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 the 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.