I’m sitting on a train, moving rather slowly, then stopping.
Yesterday was business, busy-ness. A multicultural quorum links up in a glass enclosed, grey walled conference room with views of the next building. There’s a coffee robot programmed to autocoffee everyone and twenty somethings sitting in smaller glass boxes, together in body but not in spirit, eyes down on the screens. They are quite beautiful, in a perfectly science-fictiony sort of way. One of them sits with the elder brain trust hive-mind, her braided hair piled high on her head, precisely speaking in her workforce jargon. Clear skin smart and tailored, she really can recite the language. I think of a seven year old piano player I heard play once, a technically amazing child and his piano, not old enough for any musical feeling.
I want to tickle the twenty something assistant and ask her if she’d ever spilled anything. Or if she’s afraid to. She’s too sweet or too perfect to deliberately fluster, although I consider it, a rather unprofessional thought.
Outside, also science-fictiony, the city swelters at 95 degrees. The brain trust and the coffee robot are safe and cool and intellectually elevated, but the homeless people, in the park, hide in sweatshirts that are way too warm. I saw them when I walked to the cool office on the fourth floor. I’m sure there were heat related deaths as we met and thought and latted in the glass box. If I am right, it was the park folks that overheated, and that information won’t make the news. On screen news is for the senator, the rock star, and the ex football star, the people who are welcomed into glass offices. I was tempted to talk with the park dwellers, how did they end up living in a park? I didn’t. The park people are time travelers and their stories may not correspond to my lines and boxes; I feel I’m a slave to a clock on a phone. I worry about being late.
I answer my own questions about them with well known theories about how people end up in parks and under bridges.
There’s trash on the edges of the train tracks, and the shattered glass glints and shines and looks a mess. It’s mixed with paper and plastic, waylaid on the route to recycling.
After my glass box time, I head to the museum. The poor we have always had with us, suggests the exhibition. Here is a portrait of an industrialist who built roads and bridges and fed the hungry and exploited the workers and stole the land. Here’s an Indian who was hated and hunted in life and now his effigy lays carved in static elegant white marble, not worrisome in death, in fact, he can now go into glass offices if we could hoist him up there, but he’s rather heavy now and so he stays where he is. In life he would have broken the glass windows and showed up half naked in animal skins, a presentation now boxed into video pornography, pretend wildness purchasable with plastic. He is running right out of the woods, not just on a screen for someone’s sexual exploitation or carved still for some post mortem admiration, but for his own purposes.
And he runs into the city park, right under the windows on the fourth floor, where the brain trust tries to figure out what to do with him. Again.