Pressure Part 2

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(Continued from part 1)

You knocked and he came to the door in his painting whites. He pointed for you to sit at his kitchen table while he was on his cell phone, yelling over the CD player that was blasting Lupe Fiasco.  “The deposit is non-refundable,” he yelled on the phone. “And I will have a guy out there this morning for certain, for sure.  He’s right here,” he said looking at you, the door of his dishwasher in the kitchenette was open and sparking clean paintbrushes hung from the upper rack. There were ski’s everywhere, leaning on walls, stacked on the floor. Dusty trophies in cardboard boxes by the fireplace.

           But now, here in the Persian Rug Emporium, you just want to get home to your wife and hug your daughter, be done with the day.  Gary tucks his loose blond bangs behind his ears, adjusts the rubber band that holds his short ponytail. He stands and walks to get another beer. Frank is pissing off the loading dock.        

           “Jesus Frank. Use the fucken john.” Gary says, throwing up his hands in disgust. “There’s a lot of rich fuckers who come here. Do you ever fucken ever think before you do anything?” 

           Frank shrugs his shoulders, slowly zips up and adjusts himself.

           “You know what, Frank?” Gary says, looking at his watch. It’s about five-thirty, and it’s about time to kick your fucken ass.  You fucked around all day!  But Fortune 500 over here,” Gary says, looking at you and then back at him. “He fucking trimmed out Saddam’s office today, cutting in all day long, steady as a train, man.  No splatters.  You’re working ‘till midnight with me, Frank. I’m gonna fucking increase your efficiency one way or a fucken other.”

           Wafa Yakhlef, “Saddam” to Gary and Frank, owner of the Persian Rug Emporium, appears in the doorway that leads from the warehouse loading area into the rug showroom. He pulls a thin cigarette case, a chrome flicker, from his vest pocket and pops it open with a flip of his wrist.  He shakes his head and looks at you and then to Gary.

           You look at Frank. He looks ghostly, evil, his moist eyes slightly askew—a sign of his wicked and depraved life, you think. His particle mask now rests on his forehead, leaving a flesh colored triangular shadow around his nose and mouth, amidst the drywall powder.  “Where do you get your workers, Gary? I don’t have much hope for this one,” he says in his thick accent and points his cigarette case at Frank. “In Persia, he would be dead.”

           “Yeah, like you Islamics ain’t fucking nuts?” Frank says. He stands and lopes toward the case of beer. “Terrorists blowing up shit, torture and shit,” he says. He draws a can of beer from the cardboard box, flipping the aluminum container in the air and catching it just before it hits the floor. “President George fucken kick ass Bush, president of the United fucken States of America hammered your sorry asses and he’ll do it again if he has to.”

           “Shut up, Frank,” Gary says.  He looks at his customer. Yakhlef has now drawn a cigarette from the silver case and is tapping the filter on his long thumbnail.  He’s wearing a nice tweed sports jacket and he brushes some plaster dust from pressed his navy slacks. He flicks his Zippo and lights the cigarette. He shakes his head.

           “You’re a lucky guy, Gary,” Yakhlef says, half smiling, now leaning on the unfinished door frame.  Beyond, you can see the imported rugs covered with huge plastic dropcloths.  The room looks more like a morgue than a rug store. “You’re lucky still to be working for me. You are two weeks behind since you started and now it’s down to the wire. Tomorrow is the downtown street fair and we are kicking off our annual Blowout.  If it is not done, Gary, things will become very serious.” He now blows a stream of smoke from his lips. “Very serious, Gary.”

           “We’ll finish tonight,” Gary says. “You’re gonna work too, right, Fortune Five Hundred? Time and a half, you know. I know you need it.”

           Frank shuts his eyes and clenches his fist and presses his thin lips firmly together. “Fucking Islamic,” he mutters to you under his breath. His face is a plaster death mask. This job is just temporary, you remind yourself. Just, temporary, please God, just temporary. And, you remember the place where Frank lives. One day last week you picked him up on your way to work when his car wouldn’t start, a beat up Chevy Nova with only one seat remaining inside, the driver’s torn leather bucket seat. It was parked in front of a duplex with a dirt yard. Inside, there was a bong on a makeshift coffee table, a worn green sofa. His girlfriend’s two daughters were peering into the living room from behind the dirty white walls of the kitchenette. There was a poster of a long-haired barbarian and a big-breasted woman in a tight superhero outfit riding a saber-toothed tiger, chasing a dragon flying by the rings of Saturn in the background.

           The rug merchant says, exhaling smoke as he speaks, “Finished, Gary. All the plastic gone and the scaffolding out of here. Finished. Done. Absolutely. By eight A.M.”

           “Hey man, don’t worry.  We’ve got it covered.  A little more sanding of the sheetrock and we’ll spray it out like fucken madmen,” Gary says and looks at you. “Our felon here is gonna be masking ahead of us. And it’s gonna look great.”

           You shake your head. You just want to get home, send out more resumes, but twenty-five an hour would help with the insurance.

           “Gary, don’t forget that you have promised that you will re-paint the ceiling in the main gallery,” Yakhlef says.

           “The white is fine. Jesus.  In fact, I think it looks fucking great. You wanted it white, we painted it white and it has a fresh coat of white just like I said I’d do.  We gotta finish the rest of this place.”

           “The ceiling looks horrid,” the Yakhlef says. “The white does not work.  You should have known the pipes and cracks would show up more. It doesn’t make the place seem lighter; it makes the place look like shit, Gary.  This has to look good. We sell valuable rugs here.”

           “Two coats.  White. You agreed. It’s done.”

           “You have agreed already to repaint it black, Gary. Look at it, Gary.”  Gary stands and goes around the rug merchant. He passes through the doorway into the showroom gallery, swaggering with a hitch in his right knee, like he always does when he walks.  The owner follows him, and you and Frank follow along.  Gary looks up at the ceiling and walks around the space, going between the stacks of the visqueen covered rugs, a labyrinth of small aisles.

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           “I said I’d do it, if , if, I could fit it in. I said I might  do you a favor,” Gary says. “If there was time.” He casually sips his beer.  He has nerve. You can say that much. You’d try to please the customer at any cost if it were your business, especially when the job looks as bad as this one.  Now that the ceiling is white in this old warehouse building, your eye is automatically drawn to the high ceiling, and you can’t help but notice the disturbing, dandruffy shadows of flaking layers of paint, at least fifty years of stratified sediment that Frank half-hearted scraped. Flat black would have made it all invisible, unobtrusive, even stylish, if they’d taken the time to roll it in.

           “Okay. How much, Gary? A black ceiling?” Yakhlef asks and shuffles expensive eel skin shoes over plastic covered cement floor. “Just to get it done all done by tomorrow.”

           “Another two grand,” Gary says, standing with his thumb in his belt loops, head thrown back, still eyeballing the mess he knows he has made, the bad advice he’s given.

           “You’re joking,” the Iranian says.  “Two grand? You could hang ceiling tiles for two grand.”

           “Fucking A,” Frank pipes in. “Let’s fucking pack up.”

           Gary eyes the merchant. “I’m gonna eat it. What about seven hundred?  That’s just barely covering the cost of the paint, though.”

           The merchant laughs and tosses his cigarette butt on the floor of the aisle and grinds it with the toe of his shoe, twisting the plastic covering. “Listen Gary, I have a special carpet for you.” The merchant says. “A thousand dollar rug.  Gorgeous. We can trade.  I’ll give it to you if you just paint the ceiling black tonight. Tonight, Gary.”

           “What am I going to do with a rug?” Gary laughs.

           “Let me show you.”  Yakhlef waves Gary to follow him over to a back corner of the showroom.  Gary finishes his beer. “I need your help, guys,” the merchant says to you and Frank.

           He directs you and Frank to carefully peel back the thin plastic drop cloth covering a stack of rugs.  “It’s like you’re unveiling some fucken treasure in Timbuktu,” Frank whispers, his breath smoky.

           As you pull the dropcloth back, plaster and paint dust rises like pond fog.  Yakhlef then orders you and Frank to lift rug after rug off the pile. When you come to a thick rug, a black one with intricate geometric designs, the Iranian pauses for a moment and then regards Gary. Even amidst the smell of construction, the room suddenly seems to smell of Middle Eastern coffee and black tobacco. “It’s yours for a black ceiling.”

           Gary crosses his arms and looks at the rug. He closes one eye and nods his head.  He furrows his eyebrows and brings his finger to his lips after shaking his bangs away from his eyes. Then he moves closer and feels the pile.

           “It’s a weird fucker.  No wonder you haven’t sold it.” Gary bends back the corner of the rug. He rubs his hands over the dense wool. “It seems pretty fucken well made.”

           “The best quality in the world.  But I have not wanted to sell this rug. You don’t sell a rug like this.”

           “So why in the hell would I want it?”

           “Women, Gary.  Women like this carpet.  It shows impeccable taste.  They melt on it. “

           Gary laughs. “Women! Ha. I’m done with women.”

           “A fucken magic carpet,” Frank says and hoots at Gary. “Fly it over to Sally Rippy’s, Aladdin.  Sweep her off her feet.” He starts singing and air guitaring, “Close your eyes, girl. Look inside, girl…Why don’t you come with me…on a magic carpet ride.” He grins.

           “Gary,” the Iranian says, exhaling a drag of another cigarette. He rubs his forehead. “Please shut him up. My brain is about to burst.”

           “Yeah, yeah,” Gary says and shakes his head.  He looks at his watch. “Jesus fucken Christ. I can’t believe this shit.”  He looks at you. He says to you.  “We should’ve sprayed it black. Home Depot is still open, I guess, but paint’s more expensive there.”

           Yakhlef motions you and Frank to cover the rugs.  “It’s yours if everything is absolutely done tonight.”  He pulls his key ring from his pocket and spins it on his forefinger.  “It is a holiday for us today.  My wife has been cooking all day. I must go.”

           The rug merchant walks briskly to his desk, picks up his briefcase, and walks through the front entrance to his Mercedes parked in front of the glass storefront.

           Gary shakes his head, rolls his eyes and scratches his head. He looks at you. “You can work late tonight, right?”

 

(to be continued)

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Pressure Part One

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(This short story is rated R)

 

Pressure

           “It’s like this, Five Hundred. You’re approaching one hundred eight miles per hour, maybe one o nine. You’re on these long fucken boards. And they’re wobbling all over the place totally out of control, and then finally they smooth out at about one fucken twelve when you get off the ground, and suddenly everything is velvety and you’re riding cushion of air, like snarly lotion, man,” Gary Stafford, your new boss says.

           He’s crouching low, bending over, arms extended as if he is in his downhill racer’s tuck, one hand holding a can of beer. His skin is ruddy, freckled and prematurely wrinkled from many years of sun and wind of skiing. Otherwise, he looks angular, almost teenage from certain angles with sharp, lean features.

           You can’t believe you’ve had to take this job. You’re a victim of corporate downsizing at Digital Communications and there isn’t a damned job around in telecommunications, even as a code monkey. They’re outsourcing those to Indians and Pakistanis now, and your buddies who are still “lucky” to be working at Digital Communications complain about the sixty to seventy-hour weeks they have to work since everyone is gone now. DC is getting good press these days because of it’s increased productivity, emerging strongly from the recession. 

Screw “increased productivity,” you think, it’s a euphemism for working your employees to the bone. You’ve got bills to pay. The pressure is on to bring home the bacon for your beautiful little girl who is epileptic and needs expensive meds. Your wife is working a few hours at a fabric store, but it hardly makes sense when childcare costs more than she brings in. She’s frayed with everything so uncertain. The COBRA health insurance is expensive as hell and it’s going to run out in three months, now that you’ve been looking for a real job for fifteen months.  Maybe Obamacare will help if the idiots who want to take it away get their way.   And it would be really nice if you could keep the Beemer, but those payments are eating into the food budget big time now, and if something doesn’t break soon, you’re going to have to just give in.

           Gary takes a deep breath.  He takes a big swig of beer now that it’s five o’clock. He sits down on one of the five large, unopened containers of white latex paint near the open service door of Persian Rug Emporium, not far from Waweeta Street in the upscale warehouse district downtown.  

           “So fucken what,” Frank says. He is Gary’s senior employee, with him now for two months.  He has been sanding drywall seams in the north gallery addition, which the “Persian” owner has hired this Gary dude to paint. “It don’t mean you actually flew. And even if you did, what the fuck makes you crazy enuf to waste your fucken time and fucken money chasing nothing but your own big fucken assed ego?” Frank grins crookedly and winks at you. He needles Gary all the time. He peels a banana left over from lunch. He’s wearing an Iron Maiden tee shirt and he’s powdery white, head to toe, as if a sack of flour has fallen on him, a ghost revealed. He has been recently released from the county jail—some ninety days ago.  He has also spent four years in the State Penitentiary.

           “Because, Frank, you want to make it to at least one hundred and forty-three miles per hour, asshole. At least!” Gary says through his teeth.  “And because, this fucken arrogant old fucker, Claude Zufferey, this forty-five year old surgeon from Switzerland, set the speed record at one forty two point five in fucken Chile last year and broke my fucken record, and I got to take it back.  And two, because the sissies on the fucken prissy Olympic Downhill squad pee their pants thinking of that kind of speed, so fuck them for cutting me.  And, C, because of the hill, Jesus, it’s a fucken thing of beauty down by Silverton. A perfect parabolic surface. Velocity Peak. Way above tree line. Speed skiing, man. Because it’s speed skiing…in which you fly.”

           “Because it’s speed skiing,” Frank says in a mocking falsetto voice. “In which you fly.”  He grins his crooked grin again and flaps his arms. He circles Gary once like a buzzard, which he looks remarkably like. Then he swoops around the case of beer and snags his third. He shakes it hard and pops the top, aiming it out the service doors and sprays a thick stream of beer into the alley. He shakes off the foam, gulps the rest down and tosses the can toward the dumpsters by the back of the building. “Are we having fun yet?” he yells.

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           “Fuck you, Frank,” Gary says.  He shakes his head. Then he turns back you like you understand.  He likes you because you’re intelligent and educated.  “So like it’s hard to describe, Five Hundred. It’s like, like everything is metallic blue as you drop. You got your speed suit on, stuffed in it.  You’re a fat lady in pantyhose. The air pressure is unbelievable, clamping down on your face like this big fucking vice, and you’re just barely holding on.” Gary says. He’s jittery now. All stirred up.  “You’re shoving your chin into your knees to reduce the pressure any way you can, just going after speed, but your muscles feel like they’re piano wire and you’re constantly thinking that you’re going to smear down the track, micro-sliced by the corn.” Gary says as he  barely sits on the paint container. He bends over again, puts the beer on the concrete floor and assumes the tuck position again:

           “And you think smaller. You want to disappear.  You start seeing things like, like numbers from the table of periodic elements appearing, just materializing out of nowhere, like dragonflies on some highway in Texas—at sunset—coming at your windshield.  But they’re not dragonflies and you’re not in a car. You’re just flying, centimeters off the snow.  The track is glaring in bright sun, and you want to become like a hydrogen electron, cruising light speed down the face of your orbit, like a satellite ripping a red seam across the evening sky,” Gary says. He’s shaking now, like a little electrical current is running over his skin. He sits straight up on the five gallon paint container, bouncing his knees.  He reaches in his pants pocket and pulls out a Tic Tac box with a torn label and pops one in his mouth. Frank says, “Hey, give me one a them too, Speedy.”

           Gary he shakes his head and flips him off. He looks at the ground and says after a long pause, “And then, and then when you hit the speed trap at one forty, you’re seeing your fucken old lady, Ms. Sally Rippy, the Sally Rippy of the Revlon shampoo commercials who won bronze in the bumps two years ago, the bitch who you were really skiing for the last three seasons, and she’s in bed with Paul Parker, rich daddy’s boy FIS silver medalist, that goddamned sonofabitch. He pauses and quickly shakes this out of his mind. He blinks several times and he’s pumping his legs nervously again.

           “But then you realize you’re on the fucken hill and you’re a fucken scream half way out your throat. You’re a bullet with gunpowder packed up your ass with the hammer coming down.” He starts to laugh. Hysterically. “You’re a trouthead, with fins on your calves, shooting down the falls,” Gary Stafford says. He leans back like an outlaw and chugs the rest of his beer. “Fuck you, Paul Parker!”

           He throws the can across the long, dark cement expanse of the receiving area of the Persian Rug Emporium, over the fork lift, past the huge bay doors that are open to the warm summer air, and the beer can crashes perfectly into one of the fifty-five gallon barrels that serve as trash containers.

          This guy interviewed you in a tiny studio apartment on the north side of town, this guy who likes to push limits.  He has a lot of energy and a certain charm. He actually has accomplished something, a member of the Olympic team, it seems, if he’s telling the truth.

           On the morning you “interviewed” for the “position” that you saw on Craig’s List, there was a gleaming candy apple red Chevy Impala on tiny tires parked on the street outside his apartment complex, with tuck and rolled white vinyl seats and a blue fuzz dash.  There were a couple big trucks with Mexican plates and fringe hanging in the windshield.  Finally, you saw a little white Ford truck with a magnetic sign of his painting company stuck cockeyed on the door, SpeedPainting.

(To Be Continued…)

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Yusef Kommunyakaa’s “Prisoners”

Yusef Komunyakaa’s Poem, “Prisoners.”

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Here is my audio interpretation of Komunyakaa’s important poem about prisioners of war, way back during Vietnam, but applies to any soldier who works to keep his or her humanity under the moral ambiguity of war.

Click to listen:

Prisoners 1

Prisoners
By Yusef Komunyakaa

Usually at the helipad
I see them stumble-dance
across the hot asphalt
with crokersacks over their heads,
moving toward the interrogation huts,
thin-framed as box kites
of sticks & black silk
anticipating a hard wind
that’ll tug & snatch them
out into space. I think
some must be laughing
under their dust-colored hoods,
knowing rockets are aimed
at Chu Lai–that the water’s
evaporating & soon the nail
will make contact with metal.
How can anyone anywhere love
these half-broken figures
bent under the sky’s brightness?
The weight they carry
is the soil we tread night & day.
Who can cry for them?
I’ve heard the old ones
are the hardest to break.
An arm twist, a combat boot
against the skull, a .45
jabbed into the mouth, nothing
works. When they start talking
with ancestors faint as camphor
smoke in pagodas, you know
you’ll have to kill them
to get an answer.
Sunlight throws
scythes against the afternoon.
Everything’s a heat mirage; a river
tugs at their slow feet.
I stand alone & amazed,
with a pill-happy door gunner
signaling for me to board the Cobra.
I remember how one day
I almost bowed to such figures
walking toward me, under
a corporal’s ironclad stare.
I can’t say why.
From a half-mile away
trees huddle together,
& the prisoners look like
marionettes hooked to strings of light

Yusef Komunyakaa’s Poem, “Prisoners.”

Here is my audio interpretation of Komunyakaa’s important poem about prisioners of war, way back during Vietnam, but applies to any soldier who works to keep his or her humanity under the moral ambiguity of war.

Click to listen:

Prisoners 1

Prisoners
By Yusef Komunyakaa

Usually at the helipad
I see them stumble-dance
across the hot asphalt
with crokersacks over their heads,
moving toward the interrogation huts,
thin-framed as box kites
of sticks & black silk
anticipating a hard wind
that’ll tug & snatch them
out into space. I think
some must be laughing
under their dust-colored hoods,
knowing rockets are aimed
at Chu Lai–that the water’s
evaporating & soon the nail
will make contact with metal.
How can anyone anywhere love
these half-broken figures
bent under the sky’s brightness?
The weight they carry
is the soil we tread night & day.
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I’ve heard the old ones
are the hardest to break.
An arm twist, a combat boot
against the skull, a .45
jabbed into the mouth, nothing
works. When they start talking
with ancestors faint as camphor
smoke in pagodas, you know
you’ll have to kill them
to get an answer.
Sunlight throws
scythes against the afternoon.
Everything’s a heat mirage; a river
tugs at their slow feet.
I stand alone & amazed,
with a pill-happy door gunner
signaling for me to board the Cobra.
I remember how one day
I almost bowed to such figures
walking toward me, under
a corporal’s ironclad stare.
I can’t say why.
From a half-mile away
trees huddle together,
& the prisoners look like
marionettes hooked to strings of light