Excerpt

The beat

on

Ruby’s Street

 

Jenna Zark

 

 

Excerpt

 

THE STATION

 

 

There’s a guy in the neighborhood who wrote a book on toilet paper. They made it into a real book, but when he first wrote it you could unwind it all the way uptown and back again.

His name is Jack Kerouac and I was on my way to see him at The Scene, when I got waylaid by a blood orange. Now I’m in the police station, and my mother’s going to eat me alive. She hates police and social workers, and I’m knee deep in both of them.

When my mom was a kid, a social worker came to the house because my grandmother had a car accident and wasn’t like she used to be. So the kids ended up with foster parents and only saw their own parents on holidays. That’s what social workers do.

The one sitting next to me seems like she’s trying to be nice at least. She brought some ice for my arm, which got pretty twisted up after Tatoo Tina grabbed it.

I was trying to put the apples back on her fruit stand because they were falling. Where I live in Greenwich Village, they have all these bins on the sidewalk in front of stores. The bins are piled high with fruits and stuff, and yes, I was trying to move an apple out of the section next to the blood oranges. I love blood oranges—in fact they’re my favorite—but these were kind of wet and the apple was getting sticky. So I was trying to do a good deed.

Of course, Tatoo Tina would disagree. She’s not much taller than me but her arms are a lot thicker, with ripply muscles like ropes and tattoos on top of them. As soon as I touched the oranges she reached her hand out and grabbed my wrist.

“Watcha doin’, little robber girl?”

I wanted to say “Who you calling a little robber girl?” and leave it at that. But she was grabbing me so tightly I got mad and put my foot down as hard as I could—on hers.

I don’t think it hurt too much because she wears these hard leather boots, but just the idea of me—or anyone—defying her makes Tina purple with rage. The next thing I know, she’s screaming, “Okay! You want to play rough?” which sounded like “woof” because she was mad. That started me laughing and then like clockwork­, she’s twisting my arm.

So now, okay. I should have stopped at this point, gone limp or something until she calmed down. But I’ve seen Tina drive my best friend, Sophie, to tears, and once she pushed my friend Gordy so hard he almost lost a tooth.

So even though it was crazy, I was not about to knuckle under. I swung my other arm to make all the apples and blood oranges roll off the shelves. By this time Tina was howling and I thought if I kicked her, she’d let go. Instead she twisted my arm even harder—so hard it took my breath away.

Then Tina yelled, “Thief!” The cop outside rushed in and everyone looked at me like I was a cockroach, which I felt like, pretty much. Now I’m in the Greenwich Village Police Station with a social worker, a slew of policemen tramping in and out arresting people, a bum trying to sleep on a bench by the door, and worst of all, no hope of seeing Jack Kerouac.

Which makes me sadder and madder than getting my arm twisted. Because I’ve been making up poems since I was four, even though I didn’t start writing until I was seven. I want to read at The Scene one day but you have to be old enough. Plus, mostly famous like Kerouac who isn’t a poet, really, but writes like one.

I waited a month to see him and now I’m stuck in this station with questions coming from all directions. But if I tell the truth I’ll open a big, smelly can of worms. I try to keep mum, which doesn’t work very well because the questions keep coming. Then I get an idea. I can tell the truth in a kinda-sorta way, like salesmen do when they want you to buy something.

“Name?”

“Ruby Tabeata.” Our name used to be Tabita, but my dad changed it when I was small. For the Beat, which is a secret way of saying we’re part of the Beat generation. When it started, it was about people who were fed up and beat up by the System.

The magazines call us “Beatniks,” which makes us laugh because it sounds so stupid. What I think is, people are mostly asleep and when they come down here to see guys like Jack Kerouac, it’s because they’re hungry for something and Jack wakes them up. They want to listen to poets like Jack and Allen Ginsberg, who says the best minds of his generation are getting stomped on by the world.

Ginsberg found a place in the Village and started writing poetry, and pretty soon other cats came down and started writing too. Now a lot of artists live in this neighborhood, which is below 14th Street but not as far as Houston.

I guess you could say we’re trying to break out of the old world and start a new one. But that’s not something you can explain to a social worker or policeman. They think the old world is just fine.

The magazines also say Beats are supposed to be cool, but who knows what that means? I can only tell you what it’s not. It’s not cool to be angry or nasty. It’s not cool to care about how you look. Because like my mother says, pretty fades, but cool is forever. And having a name like Tabeata says all that. But the phone book still says Tabita because it was never officially changed.

“Date of birth?” the policeman asks.

I toy with making something up but decide on the truth. “April 12, 1946.”

“You’re going to be twelve soon?”

It’s my golden birthday, but I don’t say much about that. Because I’m turning twelve on April 12 and it’s supposed to be super-extra-lucky. If I mention it now I’ll jinx it for sure. 

“Address?”

“Ninety-six Bleecker,” I say, even though it’s really 96 Perry.

They want to know my parents’ names.

I call my father “Gary Daddy-o.” It’s kind of a joke we have, because all the Beat guys call each other “Daddy-o” when they’re goofing on how Beats talk on TV. I tell the policeman his name is Gerard, which is my dad’s given name even though he never uses it. He’s like one of those cats you see on bongos, except he doesn’t play bongos, he plays bass.

My mother’s name is Nell and we call her “Little Nell” because she’s the tallest one in her family. I mostly call her Nell-mom, which she likes better than plain old Mom. She has long, curly hair from Wisconsin and the rest of her’s from Wisconsin too. Little Nell does oils and etchings, all different kinds. She paints at a studio near Christopher Street on Saturdays and she’s there right now but I’m not going to tell them. The last thing in the world you want to do is interrupt Nell-mom when she’s at the studio.

I have an older brother, Ray, who is fourteen and never, ever gets in trouble. It’s not that he doesn’t do anything wrong. He just knows how to get away with it. Ray’s one of those quiet guys who fades into the background unless he’s playing saxophone. Then you want to stop what you’re doing and listen; that’s how he gets the girls coming around.

I’m guessing Ray’s with Les and Bo today. They’re studio musicians who play on record albums. They also give music lessons, and Ray is one of their students. He usually goes over there Saturdays to play with a bunch of people in what they call a jam. Gary Daddy-o could be there too, unless he’s juggling.

Gary Daddy-o goes out on the road a lot to play at clubs, either upstate or in Boston or Philadelphia. When he’s here he puts a cup down in the subway and juggles oranges, and if Ray tags along and plays saxophone, they almost always draw a crowd. If enough people put money in Gary Daddy-o’s cup, we get steak for dinner. Nell-mom has a job at an art store and gets free supplies, which she likes. But they both wish they could just play music and paint.

They’re kinda-sorta married, in a kinda-sorta way. They’ve been together a long time so it seems like they’re married, even though they don’t have a marriage license. That’s how a lot of people are down here. Gary Daddy-o says 1958 will be a good year because there was a big article about the Beats in Life magazine and a lot of tourists are coming. That means a lot of people will be in the subways, which means more money can find its way into his cup.

“Where are your parents today?” the social worker asks. Her name is Mrs. Levitt and she’s got short, blonde hair and stockings. The cops call her “Levitt,” like she’s a man.

“I’m not sure about my dad. My mom is either painting or at work.”

“Okay,” she says. “Shall we go find her?”

“What if we can’t?”

She sighs. “Then we’ll have to come back here.”

I get the feeling she doesn’t want to do that, and I don’t either. But finding Little Nell will be worse. I’m trying to decide what to do as we move toward the door.

 “Okay, Ruby,” says Levitt. “Let’s go.”

I poke my head out the door, looking up and down the street. I’m hoping Sophie and Gordy will be off somewhere, preferably together so I won’t run into them. There’s not that many kids my age in the Village besides them and Ray, but he’s so tall you might not know he’s a kid. He has a girlfriend but she goes to a regular school, so she doesn’t have much to worry about.

Sophie, me, Ray, and Gordy, on the other hand, are a different story. We’re supposed to be at P.S. 41, which is a normal-looking school on West 11th. But like I said, people here are trying to throw out the old rules. So Nell-mom and Gary Daddy-o thought we should go to a school that would teach us more about how to live and less about pleasing a teacher. Sophie’s mom, Mrs. Tania, and Gordy’s parents agreed.

Now here’s what I mean when I talk about a can of worms. There’s a store in the Village called Blue Skies that’s owned by a couple named Sky and Blu. Sky is short for Skylar, Blu for Bluma, and they just figured they belonged together.

Sky used to be an English teacher, he said he would teach us if we helped out behind the register—and pay us, too. So Nell-mom, Mrs. Tania, and Gordy’s dad fixed the place up and take turns cleaning it. And that’s where we go to school. Classes start at all different times—like whenever we feel like it, and we make up our own homework.

We read poetry and learn math by running the cash register. If you count lunch and recess, it’s almost like a regular school.

But it’s not really allowed and we’re not supposed to talk about it. And if I hadn’t got in trouble with Tatoo Tina, I wouldn’t have to. I can still keep it a secret, but I’m going to have to be careful. Once Mrs. Levitt gets ahold of this I don’t know what she’ll do.

“Ready?” She holds the door open for me.

I skip outside like I haven’t got a care in the world. But once I’m outside the station house I go down the stairs slowly, blocking Mrs. Levitt’s way so she has to follow me. If I time it right, I can get into the alley before she sees me. Then I can run.

 

 

 

Jenna Zark's play A Body of Water was produced nationwide after its debut at Circle Repertory in New York. Zark's poetry has been published in StoneBoat literary journal and she is also a columnist for the TC Jewfolk blog. Zark is a recipient of the Jane Chambers playwriting award and received prose and dramatic writing awards from the McKnight Foundation, Minnesota State Arts Board and FieldReport.

 

Learn more at www.jennazark.com.

 

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Tag der Veröffentlichung: 16.07.2013

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