Tag Archives: jobs

“She Works Hard for the Money! So Hard for It, Honey!”

“I am… um… parent.  Every-thing changes.”

She stands at about my height.  I rarely see much difference between me and other women, though:  And unless they’re tall enough to grace the covers of beauty magazines — or the streets of Manhattan — I consider them pretty much my height.

Although born on the coast of Mexico, her skin bears the same caramel color as mine.  Her face, I can tell, used to be very pretty, even doll-like.  Her formerly black hair is snow streaked with gray highlights; and it is gathered in the back of her head into a thick ponytail of luscious curls.  Rich women would kill for thick hair like that!

I catch myself wondering how much she would have aged — had her life not been so hard.

I bet there is an encyclopedia of domestic tricks up this woman’s sleeve:  Washing her hair with egg yolks, making masks out of avocado and honey, moisturizing her heels with Bengay.  I’ve seen my own motha invent a few of those.  We are immigrants:  We get crafty, in survival.  For life is relentless:  It takes a toll on all of us all, but it’s most unforgiving — to us, women.

“I come herre… twenty fah-yv jears,” she formulates her words slowly.  “I am… um… sixteen jears.”

“Me too!” I say, and I begin nodding and smiling aggressively:  Just anything to make her feel understood.  “I was sixteen too!”

I want to tell her to switch to her native language, because I am pretty sure I get the gist of her already.  Despite the difference between our birth coasts, we seem to speak of the same tales.

But then again, maybe not:

I keep flaunting my American education in order to impress employers with gigs at a higher rate.  She — cleans houses for a living.  I tend to get hired to work the phones and to organize the lives of others that have gotten cluttered with too many demands.  She — creates order in other people’s homes, with her no longer soft, but womanly hands.  Besides the existences of my bosses, I am responsible primarily for myself.  She — has three kids to take care of, and a boyish husband.

“You?  No marr-rried?” she asks me.

The importance of family defines happiness in her culture; so, I get slightly embarrassed for a moment.  Despite the difference between our birth coasts, I so very much want us to be alike.  Is it this woman’s approval that I’m striving for; or just her empathy?

In one breath, I deliver:  “NoIamnotmarried.”

“In a couple more years, you’ll be middle-aged,” a man has declared the other day.

This woman’s arms are cradling a tiny dog; and in the folds of her stomach, he easily goes to sleep.  Her figure belongs to a mother:  She is fuller, curvier than my boyish frame.  Her hands are more sure and seemingly more knowing than mine.

“Is good you no married so soon,” she says.  She must’ve picked up on my embarrassment.  “Life more hard.  I am… um… parent.  Every-thing more hard.”

I ask her about her kids:  She nods and smiles when describing each of the three:  a two-year old baby-girl and a little boy.  Her oldest daughter wants to be a nurse.  When she speaks of her husband, she averts her eyes; and despite the slow manner of her chosen worlds, she quickly switches the topic to his job.

“Is good…” she concludes.  “Warehouse.  Down.  Town.  Is good!”

The little dog shifts on her stomach and extends his fluffy paws toward me. I take them and rub the un-callused pillows on the bottom.  She laughs and teases the bangs above his eyes; and when her hand brushes against mine, I notice that her skin is tougher than the one I’m rubbing in between my fingers.

“You…  work?” she asks me.

“Of course,” I say and begin listing my gigs.  This is the first time I doubt she understands me.  To my own ears, I begin sounding busy, and slightly fussy.  So, I stop.

I interrupt my list.  “Everybody works here,” I conclude; and the woman begins nodding and smiling aggressively.  She is getting the gist of me.

I study her eyes:  She stands at my level, and most definitely — at my height!  But then she leaves for work; and I reluctantly begin mine.  It’s life — at work; and in its working, it is especially unforgiving to us, women.

“We All Live in A Yellow Submarine, Yellow Submarine, Yellow Submarine.”

Yes, it’s a hard way of being:  Living as an artist.  But then, again, I wouldn’t want to be living — in any other way.

And I’ve tried.  In all honesty, I’ve tried to be many things:  Anything else but an artist.  An administrator, a teaching assistant, and a secretary.  A proofreader, an academic, a critic.  A manager.  An accountant.  A librarian.

“Oh, you!” my college comrades used to say.  “You and your jobs!  You’re always changing jobs.”

They had known me for years, and for years — they had seen me working.  They had watched me giving a very fair try to living for the sake of a different profession.  A “normal” profession.   A job.  And they had witnessed me change my mind.

Back then, I wasn’t really sure which profession it would turn out to be, so I would try everything.  And instead of entertaining things, I would satisfy my curiosity by leaping into every opportunity.  Because I always felt I could be so many things; but I wanted to make sure that I couldn’t be anything else — but an artist.

Being an artist resembled an exotic disease — a dis-ease of the soul — and I wanted to make sure I wasn’t one of its victim.

“So, what’s your major this morning?” my folks teased me during our phone calls.  I was prone to changing my mind, and the flexibility of my American education confused the hell out of them.

“Still English, I think,” I’d say.  “But with a slight concentration — in journalism.”

“Well, at least, you’re getting an education,” my best friend comforted me.  She always comforted me.  And it seemed to bother her the least — my proneness to change my mind, because I felt I could be so many things.

Come to think of it:  It should have been easier, in my youth.  During our college years, that’s exactly what we were meant to do:  To seek.  To learn.  To experiment.  To be — so many things!

But somehow, my contemporaries seemed to be more certain about their paths.  They would be teachers or administrators.  The more city-savvy types were going into investment banking in New York.  And I’ve even known one biologist and a chick who went to work for Fox News.  But mostly, they would be teachers.

“How can they be so sure?”  I wondered.

Because I wasn’t sure.  I could foresee the pleasure in having a day job with which I could identify myself for a couple of years; but the romance of its routine would expire as soon as some bureaucrat’s ego would begin dictating procedures to me, on a daily basis.  Some of them didn’t like my language, or my dress code.  They handed me time sheets and forms, along with the lists of appropriate jewelry.  Some wanted me to tame my hair.  Others preferred I didn’t call my colleagues “Loves”.

So, I would leave.  I would always leave, but with enough notice and plenty of disappointment noticeable on my employers’ faces:

“It’s just that you had so much potential!” they would say.

“Then, why did you break my balls about my headscarves?” I would think in response.  Still, I would leave with grace (even if I was leaving over burning bridges).

After college, I would be the only one in my class to leave for an art school.

“But you should teach!” my academic mentors insisted.  “Most of your contemporaries teach!”

Everyone had an opinion.  Everyone but me.  I still felt I could be so many things, but I really wanted to be — just one!

Some seemed to be quite disappointed in my decision to stick to the arts.

“What are you gonna do — with an art degree?  You could be so many things, instead!”

And I wasn’t sure.  I still wasn’t sure.

“And how can everybody else — be so sure?!” I wondered.

After the first semester in my MFA program, the uncertainty about my profession would remain.  However, the overall vision of my life was becoming clearer:  I would be an artist.  I WAS an artist.  And it was starting to be enough — to be that one thing.

And so, there I was:  Willing to risk my life’s stability — the stability about which my contemporaries seemed to be so sure — for the sake of seeking daily inspiration.  I would take on projects that would fuel my gratitude and curiosity.  I would begin spending my nights in companies of others who shared my exotic disease — the dis-ease of the soul; and I would attend their shows and poetry readings, and loom in front of their paintings in tiny New York galleries.  And none of us were still certain about our destinations; and yes, we were still filled with angst.  But we did share the same vision:  Our moments of happiness were simultaneous to the moments of creation — the moments of dis-ease.

Throughout the years, some of my contemporaries have disappeared into their professions:  They turned out to be successful administrators and great teachers.  Wonderful teachers, as a matter of fact!  I would watch them moving with seeming certainty through their honorable daily routines.

“Still:  How can you be so sure?” I would interview a few of them, years later.

I had succumbed to my disease fully by then, and I would learn to maneuver the demands of my survival jobs.  I had surrendered.

“Are you kidding?!  We aren’t sure at all!” some would answer, honestly.

And for the first time, in their tired and good, decent and honorable faces, I would notice a slight glimmer of doubt.

“Oh!” I would wonder.  “So, no one really knows, for sure!”

Strangely, I would find no comfort in their doubtfulness.

But I would find great ease in knowing that I myself had fully surrendered to my disease:  The dis-ease of my soul — of an artist.