Wild Sovereign Development Site

Tag: public transport

  • this one time?

    I came home after a long day, festooned with groceries. The bench on the subway platform was occupied by two girls and their shopping. I said, “Excuse me,” in German, and they said, “Excuse me,” in German, and cleared a space. Then one turned to the other and said, in flawless Brooklyn Privilege, “So I’m like, ‘the person who cooks’ in the relationship, but one time? Eli was like, ‘let’s make spaghetti together.’”

    At the station where I climbed out two men were playing a complex and delicate classical duet on two squeezeboxes. I passed a man in my street who was carrying a double bass upright on his back. Its long neck sticking straight up behind the face made him twice as tall. I’d been noticing the rows of inverted and upright Vs of manspreading and women’s frequent shrinking in public spaces on the train, and I thought: sometimes privilege is visible; and sometimes, it is audible; sometimes it hoards itself, and sometimes it emanates.

  • a virgin busker

    On the subway a woman suddenly opened her mouth and began to sing. Her voice was tentative and good. She had a little loudspeaker rigged up through her mobile phone and had set herself to perform some songs in her own native Spanish. She was rugged up like the rest of us in a puffy blizzard jacket, was in her late middle age, and shy: and I would be willing to bet this was her first day out busking.

    She sang, Kiss me… kiss me all over, or as it renders in the Spanish, kiss me a lot. Her voice trembled with nerves but she kept going. She tried to set up a swing with her hips, stiffly, appealing to the stony crowd with outstretched hands. “Music?” her voice, her hands, her eyes seemed to be saying, “remember music?”

    I got up and went over to be nearer. She was standing in the doorway with her back turned to the glass doors. She smiled shyly at me and I smiled shyly back, nodding encouragingly, clinging to the yellow pole and hanging my head against it as though it were a mother.

    Shyness in public. It makes life so much more challenging. A little way into the song she switched up the tempo and the backing music began a familiar rumble. “Bamboleo,” she sang, wistfully but clear, “Bamboleah…” A moment later she was saying, thank you, danke schön, and pulling out of her jacket pocket a crumpled waxed-paper cup. It is easy to fall on hard times so rapidly. Well-dressed people are begging and collecting bottles for the deposit all over the city. I gave her two euros saying, Sie haben solch eine schöne Stimme, eine echt schöne Stimme. You have such a lovely voice, a really beautiful voice. This was perfectly true and she knew it. We thanked each other bashfully and she went off down the swaying carriage where to my surprise people pulled out their wallets and broke the fourth wall. I, too, am afraid to sing in public; I, too, have a voice. Her courage by this stage had moved me to tears and when the door at my station opened unexpectedly a second early, while the train was still moving, I stood back saying, “Whoa,” and smiling with surprise. German trains are seamless. The man waiting outside the doors stood facing me as the platform slowed. He smiled back. We smiled at one another. In the stairwell a man with his face turned to the wall was shooting up into his elbow, bared in the literally freezing grey cold.

  • cigarette break

    A lot of noise round the house today as the Hausmeister – Deutschland brims with masters – has called a gang of workmen in to saw back the thorny bushes round the huddle of bins. Our bin system is complex because everything gets recycled – everything but, puzzlingly, aluminium and steel. The thorny bushes make it hard to access the bike racks without scoring one’s skin and I welcomed the intrusion, but after a couple of hours of swearing and sawing I took refuge in a cafe I love, to try to do a bit of writing.

    I miss Brisbane but I’m not missing having to google “cafes open past 2pm” when I want to work later. This place is groaning with shelves of books and they let me sit on a sagging couch with a single coffee in front of me for nearly three hours. I came out into the lissom afternoon and joined the slow streams of people heading down to the underground station. A man was playing the flute, with his eyes closed. He was entranced.

    The first flush of leaves has hit the ground and to me it feels too soon. I’m not ready! I rode home via train and bus and train because the middle section of the line was being repaired and in Berlin everybody files in orderly fashion from the ‘replacement vehicle’ back onto the interrupted line and sits down. When I had left, two tree surgeons were standing at the street entrance of my house in boiler suits, smoking by the big glass doors. When I came back hours later they were still there. As I came up to them, I had started to laugh. “Sie waren beide hier,” I explained, “als ich rausgegangen bin. Und es scheint meinetwegen zu sein, als ob es eigentlich eine sehr sehr lange Zigarettenpause war.” You were both here when I went out. From my point of view it is tempting to assume this was a very very long cigarette break. They looked uncertain. Were they being criticised, by a stranger? Then one man smiled. “So viele Zigaretten können wir gar nicht rauchen,” he said. We can’t smoke that many. “Wir schaffen es gar nicht.” We just wouldn’t manage it.

  • stitch grandeur

    In Berlin people do all kinds of things out loud in public. You can buy drugs, smoke pot in the street and drink beers, you can walk with your dog into restaurants and boutiques. You can dance on street corners. One of the blisses of living here is that everyone is stranger and no one’s a stranger: my lifelong habit of conversing with passersby as though we were resuming a discussion only briefly interrupted is welcomed and usual, it’s easier, fine.

    I had never seen anyone embroidering on the underground. Sleeping, yes, fighting, putting on make up; drunk men banging in unison their fists on the roof of the carriage on their way home victorious from some football game – those were English men, ‘educated hooligans’ – and people jump on and sing, for money, or make speeches, and sell things, or just beg: and the man on the U1 who shows mutely his malformed and tiny index finger that pokes the air like a children’s puppet, the more whole hand holding a grimy crumpled cup for coins. A week ago there was a can of green peas, with a spoon standing in it, empty and neatly tucked under the corner of the seat were someone, presumably, had been eating them from the tin. To say it took courage to pull out my embroidery seems ludicrous. But so it felt.

    It is an egg I drew freehand, a world egg, and have been filling with gradual slow stitches ever since. The egg shape is crossed with a bulging peace sign. I started it to sew for my suitcase, a new suitcase, khaki swirling, for my first trip to New York in 2011. The suitcase was a present, its army camouflage motif bothered me. “I want to sign that there can be peace, there can be love, that I am not part of the army,” I said, stitching next to the Brooklyn nightclub singer who at the request of our mutual friend was putting me up. We had bonded. We’d spent long hours sitting side by side on her bed, talking about our lives. “But,” she said, “you are also a warrior.” And hugging me, on her stoop opposite “the park” (an all-concrete basketball court) in the snow. She was smoking, and her voice was deep and compelling and rough.

    I made that trip, and another, longer trip, with the peace egg still missing from my luggage. Now in Berlin I have decided it is time to get it done. So on the underground I pull it out. With trepidation but not sure why. The first thing that happens is a good-looking, somewhat raddled man whose tangle of hair attracts me gets on and sits opposite. We are the only two people in the carriage. Noticing my stitching he says, terrifyingly, “This city belongs to us True Germans.” Nods many times. I try to smile, neutrally. His arm goes up in a blessedly hybrid but tyrannical salute. “We belong here. All of those foreigners need to just get out. They should go.” I say something, noncommittal and small, afraid of what violence I might bring on myself if my accent or choice of words gives me away. Then nodding also I get up and slide from the carriage, clutching the fold of canvas and my hidden needle.

    Real Germans sew in public. I felt I had identified myself with a certain kind of wholesomeness, or primness. The screaming mess at the back of my tapestry, with its gouts of wool and complex knotting clots of colour hardening the cloth, embarrassed me. It was so clear to anyone looking on – which they did – that I was a rank beginner. Perhaps that’s why the man in his seventies who had been strap-hanging nearby finally swung his upper body over me and confided, in a shy, sweet voice, We used to learn embroidery in primary school. We made cross-stitch. (Modestly, with a soft pride): I was really good at it.

    As she got off at Wittenbergplatz a lady clutching her hands before her chest paused to say, It’s hard, isn’t it, keeping the tension even. Yes, I said, relieved that she had articulated this issue I had only half-noticed myself noticing. You need an embroidery hoop, she said. Oh! I said. I really do. Thank you for mentioning it. Then I carried the feel of her all the way home. There is something innate, I think, in us – in me – which responds to the wisdom of an older woman, however pragmatic and small, however tentative, because it is what we are missing wherever else we look. Sneering at age, excluding the oldest cultures, enslaved to the young and the new; literary festivals falling over themselves to include schoolkids’ first raps at the expense of experienced writer elders; orchestras staging dismal photo shoots in which fiddle-clutching violinists leap uncomfortably. The trouble with hip is, it never lasts. I long for the inner knowing, the voice of experience, the hip replacement: the lasting.

  • madre de dios

    Following a little family down the long walkways of Terminal One to reach Terminal Two and the mouth of the subway, I kept seeing how the little girl held tight to her mother’s hand and how the little boy held his father’s. She was scarved and wore a baby close against her chest. On the other side of the glass stood a queue of twenty-five-year-olds waiting to board our flight back to Berlin.

    The Metro ticketing machine offered little flags: press which language you want. I put “Spanish,” because I am stubborn. The trains are suffocatingly heated. People kept climbing on board to beg or to busk. The four men from the Andes with their squat amp and teensy guitars, held high on their chests the way you’d nurse a machine gun or maybe a baby; people looked annoyed at the racket but I gave them some money thinking, these guys are only here at all because Spain built ships, and crossed all the way the world and found their Country, and stole millions and killed millions. Now with their long obsidian hair and their colourful backpacks and their Pan flutes they are back bringing a little music into everyone’s commute: an unfair and gracious exchange.

    A man whose face has been eroded by what looks like an acid attack came holding out his two stumps of hands palm upwards, smiling and wheedling. A man whose right foot is crushed and slanted made his way painfully down the carriage, telling his story and asking… for bread, there was a young man beautifully upright in his wheelchair and begging and a Caribbean man playing joyous reggae and all of this happened in between airport and town.

    I dragged my suitcase and changed trains twice. The driver came out his side door when I climbed out at Manuel Becerra saying, something something something descapacitado… seeing my expression he gestured, unmistakeably, repeating himself very slowly: the disabled staircase (an emphatic sweep of one arm) is reached by dismounting on the other side of this train: and I looked, and sure enough the doors on both sides were open. “Gracias,” I told him, struggling with my suitcase and box of books back across the open carriage in which everybody stared, “Muchas gracias” – how amazing that he should care. In the next train a man gazed and gazed. Another man next to me was reading the National Geographic in Russian. I bought, very carefully, something to eat from the man running his glass-front stall, and he taught me a new word to add to my existing Spanish stock of two (“por” and “favore”). Something something some? “Non hablo espanol,” I hazarded, awkwardly. He said it again with gestures: “caliente?” Blowing on his pursed fingertips to show how it was hot. Oh, did I want it heated? “Por favore.” He went on, helpfully: “friore” (I think) means “cold.” “Muchas gracias.” It just amazes me how people living in an ancient city awash with lenses can be so welcoming and go out of their way to be kind to a person who clearly knows nothing of their country and speaks barely one word: god love them for that. So far Spanish people are wonderful. Though it also made me proud that I found my way using a photo I had taken off google maps in Berlin at 5am from the Metro stop to my hotel without asking help of anyone. It was raining and I arrived wet and splashy. At the corner across from some huge splendid palace a car swept past drenching me and another man in rainwater and we shrugged at each other, smiling, starting to laugh. The “caliente” man gave me a little receipt with my 2€ pastie and I picked up off his counter another receipt, left by another customer, which had been folded into a boat shape, or perhaps a hat; I slipped it into my pocket and will take it home – all the way home to Australia, if necessary.