Justify

I stopped coughing, but now I’m hoarse and shit. I have no idea what’s going on anymore. Maybe the cold’s wearing off, or maybe I’ll develop another wacky symptom tomorrow. I don’t know. I don’t really care, either. I need to sleep. It seems like I always need to sleep. Sleeping is really all I’ve done this weekend – or this month.

Tomorrow’s the first day of February. Will February be better? Is that the wrong attitude to have? I always slack off and then justify it by saying, yeah, well, I do have a cold, after all. Or: yeah, well, January’s basically over, so I might as well blow off this last day.

Virus

I’m still sick, I guess. The symptoms are shuffling. I don’t feel like my throat’s been ribboned by a razor anymore. Now I’m coughing. And my headache comes and goes.

I can’t understand why I got a cold – or why anyone gets a cold. What’s in it for the virus? It can’t be that it wants to make copies of itself. Viruses aren’t living things. They’re not supposed to be capable of “wanting” anything.

Limitations

Winter 1995: I was in second grade, and I was part of the “gifted program” in West Chester, Pennsylvania, which was called “LEEP.”

I can’t remember what “LEEP” stood for. Learning Something Enrichment Program. What was the something? Experience, maybe. Education. Enhancement. It’s not important.

The LEEP program was housed in its own building, with its own classrooms and its own teachers. This building was too small for every so-called “gifted” kid in the district to be in it simultaneously, so a schedule dictated when kids would or would not attend.

The schedule was way more complicated than it needed to be. Some days were designated “LEEP days” for certain combinations of schools; other days were not. Your LEEP day might fall on a Monday one week, and the next week it might fall on a Friday. Every so often you might have three LEEP days in a single week and then none for an entire month.

On a LEEP day you’d go to your regular school in the morning, and at 9:30 am there’d be an announcement on the intercom: “LEEP students, please walk to the front door. LEEP students, please walk to the front door.”

They always had to say it twice – in case you didn’t hear them the first time. And they always had to throw that obnoxious “please” in there – a way to pretend they were giving you a request, not an order. And always with that grating singsong rhythm. “LEEP students, please walk to the front door.”

You’d walk to the front door and there’d be a bus waiting for you. You’d get on this bus and it would take you to the LEEP building, which was three stories tall and made of weathered brick.

My first day of LEEP, I entered the classroom I’d been told to report to and discovered, to my horror, that I was one of only two students: it was just me and another guy named Phillip.

I remember nothing about Phillip other than that his name was “Phillip.” I don’t know what he looked like or what his voice sounded like or even whether I considered him my friend. I may have liked the guy, I may have hated him. I don’t remember.

I know I hated our teacher, though. Her name was Mrs. Wright. She had white, frizzy hair. This made her look kind of like Albert Einstein, but that’s where the similarities end. Einstein was by all accounts a pretty easygoing dude. Mrs. Wright was many things, but “easygoing” was not one of them.

She gave Phillip and me “journals.” She claimed these “journals” were where we’d record our “thoughts,” but that wasn’t how it actually worked. In reality, she’d just say something to us and then direct us to write whatever it was she’d just said into our “journals” verbatim.

To me this seems to defeat the purpose of keeping a “journal,” but hey, what do I know? I’m not a “trained gifted educator,” or whatever Mrs. Wright thought she was.

Mrs. Wright would assign us “work” that was always time-consuming and meaningless. Copy this down into your journal. Color this picture.

Once Phillip and I were sweating over this bullshit and Mrs. Wright was seriously just hovering over us, nearly shouting about how we needed to get “more work” done.

“Work,” she said, “is important. You boys have to do more work.” Even now, I still have to do “more work.” I guess I was already on this goddamn treadmill in 1995.

I only had Mrs. Wright in the morning. In the afternoon, I had another class. I think it was called “Reflections of You,” or something equally lame. It was a class I had explicitly not wanted to take, but somehow Mrs. Wright had wrangled me into it anyway.

Reflections of You. What the fuck was that class even about? I can’t remember. I think I had to make a family tree. I think I had to make a collage of “concepts” that really “represented” “me.” I think Reflections of You was a class about self-affirmation and empowerment.

I was the only second-grader in there; mostly, the other kids were older, and mostly, I sat in the corner, puzzled, watching them do baffling things. I remember the teacher was tall. Relative to me, I guess she was infinitely tall.

The classroom had a number of computers in it. Most of the time they were in use. When a machine was free, I’d sit in front of it and just kind of stare – not at the monitor, but at the words printed on the side of the computer itself: Power Macintosh. That struck me as a really ridiculous thing to call a computer.

They were very big on Apple at LEEP. A big part of that Reflections of You class involved taking pictures of shit with an Apple QuickTake 100, which was an early digital camera. I even remember Mrs. Wright forcing me to write a “journal entry” about how wonderful and advanced QuickTake was, like she was trying to position me for some future job as a fucking copywriter.

QuickTake. In 1995 almost every Apple technology had a clumsy compound name. QuickTake, QuickTime, QuickDraw. HyperCard. PowerTalk. Fourteen years later, they’ve ditched the compound words. Now almost every Apple technology has a name that’s trying too hard to be cool. Cocoa, Carbon, Darwin. Bonjour. Quartz.

In 1995, Apple’s latest operating system was called “System 7.” In 2010, it’s “Mac OS X Snow Leopard.” I predict that 2025 will see the release of “Mac OS XV Fusion Lion: Frost Nebula Synthesis.”

Reflections of You. One day we went on a field trip to a nursing home. I’m not sure why. Maybe it was for some profound philosophical reason. You know, to make us realize we’d all get old someday.

Some kids brought cookies to give the old people. I think I did too. I think it was required. I distinctly remember the infinitely-tall teacher saying to make sure our cookies were sugar-free, because “a lot of elderly folks have diabetes.” I didn’t know what the hell “diabetes” was.

And even now, although I’m in med school, I still don’t fucking know. I know a little, but not enough. Most med students would be able to give you all the details. Not me. Diabetes knowledge is something I really should, but really don’t, have.

We took a bus to the nursing home, where the infinitely-tall teacher assigned each of us an old person to talk to. I was assigned to a guy whose name I can’t remember. Call him Mr. Blank.

“You have Mr. Blank,” the teacher said. “He’s the second-oldest person here! Ninety-three years old!”

Mr. Blank was in a wheelchair, and his posture was such that it seemed like he was physically fused to it. It seemed like there were no bones in his body, like he was secretly a horror-movie blob of ectoplasm that just happened to be wearing a jacket and just happened to have a head.

He had a giant wooden cross around his neck. I think that was the first time I’d ever seen anyone wear a cross.

Mr. Blank introduced himself. He had a remarkably raspy voice. Then he asked for my name, and when I told him, he laughed.

“What kind of a name is that?” he said.

It was a good question. I’ve always hated my name. I’ve never been able to understand just what the hell my parents were thinking when they gave it to me.

Mr. Blank gave me a half-eaten package of peanut butter crackers.

“A gift,” he said. “It’s all I’ve got. It’s too bad. You should have been the last kid who came in here. I gave him a radio.”

He laughed again. I thought: man, I could have used a radio. What do I want this stupid half-package of peanut butter crackers for? Then I wondered if thinking that made me an asshole.

Mr. Blank asked if I had any questions. I pointed at the cross around his neck.

“What is that thing?” I said.

He looked affronted. “That’s my Jesus.”

“Oh.”

“Don’t you have a Jesus?”

I admitted that I did not, in fact, have a Jesus. He gave me a look of something approaching scorn. At that moment, conveniently, it was time for us kids to get back onto the bus.

“Uh, goodbye,” I said.

“Goodbye,” he said.

Back at LEEP, I went to lunch, which was always kind of a depressing experience because I didn’t really have any friends there. I’d eat alone, and when I was done eating I’d scribble in my notebook.

I used to carry a spiral notebook around with me back then. I kept it in my backpack. It was a real “journal.” You know, as opposed to the fucking worthless artificial “journals” that so many classes have required me to keep over the years.

I used to draw aliens and spaceships. And imaginary planets. And designs for bizarre amusement parks. And dinosaurs, of course. When I was a kid, I thought it entirely possible that I might someday dig up dinosaurs and build actual spaceships and so on, because how hard could that be?

Now that fourteen years have gone by, I know my limitations. All I’m capable of doing is sleeping, playing too many videogames, and writing stupid shit like this to post on the Internet.

I still, in theory, carry a notebook around. A small one. I keep it in my pocket – in theory. Most of the time I leave it in my apartment. And even when I remember it, I forget to write or draw anything in it.

I don’t have ideas anymore. Every year since 1995 or so, my mind has slowed a little. The notebook I have now, I don’t do anything creative with it. I mostly just use it to practice writing in iambic pentameter because I’m a fucking dork like that.

If that old guy in the wheelchair was ninety-three when I met him, then he’s certainly dead now. He’s dead, and I don’t even remember his name. He’s dead, and I didn’t even particularly like the guy, nor did he particularly like me. To him I was a heathen foreigner. To me he was an old Jesus freak.

We were mutually inconsequential. Now he’s gone. I’m still here, but for how much longer? And when I die, what difference will it make?

High

Sickness changes the way I interface with the world. I feel like I’m alone in a living room with my illness, which is a three-year-old child. A stereo is in the corner and it’s playing Bach or some shit. My illness has crawled over to it and is now simultaneously screaming and screwing around with the EQ settings.

When I close the refrigerator door it makes a sound like a thousand-foot tidal wave crashing over a city. And when I walk into the bathroom and flip on the light switch, for a moment I am actually inside of the sun.

The way I perceive distance is all wrong. My laptop screen can’t be more than a foot and a half from my face, but I’m seeing it as though it’s on the other side of the room. I’m managing to type anyway because my hands have stretched; they’re six feet long, they move slowly, they have fingers that tumble over keys they don’t seem to touch.

I feel like I’m high, or maybe I feel like I’m dreaming. Maybe I’m dreaming about getting high.

Hell

Throughout much of sixth grade, I had an embarrassing after-school ritual. After I got home, I’d walk into the living room, sit down on the couch, turn on the TV, change the channel to Cartoon Network, and watch Gundam Wing, which is an anime soap opera about pretty-boy teenagers who pilot giant robots.

In most episodes of Gundam Wing, the pretty-boys saved the world by using the aforementioned giant robots to blow shit/people up. When not saving the world, they could be found chatting awkwardly with girls (who were pretty, but not as pretty as the boys).

Cartoon Network actually aired Gundam Wing twice a day. The first broadcast, the one I watched after school, was censored. The second broadcast, aired at midnight, was “complete and uncut.”

A guy at school sometimes bragged that he had seen the complete and uncut Gundam Wing.

“It’s so much better than that pansy stuff they show during the day,” he told me. “Like, get this: in the uncut version, sometimes they say . . . bad words.”

“Bad words?” I said.

“Yeah.”

“Like what?”

The guy looked around furtively. “I can’t say. Not here. Not with people around.”

Oh man, I thought. Bad words. It was then that I made it my personal mission to see that fabled uncut Gundam Wing.

And one day I did it: I saw the censored episode, then stayed up late enough to watch it again, uncut.

Words cannot possibly convey my excitement as that midnight episode’s opening sequence began. My expectations were high – and amazingly, they were met.

The episode did not let me down. For one thing, it was infinitesimally more violent than what I’d seen in the daytime! When one giant robot beat the shit out of another one, there were actually a few tiny trickles of blood!

(Why, I hear you ask, would a giant robot bleed? I’m not sure. I think it’s because these giant robots are Japanese.)

I saw a scene where a character did, in fact, utter a bad word.

In the censored version, this guy, while fighting in his giant robot, broke his arm. Afterwards he was shown clutching it and wincing. Someone asked him how he felt.

“It hurts,” he said.

In the uncut version, he said:

“It hurts . . . like hell.”

I thought this was the single most fucking badass thing I’d ever heard anyone say. The way he had gritted his teeth! “It hurts.” Then the pregnant pause. Then the way he’d added: “like hell,” as if to communicate the enormity of his pain while also subtly indicating that he’s man enough to deal with it.

Anyway.

I mentioned all that for a reason: I’m sick right now. I realized it this morning. All day I’ve had a really bad sore throat.

Does it hurt? I hear you ask.

The answer is yes.

It hurts . . . like hell.

I’ve wanted to say that for so long.

Overkill

Rage is one of Stephen King’s earliest books. He wrote it something like three years before even starting Carrie; he only published it something like three years after Carrie became a success.

When Rage did finally come out, it was under the pseudonym “Richard Bachman,” because King’s publisher felt that he was saturating the market with the “Stephen King” name.

After Rage, King published six other novels as Bachman: The Long Walk, Roadwork, The Running Man, Thinner, The Regulators and Blaze. The first four Bachman books are collected in an omnibus called, well, The Bachman Books.

According to the dust jacket, The Bachman Books comprises “Four Early Novels from the Inimitable – and Unmistakable – Master of Horror and Suspense . . . Stephen King, with an Introduction by the Author, ‘Why I Was Bachman.’”

So far, Rage is the only Bachman Book I’ve read. It is a really, really awful book. It is also depressing.

Rage is awful because the plot is both forced and cartoonishly retarded, and it’s also depressing because it’s actually better than any fiction I’ve ever tried to write.

To put that another way: Stephen King at his absolute worst is easily a better storyteller than I am at my absolute best. This doesn’t augur well for my literary future.

I mean, hell, even when he’s at his best, Stephen King kind of sucks – or rather, his writing does. Stephen King, the guy, is okay by me. In many ways I admire him. I’m in awe of how prolific he is. How many words has the guy written in his lifetime? It must be in the low billions, at least. How does he do it?

King claims (in “Why I Was Bachman”) that he wrote the entirety of The Running Man within a span of seventy-two hours. And The Running Man is on the short side, but it’s still a full-length fucking novel. What is it like to watch this guy type, I wonder? Do the sentences just flow out of him, fully-formed? Does he ever need to pause to assemble a thought?

You could sneer and say that the price Stephen King pays for this speed is that his writing is shitty and workmanlike, and to a degree that’s true, but how true is it, really? As far as trashy bestsellers go, King’s books are pretty well-written. Compare him to fucking Danielle Steel, for instance. Or fucking James Patterson.

The real problem with Stephen King isn’t that he writes bad prose. The problem is his actual stories. They’re too one-note. They’re rarely subtle. His themes are often way too blunt and way too obvious for their own good.

Take Rage. The protagonist is a disturbed kid named Charlie who takes a pistol to school one day and kills his high school math teacher while class is in session. He then takes the entire class hostage for several hours.

The principal and a psychiatrist both try to calm him down via the intercom, but Charlie tells them to shut the fuck up and leave him alone. They do, but reluctantly – they believe that “innocent lives” are “at stake,” that Charlie is dangerous and unhinged and could shoot any one of his classmates at a moment’s notice.

In reality, Charlie’s not going to shoot anyone. He instead has a lively, lengthy, meaningful pow-wow with his classmates, who are by and large sympathetic towards him.

Charlie tells several embarrassing tales about his past, which his classmates (and the reader, for that matter) piece together to understand him and where he’s coming from.

It turns out Charlie’s father is a humorless jerk-off. He used to beat the shit out of Charlie and chide him for not being tough and manly enough. On the other hand, Charlie’s mother is a wonderful, saintly person, and Charlie loves her in a borderline-sexual way.

Once, Charlie’s father and his buddies took Charlie on a hunting trip. And when Charlie woke up in the middle of the night to piss, he overheard part of a lewd, drunken conversation. His dad was totally telling his buddies that if he ever caught his wife (i.e., Charlie’s mother) cheatin’ on him, he’d totally slit that bitch’s (i.e., Charlie’s mother’s) fuckin’ nose open, man.

Even when at home, Charlie was often up in the middle of the night. He’d lie awake, terrified of a monster he always heard in his parents’ room, a monster known only as the “Creaking Thing.” It turns out the Creaking Thing was actually his dad violently screwing his mom.

Just in case you still don’t understand what going on here, Charlie takes pains to relate an anecdote about how one time, at a party, he was totally about to do it with a girl, but unfortunately, no matter how many sexy thoughts he tried to think, his dick remained limp. The girl got annoyed and left.

Charlie, saddened, went to sleep and had a nightmare in which he, Charlie, wandered into his parents’ room in the middle of the night and saw his father (i.e., the Creaking Thing).

Says Charlie, “My mother was in his arms. Her nose had been slit wide open, and blood streamed down her cheeks like war paint. ‘You want her?’ he said. ‘Here, take her, you worthless good-for-nothing. Take her.’ He threw her on the bed beside me and I saw that she was dead, and that’s when I woke up screaming. With an erection.”

And if you still, still, somehow don’t get the fucking point already, Stephen King has Charlie tell the class about a showdown between him (i.e., Charlie) and his father (i.e., the Creaking Thing) in the family garage. Real, actual excerpt; Charlie’s the one talking:

He started taking off his belt.

“I’m going to take the hide off you,” he said.

“No,” I said. “You’re not.”

He paused, the belt half out of the loops. “What?”

“If you come at me with that thing, I’m going to take it away from you,” I said. “I’m going to do it for the time you threw me on the ground when I was little and then lied about it to Mom. I’m going to do it for every time you belted me across the face for doing something wrong, without giving me a second chance. I’m going to do it for that hunting trip when you said you’d slit her nose open if you ever caught her with another man.”

[ . . . . ]

“You stink,” I said. “You fucked up your marriage and you fucked up your only child. You come on and try to take me if you think you can. I’m out of school. Your wife’s turning into a pillhead. You’re nothing but a boozehound.” I was crying. “You come on and try it, you dumb fuck.”

“You better stop it, Charlie,” he said. “Before I stop just wanting to punish you and start wanting to kill you.”

“Go ahead and try,” I said, crying harder. “I’ve wanted to kill you for thirteen years. I hate your guts. You suck.”

. . . Yeah, that is real dialogue. Even the “you suck” part.

There is such a thing as overkill. Sometimes I’m not sure if Stephen King has ever been aware of this.

Vocabulary

I was studying, but after a few hours I couldn’t anymore. The book I was reading just froze solid. Its pages all became sheets of ice; my eyes slipped and slid across them when I tried to read.

I closed the book. The hell with it, I thought. I’ll watch a movie instead. I went to Roger Ebert’s site and pulled up his list of “great movies.” The first on the list was 12 Angry Men.

I had never heard of 12 Angry Men and had no idea what it was about, but it sounded good to me, so I plugged the title into a torrent search engine. One hour and seven hundred megabytes later, I was watching a movie.

12 Angry Men is about a jury – Henry Fonda and eleven other people. The entire film consists of them deliberating the verdict of a murder trial: a kid has allegedly stabbed his father to death, and the evidence against him seems pretty damning.

Everyone agrees he’s guilty – except for Henry Fonda, who, over the course of ninety minutes, somehow manages to talk the others into seeing things his way.

The jurors deconstruct everything they were told during the trial. They reinterpret the evidence and the testimonies of the witnesses.

They come up with alternate explanations for what really happened that, while hilariously implausible, are no more implausible than the explanations they were given in the courtroom.

It’s not clear that the kid didn’t kill his dad, but it’s also not clear that he did. The point of 12 Angry Men is that you cannot, in good faith, convict someone if you’re not even terribly sure he committed the crime. Et cetera.

The title is 12 Angry Men because these people get angry – in a couple of cases, they almost get violent. That’s the most impressive thing about this movie: even though it’s essentially just dudes in a room talking to each other, it’s tense and dramatic all the same.

Most of that tension comes from the script, but part of it’s just the way the thing is shot: as the argument drags on, the camera seems to close in on the jurors. The room seems to get smaller, or something. I don’t know what I’m talking about.

I don’t have the right vocabulary to discuss film without getting incredibly vague. I can talk about what’s going on in a story, but hell if I know how to talk about angles and shots and shit like that.

I’m not a particularly visual person by nature: I think very much in terms of abstract words. Unless I’m really concentrating, I tend to parse movies as strings of dialogue accompanied by cinematographic shit that I don’t know how to describe or even necessarily appreciate. Maybe I just need to watch more movies.

Recharge

We supposedly go to sleep because our bodies “need” the “rest,” but that can’t be the whole reason. If it were, I wouldn’t ever get tired. I mean, I lead a lazy life. I only leave my apartment when absolutely necessary. I rarely exercise. Yet even though my body never needs rest, my mind always does.

Physical and mental tiredness may correlate, but they’re fundamentally different things. Having both is possible, even common, but you can also only have one.

Mental tiredness: how does that work? Does the brain just have to shut down after it’s processed a certain amount of information without a break? Do neurons have to recharge at night?

Inevitability

I went to GameStop today for a very specific reason: to pre-order Final Fantasy XIII.

This wasn’t something I wanted to do, but it was something I had to do. It was an inevitability.

It’s been more than a decade since I made the mistake of playing Final Fantasy VII.

I saw some tantalizing thing at the heart of that game, a thing that may even have existed.

Final Fantasy VII was a screenful of static that almost, but never quite, resolved into a pattern. It was always on the verge of making sense.

What was the thing under the surface? Why couldn’t I touch it?

Final Fantasy VII was like that one chick in Lost Highway. It leaned in close to me, breathed into my ear, “You still want me, don’t you?”

“More than ever,” I said.

“You’ll never have me.”

Lost Highway chick stopped there, but Final Fantasy VII kept right on whispering.

“You’ll never have me, yet that won’t stop you from trying. You’re going to buy Final Fantasy games for the rest of your miserable little life. You’re going to keep trying to recapture a feeling that may not have even been there in the first place.”

At this point, I said, “Hey, fuck you, Final Fantasy VII,” but by then she was gone.

I’ve never become addicted to a drug. Nobody’s ever broken my heart. I’ve never had a crisis of religious faith. I’ve never experienced those things; I don’t know what they’re like.

I do know what it’s like to keep buying the new Final Fantasy game. I’m disappointed every time. That won’t stop me from buying – or trying.

“I’d like to, uh, pre-order Final Fantasy XIII.”

The guy at the counter nodded deeply.

“Good choice,” he said. “Good choice. I cannot wait for that game to come out. I seriously cannot wait. What system you want it for?”

“Uh, 360.”

The guy nodded again.

“Good choice,” he said again. “Good choice. Yeah. I mean, man, oh man. Final Fantasy XIII is gonna be so, so totally awesome.”

“Yeah,” I said. “I know.”

“I cannot wait. Have you seen the trailers?”

“Yeah,” I said. “I’ve seen the trailers.”

“They’re awesome.”

“Yeah, they’re totally awesome.”

“Totally awesome. Totally, totally awesome.”

“Yeah.”

“Yeah. Well, here’s your receipt. Have a good one, man, and I will see you . . . in March.”

In March, because Final Fantasy XIII will come out on March 9th. Am I counting down the days? No, that’d be silly. Am I excited? Well, not really – that’s not the right word. But will I be in GameStop that morning? Yeah. Yeah, I’ll be there.

Baby

I didn’t eat at all today until 9pm; I had somehow forgotten. That happens to me a lot. It’s a bug in my nervous system’s programming. My brain sees hunger as a binary thing. Only two states exist: utter satiation and utter starvation. There’s nothing between the two, no connecting curve, no gradient.

When I’m not hungry, I’m not hungry at all. But several hours later, with no advance warning, comes an instant of realization: I need food, fast.

It’s like I procrastinate on some unconscious level. I ignore the signals coming from my own stomach for as long as I possibly can.

Anyway, 9pm today. I drove to the Subway on Westport, drove under a weirdly mottled nighttime sky that just did not seem dark enough. The clouds were blacker than the sky itself: there were two separate shades of black up there. The night had nuance.

Westport is full of bars, and at night it’s also full of cars. This is not a coincidence. Bars attract cars, particularly on a Friday.

I parked in front of the Subway and detached my car stereo’s faceplate. I thought about putting it into my glove compartment, but then decided I’d better just take it with me instead.

My car stereo is pretty new. I’ve only had it since September, which was when somebody stole my old one.

It happened on a Sunday night. I had parked my car in front of my apartment, and the next morning I discovered that someone had unlocked my driver-side door, entered the car, and expertly extracted the stereo.

The only traces left were a connector cord that dangled out of the (now exposed) guts of my dashboard and a sticker on my steering wheel that had a barcode and serial number on it; this, I surmised, had been peeled off the back of the stereo.

Whoever the thief was, I had to admit he’d done a hell of a clean job. He’d gotten in without smashing a window or breaking a lock. He’d only wanted the stereo, which seemed to have been lifted without any sign of struggle. Nothing else in my car had been disturbed. All my CDs were intact; the only one lost to me was the burned Flaming Lips album that had been inside the stereo unit itself.

I was upset, sure, but hey, I’d been living in urban Kansas City for three years and until that day my car hadn’t been broken into once. All things considered, that was pretty good.

I was more baffled by the crime than anything else. Why did that person want my stereo so badly? My stereo was a piece of shit. It refused to read something like ten percent of my CDs. It didn’t remember its position in a track when I turned the car power off. And the “forward” button was actually broken: sometimes it spontaneously pressed itself, fast-forwarding through whatever the hell I was trying to listen to.

Realistically, how much can you get for a stereo like that? Who would want it? I didn’t even want it, and I was the owner. The guy who stole it would have been better off if he’d just pointed a gun at my head and told me to give him the damn thing. I would have done it, and it would have saved him the trouble of breaking in. So why had he broken in? And more importantly: how?

For some time after the theft I found myself inappropriately interested in the logistics of stealing car stereos. It wasn’t that I actually wanted to swipe anyone’s shit; it was more that I was fascinated that people can actually do it.

I spent days looking up car-stereo-stealing techniques on the Internet, and every time I walked past a vehicle on the street I’d glance in at the stereo, thinking – man, if I wanted to take that, how would I do it?

And when I got a replacement stereo, I became incredibly paranoid that somebody might somehow steal it – paranoid, but also lazy. When I get out of my car, I detach my faceplate, put it into my glove compartment, and feel “safe.”

But the safety is totally false. 99% of “thieves” out there almost certainly know the difference between a car containing a stereo with a detached faceplate and a car that doesn’t contain a stereo at all.

I’m sure they also know that even someone who goes to the trouble of detaching his faceplate won’t go the additional trouble of hiding it anywhere other than the glove compartment.

The security is not real. A detachable faceplate will only deter a complete idiot. If a sufficiently knowledgeable person makes the decision to break into your car and steal your shit, you’ve got no real way of stopping him. And so on. I mean, you can get as paranoid as you want.

It’s probably best to just take fake security at face-value and not think that hard about what’s really going on.

I wish I could take more shit at face-value. Just in general, I mean. I have this terrible, insane inner need to deconstruct the hell out of everything around me, and I suspect that’s going to make me lose my fuckin’ mind eventually.

When I parked in front of the Subway tonight, I didn’t put the faceplate in my glove compartment because I was at the edge of Westport and I could hear police sirens in the distance and the situation seemed vaguely dangerous. It was, I thought, not impossible that my car might get broken into while I was buying a sandwich. I figured it’d be best to take the faceplate with me.

So I put it in my pocket, got out of my car, locked it, and went in to Subway. The radio was playing, tuned to some kind of Christian station. The employee there was unfamiliar. Maybe she was someone new. I hadn’t been to the Subway on Westport for a while.

I ordered my sandwich and listened to the song playing. It was folksy and plaintive, sung by a drawling dude. “Lord,” he said, “help me understand. Take my hand.” I wondered if that was the single most cliche rhyme in all of pop music: “hand” and “understand.” (Another contender might be “fire” and “desire.”)

I started hearing the Doors song “Riders on the Storm” in my head, except instead of Jim Morrison, this drawling Christian dude was singing it.

“Girl, you gotta love your man. Girl, you gotta love your man. Take him by the hand. Make him understand.”

I listened to not-Jim Morrison and reached into my jacket pocket, felt the stereo faceplate I’d shoved in there. It wasn’t a good fit. The top was sticking out. I had a sudden bizarre thought: what if this Subway employee saw this? Would she think I was carrying a gun?

“The world on you depends, our life will never end. Gotta love your man.”

I mean, I probably looked like some kind of shifty immigrant-type dude. I had all the elements: dark skin, cheap leather jacket, five-day beard. Shiny metallic thing poking out of my pocket.

I started getting nervous. When it came time to pay for the sandwich, I reached for my wallet with one hand while keeping the other clamped around the faceplate in my jacket pocket. When I handed my credit card to the employee, I saw, or imagined, that she was staring at my jacket-pocketed-hand. It was obvious that I was concealing something.

This would be the moment, wouldn’t it? This exact moment. I’d level the pistol at her and suggest that she “open the motherfucking register and hand over all the motherfucking cash.”

I’d rake the money into my jeans pockets, get into my car, drive ninety miles per hour down Broadway with five cop cars chasing me, then crash into the side of the Cheesecake Factory on the Plaza, taking off my seat belt and opening the door and jumping out sideways at high velocity just before impact, tumbling into an aggregate of courting foreign-exchange students.

Then I’d get up, dust myself off, and stroll very casually down to the Apple Store, whereupon I’d buy a quad-core 27-inch iMac (entirely with cash) and give it to one of the panhandlers right outside. Just call me Robin Hood, baby.

“Sir. Your card.”

“Oh,” I said. “Thanks.”

I drove back to my apartment.