Going Back to Hell (3)

Poets have no business in Las Vegas unless they’re here to write horror stories, or die a drunken, messy death. I don’t gamble, don’t like musicals, don’t like paying a lot for dinner, and I’m married. So I’m holing up in my room with moody music, watching the sun set from the 27th floor.

I ask the guy at the front desk where’s the sky cab and he says he doesn’t know what I’m talking about; in the 30 years he’s worked here no one has asked for that. I walk out of the hotel and try to find the sidewalk, but everything is cordoned off: you’re forced to go along select routes, over sky bridges, and they all lead to casinos and bad music, bad smells, bad people. A guy in a Freddy Krueger costume, standing perfectly still, blades for finger tips, eyes rolling in his mask, with a tip can.

I follow signs to what looks like the monorail station. I walk long, circuitous hallways with others, in neon colors and plastic cups, with alcohol. I wind up in another casino, and have to turn around. I pull out my phone and map my location to the convention center: 2.3 miles. I’m hot, hungry, stubborn, decide to walk there. It’s not quite noon yet.

No one walks here. The only people out on the sidewalks once you get off the strip are homeless or insane. I find a bus stop but it only comes by once an hour. I keep going. I remember my VP, the look on his face when I say to him we’re close enough to the Convention Center, we could just walk. He looks confused and says, Yes, but why?

It’s the desert. I haven’t had water since yesterday, just coffee. Bad Mexican food at the airport, 6:20 AM. I mark my progress on my iPhone: I’m the blue, pulsating dot. The route has me on a half mile stretch, then .8 miles, and so on.

At the .8 mile leg, I stop for water at a 7-11. I drink half a quart. I’m carrying a backpack that has no hip-belt: it’s not a proper backpack, it’s a stylish backpack that looks cool but doesn’t function right. I’m carrying my work laptop, my personal laptop, and a 4″ binder that’s packed full of CAD drawings, budget information, lists of attendees and their hotel confirmation numbers. Just In Case.

I get to the Convention Center: these are my kind of people, the show people, moving crates and driving fork-lifts. The security guys in cheap suits with ties and walky-talkies. They messed up sending me my badge so I navigate to the North Hall, as I should, but they don’t have the equipment set up yet to issue me a new badge, I’m too early. I coax a guy to give me a sticker that says Installer and he lets me in.

I walk for 45 minutes in circles, on the concrete convention floor, looking for the coordinates of our booth. I give in and have to ask for directions at the security desk. She explains I’m in the Central Hall, need to go back outside to the South Hall. I knew that. It’s after 2 now. Haven’t eaten since 6 or so.

I find the booth. I say hi, I’m the Starbucks guy. They smile and give me good handshakes, but there’s no reason for me to be there. I’m not Union, so I can’t touch anything. I can only get in the way, get hurt. So I go, back to the monorail, looking for something to eat, time to check in.

2:30 at the bar, Caesar’s. It’s dark, the music is too loud. I figure I’ve earned a beer. My cell phone rings and it’s my boss’s boss. She’s asking how it’s going, says I need to do something. I can’t understand her over the music and she has a heavy accent: it looks bad, the loud music. Sounds like I’m in a bar, probably. Looks like I’m goofing off, but I’m not.

I hurry to my room, and begin the quest for an Internet connection. 20 minutes, and I’m out of tricks. I call the front desk. They trouble-shoot, then give up and send me to the third party help desk. He has me open a DOS screen and read him my IP address, then enter ‘ipconfig’ code. He assigns me a new address. It doesn’t work.

Perhaps I’m carrying this Karma with me. Anytime I touch a handrail I remind myself to wash my hands, good.

 

Going Back to Hell (2)

The plane pivots on its wheels, on the runway, like a cannon butt pointing south. At once we are in the air, lifted, and the sun makes a shadow of our plane on the clouds, a cartoon-plane, and the sun makes halos around the plane, round rings of rainbows: we are in the bull’s eye. And below, the cranes by the shipyards are perched like long-necked dinosaurs, the homeless stirring in the dark beneath, their senses battered-dead, still alive.

The Earth is a map of wrinkled brows and tufts of hair, holes filled with gray and blue, pock-marks made by man. We are inside the shadow of the cartoon-plane and we are in the real plane, too. We carry on the currents a massive metal bird at the height of the horizon, mountains our play-things, the snow on the ridges just for show, made from foam, ours for the taking, hours before the show.

Killing Time, Making Time, Wasting Time

I don’t know what it’s “about.” That’s what people want to know when you say you’ve written something, that’s the first question. Is it published, what’s it about?

I don’t make time for a pipeline, for blog posts. I spin a prism and hope to catch something. If I’m doubtful (like now) I start the night before. I’m picking around the corners for a secret trap door that opens somewhere else.

In an hour, we leave for the school musical. Between now and then, we need to eat and I need to suck down a beer. The other animals have been fed. I’m saving time now, for tomorrow, so I don’t have to worry about a cold engine when I sit down to write, before work.

It used to be life or death for me when I was younger, but then I got scared, gave up. It’s life or death again. It always is.

 

Going Back to Hell (1)

The sales guy wears his sunglasses on the back of his head when he’s not wearing them on his face. He’s got product in his hair, tanned year-round, upper 40s, looks better than me. Doesn’t work as hard.

He rides shotgun and we ride in the back. The small talk starts: what time did you guys have to get up to catch your flight?

He says, there’s only three reasons I get up that early and I can’t say the third in front of a lady. He looks at Donna, who’s driving, and we all chuckle.

We get to their facility, to his lair. I’m in the hands of a seasoned sales guy, everything is smooth, no problem. We talk about fishing, hunting, sports. Story-telling. I fake listening, and nod a lot.

You develop relationships with these kinds of people, you have to if you’re going to hire them, and the reason they’re good sales people is they’re good at being people, even if you don’t like the kind of people they are. They’re good people-people.

I like him for that and I can trust him, to an extent. In some ways I feel like Frodo Baggins, and the ring in my pocket is the other half of his deposit.

Drug Friend

Peel held his arm out to me like a piece of meat, like it wasn’t his, like it was something he found. He looked to me for a reaction at what I saw: the spots along his veins, scarred over, purple. He was looking for answers, trying to understand through me what I saw, why he did it. I didn’t have any answers, I didn’t know.

He gave me a brass cracker for whip-its when I moved to Philadelphia. I didn’t need one, but kept it because it was from him. The strands of his hair fell loose from his pony-tail and the bags under his eyes took on more folds when he was high. He got slow and languid, distant, compliant.

His wrists were thin and his forearms were strong from playing pool, that stern poolroom look with his foul-mouthed girlfriend and ten-speed parked outside without a lock.

Peel wanted a friend I think, but didn’t know how. He wore the same sweat shirt every day, kept to the shadows, and knew his time on Earth was brief. He was an alley cat who disappeared with no pictures, just one letter that says ‘brother’ on the envelope, in the line above my address.

Quality, Popularity

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These two don’t always go together. Businesses that grow from a quality product struggle to maintain it once they get big; they pay consultants to help them remember what it was like to be small.

Morrissey said, “Fame, fame, fatal fame…it can play hideous tricks on the brain.” They also named a record “The World Won’t Listen,” because they couldn’t understand why they weren’t enjoying any commercial success.

Two of the times I saw Bob Dylan play, he massacred his most popular songs by playing them at a faster tempo, to the point they were almost unrecognizable. He seemed resentful about requests for popular songs, and chose obscure ones instead, as a kind of “F you” to the audience.

The Stooges have a new album out, more than 40 years since their first. The NPR interviewer called it “vintage Stooges.” Is that the best you can be, to sound like how you used to sound?

Don’t confuse the quality of your art with its popularity. Remember how many people will show up to watch bull fights, fake wrestling, boxing matches, and car accidents.

Before there was a name for it

I didn’t know the name for it: 14 years old, spring, going out with a girl on a date, getting a ride to the movies.

Innocent love, before it gets complicated with sex. Crawling all over each other with our tongues out, then riding home in the backseat of my parents’ car with the windows down, holding hands and hearing Lou Reed for the first time, the sun still out after nine.

The Hyphen

Getting pissed off about punctuation feels petty; it’s often something more. I’m having a brochure produced for a real estate convention in Las Vegas, and we’ve gone back and forth with about 10 approval cycles in the past four weeks.

I have no beef with hyphens as long as they make sense. There’s also the city-cousins, the en-dash and em-dash (the latter I went through a phase with, when all my writing was fragmented and required duct tape), and if you can speak to the differences among the three I’m sorry, but you’re a dork.

So I got into a spat with the ad manager who’s getting my brochure produced. I went down and back to Utah in a day, got stuck at a stupid airport in a town you’ve never heard of (St. George), an airport with no restaurant, no bar, only concession machines and boxes of Kleenex on all the tables in the waiting room. The tissues are for people like me, sad there’s nothing to drink.

I get yet another “Final, final approval” email subject line and I see the goddamned hyphen, right there on the cover: Real-estate site opportunities.

OK, it’s technically right because real estate in this case is an adjective but I’m not going to explain that to anyone. I’m going to bet instead there’s no one who’s going to say hey Bill, Real Estate in this case should be hyphenated because it’s describing a noun.

So what’s behind my anger and my unfortunate, crisp email is likely something more. I feel a sense of pride and ownership in this real estate brochure, that describes the needed setbacks and site requirements for drive thrus and kiosks. The hyphen shouts, “look at me, look at me!” But I don’t want that kind of attention. We don’t need to be right, we need to be normal.

I like the ad manager and they did a nice job on the brochure. I was a bit of an ass-hole on e-mail, using my gift of language as a dark art. I owe her a coffee. Any email response that begins “Alrighty then…” suggests you’ve crossed a line.

The Service Elevator

I work in a 10-story, 100 year-old office building south of downtown Seattle. Normally, I take the stairs or ride the elevators. This past week, I’ve been using a service elevator to get down to the loading dock.

There’s a different tone on the service elevator. Most people don’t even know they exist: you follow a sign that says “area of refuge” with a picture of a person in a wheelchair on it. It’s where the disabled should go during an earthquake.

You have to press a Call button to get the elevator, then wait. It’s a large, deep chamber once you get in, with a sign warning about what to do in case of entrapment.

I ride the elevator with electricians and caterers: those who service the building from behind the scenes. They all seem to know each other, and correspond like characters from Downton Abbey, with a sub-plot acknowledgment of life outside of work.

We’ve set up prototypes of Starbucks drive thru signs on the first floor, in the bowels of the building, in a cage we’re leasing from the land lord. There are rat traps in the corners, guys with tattoos on forklifts, and the occasional sound of someone belching in the distance, behind a blue tarp, sorting mail.

I hired a GC and his counterpart to help us erect a 10-foot height restriction bar, 250 pounds, with four bolts and a base plate.

Joel brought a couple milk crates he used to prop it up, and his counterpart began making references to butt crack and lyrics by the band Rush. Part of me wants to work with the service people: to remove myself from the world of posturing and ambiguous office vocabulary. Another part of me knows I would go insane.

 

It’s time to go

I waited for the bus uptown to get my teeth cleaned, and realized I have to do more with my life than project manage drive thru sign installations. Good money does not a good life make.

I sat in the waiting room at the dentist’s staring at the receptionist desk, dulled by the radio. The hygienest was rough with my lips and made small talk, asking questions like where do I work at moments when I couldn’t answer, so I just grunted.

I hurried down the street to get the bus back to the office and a black guy stopped me. I knew he wanted money, but I was stuck on the thought of starting a project to write about the homeless, and so I listened. He could be my first subject.

He just got out of the hospital and needed 10 dollars to stay at a shelter up that way. I asked why he was in the hospital and he looked away, looking sad, unable to speak, about to cry. (I realized it was the state hospital, and felt bad for asking. I touched him on the shoulder and said it’s okay, you don’t need to say.)

I showed him my wallet and this was my last dollar, but he urged me to go to the ATM and get more, I said no. He didn’t say thanks for the dollar, he just looked upset.

I waited for the bus and stood in the shadows, brooding. A woman got on and started talking, and never stopped. She talked and talked and talked: blond pigtails, blue eyeshadow, plastic bags full of clothes. The guy across from her just nodded.

She said The Enemy can’t give you messages in dreams, only God can. And then she looked at me and said, Because Life’s The Choices You Make, then got off the bus.

We waited at the railroad crossing and I looked at the Mexican guys in a truck idling next to us with their lawnmowers and weed whackers. It’s time to go. Am I unravelling, or starting to bloom?