guess?”
“I know.” Why do conversations with teachers always go around in circles?
“Why?”
I sit on my hands and stare. There’s no good answer to this question. “I’m a genius and the world can’t live without my words,” is too pretentious and probably untrue. “I love books and want to write the great American novel” is true, but is also what every student wants, because why else would they be in this class? “It’s my calling,” sounds overly dramatic. On the other hand, why is he even asking me this question? Can’t he tell that I should be a writer?
In consequence, I end up saying nothing. Instead, I open my eyes as wide as possible.
This has an interesting effect. Viktor Greene suddenly becomes uncomfortable, shifting in his chair and then opening and closing a drawer.
“Why do you have that mustache?” I ask.
“Mmph?” He covers his lips with his tapered, waxy fingers.
“Is it because you think that mustache is a part of you?” I’ve never talked to a teacher this way, but I’m not exactly in school. I’m in a seminar. And who says Viktor Greene has to be the authority?
“Don’t you like the mustache?” he asks.
Hold on. Viktor Greene is vain?
“Sure,” I say, thinking about how vanity is a weakness. It’s a chink in the armor. If you’re vain, you should do everything possible to conceal it.
I lean forward slightly to emphasize my admiration. “Your mustache is really, er, great.”
“You think so?” he repeats.
Jeez. What a Pandora’s box. If he only knew how Ryan and I make fun of that mustache. I’ve even given it a name: “Waldo.” Waldo is not any ordinary mustache, however. He’s able to go on adventures without Viktor. He goes to the zoo and Studio 54, and the other day, he even went to Benihana, where the chef mistook him for a piece of meat and accidently chopped him up.
Waldo recovered, though. He’s immortal and cannot be destroyed.
“Your mustache,” I continue. “It’s kind of like me wanting to be a writer. It’s a part of me. I don’t know who I’d be if I didn’t want to be a writer.” I deliver this line with great conviction, and Viktor nods.
“That’s fine, then,” he says.
I smile.
“I was worried you’d come to New York to become famous.”
What?
Now I’m confused. And kind of insulted. “What does my wanting to be a writer have to do with wanting to become famous?”
He wets his lips. “Some people think writing is glamorous. They make the mistake of thinking it’s a good vehicle for becoming famous. But it isn’t. It’s only hard work. Years and years and years of it, and even then, most people don’t get what they want out of it.”
Like you, I wonder? “I’m not worried, Mr. Greene.”
He sadly fingers his mustache.
“Is that it?” I stand up.
“Yes,” he says. “That’s it.”
“Thanks, Mr. Greene.” I glare at him, wondering what Waldo would say.
But when I get outside, I’m shaking.
Why shouldn’t I? I demand silently. Why shouldn’t I become a famous writer? Like Norman Mailer. Or Philip Roth. And F. Scott Fitzgerald and Hemingway and all those other men. Why can’t I be like them? I mean, what is the point of becoming a writer if no one reads what you’ve written?
Damn Viktor Greene and The New School. Why do I have to keep proving myself all the time? Why can’t I be like L’il, with everyone praising and encouraging me? Or Rainbow, with her sense of entitlement. I bet Viktor Greene never asked Rainbow why she wanted to be a writer.
Or what if—I wince—Viktor Greene is right? I’m not a writer after all.
I light a cigarette and start walking.
Why did I come to New York? Why did I think I could make it here?
I walk as fast as I can, pausing only to light yet another cigarette. By the time I get to Sixteenth Street, I figure I’ve probably smoked nearly half a pack.
I feel sick.
It’s one thing to write for the school newspaper. But New York is on a whole different level. It’s a mountain, with a few successful people like Bernard at the top, and a mass of dreamers and strivers like me at the bottom.
And then there are people like Viktor, who aren’t afraid to tell you that you’re never going to reach that peak.
I flick my cigarette butt onto the sidewalk and grind it out in a fury. A fire truck roars down the avenue, horns blaring. “I am pissed off,” I scream, my frustration mingling with the wail of the siren.
A couple of people glance my way but don’t pause. I’m only another crazy person on the street in New York.
I stomp down the sidewalk to Samantha’s building, take the stairs two at a time, unlock the three bolts, and fling myself onto her bed. Which makes me feel, once again, like an interloper. It’s a four-poster with a black coverlet and what Samantha calls silk sheets, which, she claims, prevent wrinkles. Except they’re really made of some kind of super slippery polyester and I have to push my foot against one of the posts to keep from sliding onto the floor.
I grab a pillow and put it over my head. I think about Viktor Greene and Bernard. I think about how I’m all alone. How I’m constantly having to pull myself up from the depths of despair, trying to convince myself to try one more time. I bury my face deeper into the pillow.
Maybe I should give up. Go back home. And in two months, I’ll go to Brown.
My throat closes at the thought of leaving New York. Am I going to allow what Viktor Greene said to cause me to quit? I have to talk to someone. But who?
That girl. The one with the red hair. The one who found my Carrie bag. She seems like the kind of person who would have something to say about my situation. She hates life, and right now, I do too.
What was her name, again? Miranda. Miranda Hobbes. “H-o-b-b-e-s.” I hear her voice in my head.
I pick up the phone and dial information.
Chapter Nine
“All men are a disappointment. No matter what anyone says.” Miranda Hobbes glares at the cover of Cosmopolitan. “‘How to Get Him and Keep Him,’” she says, reading the cover line aloud in disgust.
She places the magazine back in the rack. “Even if you could get Him—and why do they
