[Spring 2007, I found myself in the Big Easy. Here are my notes.]
1. Arkansas Or Bust:
After I passed the fifth stranded car, I began to get nervous. I had blown out of New Orleans at rush hour, and hit 55 north with an empty gas tank, like an idiot, just eager to get out of that stinkhole, and now the needle was 35 miles past E, on a raised concrete causeway, swamps as far as the eye can see. No exits. No signs. No access to the lane in the opposite direction. Three weeks out and I just want to get home. It’s seven hours to Little Rock, and there’s a thick stack of hundred dollar bills taped under the dash. Another stranded car, this time, a luckless sweaty cajun sits on the guard rail.
I pulled off at an exit (labeled MANCHAC) at last, but there are no gas stations, and the next exit is dozens of miles away. Ready to beg, siphon, or steal, I follow a dirt road that seems to lead towards rooftops I saw from the highway. A spray painted piece of plywood nailed to a tree reading “GaS” points the way to a screened shed with a sign out front: “Coon Meat. Alligator Meat. Crabs. Closed.” But there’s another spray painted sign for gas just beyond that, with an arrow pointing deeper into the swamp. Under the trees sit long stranded shrimp boats, aground in the forest. “Don’t MovE me! Just a MINutE set Back” painted on one. And then another rotting, spray-painted promise of petrol nailed to a tree that I need to believe.
Into a clearing, a sudden cool, fresh breeze, and I’m on the coast of Lake Ponchatrain, I guess. There’s a decrepit and obviously uninhabited shed with a Monte Carlo parked out front. On the shed in man-tall letters it reads “GAS” with an arrow pointing up into the sky.
Fuck.
I get out to examine the shack (there’s not enough fuel to make it back to the road anyway), and in doing so see that the old shed is just barely obscuring a cabana-like structure on fifteen foot pylons, a motor boat moored out front. Up the stairs and inside, it’s clean and cool and neat, with a half dozen sunburnt, drunk, friendly, shiny, cajuns sitting around a table. A younger version of myself might have had the courage to while away the twilight, but I can barely understand them, and the hose for refueling boats will reach the gravel driveway and the truck after all.
So long, Manchac.
So long, Loosey-Anna.
2. Carpentry Nights
The house is at least a hundred years old, and is now divided into four “shotgun” apartments. That is, in a tired metaphor I don’t need to explain, they are linear. Each room can only be accessed in sequence; front room, hallway, next room, next room; last room, where I sit. The saw dust is swept up for the night, tools hang from the walls and sit in buckets and cases, graph paper diagrams are taped to the walls; a cool breeze blows intermittenly through the window. I sit at a table on sawhorses, trying to make the measurements add up. But the beer is fogging everything.
We’ve finished vaulting the ceiling, and it reaches high into the darkness, and is beautifuly lit with a worklight and shadows. A three hundred pound solid cherry ship’s ladder sits there now, steps up to the loft above, with treads of ambrosia maple and ash, brand new, and the birch and oak cabinets are in various states of construction. New shelves line one wall, but the sliding doors aren’t working right yet, but the laundry room’s been framed out. Didn’t get too much done today.
The owner lives in the apartment adjacent, to the south. Her mother deals with her own quickly advancing Alzheimer’s in the apartment beneath that. Her mother is forever feeding the dogs and forever looking for her keys, which she is never to find (witness the wrecked Toyota on the street). This town is a town of hard edged survivors. This street is almost put back together, it’s own street signs in purple with flowers and funny lettering, and the end of the block, by the bayou: lawn chairs and awnings welcome walkers to sit, with homemade signs exhorting respect and cleanliness.
Jeanette, the owner, plans this, this apartment to be her money maker for her and her mother; the building: financed through fast talking, SBA loans, FEMA handouts, and charisma. We (buddy and I) stayed on the floor of her apartment the first few days, but I’ve opted to berth here in the dust and tools, because I need my space. I have decided to stay and finish the goddamned job, or as much as I can, because I really like her. She’s in her forties or later, and begins stories with things like “We saved the mushrooms we bought in Saigon, and ate them when we got on the camels and rode into the Gobi Desert.” She is scattered and blonde, sharp and caring, and makes us take lunch breaks to eat alligator sausage. She has (I gather) lived high on the hog before, but without a doubt, she is a self made woman. She has two older women as house guests; one an ex-drug smuggler from Chicago that lives in Costa Rica. The other sells jewelry at Ren Fairs.
Her words earlier to my buddy (who actually hired me to come down here) echo in my head: “I’ll throw your tools out the fucking window. Get out of my house. Get out or cops. Out or cops. Get the fuck out. Now.” She cried when I said I’d stay.
I took him half-way home to North Carolina, dropping him off in Montgomery, Alabama. Drove back alone to be left in this weird thing. I rarely have the urge to please someone, but here it is. And I need her approval.
I’ve never built cabinets before. But I will.
It’s getting late.
3.Tragedy on the Streets.
Blood is sputtering from his mouth, and he’s kind of nervously pacing back and forth in the street, mumbling, the bicycle still laying there in the dark. There are cars about. There are cops about. We are just within the boundaries of the fabled Ninth Ward.
I saw my buddy go down a block ahead of me, the wet melon slap sound reaching my ears a few miliseconds delay after the wreck, just like the crack of a baseball bat reaches the ears after the ball’s already flying. He took off from that bar in the Quarter, and I’m only just now catching up.
“How about we just sit down here on the curb for a second?” I say in my best friendly EMT voice. He complies. I pull the bike onto the median.
“Can you bite your teeth down?” He shakes his head No. His face is pockmarked with gouges that are now beginning to ooze blood.
“Will you let me look?”
He lifts his upper lip and I’m careful to hold what I hope is an expression of detached bemusement (or maybe bemused detachment), his eyes are trained on mine, and I don’t want to give away the awfulness of the answer: “No big deal, you chipped a few teeth.” I lay him down on his side in the grass, wondering what the doctor’s bill will be for a mangled mouth of dangling broken and missing teeth, check his pupils, pat his chest with one hand. I pull out my phone and wonder, who to call? I could call 411 for a number for a cab, but I wouldn’t even know where to ask to go.
In a little bit, he’ll swing liquor drunk punches at me and try and jump in front of a car, but it will turn out okay after a long night in the ER (where he will sign “Mark MacGuire” to all forms), and later apologize, with a lisp, in a ride in my truck to meet his wife halfway home – that halfway point being Montgomery, Alabama. But right now he’s beginning to cry.
“Just sit tight, just give me a minute, we’ll be out of here real soon. No big deal, just a couple of chipped teeth. Sit tight. Lay down. I’m working on it.”
4.Suitcase on the Jobsite
When Rick showed up and opened his suitcase, I knew things would be okay.
Jeannette was out with buddy on a lumber run, and I was doing shit work, unloading the trailer, and hauling out the mess of previous crackhead contractors. “I’ll call this guy Rick,” she said. “He’ll come help you.” No, please, I pleaded, I’ve got it. I don’t need any help from New Orleans Rick.
Rick apparently did the tile in the bathrooms, and he shows up a bit later on a ‘73 Honda CB750, with a sparkling, glittering, orange helmet. He appears to be my age (he’s actually turns out to be years older). Rick is tight lipped but helpful. Most of his tools are already at the jobsite, organized with meticulous precision. I notice he’s got a black leather briefcase strapped to the passenger seat of his bike. He brings it inside, and asks if there’s anything I’d like to listen to. He opens the briefcase, unfolds a small light armature built into it, two speakers on hinges unfold like a butterfly, a mini disk recorder mounted in the center of the vertical panel, the bottom section full of hundreds of alphabetically organized mini disks, which he selects with tweezers - which have their own special stowaway space.
“Where the hell you get that?”
“Uh. Made it.”
A few days later, as friends, we’ll go to his rehearsal space, the sixth floor of what used to be a gargantuan hotel, now converted to steel door bunkers, storage space, odd snatches of music bouncing down the halls. Inside his cell, a futon, a sprawling drumset, and at one wall, an organ-like spread of keyboards, and four more huge suitcases, packed precisely with archaic samplers, beat machines, effects processors, illuminated, various cords snaking from jacks mounted into the sides of the luggage. The floor must have a dozen pedals. Off to the side is some sort of console, like a 1950s NASA control room artifact, dozens of little colored pegs like the old Battleship game, and a joystick.
In a few weeks, I’ll call him from a noisy bar in Arkansas, and we’ll realize he knows my sister-in-law from his days in New York City. And that he was at my wife’s eighteenth birthday party in the Lower East Side.
But in his studio, Rick “doesn’t record.” He pulls instruments off the walls, and begins stomping pedals, building loops, into a tumbling wall of sound, and jerks his head towards the drumset. Me? Yes.
This is Jericho.
5. Lost Dog.
I’m driving Jeannette’s truck, a huge F150 4×4 through the grass, between the trees of a city park,in the dark, wiith the lights out, sweating ammo. How do I explain that I don’t the owner’s last name if I get caught doing this? How do I explain the revolver under the drivers seat, shit, I forgot about that.
How the hell did this happen? Just a couple of minutes ago, buddy and I were sitting enjoying the sunset at Lake Ponchatrain’s edge, within sight of the levee’s breach, meditating on the water, Jeannette had wandered off when one of the dogs hadn’t shown back up.
“Shit,” I said to buddy. “I hope this doesn’t turn into some epic.” She left buddy posted at the lake in case the dog showed up, hustled me into the truck, and off we went, tearing through the winding, confusing streets of city park, when she decides to start going cross country. She jumped out of the truck and ran to the top of the levy, calling me to drive the truck up there. Nothing doing. I shut off the lights and yell that I’m going back, and make my way through the park grass and trees until I find a road. But a one-way leads to another one-way, and I realize I’m getting more and more lost. I call her on her cell. It rings beside me on the seat. I don’t know how to get home, I don’t know where I am, I pull over and call buddy. “Hey, buddy, where are you?” I ask.
“I have no fucking idea.”
“Me neither. Jeannette’s fucking crazy. I’m going to start walking.”
I pick a direction, more or less at random, and begin to laugh to myself.