“Because I’m the one who took Tom Mota’s chair,” she confessed. “You understand? Tom’s chair is in my office. It’s always been the rule that when someone leaves, if you get in there first you can take their chair. I got in there first, I took Tom’s chair. I didn’t know anything about serial numbers. Not until that tool started jabber-assing about them yesterday at the input. Since then I’ve been on eggshells. It’s made me crazy. I want to get rid of it, but because he took Ernie’s chair down to Tom’s office, trying to pretend it was really Tom’s and not Ernie’s, I can’t take Tom’s real chair down there because then Tom would have two chairs. Isn’t that going to look suspicious? But if they look and see I have the chair with Tom’s serial numbers on it — don’t you see, I have the chair with the serial numbers! What should I do? Who knew about these serial numbers? I didn’t. Did you?”
She was as breathless and worked up as Yop himself. We told her to get ahold of herself. Chris Yop was not let go just because he was caught with Tom Mota’s buckshelves. He was let go because he can’t even draw up his own resume without filling it with typos. Lynn Mason and the other partners couldn’t trust million-dollar ad campaigns to sloppy copywriters — that is, if we ever had million-dollar ad campaigns again. That’s why Chris Yop was let go.
All the same, we thought it would be prudent of her to go into Tom’s office and swap Ernie’s chair with Tom’s. It was a delicate time, and in delicate times it made sense to take every precaution. Better to be caught with Ernie’s chair than with Tom’s. And just as we said that, we caught ourselves talking about such things as which chair Marcia would be better off being caught with, and we realized then how far we had fallen.
JOE SHOWED UP TO the double meeting carrying his day planner, which was predictable and annoying. We were irked by the steadfast familiarity of that goddamn day planner. Sometimes we almost thought we could like Joe if just one time out of ten he left that leather-bound diary behind at his desk. But no. The couch and the two loveseats and the leather recliners were all taken so Joe had to sit on the floor.
At a double meeting a couple things always happened. Joe split us up into teams, one art director for every copywriter. Ideally, after the double meeting, each team would get together and brainstorm ideas. How it worked in practice was always a little different, however. The copywriter went off on his own and the art director did the same, generating ideas independently of one another. Then they got together to battle it out. Who was wittier, who had more savvy, who had sailed it out of the park. We all had the same prayer: please let it be me. Regardless of who that me was, he or she tried to be very discreet about it, but there was no denying it, they reigned victorious for a day while the rest of us returned to our desks to chew silently on our own spines. We had lost, and our dimwittedness made us vulnerable to low opinion, whispered denigrations, and the dread prospect of being next.
So imagine our surprise, and our chagrin, when we sat down at the couches with our coffees to double meet — during which time we only refined details, we only requested clarifications — and Karen Woo announced that she already had ad concepts. She had an entire campaign. “You know what, I’m sick of seeing attractive sixtyish-type women smiling into the camera and saying, ‘Look at me, I’m a survivor. I defeated breast cancer.’ That’s bullshit,” she said. “This industry needs to cut through the happy-smiley clutter and get nasty with some truth.”
We looked at her with our chins floating in our coffee cups. Hold up! we wanted to shout. You can’t have concepts. We haven’t even double met yet!
“What’s your idea?” asked Joe.
Her idea? We’ll tell you her idea, Joe. To slaughter. Nobody talks about it, nobody says a word, but the real engine running the place is the primal desire to kill. To be the best ad person in the building, to inspire jealousy, to defeat all the rest. The threat of layoffs just made it a more efficient machine.
“It surprises me that you have concepts already, Karen,” said Larry Novotny. Karen and Larry didn’t get on so well. “It really surprises me.”
“Initiative,” Karen said smugly.
“I don’t want to speak for anybody else,” Larry added, “but to be honest, it really surprises the hell out of all of us.”
Karen leaned forward on the sofa and turned to Larry in his recliner, his eyes hard to see under the arced canopy of his Cubs cap. He was wearing one of his boring flannel shirts. They had a stare-down. Karen and Larry didn’t get on because Larry was an Art Director and Karen a Senior Art Director and titles meant everything. Every AD wanted to be a SAD. If you were a SAD you had your eyes on becoming an Acker. Acker was our phonetic translation of Associate Creative Director. Ackers wanted to be Creetors (Creative Directors), and every Creetor envied the Eveeps. You could either be a Creveep (Creative Executive Vice President) or an Ackveep (Account Services Executive Vice President), but both species hoped equally to be invited one day into partnership. What the partners dreamed of was the stuff of Magellan, da Gama, Columbus, et al.
The point was we took this shit very seriously. They had taken away our flowers, our summer days, and our bonuses, we were on a wage freeze and a hiring freeze, and people were flying out the door like so many dismantled dummies. We had one thing still going for us: the prospect of a promotion. A new title: true, it came with no money, the power was almost always illusory, the bestowal a cheap shrewd device concocted by management to keep us from mutiny, but when word circulated that one of us had jumped up an acronym, that person was just a little quieter that day, took a longer lunch than usual, came back with shopping bags, spent the afternoon speaking softly into the telephone, and left whenever they wanted that night, while the rest of us sent e-mails flying back and forth on the lofty topics of Injustice and Uncertainty.
“Karen,” said Joe. “What’s your idea?”
Karen broke off from Larry and turned to Joe.
“Take a look,” said Karen. She unveiled three polished concepts she called the “Loved Ones” campaign. From the stock houses she had secured close-ups of individual faces, all male. The first was a black boy, the second an Asian man, the last an older white gentleman. They looked directly at the camera without expression. We all thought, she’s been on Photonica’s website for the past eighteen hours looking for these gems. The headlines were an exercise in simplicity and the art of the tease. Each was a quote. With some work in Photoshop, Karen had the black boy holding a white placard that read, “My Aunt.” The Asian man’s placard said, “My Mother.” The old white guy’s said, “My Wife.” That was it, the images and the headlines. They were arresting enough, Karen believed, that anyone coming across them would be prompted to read the body copy, where a first-person testimonial explained the anguish of losing a loved one to breast cancer and the dire need for a cure.
“Bit of a downer,” suggested Larry, “don’t you think?”
“No, Larry. I don’t think. It’s gripping and honest and motivating, is what it is.”
“Not very palatable.”
“It is too palatable, Larry!”
“It’s like seeing African kids starve on the TV, Karen. Maybe we can get Sally Struthers involved.”
“Joe,” said Karen.
“Larry,” said Joe.
“I’m just saying, Joe,” said Larry.
We hated Karen Woo. We hated hating Karen Woo because we feared we might be racists. The white guys especially. But it wasn’t just the white guys. Benny, who was Jewish, and Hank, who was black, hated Karen too. Maybe we hated Karen not because she was Korean but because she was a woman with strong opinions in a male-dominated world. But it wasn’t just the men; Marcia couldn’t stand her and she was a woman. And Marcia loved Donald Sato, so she couldn’t be a racist. Donald wasn’t Korean but he was Asian of some kind, and everybody liked him as much as Marcia did even though he didn’t say a whole lot. One time, Donald did say, as he turned away from his computer for a brief moment, toward a group of four or five of us, “My grandpa
has this weird collection of Chinese ears.” We had been discussing something, it wasn’t like it just came out of nowhere. But at the same time, it wasn’t unusual for an entire day to go by where Donald said only, “Uh, maybe,” like four or five times, half of them without even directing his attention away from his computer, and then five o’clock hit and no more Donald. Now he’s telling us about his grandpa’s — “What do you mean, a collection of ears?” asked Benny. “Are you talking real ears, like real ears?” “Ears from the heads of Chinese people, yes,” Donald assented, having turned back to his computer screen. “A whole sack of them.” The mystery deepened. “A sack? What kind of a sack?” Sam Ludd, who smoked a lot of pot and frequently smelled like Funyuns, turned to Benny to communicate something to him in the secret language of laughter. “But seriously,” Benny persisted, pivoting on the window ledge to look at Donald straight on, “what the fuck are you talking about, Don?” “And what would constitute a nonweird collection of Chinese ears?” asked Sam, who lasted about two and a half seconds after layoffs began. “They’re from the war,” Don told the screen. “He doesn’t like to talk about it.” “But you’ve seen it?” said Benny. “There’s more than just one,” said Don. “No, the sack, the sack,” said Benny. Don looked at him and nodded. “Yeah.” “Well did he, like, cut them off himself? did he buy them? were they given to him as a gift? Don, talk to me.” “I don’t really know much more. I know he was in the war. Maybe he cut them off, I don’t know. That’s not something you can really ask your grandpa.” “Okay, but . . .” Benny was flustered, “you shouldn’t bring it up then, man, if you don’t have more information.” “I think you’re wrong, Don,” said Sam. “I think you can ask a grandpa if he cut the ears off Chinese people.” “What did they look like?” asked Benny. “Can you tell me that?” Don told the screen he didn’t really know what they looked like. They looked like ears. Dead old shriveled ears. And the sack was just a felt thing with a drawstring. Benny nodded and bit his cheek.
Anyway, Karen Woo. Did we dislike her because we were racists, because we were misogynists, because her “initiative” rankled and her ambition was so bald, because she wore her senior title like a flamboyant ring, or because she was who she was and we were forced by fate to be around her all the time? Our diversity pretty much guaranteed it was a combination of all of the above.
“I think the problem I’m having with this project, Joe,” said Benny, astraddle a sofa arm, “is knowing the fundamental approach we should be taking here. Is this just a benign reminder that breast cancer research needs money, or do we want to kick some ass à la Karen’s dead relatives there and get people to send checks overnight?”
“Maybe somewhere in between,” Joe answered, after a moment’s thought. “That’s not to rule these out, Karen. I like them. Let’s just have some of us go in one direction and the rest of us go in the other.”
We discussed print dates, who the project services people would be, and then we broke into teams. Joe was the first to stand. Just before leaving he announced that we would not be showing finished concepts to Lynn; we would be showing them to him.
We all wanted to know how come. Joe replied that it was because Lynn would be out of the office for the rest of the week.
“The rest of the week?” said Benny. “Is she on vacation?”
“I don’t know,” said Joe.
But he did know. He knew just as we knew that she was in surgery that day and would be in recovery when the concepts were due — the difference being that he probably got his information straight from Lynn, whereas we had to get ours from other sources. We never disliked Joe more than when he had information that we had, too, which he then refused to tell us.
“CAN WE PLEASE STOP talking about Joe Pope for two minutes?” asked Amber Ludwig when Joe had left the couches after the double meeting. We had stuck around to discuss the fact that we knew what he didn’t think we knew and how annoying that was.
“What should we be talking about, Amber?” asked Larry. “Karen’s dead people?”
“They’re called Loved Ones, Larry.”
Amber was, we all knew, preoccupied by something that had come to light just last week, when Lynn Mason received a call from Tom Mota’s ex-wife informing her that Tom had apparently dropped out of sight.
Barbara, the ex-wife, had received some curious communications — voice mails, e-mails, handwritten letters — full of quotations from various sources: the Bible, Emerson, Karl Marx, The Art of Loving by Erich Fromm, but also, disconcertingly, The Anarchist’s Philosophy, a McLenox publication. Amber looked on the McLenox website and discovered they brought out such titles as Hiding Places Both Underwater and Underground and How to Make a Fake Birth Certificate on Your Home Computer.
Tom’s messages to his wife were oddly lucid arguments for correcting the awful predicament of an individual who found himself stuck in a rut, with many allusions to love, compassion, tenderness, humility, and honesty, along with some not-so-lucid references to doing something that would “shock the world,” as he put it, that would make his name go down in history. “‘All history resolves itself very easily into the biography of a few stout and earnest persons,’” quoted Tom in an e-mail that had, by three o’clock the previous Friday afternoon, been forwarded to everyone in the office. “Barbara,” it concluded, “you laugh, but I intend to be one of those persons.”
Barbara called Lynn to find out if anyone else had heard from Tom. “And I guess to sort of warn you,” Barbara added. “I hate to put it that way, because I never used to think of him like that. But then he shows up at the house with a baseball bat and destroys everything in sight, which causes you to think, maybe I never really knew this person. I didn’t know him then and I don’t know what he’s capable of now, and I don’t really want to stick around to find out.”
“I can’t say I blame you,” Lynn replied.
“So I’m calling just to say that I’ve been trying to get in touch with him, just to make sure . . . you know. But . . . and I don’t want you to think he’s going to do anything . . . unexpected. I just thought I should let you know I can’t find him.”
“I appreciate the call,” said Lynn.
She got off the phone and called Mike Boroshansky, the South Side Pole in charge of building security. Mike let everyone on security detail know about the possible situation. They taped a picture of Tom to the security desk in the lobby, and during the day, Benny’s friend Roland compared it with visitors coming in through the revolving doors, and at night, the other security guard did the same.
We alone had perspective. Tom Mota was not going to do anything crazy. He was crazy, but he wasn’t crazy. We couldn’t believe how worried they were. Posting a picture of Tom? Everyone knew that was nuts.
Everyone except Amber Ludwig, who could remember with characteristic anxiety Tom Mota after he’d had two martinis at lunch. How rare it was for anyone to have a martini at lunch anymore. To watch Tom have two, it was a pure delight. “What has happened to America,” he would ask, and then stop himself. “Hey, I’m talking here.” We had to halt our conversations and pay attention to him. “What has happened to America,” he continued, “that the two-martini lunch has been replaced by this, this . . .” He gazed at us with disdainful shakes of his bulldog’s head. “. . . this boothful of pansies, all dressed up in your khakis and sipping the same iced tea? Huh?” he said. “What has happened?” He genuinely wanted to know. “Didn’t General Motors,” he continued, lifting the new martini in the air delicately, so as not to spill, “IBM, and Madison Avenue establish postwar American might upon the two-martini lunch?”
It was only the beginning of the vodka talking in him. “Cheers,” he said. “Here’s to your Dockers and your Windbreakers.” He reached out for the glass with his full, flushed lips while trying to hold the stem steady in his hand.
After returning to the office on those days, in the dull hours from two to five, we never knew what to expect from him. Sometimes he would nap
in a stall in the men’s room. Sometimes he would stand on his desk in his socks and remove the panels of fluorescent lighting from his ceiling. Passing by, we’d inquire just what he was doing up there. “Why don’t you go fuck your own asshole?” he’d suggest. That was always lovely. But it wasn’t the behavior of a madman, in our opinion. He was someone inconsolably trapped and going stir-crazy, aggressive and in need of release, which was, after all, the reason for the two-martini lunch. We spent a lot of time talking about how the job and the divorce were turning Tom Mota into an alcoholic.
Who was an alcoholic, whether early onset, functional, or fall-down drunk — that was always a topic of conversation. Who was fucking who, that was another. It was no secret that Amber Ludwig was fucking Larry Novotny. Amber would like us to stop talking about that now. But was it not true? If not true, not another word on the subject. Well? Amber? Unresponsive. Okay — what, then? If not the subject of fucking Larry, and if you’ve just asked that we stop talking about Joe Pope, what should we talk about? After all, the democratic principle underpins this madness. The floor is yours. Argue, once again, that you don’t feel safe here anymore, that Tom Mota always gave you the creeps, and that what we call antics and low comedy you call homicidal insanity. Amber?
“Last night I tried to sleep,” she said, “but I couldn’t stop worrying.”
We tried telling her for the fiftieth time that he was not coming back. She gazed around as if she were Marcia, as if she had Marcia’s power to reduce us with a single withering glance to small and ridiculous beings. But when Amber did it, the gaze turned inward and revealed something about her, that she felt misunderstood and therefore hurt.
“What are you talking about?” she asked. “Are you guys talking about Tom Mota again? How can you be talking about Tom Mota at a time like this?”
Then We Came to the End Page 11
