Showing posts with label Margaret Gunning. Show all posts
Showing posts with label Margaret Gunning. Show all posts

Sunday, June 21, 2020

BUS PEOPLE: a novel of the Downtown Eastside - Part Three





This is a serialized version of my novel Bus People, a story of the people who live on Vancouver’s Downtown Eastside. The main character, Dr. Zoltan Levy, is loosely based on author and lecturer Dr. Gabor Mate. It's a fantasy and not a sociological treatise: meaning, I don’t try to deal with “issues” so much as people who feel like they’ve been swept to the edge of the sidewalk and are socially invisible/terminally powerless. I’m running it in parts, in chronological order so it’s all there, breaking it up with a few pictures because personally, I hate big blocks of text.

Margaret Gunning


Bus People: a novel of the Downtown Eastside 


Part Three


"No one is as capable of gratitude as one who has emerged from the kingdom of night." Elie Wiesel

Porgy


Porgy does take the bus once in a while, if Aggie is around to keep him company, but he’s really shy and hardly ever goes out.

He spends most of his time in his tiny little room at the Portman on the computer, looking up sites on the internet. His latest fixation is colonic cleansing. Porgy has become obsessed with his colon, that long and accommodating inner passage that marks the final destination-point for our weekly groceries, taking out the garbage for the body because, after all, no matter how humble the job, somebody’s got to do it.

Or at least, it’s supposed to. Now he’s not so sure. Now he thinks he may have 40 pounds of impacted fecal matter lodged in his abdomen. Or maybe only ten, but that’s bad enough.

Porgy didn’t always have this interest, or hobby, or proclivity, or whatever you want to call it. He was on a medical site one day looking at pictures of people’s insides. It was an extreme site, meant mainly for doctors; surely the average lay person would get sick looking at these things, full-colour diagrams of cancerous tumours and ulcerations and fulminations, and something called megacolon: constipation so extreme it causes the abdomen to balloon like a fifteen-month pregnancy. He was staring at the most extreme of the diagrams, something called, incredibly, fecal aspiration: literally, choking to death on your own shit.

Actually, it was a series of four diagrams, depicting a colon slowly becoming more and more plugged and engorged, until the inevitable happened and everything began to back up like traffic on the Lion’s Gate Bridge during a bad accident at rush hour.

Porgy sat there with his mouth open in astonishment as he read the following information: “This exhibit features multiple progressive views of the female abdomen revealing severe constipation and fecal impaction in a patient. Stages of progression show how over time the fecal matter backs up throughout the digestive system until it reaches the esophagus and oropharynx where it enters the trachea causing a fatal blockage of oxygen.”

No shit.








Over to the right of this astonishing display was a small clickie, an innocuous-looking link that said, “Thick, dark and in your gut.”

Well, he just had to click on it, being intensely curious, and what he saw would have made his hair stand on end if his hair wasn’t already standing on end.

When he clicked, he immediately read this “medical fact”: “Most people have 5 – 10 pounds of matter stored in their Colon. According to autopsies, John Wayne had 40 lbs. and Elvis had 60 lbs.” This was reported in the January 11, 1997 issue of USA TODAY, so it had to be true.

Porgy seemed to recall that Elvis croaked on the toilet, and if he was trying to push out a 60-pound turd it’s no wonder he fell dead on his face with the effort of trying to get it out. And everybody knows John Wayne lived on nothing but beef and booze. The consequences of such bad living habits were illustrated in gut-lurching colour on this site: “SEE these actual photos of REAL fecal matter eliminated during a routine cleanse!”

Porgy couldn’t begin to describe it, except to say that it looked like a convoluted mucoid projectile straight out of The Exorcist. But it got worse – or better, he couldn’t tell which; there were more photos, and he just had to click. He couldn’t tell if these people were eating sacks of mucilage or buckets of bolts, but their doo-doo looked like a major train derailment.

The text was equally gut-lurching. It explained in layman’s terms that the typical North American’s colon is a putrefying mass of impacted gunk and 25-year-old sewage hardened into unpassable concrete, thick and black and hard as old truck-tire rubber: “One autopsy revealed a colon to be 9 inches in diameter with a passage through it no larger than a pencil.”

Porgy was starting to feel a bit faint. But there was an answer: Colossal Herbs! All he had to do was lay down $89.50, and in five short days all this crap would come spewing out, decades worth of impacted mucoid plaque that had been steadily accumulating on the walls of his colon since he took his first bite of solid food. All he had to do was swallow a few capsules – all right, quite a few; all right, really a lot – and out it would come, the Loch Ness Monster in fecal form, along with (just for an added thrill) a few intestinal parasites, “liver flukes” and the odd tapeworm.

Porgy was particularly taken with the testimonials, expressed with a fervour which bordered on the evangelical: “I can’t even begin to express my gratitude without extreme emotion for the blessed gift that the creators of Colossal Herbs have given fortunate people such as myself. . . I am amazed at the old rubbery mucoid waste that has been coming out. I even had to ‘pull’ some out as it was left hanging in the colon and would not come out on it’s (sic) own. . . I couldn’t just leave it there! It was like the afterbirth from a calf! Oh my gosh! I tugged gently and. . . “ But by this time Porgy was clicking away, ordering his first round of purging pills from Colossal Herbs.

When the package came in the mail a couple of weeks later, his heart began to pound. His head spun a bit at the list of ingredients: aloe leaf, cascara sagrada bark, Chinese rhubarb root, Barberry root, Dandelion root, Fringe Tree root bark. . . This was all nicely bound together with psyllium fibre and bentonite clay, the equivalent of swallowing a wire brush with a lead sinker attached.

Porgy couldn’t wait to see if it would really work, if his results would be like the internet lady’s: “compacted black-green, rubbery, gnarled and spine-like. . .It felt just amazing to know that it was OUT of my body!!!”

So Porgy dutifully fasted for a day, drank nothing but lemon water, swallowed his first handful of pills, and waited.

Nothing.

No horror-show spewings, not even a normal old clunk. He drank more water. Still nothing. He took the next dose of capsules, then the next.

Hmmm.

And then.

The ground began to shake.

Porgy jumped out of his chair.





He ran to the toilet.

He jerked his sweat pants off, sat down hard, held on the edges of the seat, and prayed.

And:

Ker-floooooosh.

Wah! It was one of the most intense experiences of his entire life. This was better than any barium milkshake, an evacuation the likes of which he had never known.

Hallelujah! His bowels were singing the chorus from Messiah as they joyfully released their load. He felt pounds lighter already, though he chickened out on looking at the results (and he wouldn’t photograph it and post it on his web site like some of these people were doing; he wasn’t that obsessed, not yet anyway) and quickly flushed it down.

And flushed. And flushed. It took several tries to get rid of all the evidence of his first purge.

Joy turned to dismay when the same procedure repeated itself a half-hour later, then again. . . and again. . .and again. He soon realized he could not afford to be more than ten steps away from the toilet for the rest of the day. When agonizing cramps set in, his elation turned to anguish, then fear. Perhaps the bentonite clay was disagreeing with him, or was it the cascara sagrada bark?

Over the next 24 hours his gastrointestinal system slowly turned itself inside-out, while he whimpered on the toilet seat, clutching his tortured abdomen as it rumbled nastily in irritation.

It was an awful, gut-rending, cold-sweat experience – absolute agony. And Porgy couldn’t wait to do it again.

For the site recommended regular “cleansings”, particularly if you committed the heinous sin of eating meat. Porgy tried not to, but every once in a while his lust for a Quarter Pounder with cheese washed down with a triple-thick strawberry shake got the better of him. Oh, terrible! Glue and goo, a disaster for the alimentary canal, soon to be converted into bituminous bricks of shit virtually impossible to evacuate.

And so, more pills.

“Aggie. I’ve found this stuff on the internet, it’s absolutely great.”

“Oh, hey, Porg, I don’t know about this. Aren’t you spending an awful lot of money here? You don’t have a lot to throw around.”

“But this stuff is saving my life. You should give it a try some time. You’ll be amazed at what comes out. You’ll get rid of 10 pounds of accumulated mucoid plaque in only five days.”

“That doesn’t sound very healthy, Porgy. How much did you pay for this stuff?”

“It’s an investment in my health, Ag. You can’t put a price on that, can you? It’s all good.”

This is one of those rare times when Aggie has been able to coax Porgy out of his hidey-hole for a little outing. The Number 42 roars and rattles along Hastings Street past the bombed-out storefronts and bizarre, hallucinogenic-looking murals. It’s pretty early in the morning, some of the night girls are still out, wearing extreme clothing, extremely short or extremely tight or extremely black or extremely full of chains and studs, standing in that particular hip-jutting, shoulder-thrusting way that says, I’m for sale, come and get it. Aggie looks at them sometimes and tries to picture them as little girls, maybe at a birthday party, blowing out candles, playing pin the tail on the donkey. Nobody plans this, nobody plans to be a night girl when they grow up, it just happens, it happens the way water swirls down the drain, it happens because it feels like there is no other place for them to go.

Aggie blinks a couple of times. She realizes that there are blank spaces where many of the night girls used to be: a sort of dotted outline, a cutout, a non-presence, and these are the ones, their count rising all the time, who ended up ground into pig feed on a Port Coquitlam farm.

But no one knows about that, and if anyone does know about that, no one cares about that, and if anyone does care about that, they’re wasting their energy on hopeless cases, so why should the cops keep on investigating it anyway? Some things are just too horrible to be true: so I guess they can’t be. So I guess they aren’t.

Porgy drones on and on about his colon and how whistle-clean it is now, and how he’s committing himself to a cleanse at least every three months, maybe more often if he can afford the $89.95, while Aggie wonders why a colon needs to be so whistle-clean to begin with, it’s a waste disposal system, for God’s sake, and you don’t need to eat dinner off it, and besides, she is worried that Porgy is going to put himself into the hospital if he keeps this up.







Nobody can quite figure out exactly what the deal is with Porgy Graham. He isn’t a drug addict exactly, though he’s been stoned more than a few times, it’s true. But he sticks mostly to pot, never touches heroin or cocaine, and has only done LSD twice. He isn’t a schizophrenic, nor even “schizo-affective”, the label Aggie has to wear to get her cheques. But there doesn’t seem to be a Porgy-shaped space anywhere in the world; he is forever on the outside of things, nose pressed against the windowpane. Maybe it is his colour; Porgy is not black, in spite of his name which is a bit of a cruel joke. He used to be called Porky, because as a teenager he was kind of fat (and his real name is Sylvester, which he would really rather not tell anyone), and somehow or other the k just slid into a g-sound, easier to pronounce maybe? But only a little less cruel. Porgy is what used to be called a mulatto, but that’s not a very good word any more, it’s just offensive in a way nobody can quite explain. Some would describe him as coffee-coloured, but with a double shot of cream. (And mulatto does sound sort of like a kind of coffee: mulatté?) His features are an interesting blend of slightly exotic Caribbean and dull ordinary Caucasian, his eyes greenish-brown, his hair coarse and upstanding as unravelled wire. The Vancouver poet Wayde Compton might describe him as Halfrican, and Porgy would get it, he’d be amused by the term, maybe even flattered.

Today he’s going to the flea market with Aggie, a long trip that requires a couple of transfers, and it freaks him out a little. He gets hassled on the bus sometimes, picked on, because he’s different, he’s coffee-coloured, and he looks a little dazed, a fallen-from-the-nest look, like mild shock. The street singles out the vulnerable and savages them. Porgy has no street smarts at all. It’s a wonder he has survived this long. Aggie falls into the role of protector with him, even though she’s supposed to be the handicapped one, “mentally ill”, on long-term disability, while Porgy lives off cheques from his Dad, a mysterious, absent figure who lives in Georgetown, Guyana with a white lady (though not Porgy’s mum).

Porgy’s Dad was not around much when he was a kid, and Porgy has never been able to decide whether that was a good thing, or a bad thing. When he was around, it was confusing. He could shower his kid with presents, lavish him with attention, then coldly turn his back and disappear for a couple of years. The fallback system was a series of foster homes that did the usual kind of damage, from which Porgy has never been able to recover.

Now all he gets from his Dad is money, but it’s something, it helps him get by. He guesses he’s lucky, compared to a lot of people who live around here.

Porgy’s so scared when the bus rounds the turn from Hastings onto Granville, he actually grabs Aggie’s hand. There’s something childlike about him, for sure, even though he’s pretty smart, he’s not backward or anything like that, far from it, he was even diagnosed gifted as a child, one of the worst handicaps a person can have if they’re the colour of coffee with a double shot of cream, or so Porgy thinks to himself on the days when he gets depressed, on the days when this grinding outworld existence begins to wear him down.

“I don’t like it, Aggie.”

“S’okay, Porg, we’re just going around the corner. Granville Street is great, we can look in all the sex shops. Ever been inside one of them? They have every kind of vibrator you can imagine. Look, there’s where the old Caprice Theatre used to be. Remember the Caprice? Too bad they turned it into a nightclub. It used to look like Elvis’s bathroom.”

“Yeah. I remember. Didn’t we go there once? It had a big silver curtain – “

“Pink floral walls – “

“Cherry-coloured seat covers – “

“And it was cheap – “

“- and good – they showed good movies there, I remember – “

“- and then they ripped it all out to make another bar. Sad, eh?”

“Yeah. I guess so. I don’t know, I don’t go to the bars.”

“Me neither. They scare me.”






He seems to settle down after that, though it’s a long, bumpety ride out to the big low-slung building advertising BARGAINS, BARGAINS, BARGAINS, the flea market which swarms with people even at this hour of the morning.

It starts almost right away, and Aggie’s heart sinks: “Oh, look-it the nigger with the fuckin’ bag lady!”

“Hey bitch, you like dark meat?”

Aggie and Porgy try hard to ignore the taunts of the scary-looking young men who run in a kind of pack, seven or eight of them, it’s hard to count because they keep milling around, they’d be no good at all in singles, never dare to utter a word to anyone, but in a cluster like this, in a pack, they’re potentially lethal, and Porgy knows it. He sees one of them lift a man’s pocket watch off one of the stalls, but doesn’t dare say anything or even reveal that he has noticed it. His heart is beating in his ears and he feels a little faint.

One of the scariest-looking guys starts poking him with his index finger. ”Hey. Nigger. Look at me, nigger.” Porgy blinks back at him, dazed with fear.

“Looks like a half-nigger to me.”

“Oh my God, it’s half a nigger!”

“Kindly get your hands off my friend,” Aggie says fiercely, and Porgy’s heart jumps into his throat. Well, what can they do to her? They can do anything they want to him, it seems, at any time of the day or night, but she’s a chick, and this is a public place in broad daylight, and –

“Fuck off, bitch.”

“We’d be happy to.” She grabs Porgy’s hand like he’s five years old and steers him firmly through the swarms to the table where she picked up her collection of Edison Blue Amberols.

“It’s okay, Porg, they’re assholes, don’t pay any attention to them.”

“Yeah. Yeah.”

“Take a look at all this, will you? Man, they’re beauties.”

Displayed on the table is a stunning collection of old machines: ancient gramophones, Edison Triumphs, Berliner Leverwinds, a Grafonola 200, Victor Monarch Talking Machines, a Brunswick, a Hexaphone, an Amberola, a Zon-o-phone, and something called a Columbia BO. Some have horns inlaid with multicoloured mother-of-pearl in floral designs, so beautiful they make Porgy feel a little woozy. They give off the comforting antique aura of aged wicker chairs and your grandmother’s old foot-treadle sewing machine.

“Awesome.”

Aggie wants this one over here, this little beauty, an Edison Bannerfront Standard with a gorgeous, polished brass horn, but it says $75.00 on it, and, no way. She has almost $50.00 scraped together over weeks of hardship, no lunch and cutting back on smokes. Even at that price, it probably isn’t in good working order, it looks broken somehow, but Porgy can tinker, he’s good with his hands, he’ll get it working.

“I’ll give you twenty bucks for it,” Aggie says to the little round, balding man behind the table.

“You tryin’ to Jew me down?”

Aggie gets a little tired of it, the casual, everyday racism, though it’s nothing to the more formal, “dress” racism that causes certain people to be killed. “I’m just trying to come up with a fair price for a machine that probably doesn’t even work.”

“Seventy-five is giving it away. This is a valuable antique, one of a kind.” The man touches it lovingly, as if he hates to part with it for any price.

“Yes, but it should be functioning, shouldn’t it? I can see that it’s broken. I just want it for a door stop anyway.”

“You’re crazy. I’m not lettin’ it go for a penny less than $60.00.”

“Oh.” Aggie makes a show of sighing, of rolling her eyes. “Tell you what. Give it to me for thirty, and I won’t spread it around that you sell damaged merchandise.”

“Fifty-five.”

“It’s a piece of crap and you know it.”

“Fifty?”

“Twenty-five bucks in your hand, or this useless piece of shit on your shelf.”

He doesn’t say anything, just sticks his hand out for the money.

She darts a tiny, sideways glance at Porgy, who is trying to restrain himself from dancing with joy.

And oh, the ride home is fun, with the Edison Bannerfront Standard in an old cardboard box that used to have rice in it. They chatter excitedly about what they’re going to hear: sounds from 1910; from 1900; from 1890! They want to push the envelope, hear sounds from as far back as possible, right back to that primal old Edison tin-foil shout, the little lamb, the HA, HA, HA. They’re going to listen to recordings so old, you can barely hear the music for all the surface noise, the sizzle and fizzle and pop-tick, pop-tick, recordings so primitive they’re full of thunks, clunks and bumps, with orchestras crammed down into a shoebox, strangulated tenors and banjos plucked by old black musicians dead for more than a hundred years. It’s going to be so cool, it’ll hurt.


Next . . .







Bus People Part One

Bus People Part Two

Bus People Part Three

Bus People Part Four

Bus People Part Five


Bus People Part Six

Bus People Part Seven

Bus People Part Eight

Bus People Part Nine

Bus People Part Ten

Bus People Part Eleven

Bus People Part Twelve


Saturday, June 20, 2020

BUS PEOPLE: a novel of the Downtown Eastside - Part Two




This is a serialized version of my novel Bus People, a story of the people who live on Vancouver’s Downtown Eastside. The main character, Dr. Zoltan Levy, is loosely based on author and lecturer Dr. Gabor Mate. It's a fantasy and not a sociological treatise: meaning, I don’t try to deal with “issues” so much as people who feel like they’ve been swept to the edge of the sidewalk and are socially invisible/terminally powerless. I’m running it in parts, in chronological order so it’s all there, breaking it up with a few pictures because personally, I hate big blocks of text.

Margaret Gunning



Bus People: a novel of the Downtown Eastside 

Part Two

"No one is as capable of gratitude as one who has emerged from the kingdom of night." Elie Wiesel


Aggie

Portman Hotel, Vancouver, B. C.
September 7, 2003

 

          Cylinders. The backpack was full of cylinders.  It was not full of junk.  Not not not.  And they’re not just any old cylinders, they’re Edison Blue Amberols, the best kind you can get.

     I have to find more Blue Amberols.  It’s just a habit, I can quit any time I want to, just a little quirk of mine, collecting.  I collect all sorts of stuff, birdcages made out of bamboo, salt-and-pepper shakers shaped like people, macramé handbags made back in 1973.  My room here is full of stuff,  the social worker doesn’t like it, she complains about it all the time and keeps telling me to clean it up, get rid of it all.  But it’s cool, there’s no rats or anything, it isn’t dirty, I keep order in the place.  Sometimes stuff falls down, there are loud crashes at night that disturb the neighbours, particularly Porgy who lives just under me and is a light sleeper.  But at least I know where everything is.

     I didn’t even know what a Blue Amberol was until I started going to flea markets about a year and a half ago.  I saw these ornate-looking canisters with flowery writing and ornamentation all over them – they were beautiful, and I just had to buy one of them, not even knowing what was inside.  It was only a buck and a half, what the hell, I’ll go without lunch tomorrow.  Maybe it’s snuff or something, I thought, something Victorian, or at least Edwardian, really old and maybe even valuable.

     But it wasn’t snuff at all.  It was a dusty old cylinder full of grooves.  Took me a minute to figure it out, that this was something like a record, or what came before records, the first medium for recorded sound.  I felt like I had seen one before, that I remembered it from somewhere.  I had Porgy go on the internet and do a search.  I don’t have a computer, I don’t know how Porgy can afford one, but he does and is obsessed with it.

     Anyway, he tells me that this isn’t just any sort of flea market hunk of junk  but a Blue Amberol, a particularly deluxe (back then) kind of cylinder recording popular in the early 20th century.  They weren’t the earliest recordings – those were made out of brown wax, with a few really early, rare ones made out of yellow paraffin, but even before that, they used tin foil.  No kidding – tin foil on a rotating cylinder, scratched with a needle that picked up vibrations.  The basic principles of sound recording.  Think of Thomas Edison at Menlo Park, bellowing into his new contraption:  “MA-RY HAD A LIT-TLE LAMB.  ITS FLEECE WAS WHITE AS SNOW. AND EV-ERY-WHERE THAT MA-RY WENT, THE LAMB WAS SURE TO GO.  HA, HA, HA.”  Cranking away at a variable speed, so the voice sounds freaky, all distorted like a giant’s voice, as well as tinny and really far away.





     When I was little, old records used to scare me.  I used to think. . . never mind what I used to think.  I had a hell of an imagination. It got me in trouble all the time, at school, but even worse at home.  My mother used to say that I made up stories, but to me, it was all completely real.  I thought the voices on those old 78 r. p. m. records had some sort of spooky power.  Like it was a kind of time capsule or something.  The singing ones were weird enough, they all had that muffled quality like the sound was coming out of a tiny little closet,  but the spoken word ones, they really freaked me out.  Used to make me run out of the room, but my Dad, he’d make me listen to them, listen to Caruso sounding like he was singing inside a cardboard box, or Dame Nellie Melba warbling away, or something called the Wibbly-Wobbly Walk – God, the Wibbly-Wobbly Walk scared the living shit out of me.  Couldn’t stand it, but my Dad made me stay and listen.

     It was his collection and he was convinced it was worth thousands, but now that I know something about early recordings, I can see that what he had was virtually worthless. Too many scratches, ticks and pops.

     Dr. Levy, the one they call “Zee”? He’s helping me deal with memories.  He’s good.  I mean, he’s good if you’re in pain or trouble, if you’re not, then forget about it, he can be a real hardass, it’s surprising how cold he can be.  But I’ve seen him deal with guys so far gone from AIDS, the shit was pouring out of them like lava, and he never bats an eyelash, just rolls up his sleeves and cleans up the crap like it was nothing.  I like Dr. Levy.

     But this guy on the bus today, this Szabó.  I know that’s his name, because people talk about him.  He has regular habits, I’ll say that about him.  I don’t know where he goes exactly, somewhere around the Sunshine Hotel area, the real asshole of Vancouver, Zeddyville they call it, ‘cause Dr. Zee cruises the place all the time, looking for broken people to mend.  It’s his habit.

     Mine’s Blue Amberols.  I’m glad this Szabó can’t look at me,  because I just hate it when people stare at my backpack, poke at it or ask what’s inside it.  I had fourteen Blue Amberols crammed in there today,  and never mind that I haven’t been able to afford a player yet, it’s only a matter of time.





     I guess listening to these things is going to scare the living shit out of me.  I take five hundred milligrams of Seroquel every day, Dr. Zee is trying to wean me off it, he says I might have been misdiagnosed, but I’m not so sure about that, I guess you could say I scare easily,  I was born minus a few layers of skin.  But this Szabó, he has no face, or that’s what they say about him anyway, even though he sings.  I’ve heard it, we all have.  He sings without words, of course:  “nggg, nggg, nggg” – it’s creepy, but you know something, he has a good voice, and a Hungarian accent, even with no words.  I wish he’d go see Dr. Zee, he’d be able to help him.  That guy could’ve helped Hitler get over his anger problem.  Maybe he could write things down on a piece of paper or a chalkboard, I don’t know.  Better than begging, which is what Szabó does for a living now that he can’t see to paint.  It’s sad.  I draw a disability cheque, it’s not much but it keeps me going, along with whatever stuff I can make or sell or trade, even though I’m not allowed to see my kids which sometimes makes me want to slit my fucking throat, just end this, end it now.  But Dr. Levy says don’t, Dr. Levy says don’t think that way, he says I’m valuable, he says there’s only one of me in all the world, that human beings are irreplaceable, so I guess I better trust his judgement which might be just a little bit clearer than mine.
     Anyway, Szabó gets on the bus this morning, it’s one of those stinky wet mornings when everything’s dripping, and he sits right down beside me like he’s done so many times before.  Like I say, regular habits.  And Szabó is clean, not like a lot of the people who take the bus every day; he doesn’t ever smell, he looks after himself. I don’t know how he does it, but he does. Pride.  He must have hair still, I mean, the back of his head must still be OK, just his face is missing,  no big deal, nothing serious, eh?  But then a guy across from us on the sideways seats says, “Hey, fucking freak, you on a pass from the sideshow? Gettin’ it on with the Schizo Lady?”  Street people have got radar, that’s how they can tell.

     “I beg your pardon, buddy, if you wanna see a freak, I think you should maybe try looking in the mirror.”  I’m usually not this bold, but poor Szabó can’t speak up.  Can’t defend himself, but he can hear everything.  It’s cruel.  This guy across from us, he looks like a bad bowel movement after too many blueberries, long and snaky and tattooed dark indigo all over every square inch of his skin.  He’s a living shit.  And he’s calling us freaks.  Jesus.  I keep trying to tell Dr. Levy what it’s like, but he just shakes his head.  Says people call him a Kike or a Yid or a Heeb sometimes, but it’s not the same, it’s not.  “Hey! Auschwitz!” one of them said to him once – and, yeah, he is pretty thin, looks kind of undernourished. How does that go?  “He hath a lean and hungry look.”





     So the driver, his name’s Bert Moffatt, I know him ‘cause I’ve seen him lots of times before on the Number 42, he says to me, “Lady, would you kindly can the comments, you’re being abusive here.”  I’m being abusive.  If a schizo lady raises her voice even a little bit, she’s being abusive, she’s out of control, while this big blue-tattoo shithead over here, he can hurl insults at anybody he likes.  Why? I don’t know, I guess he’s supposed to be sane.  Probably a pimp, probably a heroin addict or a child molester or sells his grandmother for a hit of crack, but he’s allowed to say whatever he likes.

     Fuck it, I’m going back to the flea market tomorrow and buy that cylinder player I saw, it was priced at $75.00 which for me is a bloody fortune, and it looked busted, the ones that work cost way more than that and are out of my price range, but you can usually bargain with these guys, and I have $50.00 scraped together already, it took me months and months of going without smokes, and then I found a ring in the washroom at the Tinseltown Theatre, pawned it and got nearly 30 bucks for it which goes to prove that there is such a thing as Providence.   Porgy keeps me going on smokes, enough to stave off the worst of my nicotene fits, he’s cool about things like that, even though he never goes out, he’s glued to the internet all the time, reading up on mucoid plaque and colonic irrigation.  What a nut.  But he’s still kind of sweet.





Zeddyville

     They call it Needle Park, they call it Pigeon Park, they call it Zeddyville because that’s where Dr. Zee hangs out:  and it’s not a park at all, but a vaguely triangular slab of cement crusted in pigeon shit, draped and clustered with people nobody seems to want around.

     It’s a loitering sort of place, an unplace.  A dislocation. Calling it a park is an impossible stretch, for no green thing could grow here.  Dr. Zoltán Levy barely notices it any more. He has a very fast walk, but it’s not so he can get away from the horrors of the neighborhood.  It’s so he can zip from the Portman to the Sunshine to the Waverley Hotel to get to his patients, the people who are usually on their last gasp.

     Dr. Zee doesn’t step on the bus very often, but it disgorges passengers right outside his home base, the Portman, an armoured truck of a place, fortified, barred, battened down like the good doctor’s own bleak, unsmiling face.  He makes himself available to people, people like Aggie Westerman the chronic schizophrenic, and Porgy Graham who has a strange  obsession with his bowels, and Dave the mutilator who has his lips multiply pierced and chained together, so he can’t even eat without pulling all the studs out.

     Things happened to Dr. Zee a long time ago, everybody knows that, or at least they suspect it, though no one has any specifics, and he isn’t talking.  He “doesn’t have time for a relationship”.  That’s what he says when he is interviewed, which happens quite a lot now, because slowly but surely, Dr. Zee is  starting to become famous.  At least, Vancouver famous, and maybe soon, Canadian famous,  then the world.  He is working on a book that is taking him forever to write because he really doesn’t want to finish it, it’s got too many secrets in it, and he hates to make himself so vulnerable.  Yet he loves the vulnerable, holds his hands out to them, thick-fingered veterinarian’s hands that look as if they could pull out calves and shoe horses.  He gets what it is to be this hurt, this lost, and to keep on going.

     People ask him, often, if the work is depressing.  What depresses him is the question:  the implication that he is dealing with the dregs of humanity, and not a whole lot of bruised little kids in adult bodies, people who were fucked by their fathers or whipped senseless by their mothers or told they were useless piles of shit so often they began to believe it, or told that they never should have been born at all.  It does a bit of damage when you hear it often enough; it can warp a life into a howling parody, heroin squirting up through the veins to blot out the self-loathing for just a little while, a protected, peaceful while, until it’s time to start hustling again. The abyss of the heroin state is welcome, oblivion being far more bearable than whatever is in second place.





     Tourists come to Zeddyville because the area is a little bit famous, too, kind of like Dr. Zee himself, and even the Governor-General came once, on a walkabout like the Queen Mother, her face in a carefully-composed mask of what she hoped was concern.  It doesn’t smell too good down here, it smells like rancid piss at the best of times, human vomit, pot fumes and other things you can’t identify.  It’s a  raw wound, the walls of the buildings splattered in gory-colored murals and gang graffiti impossible to decipher, the strange hieroglyphics of the street.  You have to keep your cool in Zeddyville, not show any fear.  It helps not to make eye contact, as you’ll stare into an abyss, a vacuum, an absence in the eyes of every stranger that passes by.

     “Spare change?  Spare change?  Have a nice day.  Spare change?  Spare change?  Have a nice day.”  It’s a sort of mantra for a lot of people, a way to make it through to the next day of spare change, spare change, have a nice day.  Of course some of the people here are crazy.  There used to be a place called Valleyview, but they closed it down except for the really hard-core cases, and shouldn’t these people be integrated into the community anyway and not just institutionalized and kept out of the mainstream, hidden away like they’re frightening or shameful?  Now the dirty little secret of mental illness is an open secret, like Szabó’s face when it was shot off and blown to bits all over the blackened walls of his torched studio.  The walking wounded don’t have their intestines hanging out all over the  outside of their abdomen, like in a war, but they do have spilled psyches, their pain hanging out, their loneliness hanging out, and it bothers people, the normies, the civilians. Their faces broadcast what they feel:  for God’s sake get away from me buddy before I see myself again, before I see what’s really wrong with me and why I cannot find a place in this world, before I see that this is where I really belong. 

     For no matter how good I look on the outside, I am part of this whole deal that creates a Zeddyville in the middle of a glittering, prosperous, showcase city on the coast of the best country in the world, then forces people to live in it when living is just a simple, bare act of endurance.
  
     We shove them here, we forklift, steamroll, corral, push, shove, cram, then clang the gate shut behind them and then say, what’s wrong with these people, why can’t they get it together, why can’t they make something of themselves?

     Get a job!

     Leave me alone!

    NO, I don’t have any spare change, and put that squeegee away because I am not interested in the fact that you haven’t had anything to eat for four days!  Jesus, these people.
     Dr. Zee sees, hears, senses it all the time, a palpable sense of dismissal and fear echoes all around him, the long antennae sticking out of his head pick it all up,  whether he wants to hear it or not, but he keeps on walking fast with his stethoscope going bounce, bounce, bounce on his chest.  He doesn’t really have one around his neck, it just appears that way, it’s his sense of purpose, so intense and focused, it’s almost a buzz.  He doesn’t carry a black bag either, but he will go where the trouble is, he will go where the pain is, and down here, there is more than enough to go around. 

Next. . . 




Bus People Part One

Bus People Part Two

Bus People Part Three

Bus People Part Four

Bus People Part Five


Bus People Part Six

Bus People Part Seven

Bus People Part Eight

Bus People Part Nine

Bus People Part Ten

Bus People Part Eleven

Bus People Part Twelve


Thursday, February 16, 2017

Paperback writer: come take a look








































So what is this? Anyway?? For a long time, I posted a gif at the bottom of my blog entries, along with a link to my Amazon author page. It was a kind of signature, along with a little publicity for my actual work. So why did I stop? I got soooooooo sick of doing it, and felt it was so utterly futile ( I mean, WHO goes on my Amazon author page?) that I dropped it. But I was left with this super-cute collection of signature gifs. I have a few thousand gifs in my collection, most of which I made myself. It would be nice to think that SOMEONE might go on my page, just to take a look at everything I've written - and by the way, all three of my novels are still for sale! Maybe I'll start doing it again. Doesn't seem likely, but maybe.


Wednesday, August 31, 2016

Bus People: a novel of the Downtown Eastside PART SIX





This is a serialized version of my novel Bus People, a story of the people who live on Vancouver’s Downtown Eastside. The main character, Dr. Zoltan Levy, is loosely based on author and lecturer Dr. Gabor Mate. It's a fantasy and not a sociological treatise: meaning, I don’t try to deal with “issues” so much as people who feel like they’ve been swept to the edge of the sidewalk and are socially invisible/terminally powerless. I’m running it in parts, in chronological order so it’s all there, breaking it up with a few pictures because personally, I hate big blocks of text.


Bus People: a novel of the Downtown Eastside 

Part Six

"No one is as capable of gratitude as one who has emerged from the kingdom of night." Elie Wiesel


Aggie

Portman Hotel

October 31, 2003

Last night I dreamed about the Edison doll: and it was freaky, because the doll talked to me all right, but it said things it was never programmed to say, and even answered my questions in a way that made my scalp prickle.

This sort of happened once before, it was when I was eight years old and got a Chatty Cathy doll for my birthday, back in the 1960s. People don’t realize this about me, but I’m nearly 50, not 35 or 40 like they think. I don’t show my age, maybe a benefit of being schizoaffective, who knows. They say people in mental institutions and jails don’t age, they’re protected from reality, or is it just the fact they’re so far outside reality as to escape being marked in the face? Anyway, I kept telling my mother: Mum, the Chatty Cathy doll is talking to me.

Of course it is, Aggie, that’s why they call it a Chatty Cathy doll, it’s supposed to talk to you when you pull the string.

But Mum. I never even pulled it, and it talked.

Aggie, don’t make up stories.

I’m not! I never even went near it, and its eyes were following me all around the room!

Oh, Aggie. What are we going to do with you.

I told myself I had dreamed it. Did I dream it? The two worlds were muddled together sometimes. But whether I was awake or not, I heard it talk. I heard it say, don’t trust the grownups. I heard it say, keep one eye open at night. I heard it say, watch out, little girl. And: keep your head. Keep your head.

A suspicious sort of person, was Chatty Cathy, always on the lookout for danger of every kind.

Next day I found my doll hanging. It was dangling, hair all on end, from my big brother’s bedroom door-knob. He had made a little noose out of string, the kind he used at scouts for tying knots. I gasped and stepped backwards and nearly fell over the cat. 






“Watch out, little girl,” Chatty Cathy said to me in her freaky, squeaky, ripcord-strangulated voice. “Watch out for the people at home.” It was the kind of dream where I was paralyzed, unable to rise or to wake.

So this Edison doll dream was kind of traumatic for me. Brought back things I didn’t want to remember. I turned the crank sticking out of its back, and it recited this odd little poem, let’s see if I can remember how it went:

There are things in the world that we don’t want to see.

There are (people? Souls?) in the world that we don’t want to be.

The strange and the stranger are not what they seem,

And they all (something, something), lost in a dream.

It was almost like a song, a catchy little tune squeaked out by a doll that happened to be 114 years old, a little girl older and freakier-looking than your great-great-grandmother if she somehow managed to stay alive for 114 years.

The song explained a few things. It made a kind of sense to me. It is as if somebody tilted the chessboard, and all the unstable pieces, the ones with no solid foundation, slid down into a kind of crack. Anyway, that was the image that came into my head when the doll was talking to me in that horrible distorted voice. And even though this province now has a strange new ad campaign for the tourist industry with the motto, “This is the best place on earth”, there are those of us down here who might have another opinion.

It’s Halloween, which is probably what has got me so down today; I’m pretty sure of that, because I can’t help but think about Cameron and Suzanne in their costumes, I wonder what they’ll dress up as this year, they’re eight years old now, the same age I was when I got that stupid Chatty Cathy doll, and they’ll want to be something special, not just go as something off the rack from the Safeway store.

And the fact I haven’t seen them in so long makes me want to die sometimes, I’ve been judged unfit to be near them, but I swear, though I admit I don’t really remember it very clearly, that guy coming towards me on the street after dark looked exactly like my Dad. And it was self-defense, there was nobody around to bear witness, Dr. Levy believes me, but I kind of lost track of myself there, until I came to with handcuffs on, and very sore hands which apparently came from trying to throttle this guy to death.

The man’s a real asshole, verbally assaulted me and tried to touch me, but he was determined there were going to be consequences, and even though I didn’t do any time, I’m “watched”, I’m “monitored”, a social worker dogs my footsteps, and I can’t see my kids for the forseeable future, which means I have to assume Jamie is handling things, Jamie who wouldn’t know how to keep order in a home if his life depended on it. And yeah, he loves them and all, I don’t doubt that, and he has a career of sorts, playing the clubs and the street corners, but a jazz musician isn’t necessarily the best father-figure for two impressionable young kids. Jamboy, they call him – Jamboy Jarrett, with his mother-of-pearl saxophone that looks so awesome, like it’s carved out of alabaster or something, almost translucent. We did have some pretty good years, okay, some very good years before I got so sick, or at least it seems like it from where I am now, pretty much on my own. There was some bad stuff here and there, some “issues” as the social worker puts it, God how I hate that word, such a piss-ass term for stuff that’s so horrible. Being crazy is a big issue, apparently, though sometimes I think Jamie’s the crazy one, out there honking his brains out for spare change and a decent meal.

As for my cylinder project, I’m still waiting, the wait has been interminable, weeks and weeks, and Porgy is trying this and trying that, unbending paper clips, rigging up rubber bands, whatever he can think of to get the machine working again. He just got the bright idea of going on the internet to see if he can get some spare parts. Not very likely. The thing hasn’t worked since 1904 or something, no wonder he’s having trouble, being out of commission for a hundred years will do that to you. A century of silence. But think what it’s going to be like, when that baby finally begins to speak.






Szabó

What are Szabó’s thoughts?

What does he think about, a man who is unspeakable, with a crater instead of a face?

Even among the write-offs who prowl the gaudy medieval streets of Zeddyville, he is an extreme, an outcast among outcasts. But he does not sit there and think: I am an extreme. He thinks in Hungarian still, always has, always will, which is why Dr. Zee’s couple of sentences made his insides jump so hard. He’s wired for it, and also wired to create, not sit like this in a heap on the sidewalk like some Victorian curiosity transplanted 100 years into the future, wondering what his fortunes might have been in different times, when he could have charged admission for people to gawk at him.

As it is, they get to look for free, but some of them still drop toonies into his hat (a theatrical prop more than an item of apparel), perhaps moved by pity for the strange heap of humanity draped like some museum statue just waiting to be revealed for display. He sometimes feels tempted to unveil himself, but can’t quite bring himself to do it, not just yet. But one day, one day when the jeers become too much for him, one day when he has had just about enough of small token handouts and the meanness of pity, he’ll do it, he’ll pull the cover off and show the world what really happened to Szabó when he pointed the rifle at his chin and fired.

If you could watch time-lapse photography of the six hours or so Szabó spends on the street at his station, nothing much would happen. Mavis Potter recently discovered how time slows down to a crawl around these parts, how eventlessness becomes the norm.

There would be no shortage of activity, but it would all look the same. People would whir and whip by like hummingbirds in a time warp, whip, zip, whip, zip. Toonies would fall rhythmically from guilty fingers. The stream of human traffic would gradually slow down as the day wore on; some would deliberately choose to walk on the other side of the street, as the sight of Szabó sitting there faceless and stateless is just too disturbing for them to contemplate. Better they shouldn’t have to look.

This time, however, the ending is different.

This time, when the six hours or so is up, when he has enough toonies to cover his room and board for the day, plus food, and a little extra for the cheap alcohol he tips into his feeding solution as a special treat, he doesn’t go across the street to catch the Number 42 to take him back to his tiny little one-room apartment on Hemlock Street. He begins to walk towards the Portman instead. Inwardly he is quaking, his pride saying, no, no, don’t ask for help, you can do this on your own.

But something else in him, something in him that has had about enough, enough of this bad parody of living, is propelling his legs towards the clinic where Dr. Zee tries his best every day to control the runaway damage of the streets.

Come see me sometime, okay? You know where my office is.


If you don’t have a mouth, it’s a little hard for you to make an appointment. So Szabó just shows up, and as fate would have it, Dr. Zee is on the premises and not even terribly busy. Between catastrophes, he likes to say to his longsuffering staff, and almost a little bored.

Szabó suddenly appears in the doorway, startling the hell out of him. How did he get in? There’s a controlled entrance to this place, but maybe the guy at the door was too stunned to say no.

“Szabó Tamás.” He says it warmly, in the Hungarian way, last name first, first name last. It catches him behind the knees. How does he know? He knows. Szabó sways a bit, and Dr. Levy guides him towards a chair.

“I’m glad you came,” he tells him. In Hungarian: Isten hozott. Then realizes that two-way communication is going to be a little bit difficult, unless Szabó writes things down, perhaps.

As he is pondering this, and thinking of ways to overcome the obstacle, he realizes something, sees it in the bent shoulders, the head lowered almost as if in an attitude of prayer, the slight sound from a strangulated throat.

Even with no eyes, no mouth, no face, a man can still weep.







Zoltán Levy

Zoltán Levy feels that sense of privilege, of honour, that always steals over him when someone unburdens, opens themselves to him.

It is something about his face, perhaps; in spite of its battened-down quality, the hardness about the mouth, there is compassion written in the deep puckers in his forehead. The face suggests Elie Wiesel in its classic sadness, a Holocaust face, wrought by forces that crushed the life out of millions. People often feel compelled to share things with him, private things, agonizing things, secrets.

He recognizes this as a gift, but an uneasy one. Like most gifts, perhaps all of them, it has a cost. The weight of the world is on his shoulders, and he has the backaches to prove it. One can almost see the dotted-line borders of an invisible globe perched atop his not-very-powerful frame. Wiry, people call him; wiry and intense. One journalist compared him to a hummingbird, zipping around at a higher frequency than anyone else.

Zoltán Levy gazes upon the weeping figure in his office, and finds himself sinking into a powerful state, a deep state, a profound state: the therapeutic state, the place where he can help. This is his gift, the essence of it: the ability, or perhaps the willingness, to go there, to go where the trouble is, and for all his scattered attention, to make himself so fully present in the moment that he becomes a receptor for pain.

He knows that much has happened in this first session, though very few words have passed between them. There was simply no need, for something far more important has occurred. Szabó showed up. Showing up is the huge portion of life, which is what makes not showing up (also known as abandonment) so completely devastating. It is as if it’s the inverse of life, the opposite of love, if love has an opposite; not hate, for if we hate each other and are screaming and raging, there’s still energy, maybe even hope; but indifference kills, kills by not caring, by not giving a shit.

Dr. Levy sits in the warm aura of a weeping man, and feels gratitude for the moment, perhaps the closest he comes to prayer. He is not a religious man – too much has happened to him, he has seen too much to believe in a higher benevolence. But he is aware of spirit. More aware than ever now that he is older, in his sixties, the protracted ordeal of his youth far behind him.

Did such a man ever love? Could such concentrated intensity, such passion, never touch another human being? He loved once, make no mistake. The love was so intense, so profound, that it made itself manifest in the form of a child. Not a stone baby, not a papyraceous freak dry as the wings of a dead insect, but a warm flesh-and-blood little boy named Anton, the very image of his father, whom Zoltán Levy coldly abandoned as if he were some inanimate object, something to be tossed aside without a thought.






A canyon yawns between his therapeutic tenderness, the tears pricking his warm dark eyes as he watches Szabó weep in his office, and the utter disregard with which he walked out of Annie’s life forever, with not even a backward glance. For the truth is, Zoltán Levy isn’t the saviour of the mean streets so much as a first-class shit.

Annie was left alone. With a son. That bastard; that bastard. For this is the hard truth about Zoltán Levy, the truth he can’t outrun no matter how quickly he zips from blossom to blossom like a supernaturally-charged little flying machine. The damage he did when he turned his back was incalculable, and so casually done! That was the worst of it, the casualness. What happened to his conscience? Did the forces of history twist his head so violently that he lost all sense of what was right, or is that just an excuse, should we let this go by, shouldn’t he be held accountable for his actions, or his lack of actions, his lack of presence, which is in many ways worse than a death?

Annie wonders this; she wonders it all the time. She’s not living five thousand miles away, though she might be for all the connection she feels with the father of her child. No, she lives right here in Vancouver. But Zoltán Levy has found a way to compartmentalize this broken piece, this dead-ended, abortive love that caused him to coldly walk. It sleeps in a locked cellar in his mind, along with other things, including the memory of a potato, a fragment of potato he was saving to give to his mother, she kept saving food for him, he felt so guilty, so guilty, so now he would return the favour and keep this small morsel of food for her, hide it carefully in the rags of his clothing all morning even as he worked moving heavy stones from one part of the camp to another, useless, demeaning work, though it could be worse, some had to dig up Jewish corpses and move them from one part of the camp to another, so he should consider himself lucky, but at one point in a moment of weakness he reached in and fished around just to look at the potato, to make sure it was still there, and in a split-second impulse he nibbled on the fragment, and then nibbled some more, and before he knew what he was doing he had eaten it, he had eaten the potato he was going to give to his mother because the hunger was so overwhelming, and because no matter how much he loved her, his desire to live was stronger than his desire to save her.

Márta Lévai survived because she was just strong enough, and because she had a small son to live for. She survived to bring him over to freedom and a change of name, easier to spell, and not so Hungarian, a fresh start in a new country. She was one of the lucky ones, she made it through, and her son made it through, though terribly skinny, he’d never grow properly, he would always look stunted or starved all his life, but never mind, even her husband was spared, after a long and harrowing separation, and the family came back together again in 1945, it was like a miracle, a miracle of restoration. They never spoke of the war, but put it away and lived forwards, like walking with shattered bones. What were they to do? Cry for the rest of their lives? Not live, not take one step, then another – was that not letting Hitler win?

Hitler did not win, and the little reassembled family, the small sober-faced boy whom they called Tán-tán and his grateful shell-shocked parents, transplanted themselves to this strange new land, and found a way to go on living, day by difficult, irreplaceable day.


Aggie


Portman Hotel
November 11, 2003

So the day finally dawns, the great day when Porgy gets the little beast working again without breaking down after a few seconds of operation. I couldn’t believe how excited we both were – like kids on Christmas morning, like the Darling children when Peter Pan lifts them off the ground and flies them over London, all lit up at night.

We needed to have some kind of ceremony for such a momentous occasion, so we smoked a couple joints and drank some rice wine and got a little giggly beforehand. Normally I wouldn’t go near the stuff, pot I mean, because it can make me really paranoid, and I’ve even hallucinated on it before, white fountains, it was freaky. But this was quality stuff, Porgy must have a good dealer, and though it was strong, the buzz was mellow and pleasurable and calm. We grinned at each other like conspirators, and Porgy said I should choose the first cylinder to listen to.

I did it blindfolded. We thought it would be more fun that way, to pick at random. So Porgy puts the blindfold on me, giggling away, and turns me around three times like I’m going to play pin the tail on the donkey, and I grope towards the big pile of cylinders on the floor, and grab one.






It’s one of the really old ones, Edison brown wax, with no label on it, it could be anything. My head is reeling with excitement and a weird kind of fear. Porgy feels the same way, I can tell.

He loads the cylinder on, gives the machine a mighty crank, and we listen.

A hiss, a crackle, then: ta-whumpita, whumpita, whumpita.

“Have you ever heard about the Wibbly Wobbly Walk?

Well just in case you’ve not,

I’ll tell you on the spot,

The Wibbly Wobbly Walk is only just another way

Of saying that the boys are out upon a holiday. . . “
I freak.

I abso-fucking-lutely freak. But it’s so funny!

“And they all walk

The Wibbly Wobbly Walk,

All talk

The Wibbly Wobbly talk,

All wear

Wibbly Wobbly ties,

And wink at all the pretty girls

With Wibbly Wobbly Eyes. . .”

I freak.

I abso-fuckin’-lutely freak!

We both fall on the floor, convulsing. The recording I could not stand to listen to as a child is thumbing its nose at me over the span of an entire century.

The guy singing, who knows what his name is, he sounds sort of English, and he starts kind of raving mid-cylinder, chortling away like he’s drunk or something:

“Heh-heh-heh.

You ought to see them.

They can’t do the Grizzly Bear or the Turkey Trot.

Heh-heh-heh-heh-heh.

I’ve got a Wibbly Wobbly laugh, haven’t I?

Heh-heh-heh-heh-heh-heh-heh.”

It’s so totally bizarre, unexpected and delightful, we just hug each other. We can’t wait to hear the next one, but unfortunately, it’s a bit of a downer:

“A Cornfield Medley. By the Hayden Quartet.” (The really early ones are announced, for a very practical reason – there was no way to label them.)

“Some folks say that a nigger won’t steal

(Way down, way down, way down yonder in the corn field)

But I caught a couple in my corn field

(Way down, way down, way down yonder in the corn field)

One had a shovel and the other had a hoe

(Way down, way down, way down yonder in the corn field)

If that ain’t stealin’, I don’t know

(Way down, way down, way down yonder in the corn field).”

Porgy and I listen with our mouths open:

“Now dem coons am happy,

Don’t you hear those banjos play. . .

(rang-dinga-dinga-dang

rang-dinga-dinga-dang)

I cannot work until tomorrow,

‘Cause de teardrop flow.

I’ll try to drive away my sorrow,

Plinkin’ on de old ban-jo.”

There’s an embarrassed silence.

“Oh Porgy, I’m so sorry.”

“Hey, it’s not your fault. It was a hundred years ago.”

“But still. Jesus, Porg, the racism. Didn’t people realize? It’s disgusting.”

“Yeah, but it’s all part of the deal, the time-travel. If we’re gonna go back there, we have to deal with conditions as they were.”

We play through the rest of the Edison Blue Amberols, and it seems minstrel music is the most popular form: white guys trying to sound black, no doubt blackening their faces with burnt cork, à la Al Jolson, the Jewish negro: Down on the Old Plantation; Five Minutes with the Minstrels (which we clocked in at 2 minutes, 37 seconds); Darktown Strutter’s Ball; Dese Bones Shall Rise Again. A couple of them are “Hebrew monologues”, Yiddish-flavoured stories that meander along without any real punch line to them. Humour was a lot different then, too.

There’s a category we call the “modern marvel” cylinders: McGinty at the Living Pictures (and movies were a new thing then, almost as awesome and scary as recorded sound); and Aeroplane Dip, kind of a variation on Come, Josephine, in my Flying Machine.

There are some really odd ones in there, too: bird imitations, of all things, a series of elaborate whistles by one C. Corst: “I will name each bird,” he announces grandly at the beginning, no doubt dressed in a top hat and tails, “and then I will faithfully reproduce its song.”

We sit through four and a half minutes of robin, bluejay, yellow-bellied sapsucker, cedar waxwing, meadowlark, thrush, nightingale, and even pileated woodpecker (does he knock on his head?, I wonder.)

For some reason male quartets predominate: the Edison Quartet (Edison had his name all over everything, he was a smart man, made the most of the new technology); the Peerless Quartet. “Oh, that’s because female voices didn’t record very well. The trebles sounded kind of sour.”

“That explains Dame Nellie Melba, then.”

“Yeah, her.”

“I don’t know, Porg, voices sure have changed a lot in a hundred years. They all had that fast quaver, and everyone seemed to sing through their nose.”






We listen to the Edison Quartet chuffing their way through a World War I song (another favorite category): How You Gonna Keep ‘Em Down on the Farm (After They’ve Seen Paree). Then, Pucker Up Your Lips, Miss Lindy (there’s lots of sexual stuff going on in these things, make no mistake), Baby, Baby, from Lady Slavey, The Bird on Nellie’s Hat, and my personal favorite: Tickle Me Timothy, “sung by Billy Williams, Ed-i-sohn Re-cawwds” (and apparently nobody knows how to pronounce the word “record”, the technology being so new):

“Tickle me Timothy, tickle me do,

Oh tickle me, there’s a dear.

The parson nearly makes me cough,

And I feel like pulling his nightshirt off!

I can’t help meself, I’ll do it in half a tick,

And he mightn’t have anything underneath, Timothy,

Tickle me, Timothy, quick!” 


We notice something funny, too – sometimes the music suddenly speeds up right at the end of the song. “That’s because they were running out of cylinder,” Porgy explains.

It was all pretty primitive. In the early days, before 1900, they’d get fifteen machines all cranking at once, each making an original cylinder, because they hadn’t figured out a way to copy them. The performer would have to absolutely bellow, or blow his instrument so hard his brains would start to come out of his ears.

It’s fascinating, a time trip, like a tour through a really excellent museum, only even more vivid and real. I can’t escape the feeling that we’re there, we’re actually experiencing another time. And then we come to it: the very last cylinder of the twenty-four I bought, in a plain brown unmarked canister.

“Oh. This is odd..”

I slide it out into my hand, and get a weird feeling from it. It doesn’t look anything like the other cylinders in the lot. For one thing, it’s pink. A pale, translucent pink, not the gaudy pink of the rare Thomas Lambert celluloid recordings that came out in 1902.

Somehow I know this one is way older than that.

“Wow. I wonder what’s on this one.”

“Let’s try it.”

We load it on.

There is an incredible amount of surface noise. Almost as bad as the lead cylinder with the talking clock. Then, faintly, I think I hear something.

“It’s spoken word.” My heart jumps.

“Think so?”

“It’s a man.”

“What’s he saying?”

“I can’t tell, it’s too garbled. Is it in English?”

“Hard to tell.”

“I wish I could make it out.”

We look at each other, feeling a creepy kind of chill.

There is a faint pencil-mark on the outside of the cylinder case: ’87.

“Good God, is that the date?”

“Somebody must’ve made this one privately. It’s not a commercial cylinder. It isn’t even brown, or yellow paraffin like the really rare, early ones.”

“Wow. Strange.”

“Yeah.” Porgy yawns. He’s a little tired, I can tell. He’s easily overwhelmed, in fact that’s his whole problem, he can’t deal with anything stressful, and we’ve been listening now for what seems like forever. Pot can do that to you, elongating time and stretching it into eternity.

So I give him a hug, and he goes downstairs to bed. But I sit up for another hour, listening to the strange flesh-colored cylinder over and over again. Sometimes I think I can make out bits of it, here and there:

“Would add to our understanding. . . “

Then more garble.

“Unfortunately. . . “


More noise: ta-whumpita, whumpita, whumpita.

“Then I came to realize that the only thing that mattered was. . .” I swear it’s making sense to me here and there, in little fragments. I try to piece them together.

My hair prickles as the cylinder concludes:

“. . .send this message into the future with (noise, noise, noise, noise) received with understanding. It is only then that (noise, noise, noise, noise, noise).”

It was hard to get to sleep that night. I was haunted by the voice. Who is this guy? What does the message mean?

I have to go back to the flea market right away. I remember seeing dozens of odd old cylinders on sale, really cheap in fact. I’ll have to scrape up the funds somehow. Hell, I’ll sell my jewellery, use the grocery money. I need to crack this more than I need to eat.



Bus People Part One


Bus People Part Two


Bus People Part Three


Bus People Part Four


Bus People Part Five



Bus People Part Six


Bus People Part Seven


Bus People Part Eight


Bus People Part Nine


Bus People Part Ten


Bus People Part Eleven


Bus People Part Twelve