Tag Archives: details

“The Times We Knew — Who Would Remember Better Than You?”

I prefer writing about strangers.  It’s easier, I think.  

Like the creature of Gisele’s height but Kat Dennings’ build who walked into the mysteriously lit coffee shop yesternight and made me lose track of my thoughts.  She wore a pair of tight, dark blue jeans (which made her sound like a song); and red patent leather high heels.  Her tailored black shirt was unbuttoned on top, generously revealing her lace-bound breasts.  And by the time I slid my gaze up to her exotic face, I swear I began feeling a bit hazy-headed.

“Jeez!” my male companion said over a cup of his Moroccan Mint hot tea, as if blowing his breath over the steaming surface.  Perhaps, he was blushing; but I hadn’t looked at his face for seemingly a million minutes by then.

“Mazel tov!” I mumbled, followed the creature with my eyes.  Then, once she plopped down into the aged couch next to us, I concluded with a “Damn!” — for emphasis.

Her face.  I didn’t really see her face:  The rest of her upstaged it.

But in a story — any story in which she would dictate her own reappearance — I would give her the face of an angel, if angels were born on the coasts of Brazil or India.

Certainly, she would have droopy eyelids with velvety eyelashes, best worn by those smart girls who are always either in the midst of a compassionate tear or a self-deprecating prank.  I would give her a well-carved nose, but on the larger side.  It would be Roman-esque, resonant of the young Sophia Loren.  And it would juxtapose well in relation to her chin which was in the shape of an Italian prune plum.

The lips…  I normally don’t pay attention to the lips.  I just know that most of the time, they complete a  woman’s face perfectly.  Sometimes, the mouth is worth mentioning, but I must see it in action first.  It’s the manner and the breath with which the mouth makes out words that gets my attention.  But by that point, I’m most likely so stricken by the girl’s smarts, that again, I don’t pay attention to the lips.

Yesternight, I didn’t really see her face, but it is her face that would guide me into the fiction of her.  Into the fantasy.

I prefer writing about strangers.  Because it’s easier, I think.

Like when, the other night, I stood in line behind a tall boy who wore a white tee and a pair of slim fit, ripped jeans, he could’ve easily existed — in someone else’s fiction.  But then, his shoes caught my attention:  They were black, lace-up boots with missing laces.  Scuffed and dusty, as if he had just walked miles through sand and perseverance to get here, they reminded me of a pair I once photographed up in the desert.  Those other boots were parked outside a cabin inhabited by a group of outcast artists, and a blue-eyed boy with a Siberian husky.  The boy and I wouldn’t sleep that night; and when the dawn illuminated miles and miles of sand ahead, he peeled on those same boots and rode away on his motorcycle.  The blue-eyed husky would follow him, and I would wish I had memorized his face a little bit better.

The other night, the bottoms of the boy’s ripped jeans where tucked inside each boot, but somehow I knew that despite the nonchalant appearance, it took some careful thought and manipulation to get the job done.  I slid my eyes up his long legs, past the aesthetically, half-tucked tee, and along the shapely back.  I didn’t really see his face, but in a story — any story in which he would dictate his own reappearance — he would have a beauty mark above his lips.  And he would be blue-eyed, of course.

Yes, I prefer writing about strangers.  Because it’s easier, I think.

Like the calm old woman in a burgundy housedress and slippers that reminded me of my grandmother’s pace, the other day:  I saw her walking a girl child, up a tiny hill in Griffith park.  It was overcast, and the fog of the marine layer refused to burn off.  The two of them walked slowly, and I could tell by the curvature of the woman’s spine — over and above the child — that she was quiet and listening to the stories made out by the little mouth.  And so, she reminded me of my grandmother’s pace.

The kiddo wore a gray mouse outfit:  with ears, and a tail; onesie feet and all.  And by the way she walked, with more assurance than the adult in her company, as if leading the way; and by the way she swayed her tiny right hand to punctuate her stories; and by the way she gripped her grandmother’s index finger with the other — she made my heart moan with memories.

I didn’t see the child’s face.  Neither did I see that of the grandmother. 

But in my story — any story in which they would dictate their own reappearance — I bet they would have the details of the face I see in my mirrors.

Because I tend to memorize the faces of my loves with my heart.  And I prefer writing about strangers.  It’s easier, I think, for my empathy to speak — and for my loves to dictate their own reappearance. 

“The Days Run Away Like Wild Horses Over the Hills.”

She had arrived late, but what else was expected?  She was a woman.  A beautiful woman.

It was obvious it took her a while to put this whole thing together last night, through a careful choosing of details:  a negotiation of her tastes, her moods; the senses.  I wondered if while getting dressed, she daydreamed of a specific man she wanted to impress, as women of my age often do.  Or, if she simply entertained an overall possibility of endless love (as we, romantics, must still insist on doing).

A woman whose abandonment of vanity would probably mean the very death of her, she was better dressed for an audience at a polo match, also attended by The Royal Family, than a staged reading at a black box theatre.  First:  There was the white hat adorned with a satin ribbon and a silver rhinestone brooch.  And immediately, last night, the brooch got caught in the stage lights, and it began going berserk with rainbow reflections.  So did the giant ring that took over two of her fingers on the dainty left hand.

“Holy shit!” I thought.  “Is this broad decked out in diamonds?!  Damn.”

The hat alone was enough to demand the attention of the audience.  But the coat of the same egg-foam color was a thing of beauty.  Most likely custom-made from cashmere, it could send the mind into a nostalgic trip through the old days — the days of women like Audrey, Jackie and Liz — to the era when things like that were extremely important:  The details.

Gingerly, as if trying to not attract any attention, she slipped passed the front row of the auditorium and took a seat.  But whom was she kidding?  She was impossible not to notice!  For it was obvious, that it took a long while to put this whole thing together last night — through a careful choosing of details.  And I suddenly caught myself wanting to be nearer her, just to learn the aroma of her perfume, to figure out her story.

She had to walk slowly:  By now, the broad was most likely in the seventh decade of her life.  Be it her slow pace, her ability to be the center of attention, or her esteem, I was sure none of us let her slip by unnoticed.  The hat remained on her head for the rest of the night, radiating with rainbow rays from its brooch.  And for the next hour, I continued stealing glances at her.

Under the coat, she wore… a sweat suit.  (I know!)

But then again, it wasn’t one of those mass-made, one-size-fits-all fleece numbers with rubber bands around its ankles.  No, this thing was fluffy and pink.  It had a strange resonance to the days of the young Britney Spears:  Something a woman of my age would purchase from a Victoria’s Secret.  Although a definite mismatch to her outer ensemble, the suit was well fitted to her small frame.  Even this, I bet, was chosen carefully, last night.

A pair of white nursing shoes wrapped the picture, and I bet it was a small tragedy for this woman — this beautiful woman — to obey the mandatory change in her footwear.  Because by now, the broad was most likely in the seventh decade of her life; and it was a choice between vanity and a broken hip.  Yet still, these shoes — were immaculate:  A carefully chosen detail.

The detail of her stubborn warring against time — against her aging.

The details of beauty and class, resonant of the old times when such details were very important.

After the show, I lost sight of her, last night.  In the ladies’ room, I examined my own reflection:  My fitted black sweater dress had been chosen quickly that evening.  I was running late, so I yanked the first thing that didn’t need ironing off the hanger.  But how could I not have seen the gazillion bits of lint all over its front panel?  My hair hadn’t been brushed since the morning:  Was I going for the nonchalant tousled look?  It wasn’t working.  (My shoes though:  My shoes were perfect.)

Inside the stall I chose, it smelled like rose water and pepper.  Not bad.

“Is there any toilet paper?” a tiny voice came through the wall of the partition.

I looked at shoes of the woman in the stall:  They were the pair of white nursing shoes, immaculately chosen.  I froze:  Was that a rhetorical question?  Or did she need help?

I knew:  Dignity — was the very life of her; perhaps, all that was left of it.  Through carefully chosen details — like this pepper-flowery perfume — she tended to her beauty, to defeat time.  To defeat her aging.  But the child-like helplessness set in, regardless her effort.  And so, I stumbled, not knowing how to give her a hand without any charity; without offending her dignity.

I waited.

The tiny voice came back in a few minutes:

“Could you spare me some toilet paper?”

“Sure, sure, sure!” I rummaged around my stall.

I handed her a wad of paper over the partition.

“There are actually some rolls on your window sill,” I said, noticing the line-up above the egg-foam colored hat, with a brooch still going berserk with rainbow reflections under the bathroom light.

“I’ll take this,” the tiny voice said, and I felt the giant ring on her dainty left hand brush against my thumb.

“Yep!  Definitely, diamonds!” I thought.  “Damn.”