Friday, November 30, 2018

Chapter 14: Melting


Gospel Grimes stood in tears in front of her mermaid picture.
Beside the door to THE Magic LANTERN, other hands had been busy on the brick. Someone hand sprayed black rectangles over the mermaids’ breasts. Another hand using bubblegum-pink spray paint had added a personal tag and a challenge to other taggers. And the media had faded; Gospel’s spray work remained pristine, but the heavily saturated aquamarines and indigos she had rolled on seemed to be fading into the brick.
Behind her a high, wavering—yet so extraordinarily collected—voice said: “Would you like me to give you a hug just now?”
Gospel turned and looked over her shoulder.
Rev. Bea stood there, hands stacked on top of a short broom handle; she seemed to have been sweeping the stoop of THE Magic LANTERN.
“Oh … ” said Gospel. The old woman did look so strange.
“It’s all right,” Rev. Bea said. “I do understand about boundaries. But your beautiful painting. I’m sure you could make it again. Or something better. Much better! Don’t you imagine?”
Gospel snuffled. “It would need not to run.”
Rev. Bea nodded.
“I’d need to study more about preparing brick to, to receive the media.”
Rev. Bea went back to sweeping. “Well, you are more than welcome to prepare our brick any old way you’d like to. Miss Susan and I—that’s the proprietress here—we like to see some beauty on our building.”
“Beauty,” whispered Gospel. She hadn’t thought about that.
If anything, she’d hoped to offend. At least to shock. Make em stare.
Beauty…
Only she had seen it, she’d thought.
Chin on her shoulder, she stared at Rev. Bea. All in rusty black, with some kind of crazy pink stockings and an ill-fitting letterman’s jacket, the old woman looked like nothing so much as a homeless lady sweeping for a cup of coffee.
Gospel sat down, back to the ruined painting, and cried a little more.
Then she took out her cracked phone and begin to Google ways to treat exterior brick to receive permanent artwork.

Tuesday, November 27, 2018

Chapter 13: Potty Problems


When action grows unprofitable, gather information; when information grows unprofitable, sleep.
— Ursula LeGuin

If you take this wrong, fuck you.

No, really. This isn’t any one character’s position, or even mine, whoever I am — and I’m not sure who I am, this person who flies ahead like Heathcliff to open the gate, who runs behind like an out-of-shape footman, anxiously waving a coat in the character’s wake.
This is an absolute moral position.
I’m not sure what’s going to happen with Serena’s mute struggle against the forces that want to harass and eliminate Potential Problem Pissers, but if you haven’t been elderly and incontinent and really needing to keep a job — or someone with Crohn’s disease — or a woman beset by the kind of heavy flow that means you get to the bathroom and change and you make it back to your workstation only to find that in the short walk you’ve drenched what should be an overnight pad, so you turn immediately around and walk back to the bathroom, under the baleful eye of your supervisor — or a mother who pumps milk in a filthy stall during your solo night shift at a convenience store — or a dad whose kids are at home alone and have urgent concerns you need to answer, by text message, while you hunker over the urinal — or someone whose only option is a foul Port-o-Potty or an open ditch — then fuck right the hell off and stay fucked off.

But beyond that, what can one say? Serena opened up the databases, when she had time, and poked around. There were lists of current restroom lengths based on key ins/key outs, but the company was trying to be super-nice to anyone with an active problem. They just wanted to root out potential problems … from people who hadn’t yet become a problem, and from people they might hire. So Serena, with no higher title than “Human Resources Assistant,” had to create an predictive algorithm for problem pissers.
First she looked at the data carefully. Like most self-taught users of databases, she had come up through a six-month secretarial course and had learned to code on the job, and despite (because?) of that could commune with them better than most college-taught DB architects. She could program in SQL, was expected to troubleshoot tables and scrub data on her “down time” between running rules updates and materials safety data sheets around the plant and carrying verbal messages to people who “needed to come to HR.” She made $12 an hour.

She is sitting in her little half-walled cubicle in the HR department. Gray light slants through the tall windows opposite. It’s May, and raining again. The space is beautiful; the workstations of the junior staff, abysmal. Serena can just sit, in her awkward too-tippy chair, with one elbow jammed against an elegant, plum-colored partition wall and her head craned down to see the laptop screen. She has to turn in the laptop every day at the end of her shift. However, her interest in the project has grown until she’s finally arsed herself to create a backup of the HR database on an offboard hard drive, and carry it home with her for further analysis. Of course, the original database is too big, but she’s created a random-number generator, pulled a random sampling of files (hundreds, not thousands, checking a few metrics to make sure the sampling was representative) and used them for deeper examination.
Now, she’s checking her findings against the real database again.
No one is monitoring her queries too closely because no one wants to admit to knowing what she’s up to. In fact, they trust her to be a good little Waddleduckie — though physically she’s a tall, soft, powerful person — , to provide the insights they need, and go happily back to making copies and posting notices.
It’s not a bad assumption, based on the facts at hand.
Look at her. She’s wearing a company-issued polo shirt, stained along one cuff where she’s wiped grape Kool-Ade off her lips. Her dark hair is tied back in a loose ponytail. The bangs hang past her eyebrows. Her soft oval face looks mutely — dully, one would think — at the screen. She’s wearing too-big glasses that don’t fit well. She has the barest hint of an overbite, and her front teeth overlap just a tad. She’s wearing a smear of lavender-pink lipstick, plus the Kool-Ade.
She has worked at Centaur Fulfillment for fifteen years without a problem. Advanced from picker to HR receptionist to HR assistant. She likes free donuts and meetings where they say nice things about everyone. She likes work tidily and to receive approval.
If the company had been running a slave ring out of the basement she might have thought: Well, that’s too much for me. I don’t understand it, and it’s probably wrong, but I’d better leave it alone. She would have been afraid. But this is so tiny — so mean — she just can’t stop. She is using every last scrap of unappreciated coding skills and sweet-tempered invisibility to make an algorithm for identifying potential problem pissers, which she will then use to protect those very people.
She doesn’t know how. Not yet.
Right now she is researching. She eats her way through one stale Krispy Kreme, then another. Drinks some tea, which is lukewarm and sweet with vanilla creamer. Eats a third donut. She considers creating a different, dummy algorithm for Kim, then considers against it. She does not want to cause trouble for any random subset of people, either.
She has never deliberately caused trouble in her life. But first: data.
She’s aware that data carries an undertow, that she may get lost in it. A dark austere bliss.
She'll have to get past that. Get her head above water. Maybe she’ll ask Gospel for help. Or … mentally, she thinks through her friends lists.
Her heart races. A first-in-decades panic attack.
Her palms sweat.
Hush, she tells herself. If they fire you, you can just cast a spell…
She hasn't thought like that for years.

Sunday, November 25, 2018

Chapter 12: The Man in the Black Jeans


The man wearing the 1980s-cut black jeans stood in front of a drafting table.
You rarely saw him sitting.
He had a big tablet in front of him, newsprint sheets as big as drafting paper, and he was drawing sketch after huge sketch.
His white shirt, tucked in and belted, billowed around his arms above rolled-up cuffs.
His head was shaved.
On the page he drew forests, cities, cloudscapes and mountain ranges. Never one thing. Mountains stairstepped into clouds from which towers spired into further heavens.
A chrysanthemum housed a series of pillbox apartments, in which dwelt gnomes on whose windowsills gardens of snapdragons and nasturtiums grew in boxes, housing tenements of spiders who grew climbing roses around the doors of their webby abodes.
The charcoal never smudged, though there was a dusting of black on the outside of his left hand — for he was left-handed, though sometimes he added a quick detail with the red pencil he held in his right.
He never erased.
His ears were pierced, though he wore no earrings.
This man was pristine and ambiguous as Vin Diesel. Look at him and you saw an effeminate man or a manly man, a black man or a white man, a fellow in his late 20s or his early 50s. You saw bluecollar wholesomeness or Asiatic exoticism. You saw a reflection, not exactly of yourself or your desires, but of a liminal figure, someone just enough on the edge of respectability to pique your interest.
The room had a pale wooden floor and broad whitewashed walls and a high whitewashed ceiling and big windows with small panes, opening onto vortices of blue. No tree, no building. Just swirling azure, that billowed his sleeves and lifted the corner of the paper until he pinned it down with a jade statue of a cat.
The man threw sketch after sketch onto the floor, and the wind blew them up against the walls where the collected like winnowings.
A bell rang.
The man in the black jeans pulled a smartphone out of his pocket and listened.
“Oh no,” he said. “That contract’s been signed.” Then: “No need. I’ll be right there.”
He put down his pencils and strode to a door. Beside the door stood an umbrella stand, the only furniture in the room except the drafting table. The man lifted from behind a Degas-print umbrella featuring the Blue Dancers a katana.
Light rippled on the blade like indigo silk.
Holding the katana bare in his hand, the man in the black jeans left the room.