had.
The stairwell is gray and industrial and refreshingly hard-edged after three padded weeks on the ward. Down, down is the exit and freedom. Find clothes somewhere and out I go into Boston.
From below, then: the huffing, laborious breathing of some goddamned overweight, middle-aged doc climbing the stairs for his health. I peer down the well and see his gleaming pate, his white knuckles on the railing, two, maybe three flights down.
Up! Up to the roof. I'm on the twentieth floor, which means that I've got twenty-five more to go, two flights per, fifty in total, gotta move. Up! I stop two or three times and pant and wheeze and make it ten stories and collapse. I'm sweating freely -- no air-conditioning in the stairwell, nor is there anything to mop up the sweat rolling down my body, filling the crack of my ass, coursing down my legs. I press my face to the cool painted cinderblock walls, one cheek and then the other, and continue on.
When I finally open the door that leads out onto the pebbled roof, the dawn cool is balm. Fingers of light are hauling the sunrise up over the horizon. I step onto the roof and feel the pebbles dig into the soft soles of my feet, cool as the bottom of the riverbed whence they'd been dredged. The door starts to swing shut heavily behind me, and I whirl and catch it just in time, getting my fingers mashed against the jamb for my trouble. I haul it back open again against its pneumatic closure mechanism.
Using the side of my foot as a bulldozer, I scrape up a cairn of pebbles as high as the door's bottom edge, twice as high. I fall into the rhythm of the work, making the cairn higher and wider until I can't close the door no matter how I push against it. The last thing I want is to get stuck on the goddamn roof.
There's detritus mixed in with the pebbles: cigarette butts, burnt out matches, a condom wrapper and a bright yellow Eberhard pencil with a point as sharp as a spear, the eraser as pink and softly resilient as a nipple.
I pick up the pencil and twiddle it between forefinger and thumb, tap a nervous rattle against the roof's edge as I dangle my feet over the bottomless plummet until the sun is high and warm on my skin.
The hamsters get going again once the sun is high and the cars start pulling into the parking lot below, rattling and chittering and whispering, yes o yes, put the pencil in your nose, wouldn't you rather be happy than smart?
11.
Art and Linda in Linda's miniscule joke of a flat. She's two months into a six-month house-swap with some friends of friends who have a fourth-storey walkup in Kensington with a partial (i.e. fictional) view of the park. The lights are on timers and you need to race them to her flat's door, otherwise there's no way you'll fit the archaic key into the battered keyhole -- the windows in the stairwell are so grimed as to provide more of a suggestion of light than light itself.
Art's ass aches and he paces the flat's three wee rooms and drinks hormone-enhanced high-energy liquid breakfast from the half-fridge in the efficiency kitchen. Linda's taken dibs on the first shower, which is fine by Art, who can't get the hang of the goddamned-English-plumbing, which delivers an energy-efficient, eat-your-vegetables-and-save-the-planet trickle of scalding water.
Art has switched off his comm, his frazzled nerves no longer capable of coping with its perennial and demanding beeping and buzzing. This is very nearly unthinkable but necessary, he rationalizes, given the extraordinary events of the past twenty-four hours. And Fede can go fuck himself, for that matter, that paranoid asshole, and then he can fuck the clients in Jersey and the whole of V/DT while he's at it.
The energy bev is kicking in and making his heart race and his pulse throb in his throat and he's so unbearably hyperkinetic that he turns the coffee table on its end in the galley kitchen and clears a space in the living room that's barely big enough to spin around in, and starts to work
The stairwell is gray and industrial and refreshingly hard-edged after three padded weeks on the ward. Down, down is the exit and freedom. Find clothes somewhere and out I go into Boston.
From below, then: the huffing, laborious breathing of some goddamned overweight, middle-aged doc climbing the stairs for his health. I peer down the well and see his gleaming pate, his white knuckles on the railing, two, maybe three flights down.
Up! Up to the roof. I'm on the twentieth floor, which means that I've got twenty-five more to go, two flights per, fifty in total, gotta move. Up! I stop two or three times and pant and wheeze and make it ten stories and collapse. I'm sweating freely -- no air-conditioning in the stairwell, nor is there anything to mop up the sweat rolling down my body, filling the crack of my ass, coursing down my legs. I press my face to the cool painted cinderblock walls, one cheek and then the other, and continue on.
When I finally open the door that leads out onto the pebbled roof, the dawn cool is balm. Fingers of light are hauling the sunrise up over the horizon. I step onto the roof and feel the pebbles dig into the soft soles of my feet, cool as the bottom of the riverbed whence they'd been dredged. The door starts to swing shut heavily behind me, and I whirl and catch it just in time, getting my fingers mashed against the jamb for my trouble. I haul it back open again against its pneumatic closure mechanism.
Using the side of my foot as a bulldozer, I scrape up a cairn of pebbles as high as the door's bottom edge, twice as high. I fall into the rhythm of the work, making the cairn higher and wider until I can't close the door no matter how I push against it. The last thing I want is to get stuck on the goddamn roof.
There's detritus mixed in with the pebbles: cigarette butts, burnt out matches, a condom wrapper and a bright yellow Eberhard pencil with a point as sharp as a spear, the eraser as pink and softly resilient as a nipple.
I pick up the pencil and twiddle it between forefinger and thumb, tap a nervous rattle against the roof's edge as I dangle my feet over the bottomless plummet until the sun is high and warm on my skin.
The hamsters get going again once the sun is high and the cars start pulling into the parking lot below, rattling and chittering and whispering, yes o yes, put the pencil in your nose, wouldn't you rather be happy than smart?
11.
Art and Linda in Linda's miniscule joke of a flat. She's two months into a six-month house-swap with some friends of friends who have a fourth-storey walkup in Kensington with a partial (i.e. fictional) view of the park. The lights are on timers and you need to race them to her flat's door, otherwise there's no way you'll fit the archaic key into the battered keyhole -- the windows in the stairwell are so grimed as to provide more of a suggestion of light than light itself.
Art's ass aches and he paces the flat's three wee rooms and drinks hormone-enhanced high-energy liquid breakfast from the half-fridge in the efficiency kitchen. Linda's taken dibs on the first shower, which is fine by Art, who can't get the hang of the goddamned-English-plumbing, which delivers an energy-efficient, eat-your-vegetables-and-save-the-planet trickle of scalding water.
Art has switched off his comm, his frazzled nerves no longer capable of coping with its perennial and demanding beeping and buzzing. This is very nearly unthinkable but necessary, he rationalizes, given the extraordinary events of the past twenty-four hours. And Fede can go fuck himself, for that matter, that paranoid asshole, and then he can fuck the clients in Jersey and the whole of V/DT while he's at it.
The energy bev is kicking in and making his heart race and his pulse throb in his throat and he's so unbearably hyperkinetic that he turns the coffee table on its end in the galley kitchen and clears a space in the living room that's barely big enough to spin around in, and starts to work
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