Caution, Work Crew up Ahead

Driving the work truck down a country road with ditches on both sides and beyond, fields of tall green grass, wet with the mists of spring, I'm deep in conversation with my partner, Yonk. I tell him about a movie I rented the night before called "The Holiday". "Maybe you've seen it. It's a chick flick," I tell him. "One of those emotional porno movies that women watch with their girlfriends while passing a quart of chunky monkey ice cream. It wasn't the feminine flavor of the film that struck me, that is why I rented it. I want to study romance stories. What stuck out," I say while gesturing with my hands--the truck swerving over the divider line--"is how the movie writers created characters that were movie writers. Hollywood is stuck in Hollywood. I mean there were palm trees and beautiful people and lavish mansions and Mexican house keepers, and..."

Yonk removes the lid from his thermos and takes a sip of steaming gas station coffee. "Authors don't speak for us," I say. "They write stories about powerful attorneys in powerful suits who manipulate the world from their offices atop skyscrapers and the young idealistic intern, a lone wolf, who fights back with guns and cell phones. Or, there is the story of the poor, the impoverished victims of society who overcome their troubled past, their sexual abuse, drug abuse, gambling addictions. But who is writing our story?" Another gas station is coming up on the right, a breakfast stop for construction workers. Everything they sell there is fried, sugary, or caffeinated. We pull in to use the bathroom before getting to the work site. Inside, I break down and buy a coffee and maple bar.

I turn on the windshield wipers after starting the truck. I move my lunchbox and thermos making room for my breakfast. Yonk caved in too. He bought a sausage muffin with cheese. I pull out onto the highway behind a port-a-potty truck. "So? Who is writing our story? What is our story? What does it look like?"

He thinks about it for a minute, a long minute, breathing out of his mouth, steam coming out it as he chews on his fried sausage sandwich. Finally, "We're in a comedy," he says. I laugh. "Really," he says. "Remember that movie with Emilio Estevez and that other dude? They are garbage men and they get into all these comical situations. That's us."

"Your right! Our lives our comical."

"Yeah they are. I don't mind being in a comedy. It's better than a drama."

We're still driving, only slower now because we've come to a work zone and a flagger is standing in the road holding a sign that reads, SLOW. She's smoking a cigarette. We sit silently--the truck wipers squeaking a bit as they rub abrasively against the thin mist. I break the silence, "Yeah man, but I mean our lives are more meaningful than that, right?"

"Well, I'll put it this way, there isn't much for drama. If a Hollywood producer bought our story he'd have to spice it up quite a bit. There'd have to be a love interest first of all. Probably one of the chicks at our work site. A really cute girl in need of a make over. She'd probably have an abusive boy friend and a drug addiction. The greedy governor would condemn her building to put in a race track and her boyfriend would be selling drugs to the Gov's daughter, maybe even boinking her. We'd come on the scene in our landscaping truck most likely packin' heat, maybe a rocket launcher mixed in with the rakes and shovels. There'd be a lot of explosions and one of us would rescue the girl and the other would choke the Governor out and put the fear of God into him with our hedge trimmer. Something like that. This job just isn't exciting enough, man."

"Your probably right. None the less, we have a story without the guns. I wake up everyday to the sound of my alarm clock. It rips me out of dreams. It's friggin' traumatic, man. I pull on my trousers, brush my teeth, and come here to work. This is noble. It might be invisible, but it's noble, right? I mean this is epic. We are the working poor. We are America. We have a story!"

He laughs. We pull into the job site. We inspect it out loud: the grass has grown quite tall in a week. The side walk edges are furry, the Fontainea hedges need to be trimmed. "Alarm clocks don't sell movies," he says. "We tell stories about men in castles and princesses that need saving. We're living out a comedy, man."