Posted tagged ‘subway blog’

NYC Sub(way) Sahara – Unlined Wool Pants

August 6, 2010

NYC Subway Platform Feeling Saharan

Subway platform today like a damp Sahara.  Made of concrete.

Which, I know, doesn’t sound Saharan at all.

But what I haven’t yet mentioned are the blasts of fevered air shooting through the tunnels as if from across miles and miles of sunbaked sand.

Those oven-y winds feel very Saharan.  As does the waiting.   For something, anything, to appear on the horizon.  A flash of light.  An oasis.  (An airconditioned car!)

Service cuts seem to be well in effect now  (My wait for the Number 4 or 5, probably the busiest line in Manhattan, was about 25 minutes this evening.)

Which brings me to unlined wool pants  I was thankfully NOT wearing those this evening, not even cropped ones, but I inadvertently ordered two pairs online.  (I intentionally ordered the pants; I didn’t expect them to be unlined.)  Wool pants which were on final sale, but still not THAT cheap.   I didn’t think to check the description because women’s wool pants are ALWAYS lined – especially from an upper end company.  (Hint, Michelle Obama wears their clothes.  Which makes me wonder–do they line the pairs sent out to her?)

How does this connect to Subway service cuts?  It’s one more sign, to me, of paying more – getting less, the persistence of hard times.

Yes, I know–unexpectedly unlined wool is the least of the problem. Especially if on the legs, rather than over the eyes.  Still, they are a symptom.  Like the nearly unbearable platforms that we wait upon, for a long long time.

Subway Blog – St. Patrick’s Day/Ground Zero

March 17, 2010

Tassled Boot

St. Patrick’s Day.  Spring.  (Crocuses in the small park in front of my Battery Park City building.)

I work at home in the morning, so miss the main parade rush (usually bright green with hats), and go into the office late.   A small group of teenage girls stand beside me  on the platform with tight jeans tucked into knee-high boots, slightly wavy hair swooping across broad foreheads. Vague green (a dark shade on a shirt, or just eye shadow on a lid) is worn by the ones who look Irish, a brighter viridian on the girl who looks Italian.  “Like” is said frequently, and large slouchy purses are held protectively.

Their smiles slacken in the subway car as they become quickly aware that all seats are taken, mainly by very large men who are not giving them up.  They are not small girls, and there is only one small channel of grey plastic bench, which, after a minute or so (and a nod from one of the men),  I nab.

It’s amazing to me how men can take up so much space on the subway.  Even men who are not particularly large take up huge spans, their legs spread wide as a matter of course.  They never ever cross these legs, or even press them together.  (It may be a physical thing, but I always think it’s ego, ego stretching wide.)

The girls congregate by one of the poles, looking young, pale, and a bit subdued, under the fluorescents.   I want to shout out “Robert Pattinson”, to see if that would perk them up again.  But there is something about the way they hold their large purses which makes me think that they probably wouldn’t react (except to think I was nuts.  Hmmm….)

A friend at my office, male, who is completely immune to, and somewhat obtuse about, Pattinson’s charms assures me that the poor showing of Pattinson’s new film Remember Me is a sign that (i) Rob doesn’t really have it; and (ii) that the celebrity fixation of our culture is exaggerated.  (“People may look at little blogs about Pattinson,” he says contemptuously, “but they won’t shell out ten bucks.)

$12.75 in Manhattan.

Maybe he’s right.  I still think that the emphasis on 9/11 may have something to do with the poor showing of Remember Me. I walked by Ground Zero on the way to the subway today, before encountering the Irish/Italian girls on the subway.  I walk by Ground Zero every day, but today for the first time (perhaps because of the suddenly blue sky),  I realized that the site has turned into “Above Ground Zero”, or really “Above-Ground-By-A-Couple-Of-Stories-Zero.”

Big rust-colored girders are now extending into the air.  I know enough to recognize that the girders do not stand on the “footprint” of the old towers, but they are close enough.

My heart caught in my throat, my breath in my chest.  I was amazed, and embarrassed, that the sight of the girders almost brought on an asthma attack.  (I’m not someone who commonly has asthma attacks, but I was genuinely panting.)

I called my husband as I crossed Church Street.  He said something about pollen in the air.

“It’s not pollen; it started right here,” I insisted.

I told him finally the terrible feelings came because I didn’t like to feel like a target.  (As a non-New York City person, he doesn’t fully understand.)  I didn’t talk about the sadness that encompassed me.

But all of that was before the subway, before the Irish-looking, wavy-haired girls, and their Italian looking friend, before the possibly pregnant Hispanic woman just across from me on the train, who crooks her arm in her man’s arm, whose sweet smile is punctuated by braces and quick laughs.

Before too, the little girls on the platform as I get out, who wear green shamrock vests, and black and white polka-dotted dirndls, and white much-tassled cowboy boots.  They hold hands as they wait, behind their parents, for the next train, one of them tap dancing.

Fear and Loathing on the Number 4 (The NYC Subway Not Much Of A Tea Party)

February 17, 2010

Boy on Number 4 Train

“The people here are f—ing animals,” said the slightly hard-faced young woman to her ten or eleven year old son as they scooted onto my express.

The train was full, but not jammed; there was space not only to breathe, but even to move around a bit.  The boy, wide-eyed and buzz-cut (his mom was holding his Yankees cap), stepped towards one of the center poles, reaching in between passengers, to hold on—his mom quickly pulled him back towards the door.

“These people push you,” she said, draping an arm around him, “I’ll push them back.”

At their side, I kept thinking how unfair this was.   Saying that people push on the train is a bit like saying that a bunch of clementines slung into a bag, clothes crushed into a hamper, or lemmings urged into the sea, push. Okay, maybe we and the lemmings do.  Some.  Still, in my experience, most New York City subway riders, especially the ones whose faces are almost grazed by my forearm as I reach for something to hold onto are pretty forbearing.  (A very different f-word.)

I’m kind of a busybody, I guess, in the sense that I pay attention to strangers.  (As noted in my previous posts, I believe in a “ripple effect” of trying to be peaceful, pleasant, on the subway.)  So now I tried to smile discreetly at the boy to reassure him that he wasn’t really surrounded by f—ing animals.

But it was hard to smile at the boy.  First, because I was afraid his mom would slug me;  secondly, because I was worrying about the fact that his mother had thrust him into a spot (by the door) where there was nothing at all to hang onto.   (I envisaged lurches, collisions, a huge altercation.)

But as the train pushed from the station, the mom grabbed him again, folding her arm around his neck.

After a minute or so, as the ride stabilized, she loosened her grip, and the boy turned himself around so that he faced the door itself and leaned right into it.   This worried me even more.  GERMS.   (I’m a mother too.)

Then I realized that he was (probably) not pressing his mouth into the rubberized seam of the door, but into the collar of his jacket. And then, that the little boy was gently but firmly hitting his buzz-cut head against the door itself.  Again and again and again.

He did not look autistic.  (Who knows?)   But he did not look like he had any “organic” type of problem that might lead to headbanging.   He just looked, well, down, as he softly banged his head.

The mother gently put her hand on the back of his head to try to stop him.  When that didn’t work, she put her hand on his forehead to shield the place that was banging.  That didn’t stop him either.

Finally, we got to Union Square where she put her arm around his neck again and told him they had to get out—

“This our stop?”

“No, to let the people get off.”

As they stepped back into the train, there was one emptied seat left, which I pointed out quickly to the woman.  I felt a little guilty as there was a little old lady right behind them, but the old lady probably wouldn’t have swooped down on the seat in time in any case, and the boy, with his mom pushing him, was a pretty good swooper.

The mother nodded at me once her son was situated,  half-smiling for just a moment.  Then she leaned heavily against the center pole, her face tired, stressed.

The incident somehow made me think of the Tea Partyers again.  I don’t think I quite said what I wanted to yesterday in my post about sneering.  And I don’t mean to imply that the woman on the train was a Tea Partyer.  Only that she seemed frustrated and fearful, and I’m guessing (with really no clear evidence) that she doesn’t much like or trust government, and probably not Obama.

A big part of me wanted to say to her:  ‘Hey!  Don’t spout the f-word to your kid.  Don’t teach pushing on the train!  Enough with automatic retribution!’

But I was able to stop myself.  Besides the fact that she really might have hit me, that kind of speech would simply not have been very useful.  As it was, I was lucky enough to be able to help her get a seat for a tired boy.  And to get a smile from her.  And for both of us to feel that strangers in our society could, in fact, have a kind of connection.

I don’t mean to pat myself on the back here.   Just to say that it felt good.

Monday Doldrums – West Side Story Sonnet on the East Side Train

January 25, 2010

Opening of "Somewhere", Music by Leonard Bernstein, Lyrics by Stephen Sondheim

A certain damp dullness hangs over the subway car this morning, the Number 5, Lexington Avenue express.  We diversified New Yorkers are unified here, in our experience of rain-moistened Monday fatigue.  The hems of our pants are limp.  More than half of our eyes are closed.  (By this, I mean, both of the eyes on more than one half of the passengers.)   The guy next to me has a uniquely beady intensity;  he definitely stares at something.  But when I follow his gaze, I find the blank window on the other side of the car.  I notice then too that the corner of his baseball cap also actual drips whole gobs of unheeded moisture, so I’d just as soon not vouch for his alertness.

The girl opposite also has both eyes open, but her mouth is open too.  The movement of her tongue can be seen under her lips, the skin of chin and cheeks; she appears to search the insides of her mouth, though she is not eating, nor is she noticeably carrying food.  These factors tend to put into question her “on-top-of-things-ness.”

The only person who can truly qualify as “engaged” is a tall young African-American man who reads the Daily News analysis of the collapse of the Jets.  So, engaged, yes, but not exactly cheerful.

Seriously.  What shines here is not a single “morning face”, but only the wet spots on the train’s dark linoleum floor shine, and an occasional crumple of cellophane.

All this makes me think that it’s really too bad I wasn’t on the local;  the No. 6 specifically, leaving from Spring Street.  I used to take that train frequently and noticed that a curious configuration of curve and track caused it to sound out a specific musical interval each time it left the platform.   Although it’s an East Side train, the interval corresponds to one  of the song openings from West Side Story. (Which brings up a completely different kind of Jets.)

So, in honor of those three notes, I set forth below a kind of silly, kind of “Shakespearean” sonnet:

Subway Song

The subway sings its broken refrain,
the opening bars of “There’s a Place
For Us” from West Side Story.  The train
croons the first three notes leaving the dais
of the platform, the tune subsiding
to squeak and wind and roar as train races
to a-harmonic levels, providing
speed without Bernsteinian traces,
those tragic lovers defiant of fate
and enmity. Yet, at every station,
they sing again.  Who of those who wait
hear the song of that yearned-for destination,
that lyrical place, beyond how, beyond where,
amazed that the Six Train nearly takes them there?

 

I am linking this post to Victoria C. Slotto’s Liv2write2day blog, for her prompt on Sacred Music.  The sounds of the Number 6 are not exactly sacred, but they are pretty lovely when you are standing in a grey tunnel.

All rights reserved.  Karin Gustafson

For a more serious subway sonnet, click here.

P.S.  No copyright infringement of “Somewhere” intended, beautiful song.  (Btw, I haven’t noticed that any credit is given to Bernstein by the IRT.)