Jonathan Franzen - Strong Motion

One reason he had had little competition for the job was that WSNE’s bid for license renewal in June was expected not to be routine. Paychecks were issued with precise instructions about when and when not to attempt to cash them. The insatiable payroll had gotten into the main production studio and torn out the sound equipment and acoustical panels and everything else with resale value, leaving ragged empty rectangles with exposed particle board in the Formica consoles, and butterscotch-colored glue spots on the walls. A new FM college station had bought all of WSNE’s record collection except the juvenile section (the Care Bears’ entire LP oeuvre; the Muppets; the original Disney sound track of Winniethe-Pooh; the Flintstones doing times tables) and the comedy recordings. The grooves of the latter were rapidly being worn smooth by WSNE’s morning News with a Twist programming, which interlarded news and comment with “the funniest routines of all time.”

A man named Alec Bressler owned and operated WSNE. Alec was a Russian émigré of German extraction who in the mid-sixties had allegedly paddled from Kaliningrad to Sweden in a rubber dinghy. The only official duty he gave himself was to tape the daily broadcast editorial, but he was always hovering in the studios, observing with immense satisfaction that electricity was flowing through all the necessary circuits, that this station that belonged to him was actually functioning and transmitting his chosen programs. He was a moderately paunchy fifty, with East-bloc hair, devalued somehow and slow to grow, and skin grayed by a cigarette habit he resisted only to the extent of addicting himself to nicotine lozenges as well. He dressed in thin sweaters and faded, thigh-hugging, too-short pants, each pair of which looked old enough to have come along with him in the legendary dinghy.

Louis soon realized that one of the functions he was expected to serve was to be a private audience for Alec Bressler. “Do you like expressing opinions?” the owner asked him on his second day of work, when he was printing out affidavits for commercial sponsors. “I just expressed a really good one. I commented on a current event. Can you guess which one?”

Louis’s face became guarded, ready to be amused. “Tell me,” he said.

Alec seated himself on the air and groped backwards to pull a chair over. “This horrible plane crash on the weekend. I forget which midwestern state, it starts with ‘I.’ Two hundred nineteen dead, no survivors. Complete dis-in-te-gration of the fuselage. I questioned the nooseworthiness of this event. With all respect to the families of the dead, why do we have to see this on television? We see it last month, why see it again? If people want to see crashes, why don’t we look at Navy missiles and Air Force planes that crash any time we test them. If people want to see death, let’s take the cameras to the hospitals, eh? See how most people die. I told what we can watch instead of network noose which should be boycotted. There’s M*A*S*H, same time, also Cheers and Family Ties and Matt Houston. Better commercials too. Let’s watch these programs. Or let’s read a book, but I didn’t stress that. I say read a book too much.”

“Isn’t this kind of a lost cause?” Louis said.

Alec pressed on the armrests of his chair and slid his butt farther back, the better to lean forward and claim whatever tiny portion of Louis’s attention he hadn’t claimed already. “I bought this station eight years ago,” he said. “It had real strong local noose coverage, popular music, also Bruins games. For eight years I try to remove politics from WSNE. It’s my ‘American Dream’—a station where people talk all day long (no music—it’s cheat-ting!) and not a WORD about politics. This is my American Dream. Radio with talk all day and no ideology . Let’s talk about art, philosophy, humor, life. Let’s talk about being a human being. And closer I come to my goal—you can plot this on the graph, Louis—closer I come to my goal, fewer people listen to me! Now we have one hour of current events all total in the morning, and people listen for that one hour of noose. We all know Jack Benny is more fun than Geneva arm talks. But take away Geneva and they stop listening to Jack Benny. This is the way people are. I know this. I have it plotted on a graph.”

He grouped his fingers and tweezed a cigarette out of a Benson & Hedges pack. “Who’s the girl?” he asked, inclining his head towards a snapshot in a half-open drawer. The young woman in the picture had dark rings beneath her eyes and a shaved head.

“A person I knew in Houston,” Louis said.

Alec ducked, and ducked again as if to say: Fair enough. Then he ducked once more, very affirmatively, and left the office without another word.

After work on Friday Louis drove his six-year-old Civic down the Mass Pike into Boston and parked it on the top level of a garage with the dimensions and profile of an aircraft carrier. A wind from the east lent a forlorn sort of finality to his carleaving procedure, which involved peering in through the driver-side window, slapping the keys in his pants pocket, lifting the handle of the locked driver-side door, slowly circling the car and checking the passenger-side door, slapping the keys again, and giving the machine a last, hard, worried look. He was due to meet Rita Kernaghan at the RitzCarlton in two hours.

An advancing warm front had begun to curdle the clear blue of the sky. In the North End, a slender neon boot named ITALIA kicked a monstrous neon boulder named SICILIA. It was impossible to escape the words MEAT MARKET. The Italians who lived here— old women who stalled on the sidewalks like irrationally pausing insects, their print dresses gaping at the neck; young car owners with hairstyles resembling sable pelts—seemed harried by a wind the tourists and moneyed intruders couldn’t feel, a sociological wind laden with the dank dust of renovation, as cold as society’s interest in heavy red sauces with oregano and Frank Sinatra, as keen as Boston’s hunger for real estate in convenient white neighborhoods. MEAT MARKET, MEAT MARKET. Midwestern tourists surged up the hill. A pair of Japanese youths sprinted past Louis, their fingers in green Michelin guides, as he approached the Old North Church, whose actual cramped setting immediately and quietly obliterated the more wooded picture his mind had formed before he saw it. He skirted an ancient cemetery, thinking about Houston, where summer had already arrived, where the downtown streets smelled of cypress swamps and the live oaks shed green leaves, and remem bering a conversation from a humid night there— You’ll be lucky next time. I swear you will . In the buildings facing the cemetery he saw white interiors, entertainment equipment as blatant as ICU technology, large toys in primary colors in the middle of barren rooms.

On Commercial Street there were a thousand windows, bleak and square unornamented windows reaching up as high as the eye cared to wander. Pale green, opaque, unblinking and excluding. There was no trash on the ground for the wind to disturb, nothing for the eye to rest on but new brick walls, new concrete pavement, and new windows. It seemed as if the only glue that kept these walls and streets from collapsing, the only force preserving these clean and impenetrable and uninspired surfaces, was deeds and rents.

Out of Faneuil Hall, haven of meaning and purpose for weary sightseers, there blew a smell of fat: of hamburgers and fried shellfish and fresh croissants and hot pizzas, and chocolate chip cookies and french fries and hot crab meat topped with melted cheese, and baked beans and stuffed peppers and quiches and crispy fried Oriental Nuggets with tamari. Louis slipped in and out of an arcade to appropriate a napkin and blow his nose. The walking and the cold air had numbed him to the point where the entire darkening city seemed like nothing but a hard projection of an individual’s loneliness, a loneliness so deep it muted sounds—secretarial exclamations, truck engines, even the straining woofers outside appliance stores—till he could hardly hear them.