How It Ended: New and Collected Stories (14 page)

The Queen and I

As the tired light drains into the western suburbs beyond the river, the rotting pier at the end of Gansevoort Street begins to shudder and groan with life. From inside a tin-roofed warehouse, human beings stagger out into the steamy dusk like bats leaving their cave. Inside the shed, one can make out in the dimness a sprawling white mountain, the slopes of which are patched with sleeping bags, mattresses, blankets, cardboard and rafts of plywood. An implausible rumor circulates among the inhabitants of this place that the white mesa is made of salt that, back when there were still funds for municipal services, was spread on the icy city streets in winter; at present the rusting warehouse serves as a huge dormitory and rat ranch. At dusk the inmates rise to work, crawling out into the last light to dress and put on their makeup. Down on the edge of the highway along the foot of the pier, the shiny cars of pimps and johns wait alongside the beat-up vans from the rescue missions and religious organizations, ready to compete for the bodies and souls of the pier dwellers.

I watch as three queens share a mirror and a lipstick, blinking in the slanted light. One of them steps away a few feet, creating a symbolic privacy in which to pull up his skirt demurely and take a torrential leak. A second lights up a cigarette and tugs on a pair of fishnet hose. The third is my friend Marilyn, queen of Little West Twelfth Street. It's my first night on the job.

I ran into Marilyn in the emergency room at St. Vincent's a couple days before. I went in for gingivitis, my gums bleeding and disappearing up the sides of my teeth from bad nutrition and bad drugs. It's a common street affliction, another credential in my downward slide toward authenticity. Marilyn had a broken nose, three cracked ribs and assorted bruises from a trick tormented by second thoughts.

“I thought you had a pimp, Marilyn,” I said, watching a gunshot victim bleeding freely on a gurney.

“The pimp, he get killed by the Colombians,” said Marilyn. “He never protect me anyways, the bastard. He punch me hisself.” Marilyn laughed through his nose, then winced. When he could speak again, he said, “Last time my nose got broke, it's my papa do the breaking. He beat the shit out me when he find me dressed in Mama's wedding gown. I'm holding the lipstick and he opens the door of my room. Smack me good, scream at me, call me a dirty little
maricón
, say he don't want no
maricón
for a son. The boy last night, he was like that, this big bulging muscle New Chursey boy. After I do him, he start hitting, calling me faggot. A lot them like that, they don't like what they want. Hey, man,” he said, scrutinizing me with new interest. “Why don't you be my pimp? I give you five dollar every trick.”

It was a measure of my prospects that I thought this was a pretty good offer. In fact, I'd been unemployed by another Colombian murder and was sleeping in Abingdon Square Park. I was dealing halves and quarters of coke out of a bar on Thirteenth when my man got whacked and I was left without a connection. Before that I'd been in a band, but the drummer OD'd and the bassist moved to L.A.

When I first met Marilyn, I was living in a cellar in the Meatpacking District. Marilyn worked all night, and I was up jonesing on coke or crack and trying to write. I'm a songwriter, you see, a poet. There is beautiful, ugly music inside me, which plays in the performance space deep in my mind. Walking the streets, doing the bars, I hear snatches of it in the distance, above the subliminal bass line of the urban heartbeat. I am most attuned to it in moments of transport, when I'm loaded on cheap wine or crack. Sometimes I'm dead certain that with one more drink, one more hit, I'll grasp its essence and carry it back with me to the other side. An aesthetician of ugliness, I am living here in the gutter like Prince Hal, biding my time, waiting to burst forth like a goddamn sun.

A refugee from the western suburbs, I used to skip school and take the bus into the city. I hung out on St. Mark's Place and the Bowery, copping the look and the attitude of punk, discovering Bukowski and the Beats in the bookshops. Returning to the subdivisions of Jersey was an embarrassment. The soil was too thin for art. No poetry could ever grow in the grapefruit rinds of the compost heap. Ashamed of my origins, neither high nor low, I dreamed of smoky bars and cafés, steaming slums. I believed that the down and dirty would lead me to the height of consciousness, that to conceive beauty it was necessary to sleep with ugliness. I've been in that bed for several years now. So far, nobody's knocked up.

Like Dylan says, “Someday, everything is gonna be diff'rent, / When I paint my masterpiece.” I'll be rich and famous, photographed with models who will suddenly find me incredibly attractive—my goodness, where have I been all their short, naughty, long-legged lives?—and I will do a lot of expensive designer drugs and behave very badly and ruin my promising career and end up right back here in the gutter. And I'll write a song cycle about it. It'll be excellently poignant, even tragic.

Marilyn grew up in Spanish Harlem, where he was christened Jesús, a delicate boy with a sweet face who is a plausible piece of ass as a girl. He wants to get married and live the kind of life I grew up in. Except he wants to do it as a woman. At night he looks longingly out over the Hudson at the dim glow of suburban Jersey the way I used to look over from the other side at the lights of Manhattan. He wants a three-bedroom house he can clean and polish while awaiting a husband who works in the city. There's a huge Maxwell House sign across the river from the Gansevoort pier, and he told me once that when he wakes up at the end of the average American workday, he remembers the tuneful Maxwell House commercials he saw as a kid, dreaming about percolating a pot of coffee for a sleepy hubby.

The doctor who gives Marilyn his hormone shots says that more than half the—what shall we call them?—the people who get the operation get married, and that more than half of those don't tell their husbands about their former lives as men. I personally find this just a teensy bit hard to believe. But Marilyn doesn't, and he's saving up for the operation.

Poor Marilyn with his broken snout. In this business he needs to be able to breathe through his nose. I decide to give it a shot. Could be a song in it. Plus, I'm stone-broke.

So as the sun goes down beyond the river into the middle of America, where the cows are heading back to their barns and guys with lunch boxes and briefcases are dragging ass home to their wives, I'm trudging toward the Meatpacking District with Marilyn, who is wearing fishnet hose under a green vinyl miniskirt, and a loose black top. The Queen and I.

“How I look, honey?” Marilyn asks.

“Looking bad, looking good,” I say.

“This my Madonna look. Those Chursey boys—they love it.”

By now I'm sure you've guessed that Marilyn is currently a blond.

The smell gets worse as we approach Washington and Gansevoort, which is Marilyn's beat—the warehouses full of dead meat, the prevailing smell of rot inextricably linked in my mind with the stench of urine and excrement and spent semen. A sign reads
VEAL SPECIALISTS, HOTHOUSE BABY LAMBS, SUCKLING PIGS
&
KID GOATS
. Whoa! Sounds like that shit should be illegal, know what I'm saying?

With darkness falling, a slow and funky metamorphosis is taking place. Refrigerated trucks haul away from loading docks while rough men in bloody aprons yank down metal shutters and padlock sliding doors. The suffocating smell of rotting meat hangs over the neighborhood and, when the breeze blows east off the Hudson, infiltrates the smug apartments and cafés of Greenwich Village—which is the only good thing I can say about this stench.

As the trucks disappear toward New Jersey and upstate, strange creatures materialize on the broken sidewalks, as if spontaneously generated from the rotting flesh. Poised on high heels, undulant with the exaggerated shimmy of courtship, a race of lanky stylized bipeds commands the street corners. They thrust lips and hips at any cars that pass this time of night, the area not exactly being on the direct route to anywhere except hell or Hoboken. Motorists who find their way here cruise slowly down the unlit cobbled streets, circling and returning to scout the sidewalk sirens. Sometimes a car slows to a stop near one of the posing figures, who then leans toward the driver's window to consult, haggle and flirt, sometimes to walk around the car and slip in the passenger door, reappearing a few minutes later.

The girls of Washington Street come in all sizes, colors and nose shapes; and in this light, few of them are hard to look at. One lifts a halter top to expose a pair of taut white breasts as a red Toyota with Connecticut plates crawls past. It's just barely conceivable that some of these sports who transact for five minutes of sex believe they're getting it straight. But ladies, I wouldn't count on it. I mean if your fiancé gets busted down here, you might think about canceling the band and the tent and the cake. Or maybe not. They're probably good family men, most of them. And so long as clothes and makeup stay in place, no one needs to start parsing his proclivities. Sometimes the cops sweep through to meet arrest quotas; johns who find their pleasure interrupted by a sudden official rap on the window almost always act shocked when the cops expose the gender of their sexual partners with a playful tug of the waistband or the not-so-playful rending of a skirt.

The clientele is nothing if not diverse, arriving in limos and Chevys, Jags and Toyotas. Whenever a certain homophobic movie star is visiting New York—a comic renowned for obscene stand-up routines that outrage the gay and feminist communities—his white stretch limousine is bound to linger on Washington Street in the small hours of the morning.

I take up a post beneath a sagging metal awning, half-concealed in the shadows, while Marilyn takes out his compact to check on the goods. He frowns. “That salt terrible for my skin. Suck the moisture right out, sleeping every night on a big pile of salt. Even the rats don't like living on salt.” Is that because the rats are worried, I wonder, about their complexions? Meantime, near the curb, Marilyn strikes a pose he borrowed from a Madonna video. Just up the street is Randi, who claims he used to play with the Harlem Globetrotters. Wearing a leather mini and a red halter, Randi stands six eight in heels beneath a sign that reads
FRANKS SALAMI BOLOGNA LIVERWURST KNOCKWURST STEW MEATS
&
SKIRT STEAKS
.

Down Gansevoort, at the edge of the district, the neon sign of a fashionable diner emits a pink glow. So very far away—this place where the assholes I went to college with are tossing back colored drinks and discussing the stock market and interoffice gropings. Like my former best friend, George Bing, who wanted to be a poet and works for an ad agency in midtown. We roomed together at NYU, which I dropped out of after two years because I was way too cool. After George graduated, we'd meet for drinks at the Lion's Head or the White Horse, where he thought he was slumming and I felt like an interloper among the gentry. So excited when he first walked in as a freshman—with a fake ID from a store on Forty-second Street—that Dylan Thomas had guzzled his final drinks practically where we were sitting, he gradually, over the years, decided that the Welsh bard had wasted and abused his talent. I mean, sure, George admitted, he was great, but what was so bad about being comfortable, taking care of your health, eating sensibly and writing copy for Procter & Gamble in between cranking out those lyrical heart's cries? And I'm on my best behavior, nodding like an idiot coming down off something I smoked or snorted and hoping the bartender won't remember he threw me out three months before. And eventually, I think, it became too embarrassing for both of us. I stopped calling, and Lord knows I don't have a phone now, except maybe the open-air unit on the corner of Hudson and Twelfth. Actually, it's been a relief to quit pretending.

Farther down Washington Street, a trio of junkies builds a fire in a garbage can, although the night is hot and steamy—the heat of the day, stored up in the concrete and asphalt, coming off now, cooking everyone slowly like so much meat. These guys, after they've been on the street a few years, they never really get warm again. The winter cold stays in your bones through the long stinking summer and forever, like a scar. The old farts wear overcoats and boots in August. That way, you don't have to change clothes for winter.

I'm just fine in my black T-shirt and denim jacket, which doubles as a blanket, thanks. Be off the street before that happens to me. When I paint my masterpiece. Franks salami bologna.

A red Nissan slows to a stop. Marilyn sashays over to the car and schmoozes with the driver, turns and waves to me. I come out of the shadow to reveal myself in all my freaky emaciated menace, moon white face and dyed black hair, my yellow teeth in their bleedy gums. Marilyn zips around to the passenger side and climbs into the car, which makes a right and slows to a stop a half block down the street, where I can still see it. Farther on, a bum in an overcoat parks his overflowing shopping cart on the sidewalk and peers in the window at the brightly lit diners eating steak frites.

Eventually, Marilyn comes back from his date, adjusting his clothes and checking his makeup in a compact, just like a model. That's what he calls it—a date. He hands me a damp, crumpled fiver. I don't want to think about the dampness. I want to scrape the bill off my palm and throw it into the stinking street, but Marilyn's all excited about being back at work and planning for the future. He's talking about how it will be after the operation, when he gets married and moves to New Chursey. I want to slap him and make him understand that it's the land of the living dead. It's not real, not like this fabulous life we're living here on Gansevoort Street. The flesh they grill on their Webers out in Morristown comes out of the very warehouses against which we bravely slouch.

At least Marilyn will be spared the ordeal of having a rotten suburban brat who will grow up to resent and despise him for being a boring, submissive housewife.

As the night deepens, business picks up and I nearly become accustomed to the layered stench, the several octaves of decay. The old men sharing a bottle around the fire pass out and the fire dies. I skulk over to Hudson and buy myself a bottle of blackberry brandy to keep my motor running. A dealer strolls by offering coke, crack and smoke. At first I think, No, I'm on duty, but the second time he comes by I have twenty dollars in my pocket from Marilyn, and I buy a little rock and fire it up, tickling my brain, making me feel righteous and empowered—I'm here, I'm cool, I'm feeling so good, I'm back on my feet and the future is mine; if I can just smoke a little more of this, I'll keep from slipping back, just a little more to maintain, to stop this fading, this falling away from the perfect moment that was here just a minute ago, to hear that perfect tune in my deep brain, that masterpiece.