My degree in journalism couldn’t get me more than five dollars an hour. Other guys in the shop had the same degree, and we joked how liberal arts degrees should include welding skills so you’d at least pick up the extra two bucks an hour our shop paid grunts who could weld. Someone invited me to their church, and I was desperate enough to go, and at the church they had a potted ficus they called a Giving Tree, decorated with paper ornaments, each ornament printed with a good deed you could choose.
My ornament said: Take a hospice patient on a date.
That was their word, “date.” And there was a phone number.
I took the man with one leg, then him and his mother, all over the area, to scenic viewpoints, to museums, his wheelchair folded up in the back of my fifteen-year-old Mercury Bobcat. His mother smoking, silent. Her son was thirty years old, and she had two weeks of vacation. At night, I’d take her back to her TravelLodge next to the freeway, and she’d smoke, sitting on the hood of my car, talking about her son already in the past tense. He could play the piano, she said. In school, he earned a degree in music, but ended up demonstrating electric organs in shopping-mall stores.
These were conversations after we had no emotions left.
I was twenty-five years old, and the next day I was back under trucks with maybe three or four hours sleep. Only now my own problems didn’t seem very bad. Just looking at my hands and feet, marveling at the weight I could lift, the way I could shout against the pneumatic roar of the shop, my whole life felt like a miracle instead of a mistake.
In two weeks the mother was gone home. In another three months, her son was gone. Dead, gone. I drove people with cancer to see the ocean for their last time. I drove people with AIDS to the top of Mount Hood so they could see the whole world while there was still time.
I sat bedside while the nurse told me what to look for at the moment of death, the gasping and unconscious struggle of someone drowning in their sleep as renal failure filled their lungs with water. The monitor would beep every five or ten seconds as it injected morphine into the patient. The patient’s eyes would roll back, bulging and entirely white. You held their cold hand for hours, until another escort came to the rescue, or until it didn’t matter.
The mother in Wisconsin sent me an afghan she’d crocheted, purple and red. Another mother or grandmother I’d escorted sent me an afghan in blue, green, and white. Another came in red, white, and black. Granny squares, zigzag patterns. They piled up at one end of the couch until my housemates asked if we could store them in the attic.
Just before he’d died, the woman’s son, the man with one leg, just before he’d lost consciousness, he’d begged me to go into his old apartment. There was a closet full of sex toys. Magazines. Dildos. Leatherwear. It was nothing he wanted his mother to find, so I promised to throw it all out.
So I went there, to the little studio apartment, sealed and stale after months empty. Like a crypt, I’d say, but that’s not the right word. It sounds too dramatic. Like cheesy organ music. But in fact, just sad.
The sex toys and anal whatnots were just sadder. Orphaned. That’s not the right word either, but it’s the first word that comes to mind.
The afghans are still boxed and in my attic. Every Christmas a housemate will go look for ornaments and find the afghans, red and black, green and purple, each one a dead person, a son or daughter or grandchild, and whoever finds them will ask if we can use them on our beds or give them to Goodwill.
And every Christmas I’ll say no. I can’t say what scares me more, throwing away all these dead children or sleeping with them.
Don’t ask me why, I tell people. I refuse to even talk about it. That was all ten years ago. I sold the Bobcat in 1989. I quit being an escort.
Maybe because after the man with one leg, after he died, after his sex toys were all garbage-bagged, after they were buried in the Dumpster, after the apartment windows were open and the smell of leather and latex and shit was gone, the apartment looked good. The sofa bed was a tasteful mauve, the walls and carpet, cream. The little kitchen had butcher-block countertops. The bathroom was all white and clean.
I sat there in the tasteful silence. I could’ve lived there.
Anyone could’ve lived there.
{Almost California}
The infection on my shaved head is finally starting to heal when I get the package in the mail today.
Here’s the screenplay based on my first novel, Fight Club.
It’s from 20th Century Fox. The agent in New York said this would happen. It’s not like I wasn’t warned. I was even a little part of the process. I went down to Los Angeles and sat through two days of story conferences where we jerked the plot around. The people at 20th Century Fox got me a room at the Century Plaza. We drove through the studio backlot. They pointed out Arnold Schwarzenegger. My hotel room had a giant whirlpool tub, and I sat in the middle of it and waited most of an hour for it to fill enough that I could turn on the bubble jets. In my hand was my little bottle of mini-bar gin.
The infection on my head was from the day before I was going to Hollywood. I was getting flown to LAX, so what I did is run down to the Gap and try to buy a pumpkin-colored polo shirt. The idea was to look Southern Californian.
The infection was from not reading the directions on a tube of men’s depilatory. This is like Nair or Neet, but extra-strong, for black men to shave their faces with.
Right on the tube of Magic brand men’s depilatory, it says in all caps: DO NOT USE WITH A RAZOR. This is even underlined. The infection was not the fault of the package designers at Magic. Fast-forward to me sitting in my Century Plaza whirlpool tub. Water rushes in, but the tub is so big that even after half an hour, I’m just sitting there with my gin and my shaved head with my butt in a little puddle of warm water. The walls of the tub are marble, chilled to ice-cold by the air conditioning. The little almond soaps are already packed in my suitcase.
The check from the movie option is already in my bank account.
The bathroom is lined with huge mirrors and indirect lighting, so I can see myself from every angle, naked and wallowing in an inch of water with my drink getting warm. This is everything I wanted to make real. The whole time you’re writing, some less-than-Zen little polyp of your brain wants to be flying first-class to LAX. You want to pose for book-jacket photos. You want for there to be a media escort standing at the gate when you get off the plane, and you want to be chauffeured, not delivered, but chauffeured from dazzling interview to glittering book-signing event.
This is the dream. Admit it. Probably, you’d be more shallow than that. Probably, you’d want to be trading toenail secrets with Demi Moore in the green room just before you go onstage as a guest on the David Letterman show.
Yeah. Well, welcome to the market for literary fiction.
Your book has about a hundred days on the bookstore shelf before it’s an official failure.
After that, the stores start returning the books to your publisher and prices start to fall. Books don’t move. Books go to the shredder.
Your little chunk of your heart, the little first novel you wrote, your heart gets slashed 70 percent, and still nobody wants it.
Then you find yourself at the Gap trying on pastel knit shirts and squinting when you look in the mirror so you look almost good. Almost California. There’s the movie deal to support—your hope is, now, that will save your book. Just because a big publisher is doing my first novel, that doesn’t make me attractive. Lazy and stupid come to mind. When it comes to being attractive and fun to be around, I just can’t compete. Stepping off the airplane in Los Angeles with my hair sprayed and wearing a salmon-colored polo shirt was not going to help.
Having the publicist at the big publishing house call everybody and tell them I was attractive and fun was only going to give people false hope.
The only thing worse than showing up at LAX ugly is showing up ugly but showing signs that you really tried to look good. You gave it your best effort but this is t
he best you could do. Your hair’s cut and skin’s tanned, your teeth are flossed and the hair in your nose is tweezed, but you still look ugly. You’re wearing a 100 percent cotton casual knit shirt from the Gap. You gargled. You used eyedrops and deodorant, but you still come off the plane missing a few chromosomes.
That wasn’t going to happen to me.
The idea was to make sure nobody thought I was even trying to look good. The idea was to wear the clothes I wore every day. To remove any risk of failed hairstyling, I’d shave my head.
This wasn’t the first time I’d shaved my head. Most of the time I was writing Fight Club I had that blue, shaved-head look. Then, what can I say, my hair grew back. It was cold. I had hair when it came time to take my book-jacket photo, not that hair helped.
Even when they took my picture for the jacket, the photographer made it clear the pictures would turn out ugly, and it was not her fault.
So I left all the new colors of polo shirts including pumpkin, terra cotta, saffron, and celadon at the Gap, and I went and didn’t read the directions on a tube of men’s depilatory. I frosted my head with the stuff, and I started to hack at my scalp with a razor. The only thing worse you could do is get water mixed in the depilatory. So I ran hot water over my head.
Imagine your head slashed with razor cuts and then throwing lye on the cuts.
Tomorrow, I was going to Hollywood. That night, I couldn’t get my head to stop bleeding. Little bits of toilet paper were stuck all over my swelled-up scalp. It was a sort of papier-mâché look, with my brains inside. I felt better when my head started to scab, but then the red parts were still swollen. The blue stubble of hair started pushing up from underneath scabs. The ingrown hairs made little whiteheads I had to squeeze.
It was: The Elephant Man goes to Hollywood.
The people at the airline hustled me onboard, fast, like a donor organ. When I reclined my seat back, my scabs stuck to the little paper headrest cover. After our touchdown, the flight attendant had to peel it off. This probably wasn’t the peak experience of her day, either.
This is why I write.
The infected head thing just got worse. Everyone meeting me looked legendary, like all the guys were JFK Jr. All the women were Uma Thurman. At all the restaurants we went to, execs from Warner Brothers and Tri-Star would come over and talk about their latest project.
This is so why I write.
Nobody made the mistake of eye contact with me. They all talked about the latest buzz.
The producer for the Fight Club movie drove me around the Fox backlot. We saw where they filmed NYPD Blue. I said how I didn’t watch television. This was not the best news to let slip.
We went to the Malibu Colony. We went to Venice Beach. The one place I wanted to go was the Getty Museum, but you have to book an appointment a month in advance.
So this is why I write. Because most times, your life isn’t funny the first time through. Most times, you can hardly stand it.
My head would just bleed and bleed. Whoever was lowest in the pecking order, I had to ride in their car. They showed me those concrete hand- and footprints, and they stood off to one side discussing the grosses for Twister and Mission: Impossible while I wandered around the same as the rest of the tourists with their heads bowed looking for Marilyn Monroe.
They drove me through Brentwood and Bel-Air and Beverly Hills and Pacific Palisades.
They left me at the hotel where I had two hours before I had to be ready for dinner. There I was, and there was the mini-bar just asking to be violated, and there was a bathroom bigger than where I live. The bathroom was lined with mirror, and everywhere, there I was, all naked with the eruptions on my head finally draining clear liquid. The little hotel gin bottle in my hand. The gigantic bathtub kept filling and filling, but never got more than an inch deep.
All those years you write and write. You sit in the dark and say, someday. A book contract. A jacket photo. A book tour. A Hollywood movie. And someday you get them, and it’s not how you planned.
Then you get the screenplay for your book in the mail, and it says: “Fight Club by Jim Uhls.” He’s the screenwriter. Way underneath that, in parentheses, it says: Based on the novel by you.
That’s why I write, because life never works except in retrospect. And writing makes you look back. Because since you can’t control life, at least you can control your version. Because even sitting in my puddle of warm Los Angeles water, I was already thinking what I’d tell my friends when they asked about this trip. I’d tell them all about my infection and Malibu and the bottomless bathtub, and they’d say:
You should write that down.
{The Lip Enhancer}
It was Ina who first told me about Brad’s lips, and what he does with them. We’d met Brad this last summer, near Los Angeles, in San Pedro, on six acres of barren concrete with gang warfare, Crip and Blood territory staked out all around us. It was the set for a movie based on a book I’d written and could barely remember. Just before this, a neighborhood man had been tied to a bus stop bench here. The set crews found him, tied up, shot to death. The crew was building a rotting Victorian mansion for a million dollars.
All this buildup, this scene setting is so I don’t look too stupid.
This will only look like it’s about Brad Pitt.
It was one or two o’clock in the morning when Ina and I got there. At the production base camp, movie extras slept in dark lumps, curled up inside their cars. Waiting for their call. When we parked, a security guard explained how we’d have to walk unprotected for the last two blocks to the actual movie shooting location.
A pop, then another pop came from the dark neighborhood nearby.
Drive-by shootings, the guard told us. To get to the set, he said, we needed to keep our heads down and run. Just run, he said. Now.
So we ran.
According to Ina, what Brad does is lick his lips. A lot. According to Ina, this is probably not accidental. According to Ina, Brad has great lips.
Somewhere along the line my sister sent me a videotape of Oprah Winfrey, and there was Brad being interviewed, and Ina was pretty much right all over.
The first day we met Brad, he ran up with his shirt open, tanned and smiling, and said, “Thank you for the best fucking part of my whole fucking career!”
That’s about all I remember.
That, and I wanted to have lips.
Big lips are everywhere. Fashion models, movie stars. Where I live in Oregon, in a house in the woods, you can ignore a lot of the world, but one day we got a mail-order catalogue and there inside was the Lip Enhancer.
For this movie, Brad had the caps knocked off his front teeth and chipped, snaggle-tooth caps glued on. He shaved his head. Between takes, the wardrobe people rubbed his clothes in the dust on the ground. And he still looked so good Ina couldn’t put two words together. Girls from the ’hood stood five deep at the barricades two blocks away and chanted his name.
I had to get me some of those lips.
According to the people at Facial Sculpting, Inc., you can get collagen lip injections, but they don’t last. Full collagen lips will run you around $6,880 per year. Plus, collagen tends to move around inside, giving you lumpy lips. Plus, the injection process causes dark bruising and swelling that can last up to a week, with new collagen injections needed every month.
To be fair, I called five local cosmetic surgeons in Oregon, all of whom do lips, all of whom refused to even discuss the Lip Enhancer. Even when I agreed to pay a hundred-dollar consultation fee. Even when I got down and begged.
Oh, Dr. Linda Mueller, you know who you are.
The Lip Enhancer cost me $25, plus a couple bucks for shipping, plus the snide tone of the man who took my order. It’s not really marketed to men. We’re supposed to be above all that. Still, the Lip Enhancer is similar to a huge number of penis enlargement systems you can buy.
These are systems you can buy, and use, and write funny silly essays about and therefore tax-deduct; nee
dless to say, several of those systems are now in the mail to me.
The key word is “suction.” Like those penis systems, the Lip Enhancer uses gentle suction to distend your lips. Basically, it’s a two-piece telescoping tube, sealed at one end. You place the open end of the tube against your lips, then pull the sealed end away from you, lengthening the tube. This creates the suction that pulls your lips inside the tube, giving you full, pouty lips in about two minutes.
In the instructions, the lovely young woman has her lips sucked so far into the clear tube that she looks like a kissing gourami fish.
Some people, it gives them a big hickey around their mouth. This is just like when you were a kid and you pressed a plastic glass around your mouth and chin and sucked all the air out until you had a huge dark bruise that looked like the five-o’clock shadow of Fred Flintstone or Homer Simpson.
You should not use the Lip Enhancer if you’re a diabetic or have any blood disorder.
According to the catalogue, your new big full pouty lips will last about six hours.
This is how Cinderella must’ve felt.
There are similar suction systems to give you bigger, more perky nipples.
In the near future, you can imagine, every big evening will begin hours earlier with you getting sucked on by different appliances, each of them making some part of you bigger for a few hours. The whole evening would then be a race to get naked and accomplish some lovin’ before your parts snapped back to their original size.
Yes, there’s even a system for enlarging your testicles.
I was visitor number 921 to the Lip Enhancer website.
I was visitor number 500,000 to any of the penis enlargement sites.
Your first week with the Lip Enhancer, you have to condition your lips twice a day. This involves short, gentle sessions of getting your lips sucked. This is less exciting than it sounds.
Chuck Palahniuk Page 18