I parked my car in front of a sign slung across a shop
filled with men that read “Live Chickens”. I secured my top button, lowered my sleeves, rolled my long
strawberry hair into a bun and tucked five years worth of saved prints,
paintings, poems, fabric swatches and photographs under my arm before heading
across the street.
“Glass Crystale Mirror” It says above the door and inside
giant pieces of dusty glass lean against walls that surround a carpeted
tabletop. The table is piled
with frame pieces, tape, old receipts, general filth, glass and a black and
white photograph of someone’s mustachioed uncle, softly blurred around the
edges.
While I discuss with Akbar which pictures would be best with
a simple frame and which need a mat, a teenage boy enters the shop with a
plastic cup of tea. He pops a hole
in a can of milk and pours half of it into the steamy cup before discarding the
tea bag and handing it to Akbar.
I’ve come back a few times now, around the same time, and there is
always a tea bringer bringing tea to Akbar and sometimes his friends that guard
the entrance in their plastic lawn chairs.
In my excitement to have these treasures framed – papyrus
from Cairo, two handkerchiefs from Max’s Scottish grandmother (probably carried
over the pond with her) marbled paper from a friend in Jerusalem’s surprisingly
large paper arts community, and Max’s commission signed by the President of the
United States – I left the painting I’d come to pick up from the day
before. When I turn around to
confront the hurried footsteps behind me Akbar is scuffling across the road –
painting in hand.
“You give me 40 rials next time” he says.
An absurdly low amount for everything I’ve just dumped on
his table. I turn my mouth down at
the corners and shake my head to indicate agreement – a serious agreement. One in which he has offered me only
slightly more than his normal price and I have only haggled a little bit.
The picture he hands me is one my dear friend and college
roommate painted as some sort of a value study in one of her watercolor
classes. It’s the face of David,
painted in bold blues, greens and pinks.
Across his face in cheap pen she has written
“Sorry for being Oscar this morning ”
She left this next to my bed one afternoon when, evidently,
we had had a rough morning.
We used to stay up nights in our college apartment – across
from each other in our narrow twin beds – and plan completely reasonable
unreasonable trips to New York where we’d stay at the YMCA, spend everyday for
a week or two in the MOMA, eat hot dogs from carts and walk everywhere. We estimated that airfare and change
would get us through one or two bohemian weeks in New York. We established (she established,
I seconded) the three essentials for a successful morning: toothbrush, bra, eyedrops. We made tapes for my now husband who
was living in Brazil, we wore cut off construction orange sweatpants, and we
listened to dozens, hundreds of new songs in our years together. She worked in a candle factory run out of the basement of two free
spirited South Africans. Our room
smelled of lemon verbena, brown sugar, sandalwood and we learned how to remove
exploded wax from carpet with an iron.
I went back last week to pick up 30 more framed photographs
from Akbar and with a flick of his chin Akbar sent four of his coffee mates out
to my car carrying the load. They
fussed and fiddled about the best way to secure the glass frames in my car for
the ride home. They were silent
and serious and, at the brief expense of my sex and bad stereotypes, I couldn’t
keep myself from making a small joke.
“Make sure you secure them tightly” I said, snapping the seatbelt they had
just fastened around three 18x24 prints.
“I might be a bad driver.”
This procured the desired laugh from all four men and they returned to Akbar’s shop a little less dour.
This procured the desired laugh from all four men and they returned to Akbar’s shop a little less dour.
Why did I say that? I thought on the way home. I don’t actually believe women are bad
drivers. I think I just wanted to
find someplace that our seemingly different worlds could meet even if just for
a moment. Some place of
common ground between the Pakistani coffee drinkers of Akbar’s frame shop and
the American children’s librarian with diplomatic plates. But in a weird way Akbar’s posse knows
more about me than many of my colleagues from the almost 50 stories and places
and people Akbar has framed for me this past month. Each time I brought something new we talked about my family
back home, his family here, my visit to the Dome of the Rock, how long he’s
been in business, my dog, his neighborhood. In his little frame shop next to the “live chicken” sign
filled with men. Where my stories
and my places and my people meet Akbar’s.