jump start on their future projects.  I was painfully honest about it: if I didn’t find some work soon, I wasn’t sure how long I could keep my doors open.  The change to my sense of self-worth was huge but also hard to fathom at the time.

I had lived large when everyone else was living large.

While the bubble that caused the crash had my clients buying or building new homes and furnishing every nook and cranny in varying odes to Tuscany, I was buying hand-made shirts and letting myself be pampered by the staff at Bergdorf’s.  I was sitting in the third row at Broadway shows and spending far too much on lunches.  When I wrote those emails to my clients, making my dire straights plain, it really didn’t matter how brightly my cuff links glittered.  The stack of bills on my desk had been growing for weeks. Everything was urgent and dull and dreadfully taut.  I was white-knuckling my way through this change in fortune.

The ego took another carving when I was forced to let my employee of four years know she ought to be looking for work.  I just couldn’t see how to keep paying her.  We had spent so many seasons sharing perspectives on the growing business, that she was as much advisor as shopkeep or assistant.  How often had I sought her perspective on a tricky  email exchange I was having with a client or colleague?  How many times had we celebrated a project win with an icy cocktail at the swanky martini lounge down the block?

When her last day with my company arrived, I went on one of my few house calls and then headed home instead of coming into work.  The other thing that can come from arrogance is a kind of moral cowardice: I simply couldn’t make myself confront the failure that watching her let herself out the door for the last time would make plain.  When I found her sadly cheerful hand-made thank you card on my desk the next day, I heaved a sigh and stared at my email inbox darkly until it became merely backlit lines without meaning.

Ingenuity wasn’t dead and neither was my appetite to survive.  But I was learning that to stay afloat in a new economy was going to take more than reserves of confidence or talent; I was going to have to reinvent my firm from a place of artful humility.  It would be a humble perspective that would help me determine just how much I could cut back, revising the shape and context of my business.  That editing taught me a lot about myself as a designer and a manager; I learned how to get back to the heart of intention and how to cut the fat.

When I met my landlord and asked her to accept half rent until I got back on my feet, I was without any of the pride that made me sick with worry before I emailed those clients.  In fact, my only imperative was to make my case as simply and sincerely as possible, so that she would understand my determination to make it was at the heart of the ask.  She agreed readily because, as I was learning, business people got it.  This change was big and we would need to band together.

Later when I hosted a party at my shop to celebrate its switch from active retail space to appointment only design studio, it was not only the beginning of a long journey of rebranding, but a chance to reset with as much dignity as the situation could offer. Looking back on it, I suppose the facade was fragile, a glass mask.  My clients knew this was the other side of the coin.  On one face, the old version of the business had failed, while on the other it was reborn as a new thing.  What they could only imagine was how jarring and saddening this change was for me – still it was needed repositioning and they gamely helped me keep face.  We stood elbow to elbow munching from cheese plates and sipping white wine.  When it was all over, I wanted nothing more than to have my preferred drink at home – a wintery gin martini – and to crawl into bed with a corny and easily digested episode of Perry Mason.  There is comfort in tightly constructed mayhem that resolves itself in less than an hour.

Nowadays my business has not only survived, but grown, with more employees than it had before, tight systems for daily operation, and consistent self-checks for growth.  Offering not only interior design for homes and commercial spaces, but reimagined again as a vital retail boutique, we have earned a reputation as a stalwart shop around the corner in our bustling little city.

In the wake of the recession, priorities were shifted and I was made a better steward of my dream, but like the coin with two faces, I see that my business has been served by two polarities of confidence: arrogance and humility.

Master of Chess

If Marcy had written the time down wrong, he’d send her packing this time for sure.  As if beating his way across town in rush hour traffic weren’t enough annoyance without having to wait outside a bodega in the sweltering heat with the smell of warm cabbage and liverwurst and stale mop water drifting out each time the door opened.  The handles of the sample boards were biting into the palms of his hands and he shifted them for the umpteenth time.

George squinted at the building across the street, resenting his client for going with a row house instead of a condo.  A doorman would let a respectable designer wait in an air conditioned lobby.  He’d be perched on the ubiquitous chrome and leather mid century chair, checking emails on his phone and spending a little more time on Facebook than he could ever admit to himself.

As the potpourri of the bodega hit him anew, he cursed the makers of sample boards for not fitting the handles with a flange of soft rubber.  Could you get a blood clot in your fingers from having your circulation pinched?

Finally he ground his teeth at the obstructionists in congress who’d spent thirty years standing in the way of true environmental reforms.  Surely it was hotter today than July ought to be.  Bastard republicans.

Then a black car slowed in front of him, the door swung open, and his client stepped out into the heat.  Like an elf queen from a Peter Jackson trilogy, she was tall and elegant, all flowing white folds and corrugated blond tresses.  It was rumored among the know-almost-nothing People magazine set that she hated Blanchett for getting the role, but George knew that during a year of the epically long filming of the series she’d already committed herself to The House of Blue Leaves at the Walter Kerr – a venue and  play she was mysteriously sentimental about.

She gave him a radiant smile.

“My apologies would hardly be adequate, so I will spare us both the awkwardness of suffering through them.”  She stepped forward and took a few sample boards from him before he could protest.  Giving him a fond smile, she said, “Ah, love, you look positively wilted.”

Before he could respond, she’d turned on her heels and was drifting across the street, so ethereal with each languid, ballerina-like step that it occurred to him the only accessory she was short of was a celestial nimbus.  It also passed through his mind that she’d artfully managed to suggest apologies were in order without actually extending one. He ought to dislike her for it a bit, but in truth it just increased his respect.  She was a master of chess.

He hastened across the street, and despite the fact he was almost six feet tall, he couldn’t help but feel a little like a hobbit as his eyes darted back and forth to spy a break in traffic.


 

She paused in the foyer and he watched her, shuffling the sample boards she’d handed back to him while she unlocked the door.  Turning with a long alligator smile stretched out under her shades, she said in a rapt whisper, “Can you hear them?”

Tilting an ear to listen for rats or hissing gas pipes, he lowered the samples and his attache onto the dusty marble floor.  His eyes moved over the moldings and the faded paper.  It was dim in the house after the glare of the street.

She removed her shades slowly, the grin tightening into a secretive smile, lips drawing in like a moonflower in the sun.

“These walls have so many stories,” she whispered.  “How do we paint them?”

He paused.  There was no doubt that they had discussed colors a week ago in his studio. She’d been firm about brightening up the place.  They had discussed the merits of peach, which she loved, but which she also found terrifying.  He had a clear recollection of her rising and moving to stand at his window, holding back the sheers with one long-boned hand while she studied the street.  He’d been mesmerized by the light bouncing off her diamonds.

Turning from the window suddenly, she’d revealed the complexity of her feelings about peach. “My grandmother.  The darling.  She loved it as I do, but she died in a room covered in peach roses.  They smothered her, I always felt.  Cruel really.”

That afternoon he’d thought not for the first time that she deserved awards for being the perfect dramatist in real life.  He’d once watched her debate the merits of two salad dressings with so much pathos he’d almost cried into his two o’clock martini.

Today, in the present, sweat pooling at the small of his back, he cautioned, “Well, if we don’t paint, fixing some of the water damage will be tricky.”

Hanging her shades from the opening of her white blouse, she frowned at him.

“Oh, we’re painting this fucker,” she said.

“Oh, yes. Oh, good.”

She caressed the newell post lovingly.  “I was just feeling sentimental.”


 

He’d waited his entire career for a woman like this to walk into his office.  It was like Mary Astor stepping into Bogart’s grimy set of rooms, spinning wild tales about her missing kid sister.  He couldn’t remember the names of anyone in The Maltese Falcon except for Sam Spade, but he felt like this was his own screwy version of the story.  A man labors faithfully but humbly at his craft, just keeping the landlord at bay with a little luck and sometimes his personal savings, until one day a dame walks in and changes everything.

Nothing else about the analogy worked.  He didn’t want to peel off her stockings, he wanted to see her wallpaper stripped.  And she wasn’t weaving tales to walk away with a jewel-incrusted statue, although they had discussed on the first meeting a vitrine to house her Tonys and Oscars and the Grammy.  This was actually happening to him – his first real celebrity client – and somehow she made it all seem like a sequence from a movie.  There were times when her accounts of interiors past were so gilded yet raw he wondered if Truman Capote were beaming down on her from whatever heaven existed for hateful genius bastards.

He smiled to think how much Marcy failed to overlap the rest of the similarities.  While she was as much a girl Friday as he deserved, she’d never enter stage left after his each meeting, perching on the corner of his desk, reminding him not to get caught up in spider webs.  Rather, she moved about his office clumsily, Swiffering up fabric lint while holding back sneezes, asking not one question about what it was like to help a living legend design her home.

One day he’d not been able to stand it.  “Aren’t you curious in the least about what she’s like?”

Entering bills onto the laptop at her desk, she peered at him through the doorway that connected their offices.  She shoved her glasses up into her head, making her bangs poke up and out like a hairdo from the eighties.

“She seems nice?”

He’d rolled his eyes.  “She’s  more than nice, Marcy!  She exudes glamour.  She’s old school.  Her every move is a poem.  Her vocabulary is Shakespeare and Tennessee Williams and Tony Kushner.  She doesn’t step through space like we mere mortals, she floats through time like the heroines that exist in books, waiting only to be read again to live anew, each time as fresh as the last.”

Marcy blinked at him, pinched her nose.

He stood, “She is the fucking mother of all ether and substance!  She is a goddess!”

Marcy was having none of it.  “So long as this check don’t bounce.”

He’d been forced to close the door to his office then, unable to imagine not killing Marcy. It was like she’d perfected nonchalance simply to drive him nuts.  By the time she knocked on the glass to let him know she was heading out with the deposits, he’d forgiven her her trespasses against the actress.  He needed Marcy.  She knew his office like it was her own kitchen layout and her wife had benefits at her job, which meant he could afford to keep her on even after the meager raise he’d managed the year before.

To soften the tension still lingering in the office, he’d popped his head out before she got on the elevator.  “If you want to grab us some macarons from the bakery out of petty cash, I’ll dust off the French press while you’re at the bank.”

She paused and he thought, ‘If she says she could take macarons or leave them, I’ll throw a potted succulent at her head.’  But then she nodded and gave him the thumbs up before stepping onto the lift.


 

They walked the house again.

She paused in the kitchen, frowning at the ceiling fan.  “There are times when I think we should get an architect after all.”

He nodded, “I definitely think that has merits.”

Not for the first time, she explained her reservations.  “The last one took me for a ride, you understand.  I just can’t be hurt like that again.  It was devastating.”

George found himself wanting to lean against the countertop, to put his cheek into the palm of his hand.  It felt like a monologue was brewing.

But goddesses are fickle creatures and she merely turned away from the room with a little shrug.  “Who’m I kidding? I hate cooking.”

They took the little back stairs up to the second floor.  He reminded her that he’d have to consult with an engineer about taking the wall out between two bedrooms.  He almost suggested they revisit the architect, then thought better of it.

She stood at the center of the room, hugging herself despite the humidity of the house.  “So long as you handle it yourself.  I don’t want this thing to balloon into a big deal.”

Tilting her head, she said to him, “I know it is a big deal, you understand. I love this house. But I just can’t have the renovations devolve into some miserable ass table read in a play with too many characters.  I’d like to think of this project as something intimate.”

He nodded.

“You know, I never told you why I really came to you.”

He found that he was hugging himself, unconsciously mirroring her.

“I thought you went to a party at the Weinstein’s place and you saw my work there.”

Shelby Weinstein was the closest thing to ‘arriving’ that had happened to him before the actress.  It was a lucky break, as they would say in show biz parlance.  Shelby had dropped out of a design class they took together years before, opting for a degree in accounting instead.  Twenty years later she was handling a client list that was like a who’s who of the theater world and this close to firing her interior designer when Facebook, by whatever creepy mechanism the internet uses to connect human dots, suggested she friend George Resnick, her old, very much forgotten school chum.

The actress shook her head.  “Not entirely.  Shelby’s place is lovely, don’t get me wrong.”

He waited.

She shrugged, “Well, the short story is that I need this to go smoothly.  Drama is my calling professionally. I would live and die by that sword.  But at home I’ve learned I want things to be soft, easy.  Shelby said you took the blows.  No matter how maddening the contractors were or how much the architect fought her on things, you kept it humming.”

It came back to him then, the way Shelby’s project had teetered close to ruin every day for two months that felt like ten years.  He recalled the heartburn, like nothing he’d ever felt before.  A night at the hospital while they ran tests and eventually proved that he hadn’t suffered a heart attack. Marcy scrambling into the hospital room the next morning with a shopping bag from Duane Reade, feeding him omeprazole with a ginger ale; putting a muffin in his attache and telling him to eat it in exactly a half hour; washing a stain out of his neck tie in the sink and patting it dry with a paper towel; walking with him all the way to the subway, reading out his emails to him – only the important ones; shouting over the turnstile at the station, “Go get em, chief.”  He’d walked through that day in a daze and when he got back to his apartment, he’d wept into a pint of ice cream while watching The Good Wife.  While he kept Shelby’s project humming, his body began to fall apart from the strain.

Only later, when the photographs of her project came back for the website, did he feel some repayment for the stress.  It couldn’t be accounted for in the monies that passed into his bank account.  That had been nice – paying rent in advance for once, finally getting the rugs at his place cleaned – but the money had felt like nothing special when weighed against that night in the hospital.  Staring up into the blackness of a turned off television, he’d been held captive between two impulses: to unpack his life and figure out how to make it easier and to merely ignore it and hope that a little vacation at the end of the project would suffice.  Yet on the day he uploaded the pictures of Shelby’s house, he had at last found a modicum of comfort.  The way the sunlight struck her statue of a Hindu priest in the courtyard – the placement of which was one of the only things no one had argued about – had given him just one sweet teaspoon of joy.  Just enough for that moment.

The actress was studying him.

“I need someone who can take all the hits, George.  My life’s a wreck just now – I wouldn’t dream of telling you all the particulars.  Still, if you can make this whole thing feel like a dream on my end. A happy dream.”

He ought to run.

The light shifted in the room and without thinking he reached up and took the wrappings off the chandelier.  The crystals, opened up to the world like Venus rising from the sea, cast hundreds of rainbow shards over the walls, the ceiling and the floor.  He took a breath.

sparkling chandelier

“I am your servant,” he said.  He’d wanted it to sound courtly and perhaps a little funny, but he felt foolish the moment he heard it aloud.

She gave him that alligator smile again.

“Tell me, George: Can we make peach just a little bit ironic?”

The Clit Rocks

[A writing I found on my computer from a couple of years ago, inspired by female punk bands and a few inside jokes with my bestie that came from laughing at the wrong parts in The Vagina Monologues.]

It was Vic’s idea to wear the cone hats on stage.  When she saw the others hesitate, she said, “Only for the first set.”

Carrie laughed right out loud. “The first song, maybe.” For her part, Jen could not be moved to look up from the latest issue of Blender.

As always, she resented their doubts.  It was always been her thing to come up with fresh gimmicks and their thing to shoot them down, if only for a while.  The debates were usually short and eventually – after days of her freeze treatment – the girls would relent.  She held up her drawing to them again.

“It’s like we’re wizards of badass,” she said.

From behind a gleaming cover photo of Snoop eating a cherry out of Pink’s navel, Jen said, “They already know my pussy’s magic.”

Carrie howled with laughter, almost setting her hair on fire while lighting a smoke.  

Vic stalked to the back of the bus, threw herself over her  bed, and placed a call to Florida to vent the indignity.  Her mom, juicing something and so talking loudly over the whirring blades, said, “You always wind up in a huff, Victoria, and in the end, they always agree to some version of your idea.  And they’re usually good ideas.”

Vic  bristled, “What do you mean ‘usually’? Wasn’t the cat paws on the Cesarean Section tour my idea? Didn’t Rollingstones say, and I quote, ‘Vic Legend, styling the band as a rogue box of kittens, is as mad a cow as ever.’?”  She paused. “I mean, the mad cow reference made sense back then.”

punk image

Her mother seemed doubtful. “Hon, I think he was just calling you a cow.  Remember, that was the year you went off your meds and started comfort eating again.”

Jen walked past, opening a pack of toilet paper, “Didn’t he also say, ‘Always one to add more icing, Legend gets the outside of hard rock just right, even when her lyrics veer into maudlin pop cliches.'”

“Fuck Loder and his ugly fucking, fuck face,” Vic shrieked. 

Her mother just laughed. “Don’t let Jen get to you so much, Victoria.  Put her on for a sec.”

 

The older woman’s voice was as easy to hear in the bus as if they were standing in her sunny, pastel Miami kitchen; the slender drummer with the sleepy eyes was already reaching for the phone.  “Hello, Mrs. Hockman.”

“Jennifer, are you giving my girl heartburn again?”

Jen said, “Ha, ha, Mrs. Hockman, Vic’s giving us the stink eye. She wants us to wear these wizard costumes on stage when we get to L.A. and Carrie and I are like no way.”

Vic’s mother laughed. “Seems a little obvious, doesn’t it? I mean they already know you have a magical vagina.”  

Jen shot her bandmate a meaningful glance, “That’s what I told her, too, Mrs. Hockman.  Besides, I wasn’t sure I wanted to play a lot from the Sex Wizards album.  We had talked about throwing out some of our new stuff.”

There was a scraping sound as the older woman pushed open her patio door and stepped out onto her lanai.  She sighed as she plopped onto a chaise by the pool.  “Well, take it easy on her. She’s my girl.  You know, she does have some good ideas now and again.  You have to admit that.”

Jen was unmoved. “Like calling us the Poon Mullets? Something like that good idea?”

Vic’s mom laughed until she almost choked on her black cherry and kale juice.  “That one was stupid.  No, dear, the Clit Rocks is much better, and such a loving homage to Eve Ensler.”

Vic snatched the phone from Jen’s hand.  The drummer shrugged and closed herself in the bathroom.

“I’ve got to go, mom,” Vic said. “I don’t appreciate you and Jen using up all my minutes.”

“Was that calling plan your idea, too?” Jen said, opening the bathroom door just enough to peer out.  

The mother was still laughing when she ended the call.  “It smells like shit in here,” Vic mumbled, rolling over and burying her face in a pillow.  There was about an hour when the bus was silent.  Bob, the driver, never spoke and the rest of the crew were ahead of them in the other bus.  Finally Carrie – the peacekeeper – settled down next to Vic and offered to braid her hair.  Humming one of their songs, she combed through the gossamer gold, occasionally finding a grey hair and pulling it out, as was their custom.  Eventually, she said, “What if they were less sexy wizards, more scary – like with beards and stuff?”

Vic snorted.  But then she mulled over the idea.  “Yeah.  Maybe.”

Jen was tilting up an empty bag of Doritos and letting the crumbs fall into her mouth.  She weighed in, “What if the beards were on out tits?”

Vic rolled her eyes.  The bus hit a bump and Carrie pulled her hair.  Wincing, she said, “Hairy tits? That’s your idea?”

Jen shrugged.

“Maybe wizard hats and mustaches?” Carrie tried again.

“On our tits or our veejays?”

Carrie laughed, “I was thinking on our faces.”

Vic was nodding, “Pink mustaches.”

And soon they were in agreement. As the tour bus rolled into a vivid Kansas sunset, the Clit Rocks settled down to practice some harmonies with Real Housewives on the TV and the sound on mute.  Bob rocked his head back and forth to their grooves and it felt like this comeback tour was going to be better than all the others.