.
i come in as usual, drop my shit and head downstairs, only to find the always-impeccable queen susan not behind her desk as usual, but in front of a copier instead.
"there's nobody," she explains, as i laugh, grab half the pile outta her arms and head off to another machine.
later, it gets more real as i find myself in document-clerk mode--sorting, collating and indexing shit that i'd never have bothered with in my old life.
and still, i smile.
on saturday, management (and i) will gather with a crew of movers, roll up our collective sleeves and compress the three former floors of our firm down to two.
and you know what? we'll do it all cheerfully--if not with the ebullient, carefree cheer of yesteryear, then at least with the grim cheer of those who have somehow survived the latest round and lived to work another day.
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4 comments:
Well, you have survived. And, might I add, you seem fairly grateful for it.
Now, if you could only stop spewing craziness about the economy, you'd have half a chance to enjoy yourself.
How many thousands of businesses are going through this?
At least you--and the business--have survived. I'm keeping an eye on all the theater, symphony orchestra, dance and opera companies that are going under and mourning our growing artistic impoverishment.
I'm glad to hear you lived to work another day!
noblesavage: one day soon--days, weeks or maybe even months from now--when the market is rallying like crazy and it looks like it'll never end, i will email you and tell you to get outta stocks and into cash (or better, gold), and you'll either listen to me or you won't.
will: we americans have never valued art (because, seriously, where's the immediate return on investment?).
as a proud american capitalist, what can i say--it's a flaw in our american psyche, and one i'm not sure how to fix.
Oh, but there was a time --in the 70s and 80s--when the international art market was discovered by investors and speculators and the prices were driven up to absurd heights. I knew that my profession had "arrived" when the color renderings for stage sets and costumes became part of the frenzy. Top designers were seeing their work go in the upper hundreds of thousands. It was all insane and a sign that anything, anything at all, could be commercialized and have a price put on it.
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