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I don't move a muscle.
What....is she crazy? This very nice, thrift-shop quilt of
an old lady (she'd even taught my mother), was asking me to
admit to the whole class that I'd slashed their pictures
with my penknife. My father had given it to me...it was a
house key that someone had split open length-wise and then
inserted a little knife blade that folded in between the
halves.
I'd slashed all those dumb pictures because she hadn't
picked mine. It was a good picture...a black car and a
pretty lady in a white dress. Well, she hadn't picked it
to go up on the wall, and that had really made me angry,
so I'd waited 'till no one was looking, snapped open the
penknife and sliced each picture in half. Zzzziiiippppp
...right down the middle.
How dare she not pick my picture? I might have been small,
but I knew the significance of this moment....of what she
was really telling me about who I was, and who I was going
to be.
I knew that I would forever be someone whose picture would
not get picked (even though it would be a good one and just
as good as anyone else's), and I knew that I would have to
take revenge for this constantly. I was going to have to be
sneaky and sly, and patiently watch for good opportunities
to put things right. And I knew that I'd be spending my
whole life among all the other people whose pictures had
never been picked. I would not be playing with the better-
off kids at the north end of our street. No, my friends
would be the Slovenian D.P. kids who lived in a rented house
on the other end of our block...kids whose clothes didn't
fit them very well. Later on it would be all the black kids
who nobody liked...not just for all the traditional reasons,
but also because they smelled like discount store soap. And
later it would be all the crazy girls with deep, deep hurts
and the bikers and the rock 'n' rollers and the weirdos and
the cranks. But especially, I'd be lumped with all the poor
kids...the hard luckers....the unwanted and undesired...the
ones who for some reason hadn't been picked for anything...
ever. We were all destined to be prey for the rich, the
pretty and the favored.
This was my first secret...and if I told it,
Miss Gelsenleiter, I'd lose it.
I'm big now. And I'm driving a car down a highway outside
Boston. And my thoughts are smashing into each other:
"Weston and the Massachusetts Turnpike Exit...only a mile
away? Think fast, pal . 'If a car's traveling at 60
miles-per-hour, it will take one minute to go-'...but I'm
doing 95, so that's...you're stalling....no, I'm not.
'5280 feet divided by-'...oh,yes you are....NO! NO! NO!
Look, are you going to do it or not? Well? WELL??? "
I pull over to the side of the road and turn off the car.
Things needed sorting out. First off, I don't like sweat-
ing inside my only suit. Black's my best color, and
whatever I decided to do, I'd want to stay as crisp as
creased lightning. Of course, radical states of sharpness
are never achieved by clothes alone-the right accessory is
essential. In this case, I'm wearing a Jaguar. A Limited
Edition Vandan Plas. Also schwartz. Like my suit, you
don't just "get in" this car. You put it on.
This road yacht's not mine, of course...it belongs to my
future father-in-law...and no, I'm not here in Boston to
get married either. My fiance had been picked as the maid-
of-honor in her big sister's wedding, and so I'd come up
from New York City early to lend a hand with the prepar-
ations. Actually, it's more accurate to say I'd been
drafted. I'd have never volunteered, since I was broke
again, which is not the best position to be in when hanging
with one's future (and solvent)in-laws.
Besides, I hated weddings. If you've ever worked on one,
you know how much they resemble military operations.
Despite late summer thunderstorms and even floods, I'd spent
a frantic week in the Matrimonial Quartermaster Corp sailing
a supply ship/station wagon through Boston's back streets,
trolling for crinolines and damning the torpedoes to get the
flower girls to their eyelash-dyeing appointments on time.
Although I'd racked up many hours of active duty, my efforts
were minor compared to the bride's. She'd spent over a year
putting this show together, and even though we were staying
under the same roof, our paths had crossed only once. She'd
allowed herself the luxury of a ten-minute cave-in, and was
sitting on a sofa in the living room numbing her nerves with
a G & T. I was roaring out the door on an errand of great
importance, when she'd looked up at me and mock-threatened,
"Heh, heh, heh, see what you'll have to go through!"
Heh. Heh. Heh.
It was only today...the wedding day...only fifteen minutes
ago and only after the bridal party had left in a limousine
for the church, that it felt like all this work might
actually result in a wedding. My fiance's father had left
the Jaguar for us, handing her the keys after loading two
cases of very good champagne into the trunk. He'd also left
his wallet and check book in the glove compartment because
the pockets of his rented morning coat were sewn shut, and
having recently under-gone hip-replacement surgery, his
pants pockets were out, too, 'cause he couldn't tolerate
any pressure in that area of his body. "Careful with that
wallet," he'd told us. "There's two thousand dollars in
there. The caterers are insisting on cash".
About half way to the church, my fiance had turned to me
with a look of true horror and groaned "Oh my God, we forgot
the rice and the crystal goblets!" The rice needs no explan-
ation, but the idea behind the goblets was to have a bottle
of champagne in the bride and groom's limo. Aside from this
being a nice romantic touch, the wine guaranteed that the
usually shy groom would be friendly and loose at the recep-
tion. Three minutes of swearing and accusations later, I
voiced the obvious. "No problem, baby," I said, "I'll drop
you off at the church, then go back for the rice and gob-
lets." "But you'll miss the wedding," she argued back, "and
my father is really paranoid about who he lets drive his
car," "He'll never know," I said, "and this car can do 145
miles an hour. Believe me, I won't miss the damn wedding."
And it was on the way back to the house that the sweet-
ness of my situation gradually became apparent. It started
when I thought about the thousands of dollars I'd seen
change hands in the past week, which contrasted so viciously
with my seemingly endless poverty. I was chronically money-
sick...and it was the focus of all my brooding. I'd
thrashed around for years trying to figure out what it was
that everyone else seemed to know about money...but I
didn't. As the highway blurred by, I once more ran through
what I called the Five Vexations. Why did money invariably
gravitate towards the unimaginative and loathsome? How
could anyone believe that crap about upward mobility when
this was clearly the age of diminishing returns? Why did
I have to stop doing what I wanted to do, so I could earn
some money so I could do what I wanted to do? Why did we,
as a culture, value hustlers and paper-pushers more than
craftsmen and laborers, while simultaneously preaching some
bilge about how work builds character? And why was money...
this artificial construct, this agreed-upon mass halluci-
nation...the taboo subject? People were more comfortable
publicly discussing the goo that oozed from their private
parts than talking about money.
And then about a hundred feet from the exit I was supposed
to take, everything converged into an exquisitely dense,
multi-layered and complex temptation. The family had
arranged for a friend to house-sit, because lately some
not-so-gentlemanly thieves had taken up reading the wedding
announcements in the Boston papers, and while a bride was
saying "I do", they'd do a little breaking-and-entering.
I'd spent most of today polishing three generations of
family silver...it was laid out on the dining room table.
All I'd have to say is "Dave, they told me to bring this
stuff to the reception." He'd probably help me load it
into the car. Right next to the two cases of champagne.
There were other tugs and twists. I'd been driving
around all week, and since I didn't know Boston that well,
I'd brought a road atlas with me. And I remember joking
that "Hey honey, we could get out of this whole thing by
taking Rt. 128 North to I-95 to I-93 and it's a clear shot
to Canada." I would have the length of the wedding-a full
Congregationalist service 'cause First Daughter wanted it
that way-plus a few hours head start before they'd catch on.
Both the Jaguar's gas tanks registered full, so there would
be no need to stop. I even kinda resembled my father-in-
law, so I might get away with using his driver's license at
the border. And forging his signature on one of his checks
wouldn't be too hard.
So I'm sitting by the side of the road now, being gently
rocked by the whomp of the passing trucks. I get out of
the car to pace, and reach inside my suit jacket for a
cigarette, and discover that I even have my passport with
me. The last time I'd worn this suit was on a quick foreign
courier flight I'd taken to earn a few bucks. Guess I'd
forgotten to put it away.
I'm standing by a highway in Eastern Massachusetts....
leaning against a Jaguar...leaning against the full weight
of my history...smoking a cigarette...playing with a set
of keys.
-Chris Butler
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All songs written, performed and recorded by Chris Butler except: "This Isn't Just A Car" - recorded at Upstart in Hoboken by Chris Gibson who also sang backing vocals, mixed by Scott Anthony at The Crib in Clifton, NJ. "Architect or Doctor?" - recorded By Ben Kilmer at B-Jams in Hoboken (with help from Claudio and JP), mixed & edited & remixed by Scott Anthony at Dessau in NYC & The Crib in Clifton, NJ, JP also played the part of Mr. Tourettes, C. C. Chase played the part of Ms. Thorazine, Jim Dillman played bass, Jim & Jack Knife played The Soul Sistahs on the outro. "I Lie The Truth" - Ralph Carney - slide clarinet & twitterings, backing vocals- Carla Murry & Mick Hargreaves, Jim Dillman - bass on The Big Part, more editing by Scott. "Capitalism" - brass parts composed and synthesized by Chris D. Butler. Final mastering and assembly by Dave Steele at DBS Digital, Hoboken. Cover: Brighton Beach, UK (c.1988) by Morgan McNeish/back cover photo by Morgan McNeish (c. yesterday), chair by Dollhouse Antics in NYC for all your micro-universe needs and once again Lou Carbone did the assembly and pixel-digitations. CD art design by Steven Dono/American Society for NON. Final graphics assembly by M. Design. |
©1997 Chris Butler/©1997 Future Fossil Music. All rights reserved.