But only because her cat saves her-hardly her own doing.
Ten years before states realized they had no laws that forbid someone from carrying a camera in a suitcase, then standing in a crowd and filming up the bottom of women's skirts, a decade ago, you tried to warn us. This was possible. Technology had outdistanced law, and this was going to happen. Then you created a fable to get our attention and inoculate us against the fear by creating a metaphor, a character that models the wrong behavior.
Was it Plato who made his arguments by telling a story with an obvious flaw, and allowing the listener to realize the error? Whoever it was, that method gives the reader the moment of realization, the emotional moment of "ah-hah!" And teaching experts say that, unless we have that moment of chaos, followed by the emotional release of realization, nothing will be remembered. In this way you, Mr. Ira Levin, force us to remember the mistakes made by your characters.
Oh, Mr. Ira Levin, how do you do it? You show us the future. Then you help us deal with that scary new world. You take us, fast, straight through a worst-case scenario and let us live it.
In the therapy called "flooding," a psychologist will force a patient to endure an exaggerated scenario of his or her worst fear. To overload the emotions. A person afraid of spiders might be locked in a room filled with spiders. A person afraid of snakes might be forced to handle snakes. The idea is that contact and familiarity will dull the terror the patient has for something they've been too afraid to explore. The actual experience, the reality of what snakes feel like and how they act, it destroys the fear by contradicting the patient's expectation.
Is that it, Mr. Levin? Is that what you're up to?
Or is what you do just consolation? Showing us the worst so our lives look better by comparison. No matter how controlling our doctor seems, at least we're not giving birth to a devil baby. No matter how boring the suburbs feel, at least we're not dead and replaced by a robot.
Your fellow writer Stephen King once said that horror novels give us a chance to rehearse our deaths. The horror writer is like a Welsh "sin eater," who absorbs the faults of a culture and diffuses them, leaving the reader with less fear of dying. You, Mr. Levin, are almost the opposite. In big, funny, scary ways, you acknowledge our faults. The problems we're too afraid to recognize.
And by writing, you give us less to fear about living.
That's very, VERY creepy, Mr. Levin. But not creepy-bad. It's creepy-nice. Creepy-great.
Escort
My first day as an escort, my first «date» had only one leg. He'd gone to a gay bathhouse, to get warm, he told me. Maybe for sex. And he'd fallen asleep in the steam room, too close to the heating element. He'd been unconscious for hours, until someone found him. Until the meat of his left thigh was completely and thoroughly cooked.
He couldn't walk, but his mother was coming from Wisconsin to see him, and the hospice needed someone to cart the two of them around to visit the local tourist sights. Go shopping downtown. See the beach. Multnomah Falls. This was all you could do as a volunteer if you weren't a nurse or a cook or doctor.
You were an escort, and this was the place where young people with no insurance went to die. The hospice name, I don't even remember. It wasn't on any signs anywhere, and they asked you to be discreet coming and going because the neighbors didn't know what was going on in the enormous old house on their street, a street with its share of crack houses and drive-by shootings, still nobody wanted to live next door to this: four people dying in the living room, two in the dining room. At least two people lay dying in each upstairs bedroom, and there were a lot of bedrooms. At least half these people had AIDS, but the house didn't discriminate. You could come here and die of anything.
The reason I was there was my job. This meant lying on my back on a creeper with a two-hundred-pound class-8 diesel truck driveline lying on my chest and running down between my legs as far as my feet. My job is I had to roll under trucks as they crept down an assembly line, and I installed these drivelines. Twenty-six drivelines every eight hours. Working fast as each truck moved along, pulling me into the huge blazing-hot paint ovens just a few feet down the line.
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.