Tom Rachman - The Imperfectionists

Ruby wasn't invited to watch. "Jerks."

They pretend not to hear her and hunt for fresh video, something smutty this time.

She happens to like their infantile humor-it's her taste, too. But they never include her. And when she tells a joke they're repulsed. Why do they treat her like a freak? "Like I'm malignant."

This coven of losers, ogling babes on YouTube-and they consider her a menopausal troll. But she's the same as them: middle-aged, pervy, bored. Why do they have to make her feel like some piece of crap. "They're infants is why."

Copy for the late edition drizzles in. The room grows quieter. One can tell time by the noise level. Early, the newsroom is abuzz with humorless jokes. Later, now, a hush settles but for tapping keyboards and nervous coughs. At deadline, the outbursts come.

Ruby stares at the blinking cursor. They've given her nothing, not one story to edit. And then they're gonna dump Saddam on her at deadline. "Assholes."

But when the Saddam story does land Ed Rance assigns it to Dave Belling.

"Jerks." Instead of anything important, Ruby is assigned a series of mind-numbing briefs: a Nigerian pipeline blast; skirmishes in Mogadishu; the Russian gas standoff. Then Ed Rance gives her a news analysis on nuclear arms in Iran and North Korea, with ludicrous headline dimensions. The story is huge, two thousand words, but the head is tiny: one column wide and three lines deep. How do you summarize all this crap in three words? They treat her like she's a goddamn slave or something. "Pricks."

As is his habit, Herman Cohen pauses at the copydesk on his way home, standing behind each editor in turn, reading their screens. Dave Belling has a bag of sunflower seeds open and Herman digs in without asking, as he does whenever he spots open food containers. He orders tweaks to the Saddam headline, then thuds away.

The senior editors call Kathleen on her mobile to discuss page one. They put her on speakerphone so everyone can go on record endorsing her, then hang up and mock her, as if to cleanse the air of their sycophancy.

Minutes to deadline, Ruby has finished everything but a brief. She's struggling to fit " Mogadishu " into a one-column headline. Clint Oakley appears. "Who did the head on the Nigeria pipeline explosion?" he says. "Are you guys kidding me? 'Blast Kills People Again.'" He cackles with laughter. "What retard wrote that?" Ever since Clint was demoted from culture editor to obituaries, he has hung around the copydesk looking for easy targets-Ruby, above all. He knows full well it was she who handled the Nigeria pipeline story. "Who did that?" he persists. "Whoever it was should be fired. You're changing it, right? Ed Rance?"

"Already changed, Clint Oakley." The guys refer to each other by full names, as if this were boarding school.

"Cool, Ed Rance. Wanted to make sure." He walks away, sneering. "'Blast Kills People Again'! I fuckin' love it!"

Ruby is trembling with rage. That headline was a one-column-four and Ed Rance was screaming at her to finish it. What's she supposed to do? Now it's minutes from deadline and the word " Mogadishu " stares insolently at her. "Can't concentrate."

"I need that Somalia head," Ed Rance says.

"I know!"

"Now, Ruby."

"It's not ready!"

"We're at deadline. Put it down."

"Gimme a minute!"

"If you can't do it, put it down and I'll give it to someone who can."

"Jesus Christ!" She closes the file.

"Unprofessional," Ed Rance mutters.

Soon, the inside pages are finished. Page one is double-checked and put to bed. It's 10 P.M., the shift is over, the staff are sprung.

Tomorrow is New Year's Eve, so everyone has the day off. A few journalists and technicians linger to discuss party plans, but most slip out one by one; they stagger their departures to avoid having to share the elevator down. Soon the newsroom is empty except for Menzies, who is still at his computer, and Ruby, who packs up her tools: cushion, disinfectant wipes, RSI wrist braces, ergonomic keyboard and mouse. She locks her drawer and rakes a shivering hand through her hair, as if to dislodge spiders. "Such pricks." It'll feel good when she fucking quits. "Cannot wait."

It's dark as she heads for the bus stop. To her surprise, the paper's young publisher, Oliver Ott, is walking his dog in her direction-why is he coming to the office at this hour? He is a tall man, blemished and ungainly, and stares down at his basset hound, which sniffs the sidewalk. Oliver and the dog pass right by-her own publisher seems not to have the faintest idea who she is.

"Hello?" she says indignantly as he walks past her. She turns: "Am I invisible? Do you not see me?" He looks back. "Fuckin' asshole!" she shouts and storms away. "Good for you," she tells herself, continuing down Corso Vittorio, past her bus stop. "Good for you! Screw him!" Those weasels will use this to fire her now. "Fucking pricks. Hope they do fire me." Kathleen would love it-love to see Ruby gone. Almost worth staying just to spite her. "Almost worth it." Kathleen. "Bitch."

Ruby and Kathleen joined the paper in the same crop of interns in 1987. Ruby arrived a week earlier, so was able to show the younger girl the premises, pointing out all the editors, presenting her around-even introducing her to the good-looking Italian intern, Dario de Monterecchi, whom Ruby had a crush on. Within three months, the editor-in-chief, Milton Berber, had hired Kathleen as a news assistant while he'd not even spoken a word to Ruby. And within ten months, Kathleen and Dario had moved in together. Over the following years, Kathleen became a hotshot reporter at the paper, a star, moving up the ranks, and finally jumping to a big-shot newspaper in Washington. Now, years later, Kathleen has returned triumphant, the boss, while Ruby-who never left, who was loyal-is a piece of dirt. "Which is exactly how they treat me." Kathleen included. "Cow." If these idiots won't fire Ruby for swearing at the publisher, she'll walk in and quit on New Year's Day. That'll be sweet. Get out of this lousy country. "Home, finally."

She takes a seat on the bus home. The irony is that she's actually good at her job. "Not that they give a shit."

The bus halts to allow New Year's tourists to flood across the intersection, then continues over the bridge toward St. Peter's, whose cupola is lit purple-yellow. As they drive past, she cranes her neck to keep the basilica in view until the last possible moment. Then it is gone.

She lives in a modern building that overlooks the Porta Portese flea market and the dog pound. The barking never ceases, so she keeps her windows closed at all times. When she was new to Rome, friends from America used to come stay with her. But each visit proved tense. It's the design of this place, like a New York railroad apartment, every room feeding into the next. These days, it's strewn with dirty clothing-tangled bustiers, oversize T-shirts, banana hair clips. The kitchen is as jumbled, with torn muffin papers, empty milk bottles, used aluminum sheets, shopping bags. No outsider has visited for years, so what's the point in tidying?

She changes into her Fordham sweatshirt, opens the refrigerator, and yawns into its white light. She cracks a Heineken and drinks it before the open fridge, her mind emptying with the can. The sharp corners of her day go smooth.

She scans the fridge: a jar of black olives, no-name ketchup, cheese slices. To eat or to sleep-the perennial night-shift conundrum. She confronts her dilemma as always, with a tub of Haagen-Dazs on the couch and Tony Bennett on the stereo, volume low. The CD came free with a magazine and has become part of her after-work routine. She has the TV on, too, with the sound off. She watches Ballando con le Stelle without seeing, listens to Tony Bennett without hearing, eats Vanilla Swiss Almond without tasting. Yet the mix is the most splendid she knows.