Monday, August 29, 2016

A tribute to Gene Wilder: Young Frankenstein gifs!




We lost Gene Wilder today, and I am pretty much inconsolable. This is all I can think of to do.

These are just a few of my hundred or so fave moments from Young Frankenstein. Everything about this movie worked, and as funny as it is, it's also more romantic than Casablanca ("Taffeta, darling"). But the main reason it worked was its leading man.




Best spit-take in history. 




Masculine in mascara.





"Give my creation. . . LIFE!"




"Three syllables. . . sounds like. . . "




"SED-A-GIVE??"






"No matter what happens. . . don't open that door!"




"Abby somebody.  Abby. . .  Normal."




"I love him"




"Put. . . the candle. . . back."



"IT!. . . COULD! . . . WORK!!"

Bus People: a novel of the Downtown Eastside PART FOUR






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 Four

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


Szabó

Make way for Szabó; make way, look out, for he’s flailing his stick.

He’s flailing his stick on the way to the bus stop, to catch the Number 42 which will take him to his particular station – his station in life, he thinks wryly. So this is what it has come to. A begging spot, reserved just for him, and it’s true, everyone else stays away, the buskers, the panhandlers, the hookers and the scam artists and the terminally confused, all give Szabó a wide berth because there is something just a little bit intimidating about a man who has no face.

“Mum, why does that man – “


“Shh, don’t – “

“Mum.”

“Please, Meggie.”

“Mum. Why does he have a blanket over his head? It looks weird.”

“Shh, Meggie. It’s not polite.”

“It’s freaky-looking. Mum!”

“I don’t know, Meggie, let’s just get on the bus now, sit down over here on the sideways seats, come on now, you like the sideways seats.” Pulling her away from the strange-looking, draped figure who finds his way up the bus steps as if by a kind of primitive radar.






Not that he never falls. He falls a lot, actually. And he has run right into objects, telephone poles and doors and walls and full-length plate-glass windows. But that is nothing compared to being chased: this has happened to him too. He is chased by clusters of young men out for sport, needing to inflict terror on someone, anyone, even a blind old man with no face.

He remembers seeing The Elephant Man years ago, watching the tortured, deformed cripple John Merrick flee the thugs who chased him into an alley and cornered him. He remembers the strangled cry, wrenched from the depths of his being: “I am not an animal! I am a human being!” Little did he know when he was watching the film that this would become his silent motto. He can’t say it; he can’t say anything, in fact. He will never say anything again. But he feels it. He feels it every day.

The bus seethes with humanity, all the people who cannot afford to own and operate a car, or are afraid or unable or unwilling to learn to drive. Cars are a social symbol, so not having one is like a reverse badge of honour, of dishonour maybe? Certainly, it speaks of a certain lack of power. The air is heavy with the rich funk of the seldom-washed. The bus has an unaffectionate, too-accurate nickname: the Loser Cruiser. Those on the Loser Cruiser know they are looked down upon, they’re even a notch below the Skytrain crowd, where it’s easier to practice fare evasion. Here, the driver watches you with an eagle eye.

The Loser Cruiser crowd is so marginalized, so glued to the very bottom of the social totem pole, that once there was a four-month-long bus strike, no transportation available at all, just nothing, and nobody even batted an eyelash. It was allowed to go on for seventeen endless weeks, with no political will to stop it, because who cares about a bunch of elderly ladies and mental patients anyway? When the strike finally ended, at the expense of a great number of small businesses who relied on bus people to stay alive, the transit company, in an act of unparalleled generosity, gave everyone a free ride for two days. There were quite a few old people and handicapped people and mentally ill people who hadn’t been out of their apartments in literally months, but they were grateful, grateful that someone remembered them at last.

Bert Moffatt runs a pretty tight ship, doesn’t put up with any crap on his bus. He has even put off little old ladies before, well, not just any little old lady, but that infernal pain in the ass, Isobel Chaston, the terror of town council meetings all over the Lower Mainland. This woman is a professional disrupter. Calling herself a “dissident”, trying to get on the bus with a week-old transfer, then spewing random abuse at anyone she happens to dislike the looks of, groups of teenagers usually, whom she hates on sight or on principle, just abusing them willy-nilly, or fastening herself, lamprey-like, on to anyone she can victimize with her latest haranguing complaint. No thanks, Mrs. Chaston, you’re out of here, I don’t care if you did run for Mayor of Port Moody last year and got 337 votes, you’re too disruptive a presence to board this bus, period.

When Szabó gets on, which he does every morning at just about the same time, Bert keeps his mental high-beams on, watching for trouble. Trouble swirls around Szabó, even though he does nothing to cause it, he just appears, is there, unwhole, strange, scary, Halloween-ish, an affront. Usually nothing actually happens, but it threatens to. The atmosphere changes when he boards, the level of tension rises palpably, and the weird get weirder, like he carries a full moon around with him or something. The man is unsettling, he looks so strange with that blanket over his head, and besides that, he sings sometimes, and it’s a disturbing thing to hear it.

“Mum. Why is that man – “

“Shh, Meggie.”

“It’s weird. I can’t see his face.”

“I don’t know, sweetheart. Oh, look, there’s the Tilley store where Daddy got his expensive new hat.”

“Mum. I don’t want to sit here.”

“It’s OK, honey, we’re fine, just look out the window.”

Szabó absorbs all this. Like sphagnum moss, like blotting paper, he absorbs a lot every day. Sitting on a street corner begging was never in the plans for his life, it happened by default, an utter humiliation. Complete defeat. He started off with huge ambitions, he was going to set the art world ablaze, he was going to prove his father wrong once and for all, become a huge success, make piles of money, and instead a random act of destruction ended it all before it even began, some asshole casually set his life’s work on fire and destroyed it in an act of deliberate malice. It was then that everything toppled, his top-heavy ambition going down like a great tree. He can’t see, can’t speak, can function only with difficulty, and has a host of medical problems. Can’t digest anything: who could digest the ugly, slimy glop that passes through the feeding tube every day? Can you blame him for spiking it with a little wood alcohol to make it more palatable? Can’t sleep: who could sleep, with no future? What can he dream about now? You can imagine what his dreams are like, worse than anything John Merrick could have imagined. At least John Merrick was adopted by the upper class as a kind of dignified, ugly mascot. He’s lucky to have a roof over his head, he’s better off than many people, he still has his wits, though he is not sure that’s a blessing, but it’s a struggle, a constant struggle to scrape together enough funds every day just to keep himself going. When he gets off at his usual stop on East Hastings Street right across from Pigeon Park and finds his way to his station, he almost physically bumps into someone, except that the someone darts out of the way at the last second, being quick on his feet.






The someone is Dr. Levy, on his usual hustle to get to an overdose, no, correction, to a human being who has suffered an overdose. Let it never happen, that awful terminology, the cold labels that keep feelings safely away. He is on his way to help someone, if he can, if he is in time and he doesn’t find a corpse in the cluttered upstairs room that is like every other cluttered upstairs room in this part of the city, tattered old Christmas ornaments hung amongst the junk. And he has seen Szabó before, he knows the story, or enough of it.

He jumps out of the way at the last second. Then says to him, in Hungarian: That was a close one. But I saw you in time.

Szabó’s head snaps up.

He can’t answer, of course. But he has heard his mother tongue for the first time in a long time, and can’t help but respond in some primal part of himself.

Dr. Levy touches him on the shoulder.

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

Then speeds on to his destination, hoping to salvage another life, or buy some time at least, stave off the end for another day in case the miracle happens, the miracle of walking free. He has seen it happen, it’s not impossible, he has seen people recover from a seemingly hopeless condition, and never writes anyone off. Even without the miracle, there is the inherent value of being alive for one more day, even fucked by drugs and a shattered immune system. He keeps on saying it every day, like a broken record: life has value; you have value – in hopes of undoing the effects of the blistering damage that puts people here in the asshole of Vancouver, down among the wandering strange.

Mavis

Mavis Potter doesn’t really belong down here, she’s just visiting. Most of the time she’s on her way over to the Tinseltown Theatre at Pender and Abbott, they show pretty good films there for a reasonable price, it’s comfortable seating, a great theatre in fact, too bad it has to be in such a lousy location, because to get there she has to walk through the more wounded parts of the city, trying to curb her fascination.

She’s a tourist down here, she is sure of it. Takes the bus, yes, because she’s always been phobic about driving, but she doesn’t like to talk about it, it’s just not something she is prepared to learn at her age, what with the way people drive around here, she’s not prejudiced or anything but they should learn to drive in the Canadian way, and besides, she’d rather support transit and go green, it’s one of the things she lives by.






Mavis writes poetry about this strange substratum of unhappy wanderers, and in order for the work to reflect reality, she needs to take mental notes. Her bus from the comfortable suburbs of Port Coquitlam takes her past a lot of familiar landmarks every day: the big Italian supermarket on East Hastings, window hung with cheeses and mammoth sausage, the Brave Bull’s House of Steaks (and that must be one brave bull, Mavis thinks to herself, to be rendered into steaks), the Golden Lucky Convenience Store with its “cigerattes, magezine and flower”, People’s United Church which sort of leans out into the street like a person earnestly intending to do good, the big brown dome of the library at Hastings and Main which acts as a sort of magnet for the citizens of the street, pawnshops, more pawnshops, the Regency, the Emperor, the Patterson, the Wilton, the Hemp Store, the Amsterdam Cafe, the Ovaltine, the Balmoral, the Liberty Market, a country music pub with a demented-looking cowboy painted on the outside, and the old Woodbury’s department store that everyone keeps bickering about, what shall we do with all this space, housing for the poor or an upscale boutique, which shall it be, hmmmm, let me see, which is more important, while outside the building at a certain sacred spot at the corner sits a stout elderly black lady in a straw hat handing out religious pamphlets to everyone who passes by.

She never pitches her spiel to Mavis, however, just ignores her as if she doesn’t exist, as if she isn’t even there, and Mavis has tried to figure this out. Maybe she has decided she’s beyond redemption?

This will all go into a poem one day, an epic poem that is going to transport Mavis Potter from relative obscurity (one children’s book ten years ago that sold rather poorly; a dozen or so poems in university-sponsored literary magazines read mainly by its contributors) to some kind of prominence. A GG award, maybe. Prominence is the wrong word, it’s recognition she is after, or affirmation, maybe that’s an even better word, yes, just a little acknowledgement of how hard she has worked over the past twenty years, all the effort and struggle, and all the rejection endured.

Every once in a while Mavis is lucky, and there is a Dr. Levy sighting. She has been following his career with a certain fascination since she read a long article about him in the Granville Gazette, his grim-looking mug on the cover, as if it would kill him to smile. She read with interest that he doesn’t have time for a relationship, it all goes into the work, and she wonders what the real story is there, because she knows that even detached people need people to be detached from. There’s something there that he isn’t saying, some severance. There were people in his life at one point, she’s certain of it. She likes to get a glimpse of his woeful countenance as he strides from hotel to hotel in the swarming streets, head down in a kind of determined, forward charge. She could never do it, she could never watch heroin addicts slowly die of their disease, never brook the unfathomable despair. And yet, and yet. There is a certain energy down here. She feels it as only an outsider can feel it, a wild energy that is kind of addictive, you get a little taste of it and you just want more. Mavis thinks of reasons to come down here, to visit the big Dressy fabric store with its thousands of bolts of cloth, rainbow zippers and every conceivable type of trim, or to see movies she could just as easily rent when they come out on DVD, or just to stroll. She can’t quite admit this to herself, but she likes the risk. She likes the elevated pulse, the little rush of adrenaline when she dodges another aggressive panhandler or steps over a sprawled body.

Charles doesn’t know about this, and that is part of the appeal. As far as Charles is concerned, she’s over at Terry Fox Library doing research, or the Coquitlam Centre mall having a coffee, or visiting a friend.

Charles doesn’t have a clue, because his head is so far up his own ass, he cannot see the light of day.

“Hey lady.” Mavis’s head jerks up. Here comes one now.

“Hey lady. Spare some change.” It’s a statement, not a question, but Mavis is prepared. She breaks eye contact and begins to walk rapidly towards Abbott. The panhandler shadows her, and Mavis’s heart begins to accelerate wildly. She flushes, she feels a hot flash coming on, a big one, a huge upflashing of intense heat, and bears down hard on the pavement, walking faster and faster until she finally loses the panhandler at the corner.

Sweat breaks out all over her body, and she lets out a long, deep, shuddering sigh.






Aggie

Portman Hotel
September 30, 2003

Oh man, it was cool getting my hands on the Edison Bannerfront Standard, even though I was right, it’s not working, it’s pretty much wrecked, and Porgy is taking his good old time getting it fixed. He tinkers and tinkers away with his concentration face on, kind of like a baby having a bowel movement, it’s adorable to look at. I guess I shouldn’t say bowel movement around Porgy, he’s obsessed enough already. I keep trying to get him to see Dr. Levy, he went a couple of times a few months ago and made a bit of a start, but I think Levy wanted to talk about the foster homes, and that’s something Porgy just won’t talk about or even think about. I know Dr. Levy would be able to help him, and I keep working on him, I won’t give up, he’s my best friend in the whole world and deserves better than the sad little life he has right now, barely able to go outside.

So I’m going to have to wait a while longer to hear all these cylinders I bought. They’re nearly a hundred years old, so what’s a few more weeks? Along with the Edison Blue Amberols, there are a bunch of odd-looking miscellaneous ones made of brown wax, probably really old, like 1890s or something, with no labels on them at all. I have no idea what’s on them. I also found an old brochure, all yellow and crumbling apart, and it said, “The Edison Blue Amberol Record is Mr. Edison’s latest development of the four-minute record. The term ‘four-minute’ is used because the record has a playing length of from four to four and one-half minutes when compositions are long enough to fill it.” Brilliant, eh? No wonder they called Edison a genius, he had it all figured out. My guess is that back then, people weren’t as sophisticated as they are now, and maybe they needed things spelled out. Maybe they were just a little bit intimidated by all this new technology, human voices issuing out of boxes like magic. The old silent films are kind of like that, everything really exaggerated, and the subtitles staying on the screen for a couple of minutes, long enough for a preschooler to sound them out.

“It is intended that every Blue Amberol shall be a gem,” the brochure goes on to explain, “the kind of record that its possessor will want to play three hundred and sixty-five times each year and keep forever.” Forever didn’t last very long, however, as I found out the playback process often produced shavings, and you can imagine the deterioration of the sound, which is already all buggered up by surface noise and that strange “ta-whumpita, whumpita” sound every cylinder recording seems to make.

Good old Edison, he was both ahead of his time and behind it, almost retarded in certain ways, because while he was busy improving the cylinder to make it sound better and wear longer, a guy over in Europe named Emile Berliner had already invented the playable disc. It was like Beta versus VHS for a while, quite a while in fact, all the way into the 1920s, and the two technologies existed side-by-side for such a long time because Edison was just too stubborn to relent. I mean, whoever heard of a compact cylinder? Berliner’s basic idea still has plenty of spin to it, if you know what I mean.

Then there was the Edison Talking Doll, another bright idea that never got off the ground. It had a little tiny cylinder player embedded inside its body, which was made of metal so it must have weighed something like fifteen pounds, and you played it by turning a crank sticking out of its back. But the technology was so primitive – this was, like, 1890 or something, some 70 years before the Chatty Cathy doll – the voice gave out after only a few cranks, and people brought the dolls back by the hundreds, feeling ripped off that they’d paid something like twenty dollars, a huge sum back then, for a talking doll that didn’t work. The dolls creep me out anyway, I’ve seen pictures of them, their eyes are all sunken and staring like really old dolls’ eyes always go, reminding me of people over a hundred years old whose faces just sort of cave in with extreme age. And the sound of the talking doll is freaky – you can’t make out any words, it’s like listening to Florence Nightingale on some historic old cylinder from the Crimean War or something, just a syrupy girlish-sounding garble with no meaning you can make out. Edison himself hated the dolls, and said “the voices of the little monsters were exceedingly unpleasant to hear”.

So I guess you’re wondering where I’m getting all this stuff about cylinders, all this Edisonia. It’s Porgy, naturally, and his internet fixation. He seems to have found approximately one thousand and fifty-nine cylinder recordings on the ‘net, including a site called tinfoil.com that even has a Cylinder of the Month! Who knew?






“Porg. What’s this site you’ve got here?” I’m leaning over his shoulder this morning and trying to see what he’s clicking around in.

“Oh this is a good one, Ag. It’s got real old stuff, like, the very first playable recording ever made – want to hear it?”

“Yeah, I guess so.” Somehow I know this is going to freak me right out, worse than the Wibbly Wobbly Walk even, but I just have to hear it, I have to.

“It’s from 1878, ten years before the cylinder player went commercial. It was recorded on a piece of lead.”

“No shit?” (Maybe that was the wrong term.)

“Yeah, a lead cylinder. Far out, eh? A guy named Frank Lambert rigged it up as a kind of experimental talking clock.”

“A what?”

“You have to hear it to believe it.”

So he downloads the thing, which takes a couple of minutes because his computer is a piece of shit, and already I’m having an anxiety attack like you wouldn’t believe. Dr. Levy would tell me to take deep breaths, to ride it out. So I take the deep breaths, and it doesn’t help very much.

Then there’s a hiss and a crackle, and this “ta-whumpa, ta-whumpa, ta-whumpa” sound, except it’s really really loud, almost violent, and underneath that the most ungodly noise you ever heard, like a cat being strangled.

“That’s human speech,” says Porgy, his eyes shining with excitement.

“No it’s not. It’s an animal being killed, or at least systematically tortured.”

“It’s just a little distorted. This is really primitive technology, Ag. Oh, listen to this part. You can actually hear the words.”

From 126 years in the past, the wavering, impossibly distant voice of Frank Lambert begins to speak.

“Four o’clock. . . five o’clock. . . six o’clock. . .seven o’clock. . .”

“Jesus!”

“Far out, eh?”

“Awesome.”

“Eight o’clock. . . nine o’clock. . . eleven o’clock. . .twelve o’clock. . . “

“He missed ten o’clock.”

“Yeah, I know. It says on the web site that he was a recent immigrant.”

“They can’t tell time?”

“Here’s another one. This’ll blow you away. It’s the first music ever recorded, I mean ever-ever, in 1888. It’s from a Handel opera, Israel in Egypt, recorded in Crystal Palace, London, England. It says in the notes it’s ‘a chorus of 4000 voices recorded with phonograph over 100 yards away.’ “






“Four thousand?”

“That’s what it says. Four thousand people all gathered around a horn.”

“Far out. Okay, let’s hear it.”

I shut my eyes.

Again, the whumpa-whumpa-whumpa, only it’s more of a wisha-wisha-wisha this time, like stiff fabric being rustled together, going faster, then slower, then faster – obviously someone was cranking the machine by hand, and not very evenly either.

Then, just barely noticeable under all that dreadful surface noise, the most ghostly sound I’ve ever heard. Just recognizable as human, and it’s Handel, make no mistake about it, the cadences and chords are there, I remember them from listening to Messiah on my father’s old records when I was a kid. I look down at my arms and see that all the hairs are standing up.

“Porgy. We’ve found it.”

“Yeah, you’re right. It’s a time machine.”

“I’m there.”

“Yeah. . . “

“All those thousands of people crowded together around the phonograph horn, and the guy cranking and cranking. . . “
“I wonder if they knew. I mean, that it would last this long.”

“I wonder.” I feel a little strange, almost unreal.

“Hey. Speaking of making history. You want to hear Brahms play the piano?”

This was the historic Brahms Cylinder, and there’s all sorts of controversy about whether or not it’s authentic, whether it’s really Johannes Brahms playing a Hungarian dance on the piano. Somebody made a bogus Chopin recording a few years ago, such a convincing fake that even musicologists bought it. So who knows if it’s real or not. At the beginning there’s this guy with a squeaky voice shouting, “I am Doktor Brrrrrahms!” Well, it could be a fake, I am sure Brahms didn’t go around speaking English or calling himself a doctor, and the piano-playing, what I can hear of it, is pretty dreadful, surely Johannes Brahms would be able to play better than that. But it still gives me that creepy, enjoyably scared feeling, like I’m literally entering another time.

At the end of the listening session, I was just exhausted, and Porgy was too, but we smiled at each other, pleased that we were in this thing together. It’s like a kind of magic, a summoning of energy from more than a hundred years ago, a time capsule, “sound archaeology” unfolding moment by moment in what we so strangely call “real time”.

If it’s this powerful listening to these things on the internet, filtered through high technology, just think what it’s going to be like when Porgy finally gets my player going and we can listen to my Edison Blue Amberols as they were meant to be played, shavings and all.



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

Sunday, August 28, 2016

It's the Nietzsche Family Circus: a cute Nietzsche saying for every family occasion!


Randomized pairings of Family Circus cartoons and Friedrich Nietzsche quotes.
nietzsche family circus cartoon
One must have a good memory to be able to keep the promises one makes.
Next
© 2016 Ron Belmarch. All rights reversed.



NOTE. The random-Nietzsche-quotes thingammy doesn't work here (this is just an example), but if you click on the following link, it'll take you to the actual site where you can find the actual quote-generating thingammy. I think. Or maybe I'll just copy n' paste a few?







Randomized pairings of Family Circus cartoons and Friedrich Nietzsche quotes.
nietzsche family circus cartoon

No one lies so boldly as the man who is indignant.


nietzsche family circus cartoon
There is in general good reason to suppose that in several respects the gods could all benefit from instruction by us human beings. We humans are - more humane

nietzsche family circus cartoon
Undeserved praise causes more pangs of conscience later than undeserved blame, but probably only for this reason, that our power of judgment is more completely exposed by being over praised than by being unjustly underestimated.


      nietzsche family circus cartoon
The higher we soar the smaller we appear to those who cannot fly.

nietzsche family circus cartoon
When marrying, ask yourself this question: Do you believe that you will be able to converse well with this person into your old age? Everything else in marriage is transitory.     


nietzsche family circus cartoon
Love is blind; friendship closes its eyes.      


SHORTCUT. If you click on "Share" (under the blue "Next" button), it should take you to the quote-generator-thingie.  Just try it and see!




"A horse is a horse, of course, of course" - Friedrich Nietzsche

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.


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.



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, August 27, 2016

1949 Chevrolet Fleetline: beauty!



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.



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. 


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