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April 28, 2007

Stupid

The other day I gave money to a guy on the street. It was quite a lot of money, in the usual context of those things. At most, you tend to jangle around in your pocket for change, right? Maybe, just maybe, you reach for a dollar bill. More often, perhaps, you don’t reach for anything at all. But this time I was stuck. I fell pray to a Grand Ploy, to a masterful salesman’s pitch, to a sense of pity and guilt and humanity and gullibility and fear and, perhaps my greatest flaw at that moment, selfishness.

“Miss! Miss, could I just talk to you for a second, please,” the man said. He was standing on the corner of 12th Street and 6th Avenue, clinging to the handle of a rolling suitcase, extending one hand in a desperate plea. I had just gotten out of my last class of the night and was rushing to make it to a dance. Had I crossed the street upon leaving the school building, had I seen the minefield ahead and cut a wide circle around it, I might have escaped the impending mindfuck. “Please, don’t worry, I’m not gonna attack you or anything. I’m just a stupid ol’ fag in trouble. Could you just hear me out for a second?”

I should have counted to one and fled. I should have pleaded lateness, invented a missed deadline. These very thoughts ran through my head as I stood there, unmoving. Why wasn’t I moving? Something about this poor soul. He seemed despondent but not crazy, at the end of some rope, but more in an anguished everyday-stress sort of way than a twitchy, strung-out, Must Keep at Arm’s Length sort of way, as if one form of distress were more deserving of people’s time than the other, as if it were legitimate for only a certain kind of overture to be answered by the willfully oblivious.

“O.K.,” I said. “Go ahead.”

I’d challenged him to a story, and boy, was it a good one. Something about being a minder of costumes for The Drowsy Chaperone. “Do you know The Drowsy Chaperone? You do?! Oh, good! None of these other idiots running around have ever heard of it. Wow. So…” Something about getting locked out of his apartment down here and needing to get the keys up there and urgently needing to get at the costumes, which were locked inside the apartment, and the fate of something or another riding on his ability to get into the damned apartment, and oh, god, how he hated having to ask this but he really was in dire straits. All this accompanied by gesticulating and deep sighs and frantic glances up and down the street, and he wasn’t getting to the point and I really did need to go, and so finally I said, “O.K., all right, so what is it that you need?

“What do I need? Oh. I just need cab fare. I need to get up to 81st street and back down here.”

My wallet was out. Why was it out? I looked inside. All I had were bills larger than I would ever, under rational circumstances, think to give to a stranger on the street. But I was caught up in it now, entranced by this man’s impressively specific tale of woe. I was so busy imagining Broadway dancers with no clothes and the ensuing uproar and this poor “fag in trouble” losing his job and then really being in trouble that my usual common-sense mechanisms had gone into lockdown. “Cab fare, eh?”

“Yes! Cab fare. I promise, you can hold my iPod if you want to. I can give you something to take as collateral. I just need the cash because I need to get to these things before I’m totally screwed.”

If I walked away and his story was true (not that I’d ever know), I would be the villain-bitch punch line at his next cocktail-party performance. If I walked away and his story was untrue (not that I’d ever know), I might feel vindicated and yet at a morally relativistic loss. If his story was true and I gave him the money, my karma points would shoot through the roof, and only happiness and light and subway trains waiting in the station for me, and only me, would be guaranteed for at least the next, oh, month. “Here. Just take it. It’s enough to get you up there, if not all the way back down. That’s all I can give you” (all I can bear to give you, all I am physically capable of giving you, all this lockdown mode will abide).

“Oh, thank you!” He reached for the money. I noticed for the first time that his hands were rough and coated in grime. Not quite costume-handling hands. “Thank you, thank, you, thank you. Seriously, what can I do -- do you want to see the show? If I could get you tickets, would you go? Can I reach you somehow, to pay you back?”

I wanted it to be over. At the moment the money left my possession and became his, the reality had socked me in the stomach. I didn’t want him to be able to reach me. I wanted him to go away. And yet he was insistent.

Then, another train of thought: My denying him the ability to prove himself would be yet another form of cruelty, a judgment on his dubious character. It would mean that in the end, even though I had given him the money, and even though I had in so doing ratified the ostensible truthfulness of his story, I did not believe him. And in denying him access to me, I would have passed a final, callous sentence.

I took out a business card. “Here. You can call me at this number. I’ll be there tomorrow.”

“Oh, great! Great. Who should I ask for? I mean, I don’t want to bother you. I don’t want to get you in trouble. Is there a secretary, or--”

“What? I don’t know what you’re getting at. Just call me. Or leave a message. That is my number. If you call it, you’ll reach me, and only me.”

“Oh. O.K., I just didn’t … O.K.”

“Listen, I have to go. I really am trying to get somewhere.” I was already backing away, turning to leave.

“O.K.! Thank you so much! Really, this is such a huge help!”

I descended to the subway and swiped my card. I stood there waiting -- no train waiting for me. I realized that if he really needed to get uptown and back, I could have insisted he come with me. I could have bought him a Metrocard. I could have forced him to prove the veracity of his claims and watched him get on a train. But I had not. I’d handed him enough money for a good meal or maybe enough to put him well on his way to a good fix. I’d been the perfect mark. The perfect chump. All in the name of good karma. And where was my freaking train.

April 27, 2007

Yes, monkeys like copy editing too


Gulliver ACES, originally uploaded by jenwahhh!.

 

April 26, 2007

Quote of the day 04.26

"The split infinitive is not a violation of literary morality. It is not even a blemish until it is grossly overdone."
-- Edward T. Teall, Putting Words to Work (1940).

April 23, 2007

Quote of the day 04.23

John McIntyre over at You Don't Say, his blog on language and usage, writes today about common errors in copy editing, as well as a common copy editors' lament:
One of my students experienced a flash of insight into copy editing, saying, "You catch 19 errors in a story and then get penalized for the 20th. It' just not fair."
Well, kid, it comes with the territory. No one ever said it would be fair.

But my favorite part is the second sentence here, which qualifies as the quote of the day (and maybe the month):
A story with only 20 errors may be better than average. Some years back, a veteran reporter set to work on the city desk commented after the first week, "Reading other people's raw copy is like looking at your grandmother naked."
I am so stealing that one.

April 08, 2007

Geek attractant

In the course of my work I must check the precise titles of books and spellings of authors' names and dates of publication and other such minutiae, a detail-oriented activity that a lot of people might find mind-numbing but which I, queen geek, derive a certain satisfaction from. Perhaps you're thinking I'm the kind of gal who is easily amused. And I am -- by certain things. Like the fact that one of the reference sites I use these days, the Catalog of the Research Libraries of the New York Public Library, has a ridiculously apropos nickname: Catnyp.

So that's why I get such a buzz from a room lined by well-stocked shelves. Why any story I tell about a quick trip in search of a single title always ends with an "hours later…" Why that last time I went to a Barnes & Noble I ended up rolling on the floor and mewling and purring and chasing invisible mice and gnawing on my toes. They put drugs in the books! Yay.

April 02, 2007

On artists and the audience

Back in the day, when I'd meet ballet fans outside a stage door or simply get into conversation with people who knew what I did but had no idea what it entailed, I used to get asked the question, "So why do you do it, anyway?" (Or, from the less tactful: "What's the point?") It's hard to explain the "why" to people who can never truly understand: they'll never walk in your shoes, get up on that stage, or know what it is that drives a person to dance (or sing or act), despite the blisters and the bruises and the sprains and the intangible wounds and struggles that go oh so much deeper. But the public would demand an answer, and so I would try to find the simplest response. Sometimes throwing a question back at the original question worked: "Why do you breathe?" Oh, yeah. Deep. That tended to elicit a lot of thoughtful "hmms" and slow nods of the head. There was also the Honest but Not Helpful response: "It's hard to explain. I just love it," trailed sometimes by another question: "Can you explain why you love?" (More nods, more "hmms.") But the thing is, it was not always about me. That was hard to explain, too. This passage, though, from Gender Outlaw: On Men, Women, and the Rest of Us, by Kate Bornstein (I'm culling all sorts of good stuff from this book), taken from correspondence to the author from David Harrison, then her partner, could have stood in as a useful response:

What's important is loving the audience. It's not about what you feel as a performer when you're up there -- it's not about your personal catharsis. As an audience member, I want you to make me feel something. That's why I come to the theater. The artists I have the most respect for, and I'm most moved by, are those who give so much of their hearts. To me, a good performance is, in its essence, an act of love.

So beautifully put. In other words: It's not just that I love what I do -- it's that I'd like to share this love with you, and I expect you to demand that of me. It's hard to find fault with that.

April 01, 2007

Quote of the day 04.01

"Fanatics are distinguishable by the fact that they can't laugh at themselves."

From Gender Outlaw: On Men, Women, and the Rest of Us, by Kate Bornstein.