I sat at the bar. The dark, dank, smoke stained and saturated wood panel walls, create an atmosphere of comfort, and I languish in its embrace. Over the old, poly’d bar-top, hang three stained glass lamps, Schlitz mosaically emblazoned in blood red, against a field of green and yellow glass, held together by poorly soldered lead–small streaks of the poisonous metal trailing down shards of glistening colored glass. Encased by these hemispheres, dull, forty watt, yellowish bulbs, strain to brighten the room, but it is as if the lost hopes and damaged dreams of the patrons, swallow the light, which struggles against the stygian gloom. In the corner, an old, outdated, cigarette vending machine still occupies a space lost in time, as if a temporal vortex has opened up a conduit, a wormhole, transporting this bar space to the 1970s. The only update, that makes this machine modern, is the dollar changer, which is affixed to the wood veneered machine. The handle’s clear, molded plastic pull knobs, are no longer transparent, but yellowed with age, as if the nicotine, which stains so many white mustaches of habitual smokers tawny, has jumped from their tobacco stained fingers, to the knobs themselves.
This bar, which lives in two times, torn between the old and the ever changing present–the quickening technology of this age–has a digital jukebox attached to a wall, down and across from the bar. Its blue digital light, simulating neon, encircles the device which spits out heavy metal, 80’s rock, hair bands, and the occasional indie rock song. The small confine of the bar space echoes the music louder, as there is one volume, excessive. The patrons, all lined up on stools at the bar, sitting along the wall, and standing in any open space, don’t seem to notice the deafening sound, and instead their stentorian voices commingle with the music, creating a cacophony of revolting conversation and death metal.
A ‘Gansett in hand, and cheap shot of Old Crow sitting next to it, my writing ambitions wane away. Like an hour glass, my zeal for literary pursuits are grains of sand, slowly sifting, dropping into oblivion, one astringent sip at a time. Pen in hand, and composition book open, I spill a drop of amber colored liquid, of what passes for whisky, onto the clean, virginal, white page, lined by a pale, cornflower blue. No words to spare, I tap my pen against the empty space, the void of memory, the dearth of prose, which builds a frustration inside me.
Tipping back the tallboy ‘Gansett, the bartender comes over. Her wrinkled hand touches mine as she seeks my attention.
I turn my attention back to the bar. The couple sitting in the dark corner practically fucking, the hipster picking music off the jukebox, the older woman sitting next to me, her flaxen dry hair cut to a bob, they are all rich characters. These are my people, my characters, they inhabit the pages of my notebook, and find their way into my stories. They may never know it, but they will be immortalized in words, and their essence, even if it is a small, superficial bit, transferred to some literary persona. Their actions are fodder for my work, and farmed like potatoes plucked from the field, but that is for later. Tonight, I drink.
As I tip back the can, I converse with the woman next to me. We drink, we commiserate, and I find a character, the lonely barfly, the empty vessel, the lost soul, and then I wonder, what character will she play?
One thought on “The Corner Bar”
Very Nelson Algren.
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