You might not agree, but even in Sliver, published in 1991, the main character fails to wise up until it's too late.
Ten years before the rest of the world tuned into "reality television" and webcams hidden in tanning salons, locker rooms and public toilets, again you predict the battle over privacy in the face of new broadcast and video technology. In Sliver, Kay Norris moves into a lovely apartment on the twentieth floor of a narrow «sliver» building in Manhattan. She falls in love with a younger man, another resident of the building, not knowing he owns the building. And he's wired every apartment with hidden cameras that allow him to watch the residents as entertainment.
The darker secret of the "horror high-rise" is that as people discover their phones are bugged and their apartments are being spied on, the young building owner murders them. He even records the murders and keeps the tapes.
Like Rosemary Woodhouse and Joanna Eberhart, Kay thinks her apartment is a great new beginning. Despite fellow residents dying all around her, she clings to her denial and distracts herself with her love affair. In an interesting evolution from Rosemary (who had no career) through Joanna (who snapped a few pictures), Kay Norris is consumed by her job as a book editor. She's never been married. And she isn't destroyed by the reality she failed to recognize.
But only because her cat saves her-hardly her own doing.
Ten years before states realized they had no laws that forbid someone from carrying a camera in a suitcase, then standing in a crowd and filming up the bottom of women's skirts, a decade ago, you tried to warn us. This was possible. Technology had outdistanced law, and this was going to happen. Then you created a fable to get our attention and inoculate us against the fear by creating a metaphor, a character that models the wrong behavior.
Was it Plato who made his arguments by telling a story with an obvious flaw, and allowing the listener to realize the error? Whoever it was, that method gives the reader the moment of realization, the emotional moment of "ah-hah!" And teaching experts say that, unless we have that moment of chaos, followed by the emotional release of realization, nothing will be remembered. In this way you, Mr. Ira Levin, force us to remember the mistakes made by your characters.
Oh, Mr. Ira Levin, how do you do it? You show us the future. Then you help us deal with that scary new world. You take us, fast, straight through a worst-case scenario and let us live it.
In the therapy called "flooding," a psychologist will force a patient to endure an exaggerated scenario of his or her worst fear. To overload the emotions. A person afraid of spiders might be locked in a room filled with spiders. A person afraid of snakes might be forced to handle snakes. The idea is that contact and familiarity will dull the terror the patient has for something they've been too afraid to explore. The actual experience, the reality of what snakes feel like and how they act, it destroys the fear by contradicting the patient's expectation.
Is that it, Mr. Levin? Is that what you're up to?
Or is what you do just consolation? Showing us the worst so our lives look better by comparison. No matter how controlling our doctor seems, at least we're not giving birth to a devil baby. No matter how boring the suburbs feel, at least we're not dead and replaced by a robot.
Your fellow writer Stephen King once said that horror novels give us a chance to rehearse our deaths. The horror writer is like a Welsh "sin eater," who absorbs the faults of a culture and diffuses them, leaving the reader with less fear of dying. You, Mr. Levin, are almost the opposite. In big, funny, scary ways, you acknowledge our faults. The problems we're too afraid to recognize.
And by writing, you give us less to fear about living.
That's very, VERY creepy, Mr. Levin. But not creepy-bad. It's creepy-nice. Creepy-great.
Escort
My first day as an escort, my first «date» had only one leg. He'd gone to a gay bathhouse, to get warm, he told me. Maybe for sex. And he'd fallen asleep in the steam room, too close to the heating element. He'd been unconscious for hours, until someone found him. Until the meat of his left thigh was completely and thoroughly cooked.
He couldn't walk, but his mother was coming from Wisconsin to see him, and the hospice needed someone to cart the two of them around to visit the local tourist sights. Go shopping downtown. See the beach. Multnomah Falls. This was all you could do as a volunteer if you weren't a nurse or a cook or doctor.
You were an escort, and this was the place where young people with no insurance went to die. The hospice name, I don't even remember. It wasn't on any signs anywhere, and they asked you to be discreet coming and going because the neighbors didn't know what was going on in the enormous old house on their street, a street with its share of crack houses and drive-by shootings, still nobody wanted to live next door to this: four people dying in the living room, two in the dining room. At least two people lay dying in each upstairs bedroom, and there were a lot of bedrooms. At least half these people had AIDS, but the house didn't discriminate. You could come here and die of anything.
The reason I was there was my job. This meant lying on my back on a creeper with a two-hundred-pound class-8 diesel truck driveline lying on my chest and running down between my legs as far as my feet. My job is I had to roll under trucks as they crept down an assembly line, and I installed these drivelines. Twenty-six drivelines every eight hours. Working fast as each truck moved along, pulling me into the huge blazing-hot paint ovens just a few feet down the line.
My degree in journalism couldn't get me more than five dollars an hour. Other guys in the shop had the same degree, and we joked how liberal arts degrees should include welding skills so you'd at least pick up the extra two bucks an hour our shop paid grunts who could weld. Someone invited me to their church, and I was desperate enough to go, and at the church they had a potted ficus they called a Giving Tree, decorated with paper ornaments, each ornament printed with a good deed you could choose.
My ornament said: Take a hospice patient on a date.
That was their word, "date." And there was a phone number.
I took the man with one leg, then him and his mother, all over the area, to scenic viewpoints, to museums, his wheelchair folded up in the back of my fifteen-year-old Mercury Bobcat. His mother smoking, silent. Her son was thirty years old, and she had two weeks of vacation. At night, I'd take her back to her TravelLodge next to the freeway, and she'd smoke, sitting on the hood of my car, talking about her son already in the past tense. He could play the piano, she said. In school, he earned a degree in music, but ended up demonstrating electric organs in shopping-mall stores.
These were conversations after we had no emotions left.
I was twenty-five years old, and the next day I was back under trucks with maybe three or four hours sleep. Only now my own problems didn't seem very bad. Just looking at my hands and feet, marveling at the weight I could lift, the way I could shout against the pneumatic roar of the shop, my whole life felt like a miracle instead of a mistake.
In two weeks the mother was gone home. In another three months, her son was gone. Dead, gone. I drove people with cancer to see the ocean for their last time. I drove people with AIDS to the top of Mount Hood so they could see the whole world while there was still time.
I sat bedside while the nurse told me what to look for at the moment of death, the gasping and unconscious struggle of someone drowning in their sleep as renal failure filled their lungs with water. The monitor would beep every five or ten seconds as it injected morphine into the patient. The patient's eyes would roll back, bulging and entirely white. You held their cold hand for hours, until another escort came to the rescue, or until it didn't matter.
The mother in Wisconsin sent me an afghan she'd crocheted, purple and red. Another mother or grandmother I'd escorted sent me an afghan in blue, green, and white. Another came in red, white, and black. Granny squares, zigzag patterns. They piled up at one end of the couch until my housemates asked if we could store them in the attic.
Just before he'd died, the woman's son, the man with one leg, just before he'd lost consciousness, he'd begged me to go into his old apartment. There was a closet full of sex toys. Magazines. Dildos. Leatherwear. It was nothing he wanted his mother to find, so I promised to throw it all out.
So I went there, to the little studio apartment, sealed and stale after months empty. Like a crypt, I'd say, but that's not the right word. It sounds too dramatic. Like cheesy organ music. But in fact, just sad.
The sex toys and anal whatnots were just sadder. Orphaned. That's not the right word either, but it's the first word that comes to mind.
The afghans are still boxed and in my attic. Every Christmas a housemate will go look for ornaments and find the afghans, red and black, green and purple, each one a dead person, a son or daughter or grandchild, and whoever finds them will ask if we can use them on our beds or give them to Goodwill.
And every Christmas I'll say no. I can't say what scares me more, throwing away all these dead children or sleeping with them.
Don't ask me why, I tell people. I refuse to even talk about it. That was all ten years ago. I sold the Bobcat in 1989. I quit being an escort.
Maybe because after the man with one leg, after he died, after his sex toys were all garbage-bagged, after they were buried in the Dumpster, after the apartment windows were open and the smell of leather and latex and shit was gone, the apartment looked good. The sofa bed was a tasteful mauve, the walls and carpet, cream. The little kitchen had butcher-block countertops. The bathroom was all white and clean.
I sat there in the tasteful silence. I could've lived there.
Anyone could've lived there.
Almost California
The infection on my shaved head is finally starting to heal when I get the package in the mail today.
Here's the screenplay based on my first novel, Fight Club.
It's from 20th Century Fox. The agent in New York said this would happen. It's not like I wasn't warned. I was even a little part of the process. I went down to Los Angeles and sat through two days of story conferences where we jerked the plot around. The people at 20th Century Fox got me a room at the Century Plaza. We drove through the studio backlot. They pointed out Arnold Schwarzenegger. My hotel room had a giant whirlpool tub, and I sat in the middle of it and waited most of an hour for it to fill enough that I could turn on the bubble jets. In my hand was my little bottle of mini-bar gin.
The infection on my head was from the day before I was going to Hollywood. I was getting flown to LAX, so what I did is run down to the Gap and try to buy a pumpkin-colored polo shirt. The idea was to look Southern Californian.
The infection was from not reading the directions on a tube of men's depilatory. This is like Nair or Neet, but extra-strong, for black men to shave their faces with.
Right on the tube of Magic brand men's depilatory, it says in all caps: DO NOT USE WITH A RAZOR. This is even underlined. The infection was not the fault of the package designers at Magic. Fast-forward to me sitting in my Century Plaza whirlpool tub. Water rushes in, but the tub is so big that even after half an hour, I'm just sitting there with my gin and my shaved head with my butt in a little puddle of warm water. The walls of the tub are marble, chilled to ice-cold by the air conditioning. The little almond soaps are already packed in my suitcase.
The check from the movie option is already in my bank account.
The bathroom is lined with huge mirrors and indirect lighting, so I can see myself from every angle, naked and wallowing in an inch of water with my drink getting warm. This is everything I wanted to make real. The whole time you're writing, some less-than-Zen little polyp of your brain wants to be flying first-class to LAX. You want to pose for book-jacket photos. You want for there to be a media escort standing at the gate when you get off the plane, and you want to be chauffeured, not delivered, but chauffeured from dazzling interview to glittering book-signing event.
This is the dream. Admit it. Probably, you'd be more shallow than that. Probably, you'd want to be trading toenail secrets with Demi Moore in the green room just before you go onstage as a guest on the David Letterman show.
Yeah. Well, welcome to the market for literary fiction.
Your book has about a hundred days on the bookstore shelf before it's an official failure.
After that, the stores start returning the books to your publisher and prices start to fall. Books don't move. Books go to the shredder.
Your little chunk of your heart, the little first novel you wrote, your heart gets slashed 70 percent, and still nobody wants it.
Then you find yourself at the Gap trying on pastel knit shirts and squinting when you look in the mirror so you look almost good. Almost California. There's the movie deal to support-your hope is, now, that will save your book. Just because a big publisher is doing my first novel, that doesn't make me attractive. Lazy and stupid come to mind. When it comes to being attractive and fun to be around, I just can't compete. Stepping off the airplane in Los Angeles with my hair sprayed and wearing a salmon-colored polo shirt was not going to help.
Having the publicist at the big publishing house call everybody and tell them I was attractive and fun was only going to give people false hope.
The only thing worse than showing up at LAX ugly is showing up ugly but showing signs that you really tried to look good. You gave it your best effort but this is the best you could do. Your hair's cut and skin's tanned, your teeth are flossed and the hair in your nose is tweezed, but you still look ugly. You're wearing a 100 percent cotton casual knit shirt from the Gap. You gargled. You used eyedrops and deodorant, but you still come off the plane missing a few chromosomes.
That wasn't going to happen to me.
The idea was to make sure nobody thought I was even trying to look good. The idea was to wear the clothes I wore every day. To remove any risk of failed hairstyling, I'd shave my head.
This wasn't the first time I'd shaved my head. Most of the time I was writing Fight Club I had that blue, shaved-head look. Then, what can I say, my hair grew back. It was cold. I had hair when it came time to take my book-jacket photo, not that hair helped.
Even when they took my picture for the jacket, the photographer made it clear the pictures would turn out ugly, and it was not her fault.
So I left all the new colors of polo shirts including pumpkin, terra cotta, saffron, and celadon at the Gap, and I went and didn't read the directions on a tube of men's depilatory. I frosted my head with the stuff, and I started to hack at my scalp with a razor. The only thing worse you could do is get water mixed in the depilatory. So I ran hot water over my head.
Imagine your head slashed with razor cuts and then throwing lye on the cuts.
Tomorrow, I was going to Hollywood. That night, I couldn't get my head to stop bleeding. Little bits of toilet paper were stuck all over my swelled-up scalp. It was a sort of papier-mâché look, with my brains inside. I felt better when my head started to scab, but then the red parts were still swollen. The blue stubble of hair started pushing up from underneath scabs. The ingrown hairs made little whiteheads I had to squeeze.
It was: The Elephant Man goes to Hollywood.
The people at the airline hustled me onboard, fast, like a donor organ. When I reclined my seat back, my scabs stuck to the little paper headrest cover. After our touchdown, the flight attendant had to peel it off. This probably wasn't the peak experience of her day, either.
This is why I write.
The infected head thing just got worse. Everyone meeting me looked legendary, like all the guys were JFK Jr. All the women were Uma Thurman. At all the restaurants we went to, execs from Warner Brothers and Tri-Star would come over and talk about their latest project.
This is so why I write.
Nobody made the mistake of eye contact with me. They all talked about the latest buzz.
The producer for the Fight Club movie drove me around the Fox backlot. We saw where they filmed NYPD Blue. I said how I didn't watch television. This was not the best news to let slip.
We went to the Malibu Colony. We went to Venice Beach. The one place I wanted to go was the Getty Museum, but you have to book an appointment a month in advance.
So this is why I write. Because most times, your life isn't funny the first time through. Most times, you can hardly stand it.
My head would just bleed and bleed. Whoever was lowest in the pecking order, I had to ride in their car. They showed me those concrete hand- and footprints, and they stood off to one side discussing the grosses for Twister and Mission: Impossible while I wandered around the same as the rest of the tourists with their heads bowed looking for Marilyn Monroe.
They drove me through Brentwood and Bel-Air and Beverly Hills and Pacific Palisades.
They left me at the hotel where I had two hours before I had to be ready for dinner. There I was, and there was the mini-bar just asking to be violated, and there was a bathroom bigger than where I live. The bathroom was lined with mirror, and everywhere, there I was, all naked with the eruptions on my head finally draining clear liquid. The little hotel gin bottle in my hand. The gigantic bathtub kept filling and filling, but never got more than an inch deep.
All those years you write and write. You sit in the dark and say, someday. A book contract. A jacket photo. A book tour. A Hollywood movie. And someday you get them, and it's not how you planned.
Then you get the screenplay for your book in the mail, and it says: "Fight Club by Jim Uhls." He's the screenwriter. Way underneath that, in parentheses, it says: Based on the novel by you.
That's why I write, because life never works except in retrospect. And writing makes you look back. Because since you can't control life, at least you can control your version. Because even sitting in my puddle of warm Los Angeles water, I was already thinking what I'd tell my friends when they asked about this trip. I'd tell them all about my infection and Malibu and the bottomless bathtub, and they'd say:
You should write that down.
The Lip Enhancer
It was Ina who first told me about Brad's lips, and what he does with them. We'd met Brad this last summer, near Los Angeles, in San Pedro, on six acres of barren concrete with gang warfare, Crip and Blood territory staked out all around us. It was the set for a movie based on a book I'd written and could barely remember. Just before this, a neighborhood man had been tied to a bus stop bench here. The set crews found him, tied up, shot to death. The crew was building a rotting Victorian mansion for a million dollars.
All this buildup, this scene setting is so I don't look too stupid.
This will only look like it's about Brad Pitt.
It was one or two o'clock in the morning when Ina and I got there. At the production base camp, movie extras slept in dark lumps, curled up inside their cars. Waiting for their call. When we parked, a security guard explained how we'd have to walk unprotected for the last two blocks to the actual movie shooting location.
A pop, then another pop came from the dark neighborhood nearby.
Drive-by shootings, the guard told us. To get to the set, he said, we needed to keep our heads down and run. Just run, he said. Now.
So we ran.
According to Ina, what Brad does is lick his lips. A lot. According to Ina, this is probably not accidental. According to Ina, Brad has great lips.
Somewhere along the line my sister sent me a videotape of Oprah Winfrey, and there was Brad being interviewed, and Ina was pretty much right all over.
The first day we met Brad, he ran up with his shirt open, tanned and smiling, and said, "Thank you for the best fucking part of my whole fucking career!"
That's about all I remember.
That, and I wanted to have lips.
Big lips are everywhere. Fashion models, movie stars. Where I live in Oregon, in a house in the woods, you can ignore a lot of the world, but one day we got a mail-order catalogue and there inside was the Lip Enhancer.
For this movie, Brad had the caps knocked off his front teeth and chipped, snaggle-tooth caps glued on. He shaved his head. Between takes, the wardrobe people rubbed his clothes in the dust on the ground. And he still looked so good Ina couldn't put two words together. Girls from the 'hood stood five deep at the barricades two blocks away and chanted his name.
I had to get me some of those lips.
According to the people at Facial Sculpting, Inc., you can get collagen lip injections, but they don't last. Full collagen lips will run you around $6,880 per year. Plus, collagen tends to move around inside, giving you lumpy lips. Plus, the injection process causes dark bruising and swelling that can last up to a week, with new collagen injections needed every month.
To be fair, I called five local cosmetic surgeons in Oregon, all of whom do lips, all of whom refused to even discuss the Lip Enhancer. Even when I agreed to pay a hundred-dollar consultation fee. Even when I got down and begged.
Oh, Dr. Linda Mueller, you know who you are.
The Lip Enhancer cost me $25, plus a couple bucks for shipping, plus the snide tone of the man who took my order. It's not really marketed to men. We're supposed to be above all that. Still, the Lip Enhancer is similar to a huge number of penis enlargement systems you can buy.
These are systems you can buy, and use, and write funny silly essays about and therefore tax-deduct; needless to say, several of those systems are now in the mail to me.
The key word is "suction." Like those penis systems, the Lip Enhancer uses gentle suction to distend your lips. Basically, it's a two-piece telescoping tube, sealed at one end. You place the open end of the tube against your lips, then pull the sealed end away from you, lengthening the tube. This creates the suction that pulls your lips inside the tube, giving you full, pouty lips in about two minutes.
In the instructions, the lovely young woman has her lips sucked so far into the clear tube that she looks like a kissing gourami fish.
Some people, it gives them a big hickey around their mouth. This is just like when you were a kid and you pressed a plastic glass around your mouth and chin and sucked all the air out until you had a huge dark bruise that looked like the five-o'clock shadow of Fred Flintstone or Homer Simpson.
You should not use the Lip Enhancer if you're a diabetic or have any blood disorder.
According to the catalogue, your new big full pouty lips will last about six hours.
This is how Cinderella must've felt.
There are similar suction systems to give you bigger, more perky nipples.
In the near future, you can imagine, every big evening will begin hours earlier with you getting sucked on by different appliances, each of them making some part of you bigger for a few hours. The whole evening would then be a race to get naked and accomplish some lovin' before your parts snapped back to their original size.
Yes, there's even a system for enlarging your testicles.
I was visitor number 921 to the Lip Enhancer website.
I was visitor number 500,000 to any of the penis enlargement sites.
Your first week with the Lip Enhancer, you have to condition your lips twice a day. This involves short, gentle sessions of getting your lips sucked. This is less exciting than it sounds.
Now, I've kissed thin lips, and I've kissed thick lips. Me, I have what you'd call combination lips, a large lower lip and pretty much no upper lip. Some cultures scar their faces with knives. Some flatten the heads of their babies with special cradle boards. Some distend their necks with wire coils. All these National Geographic images went through my mind as I sat in my car, my head tilted back at the recommended forty-five-degree angle, the Lip Enhancer tight around my mouth and my lips sucked into the tube. Beauty is a construct of the culture. A mutually agreed upon standard. Nobody used to look at George Washington, with his wooden teeth, in his powdered wig, and say, Fashion Victim.
After two minutes-the recommended maximum treatment time-I did not look like Brad. Trying to talk, I pronounced almost all my consonants as B's, the same vaguely racist way the character with the huge lips used to talk in the old Fat Albert cartoons on Saturday morning.
"Hey'b, Fab Alberb," I said to the rearview mirror. "How'b boub dees'b libs?"
My lips felt raw and swollen, as if I'd eaten barrels of salty popcorn.
I could see why none of the lovely models in the Lip Enhancer brochures ever smiled.
I hurried out of the car, still in the window of time before my lips would shrink back to nothing. Back to just the regular, ordinary me. I went to a writers' workshop, and my friend Tom asked, "Didn't you use to have a mustache?"
I tried licking them à la Brad on Oprah.
My friend Erin leaned close, squinted hard, and asked, "Have you had dental work done today?"
I remembered Brad in the dentist's chair, sitting through the whole pain of getting his caps switched, to glam down his look with new broken teeth. How one day he had to have good teeth, and the next day, breaks and chips. How every switch meant more time under the dentist. More pain.
It's funny, but you see yourself in a certain way, and any change is hard to understand. It's hard to say if I looked better or worse. To me it was creepy, like those ads in old comic books where you could send away for "nigger lips" and "Jew noses." A caricature of something. In this case, a caricature of beauty.
According to the package enclosures, you can wash the Lip Enhancer with soap and water. According to the website, it makes a great gift. So now it's washed and wrapped, and Ina's birthday is October 16.
Somewhere in the mail, in the backs of trucks or the bellies of airplanes, various other suction systems are still headed my way. Ten of thousands are headed for other people. Me, these people, we believe. Something will save us. Deliver us. Make us happy. And, sure, you could say this kind of special effect is okay for an actor. An actor is playing a role. Well, I would say, who isn't?
So this wasn't really about Brad.
It's about everybody.
Monkey Think, Monkey Do
This summer a young man pulled me aside in a bookstore and said he loved how in Fight Club I wrote about waiters tainting food. He asked me to sign a book and said he worked in a five-star restaurant where they monkey with celebrities' food all the time.
"Margaret Thatcher," he said, "has eaten my sperm." He held up one hand, fingers spread, and said, "At least five times."
Writing that book, I knew a movie projectionist who collected single frames from porno movies and made them into slides. When I talked to people about cutting these frames into G-rated family movies, one friend said, "Don't. People will read that, and they'll start doing it…"
Later, when they were shooting the Fight Club movie, some Hollywood big names told me the book hit home because they, themselves, had spliced porno into movies as angry teenage projectionists. People told me about blowing their noses into hamburgers at fast-food cooking jobs. They told me about changing the bottles of hair dye from box to box in the drugstore, blond to black, red to brown, and coming back to see angry, wild-dyed people screaming at the store manager. This was the decade of "transgressive novels," starting early with American Psycho and continuing with Trainspotting and Fight Club. These were novels about bored bad boys who'd try anything to feel alive. Everything people told me, I could roll it into a book and sell.
On every book tour, people told me how each time they sat in the emergency exit row on an airplane, the whole flight would be a struggle not to pop open that door. The air sucking out of the plane, the oxygen masks falling, the screaming chaos and "Mayday! Mayday!" emergency landing, it was all so clear. That door, so begging to be opened.
The Danish philosopher Søren Kierkegaard defines dread as the knowledge of what you must do to prove you're free, even if it will destroy you. His example is Adam in the Garden of Eden, happy and content until God shows him the Tree of Knowledge and says, "Don't eat this." Now Adam is no longer free. There is one rule he can break, he must break, to prove his freedom, even if it destroys him. Kierkegaard says the moment we are forbidden to do something, we will do it. It is inevitable.
Monkey think, monkey do.
According to Kierkegaard, the person who allows the law to control his life, who says the possible isn't possible because it is illegal, is leading an inauthentic life.
In Portland, Oregon, someone is filling tennis balls with matchheads and taping them shut. They leave the balls on the street for anyone to find, and any kick or throw will make them explode. So far, a man's lost a foot; a dog, its head.
Now the graffiti taggers are using acid glass-etching creams to write on shop and car windows. At suburban Tigard High School, an unidentified teenage boy takes his shit and wipes it around the walls of the men's bathroom. The school knows him only as the "Una-Pooper." Nobody's supposed to talk about him because the school is afraid of copycats.
As Kierkegaard would say, every time we see what's possible, we make it happen. We make it inevitable. Until Stephen King wrote about high school losers killing their peer groups, school shootings were unknown. But did Carrie and Rage make it inevitable?
Millions of us paid money to watch the Empire State Building destroyed in Independence Day. Now the Department of Defense has enrolled the best Hollywood creative people to brainstorm terrorist scenarios, including director David Fincher, who made the Century City skyline fall down in Fight Club. We want to know every way we might be attacked. So we can be prepared.