Q.
‘What it is is—well first there’s always some girls around. You know what I mean? At the foundry there, at the Lanes. There’s a tavern right down by the bus stop there. Jackpot—that’s my best friend—Jackpot and Kenny Kirk—Kenny Kirk’s his cousin, Jackpot’s, that are both over me at the foundry cause I finished school and didn’t get in the union till after—they’re real good-looking and normal-looking and Good With The Ladies if you know what I mean, and there’s always girls hanging back around. Like in a group, a bunch or group of all of us, we’ll all just hang back, drink some beers. Jackpot and Kenny’re always going with one of them or the other and then the ones they’re going with got friends. You know. A whole, say, group of us there. You follow the picture here? And I’ll start hanging back with this one or that one, and after a while the first stage is I’ll start in to telling them how I got the name Johnny One-Arm and about the arm. That’s a stage of the thing. Of getting some pussy using the Asset. I’ll describe the arm while it’s still up in the sleeve and make it sound like just about the ugliest thing you ever did see. They’ll get this look on their face like Oh You Poor Little Fella You’re Being Too Hard On Yourself You Shouldn’t Be Shameful Of The Arm. So on. How I’m such a nice young fella and it breaks their heart to see me talk about my own part of me that way especially since it weren’t any fault of mine to get born with the arm. At which time when they start with that stage of it the next stage is I ask them do they want to see it. I say how I’m shameful of the arm but somehow I trust them and they seem real nice and if they want I’ll unpin the sleeve and let the arm out and let them look at the arm if they think they could stand it. I’ll go on about the arm until they can’t hardly stand to hear no more about it. Sometimes it’s a ex of Jackpot’s that’s the one that starts hanging back with me down at Frame Eleven over to the Lanes and saying how I’m such a good listener and sensitive not like Jackpot or Kenny and she can’t believe there’s any way the arm’s as bad as I’m making out and like that. Or we’ll be hanging back at her place in the kitchenette or some such and I’ll go It’s So Hot I Feel Like Taking My Shirt Off But I Don’t Want To On Account Of I’m Shameful Of The Arm. Like that. There’s numerous, like, stages. I never out loud call it the Asset believe you me. Go on and touch it whenever you get a mind to. One of the stages is I know after some time I really am starting to come off creepy to the girl, I can tell, cause all I can talk about is the arm and how wet and flippery it is but how it’s strong but how I’d just about up and die if a girl as nice and pretty and perfect as I think she is saw it and got disgusted, and I can tell all the talk starts creeping them up inside and they start to secretly think I’m kind of a loser but they can’t back out on me cause after all here they been all this time saying all this nice shit about what a sensitive young fella I am and how I shouldn’t be shameful and there’s no way the arm can be that bad. In this stage it’s like they’re committed into a corner and if they quit hanging back with me now why they know I can go It Was Because Of The Arm.’
Q.
‘Usually long about two weeks, like that. The next is your critical-type stage where I show them the arm. I wait till it’s just her and me alone someplace and I haul the sucker out. I make it seem like they talked me into it and now I trust them and they’re who I finally feel like I can let it out of the sleeve and show it. And I show it to her just like I just did you. There’s some additional things too I can do with it that look even worse, make it look—see that? See this right here? It’s cause there ain’t even really a elbow bone, it’s just a—’
Q.
‘Or some of your ointments or Vaseline-type jelly on it to make it look even wetter and shinier. The arm’s not a pretty sight at all when I up and haul it out on them I’m telling you right now. It just about makes them puke, the sight of it the way I get it. Oh and a couple run out, some skedoodle right out the door. But your majority? Your majority of them’ll swallow hard a time or two and go Oh It’s It’s It’s Not Too Bad At All but they’re looking over all away and try and not look at my face which I’ve got this totally shy and scared and trusting face on at the time like this one thing I can do where I can make my lip even tremble a little. Ee? Ee anh? And ever time sooner or later within inside, like, five minutes of it they’ll up and start crying. They’re in way over their head, see. They’re, like, committed into a corner of saying how it can’t be that ugly and I shouldn’t be shameful and then they see it and I see to it it is ugly, ugly ugly ugly and now what do they do? Pretend? Shit girl most of these girls around here think Elvis is alive someplace. These are not girl wonders of the brain. It breaks them down ever time. They get even worse if I ask them Oh Golly What’s Wrong, how come they’re crying, Is It The Arm and they have to say It Ain’t The Arm, they have to, they have to try and pretend it ain’t the arm that it’s how they feel so sad for me being so shameful of something that ain’t a big deal at all they have to say. Often-times with their face in their hands and crying. Your climatic stage then is then I up and come over to where she’s at and sit down and now I’m the one that’s comforting them. A, like, factor here I found out the hard way is when I go in to hold them and comfort them I hold them with the good side. I don’t give them no more of the Asset. The Asset’s wrapped back up safe out of sight in the sleeve now. They’re broke down crying and I’m the one holding them with the good arm and go It’s OK Don’t Cry Don’t Be Sad Being Able To Trust You Not To Get Disgusted By The Arm Means So Very Very Much To Me Don’t You See You Have Set Me Free Of Being Shameful Of The Arm Thank You Thank You and so on while they put their face in my neck and just cry and cry. Sometimes they get me crying too. You following all this?’
Q….
‘More pussy than a toilet seat, man. I shit you not. Go on and ask Jackpot and Kenny if you want about it. Kenny Kirk’s the one named it the Asset. You go on.’
B.I. #42 06-97
PEORIA HEIGHTS IL
‘The soft plopping sounds. The slight gassy sounds. The little involuntary grunts. The special sigh of an older man at a urinal, the way he establishes himself there and sets his feet and aims and then lets out a timeless sigh you know he’s not aware of.
‘This was his environment. Six days a week he stood there. Saturdays a double shift. The needles-and-nails quality of urine into water. The unseen rustle of newspapers on bare laps. The odors.’
Q.
‘Top-rated historic hotel in the state. The finest lobby, the single finest men’s room between the two coasts, surely. Marble shipped from Italy. Stall doors of seasoned cherry. Since 1969 he’s stood there. Rococo fixtures and scalloped basins. Opulent and echoing. A large opulent echoing room for men of business, substantial men, men with places to go and people to see. The odors. Don’t ask about the odors. The difference in some men’s odors, the sameness in all men’s odors. All sounds amplified by tile and Florentine stone. The moans of the prostatic. The hiss of the sinks. The ripping extractions of deep-lying phlegm, the plosive and porcelain splat. The sound of fine shoes on dolomite flooring. The inguinal rumbles. The hellacious ripping explosions of gas and the sound of stuff hitting the water. Half-atomized by pressures brought to bear. Solid, liquid, gas. All the odors. Odor as environment. All day. Nine hours a day. Standing there in Good Humor white. All sounds magnified, reverberating slightly. Men coming in, men going out. Eight stalls, six urinals, sixteen sinks. Do the math. What were they thinking?’
Q….
‘It’s what he stands in. In the sonic center. Where the shine stand used to be. In the crafted space between the end of the sinks and the start of the stalls. The space designed for him to stand. The vortex. Just outside the long mirror’s frame, by the sinks—a continuous sink of Florentine marble, sixteen scalloped basins, leaves of gold foil around the fixtures, mirror of good Danish plate. In which men of substance drag material out of the corners of their eyes and squeeze their pores, blow their nose in the sinks and walk off without rinsing. He stood all d
ay with his towels and small cases of personal-size toiletries. A trace of balsam in the three vents’ whisper. The vents’ threnody is inaudible unless the room is empty. He stands there when it’s empty, too. This is his occupation, this is his career. Dressed all in white like a masseur. Plain white Hanes T and white pants and tennis shoes he had to throw out if so much as a spot. He takes their cases and topcoats, guards them, remembers without asking whose is whose. Speaking as little as possible in all those acoustics. Appearing at men’s elbows to hand them towels. An impassivity that is effacement. This is my father’s career.’
Q….
‘The stalls’ fine doors end a foot from the floor—why is this? Why this tradition? Is it descended from animals’ stalls? Is the word stall related to stable? Fine stalls that afford some visual privacy and nothing else. If anything they amplify the sounds inside, bullhorns on end. You hear it all. The balsam makes the odors worse by sweetening them. The toes of dress shoes defiled along the row of spaces beneath the doors. The stalls full after lunch. A long rectangular box of shoes. Some tapping. Some of them humming, speaking aloud to themselves, forgetting they are not alone. The flatus and tussis and meaty splats. Defecation, egestion, extrusion, dejection, purgation, voidance. The unmistakable rumble of the toilet paper dispensers. The occasional click of nail-clippers or depilatory scissors. Effluence. Emission. Orduration, micturition, transudation, emiction, feculence, catharsis—so many synonyms: why? what are we trying to say to ourselves in so many ways?’
Q….
‘The olfactory clash of different men’s colognes, deodorants, hair tonic, mustache wax. The rich smell of the foreign and unbathed. Some of the stalls’ shoes touching their mate hesitantly, tentatively, as if sniffing it. The damp lisp of buttocks shifting on padded seats. The tiny pulse of each bowl’s pool. The little dottles that survive flushing. The urinals’ ceaseless purl and trickle. The indole stink of putrefied food, the eccrine tang to the jackets, the uremic breeze that follows each flush. Men who flush toilets with their feet. Men who will touch fixtures only with tissue. Men who trail paper out of the stalls, their own comet’s tail, the paper lodged in their anus. Anus. The word anus. The anuses of the well-to-do ranging above the bowls’ water, flexing, puckering, distending. Soft faces squeezed tight in effort. Old men who require all kinds of ghastly help—lowering and arranging another man’s shanks, wiping another man. Silent, wordless, impassive. Whisking the shoulders of another man, shaking off another man, removing a pubic hair from the pleat of another man’s slacks. For coins. The sign says it all. Men who tip, men who do not tip. The effacement cannot be too complete or they forget he is there when it comes time to tip. The trick of his demeanor is to appear only provisionally there, to exist all and only if needed. Aid without intrusion. Service without servant. No man wants to know another man can smell him. Millionaires who do not tip. Natty men who splatter the bowls and tip a nickel. Heirs who steal towels. Tycoons who pick their noses with their thumb. Philanthropists who throw cigar butts on the floor. Self-made men who spit in the sink. Wildly rich men who do not flush and without a thought leave it to someone else to flush because this is literally what they are used to—the old saw Would you do this at home.
‘He bleached his work clothes himself, ironed them. Never a word of complaint. Impassive. The sort of man who stands in one place all day. Sometimes the very soles of the shoes visible under there, in the stalls, of vomiting men. The word vomit. The mere word. Men being ill in a room with acoustics. All the mortal sound he stood in every day. Try to imagine. The soft expletives of constipated men, men with colitis, ileus, irritable bowel, lientery, dyspepsia, diverticulitis, ulcers, bloody flux. Men with colostomies handing him the bag to dispose of. An equerry of the human. Hearing without hearing. Seeing only need. The slight nod that in men’s rooms is acknowledgment and deferral at once. The ghastly metastasized odors of continental breakfasts and business dinners. A double shift when he could. Food on the table, a roof, children to educate. His arches would swell from the standing. His bare feet were blancmanges. He showered thrice daily and scrubbed himself raw but the job still followed him. Never a word.
‘The door tells the whole story. MEN. I haven’t seen him since 1978 and I know he’s still there, all in white, standing. Averting his eyes to preserve their dignity. But his own? His own five senses? What are those three monkeys’ names? His task is to stand there as if he were not there. Not really. There’s a trick to it. A special nothing you look at.’
Q.
‘I didn’t learn it in a men’s room, I can tell you that.’
Q….
‘Imagine not existing until a man needs you. Being there and yet not there. A willed translucence. Provisionally there, contingently there. The old saw Lives to serve. His career. Breadwinner. Every morning up at six, kiss us all goodbye, a piece of toast for the bus. He could eat for real on his break. A bellman would go to the deli. The pressure produced by pressure. The rich belches of expense-account lunches. The mirrors’ remains of sebum and pus and sneezed detritus. Twenty-six-no-seven years at the same station. The grave nod he’d receive a tip with. The inaudible thank-you to the regulars. Sometimes a name. All those solids tumbling out of all those large soft warm fat moist white anuses, flexing. Imagine. To attend so much passage. To see men of substance at their most elemental. His career. A career man.’
Q.
‘Because he brought his work home. The face he wore in the men’s room. He couldn’t take it off. His skull conformed to fit it. This expression or rather lack of expression. Attendant and no more. Alert but absent. His face. Beyond reserved. As if forever conserving himself for some ordeal to come.’
Q….
‘I wear nothing white. Not one white thing, I can tell you that much. I eliminate in silence or not at all. I tip. I never forget that someone is there.
‘Yes and do I admire the fortitude of this humblest of working men? The stoicism? The Old World grit? To stand there all those years, never one sick day, serving? Or do I despise him, you’re wondering, feel disgust, contempt for any man who’d stand effaced in that miasma and dispense towels for coins?’
Q.
‘…’
Q.
‘What were the two choices again?’
B.I. #2 10-94
CAPITOLA CA
‘Sweetie, we need to talk. We’ve needed to for a while. I have I mean, I feel like. Can you sit?’
Q.
‘Well, I’d rather almost anything, but I care about you, and I’d rather anything than you getting hurt. That concerns me a lot, believe me.’
Q.
‘Because I care. Because I love you. Enough to really be honest.’
Q.
‘That sometimes I worry you’re going to get hurt. And that you don’t deserve it. To get hurt I mean.’
Q, Q.
‘Because, to be honest, my record is not good. Almost every intimate relationship I get into with women seems to end up with them getting hurt, somehow. To be honest, sometimes I worry I might be one of those guys who uses people, women. I worry about it somet—no, damn it, I’m going to be honest with you because I care about you and you deserve it. Sweetie, my relationship record indicates a guy who’s bad news. And more and more now lately I’ve been afraid that you’re going to get hurt, that I might hurt you the way I seem to have hurt others who—’
Q.
‘That I have a history, a pattern so to speak, of, for instance, coming on very fast and hard in the beginning of a relationship and pursuing very hard and very intensely and wooing very intensely and being head over heels in love right from the very start, of saying I Love You very early on in the relationship, of starting to talk future-tense right from the outset, of having nothing be too much to say or do to show how much I care, which all of course has the effect, naturally, of seeming to make them truly believe I really am in love—which I am—which then, I think, seems to make them feel loved enough and so to speak safe enough to st
art letting them say I Love You back and acknowledging that they’re in love with me, too. And it’s not—let me stress this because it’s the God’s honest truth—it’s not that I don’t mean it when I say it.’
Q.
‘Well, it’s not as if how many of them I’ve said it to isn’t an understandable question or concern but if it’s all right it’s just that it’s not what I’m trying to talk to you about, so if it’s all right I want to hold off on things like numbers or names and try to just be totally honest with you about what my concerns are, because I care. I care about you a lot, sweetie. A whole lot. I know it’s insecure, but it’s very important to me that you believe this and hang on to it all through our talk here, that what I’m saying or what I’m afraid I might do to in any way end up hurting you doesn’t in any way lessen or mean that I don’t care or that I have not meant it absolutely every time I’ve told you I love you. Every time. I hope you believe that. You deserve to. Plus it’s true.’
Q….
‘But what it is is that it seems as if for a while everything I say and do has the effect of pulling them into thinking of it as a very—a very serious relationship and almost you could say somehow like lulling them into thinking in terms of the future.’
Q.
‘Because then the as it were pattern seems to be that once I’ve got you, so to speak, and you’re as much into the relationship as I’ve been, then it’s as if I’m almost constitutionally unable somehow to push all the way through and follow through and make a… what’s the right word—’
Q.
‘Yes, all right, that’s the word, even though I have to tell you the way you say it fills me with dread that you’re already feeling hurt and not taking what I’m trying to say in the spirit which I’m trying to talk to you about this, which is that I honestly do care enough about you to share some honest concerns that have been troubling me about even the possibility of you getting hurt, which believe me is the absolute last thing I want.’
Brief Interviews with Hideous Men Page 8
