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Issue 1, February 2008

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Working for the Bird
David Hollander

The Bird Man swooped into my life precisely on cue. It was springtime, and my friend Michael and I were inhaling dark beer outside a Brooklyn brewery, discussing my saber-toothed future. I had just received my master of fine arts degree in fiction writing, and I was down to the final embers of what had once seemed an inexhaustible bonfire of wealth, albeit in the form of unsubsidized government loans. I’d been the King of Carpe Diem, but my freewheeling stupidity was coming to its inevitable, sad end. Michael and I listened to the trucks rumble by on 6th Avenue and drank aggressively beneath a fuzzy pink sun. 
      “I think I’m in big trouble,” I told him.
     “It’ll be fine,” he said, nodding vigorously. He was a drinking schoolteacher. Or maybe a schoolteaching drinker. Either way, his gainful employment meant we were in different places.  (He, for instance, was in a place with furniture and a television.)
      “Dude, are you listening to me?  I’m broke.”
    “Hey, what’s that saying?” he asked, beaming with optimism. “Fortune favors the meek, right?”
     I was puzzling over that, chimp-like, when Anthony Bird intervened. He wore a brown fedora and a tight leather jacket, and had a copy of the Times tucked under his arm. He moseyed up to our wooden bench in the beer garden and uncorked a disarming Southern accent. “Are you looking for a job?” he asked.
      “Excuse me?”
      “I’m sorry, I overheard you talking.  Have you ever done any house painting?"
     “Yeah,” I said, surprised. “My friend Joe and I had our own business out on Long Island.” This was a half-truth. Joe and I had gotten together one summer during our undergraduate tenure and drummed up some work. We called ourselves Student Painters, and our motto was, Let your house be our learning experience. We lasted three weeks before a badly situated ladder kicked out and shattered windows on three descending floors of a regal farmhouse; it plummeted down and down and spared not a pane, in case we needed a metaphor.
     “Plaster work?” Bird asked.
     “No, but I’m a spackling machine,” I boasted.
   “Here’s my card,”  he grinned. “You can start tomorrow.” And with that he disappeared, cowboy-like, through the doors of my local saloon.

Thus began my summer of adventure with Bird’s motley crew of unfortunates. He was the Indiana Jones of general contracting. He owned some tools, sure, but you always got the impression he’d rather be swashbuckling. Maybe it was the roguish wardrobe. Or the fact that he held black belts in sundry martial arts. He was the kind of guy who might tip his hat after roundhouse-kicking you to within inches of death. He was small, kind, and volatile. He’d employed two other unskilled locals, neither of whom seemed at all fit for labor. There was Willy, a rotund and aged church organ player with a lisp; and Jocelyn, a leggy mural painter from a nearby arts college. “I hire based on character,” he told me. And we were all characters, but of the ilk normally limited to television sitcoms.

Not a single one of us—Bird included—had any clue as to how to accomplish our contracted work. He had a motto of his own: Learn as you go. Once, he agreed to punch a mortar-fire-sized hole through the back wall of a two-million dollar brownstone and manufacture a balcony. Two weeks in he had an epiphany: “This is impossible!” he screamed, hurling a wrought-iron stanchion through the chasm in this once-excellent shelter. He got pretty good distance. It pierced the earth just inches from a passing cat that bolted in terror. 
       Somehow we kept getting hired. The Bird Man sniffed out an eccentric (sometimes freakish) clientele and plied them with liquor. That was the business model. There was, for instance, a hairless albino who doubled our asking price in a whiskey-addled poker game. Anthony told us the good news while we unknowingly rendered the guy’s apartment unlivable, stripping pound after pound of lead paint from the walls. I thought we were avant-garde, more like a comedy troupe than a construction crew. Anthony would arrive one afternoon at a full-blown disaster of a job site. “Go home early today,” he’d drawl, and we’d silently pack up the tools and clear out, adding another cautionary red ‘X’ to our neighborhood map. Seriously. We had a map like that. We were outlaws.
    For a while, though, there was always another opportunity. I blew it the night I invited Anthony to a Manhattan soiree with some of my grad school friends, mobilizing the collision of two worlds, those of Man and Bird.
       “Do I need to dress up?” he asked, suspicious.
       “No more so than usual,” I said.
       “What’s that mean?”
       “It means you’re like Errol Flynn.”
     I always had the impression he might pummel me, but I loved the guy. I loved not knowing what would happen. 
      He was coming to the party by cab, but the driver took a route not to Anthony’s liking. A spirited debate ensued and ultimately led outside the vehicle, where indelicacies could be exchanged more freely. When Anthony assumed his kung fu stance, the driver wisely fled into a bodega to call for backup, freeing the Bird to commandeer the cab and pursue the ideal route unfettered. He managed to flirt with some of my friends, even dance a little, before the cops filed in.
     It was (unsurprisingly) not his first conviction. From Free Bird to Jail Bird, just like that! He went away owing me a bunch of money, but it’s not like I really earned it. We had no idea what we were doing. I miss those days. Nothing in my life since has been so devoid of accountability.


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