Cover Me
The other night, still in SF, I walked down 17th from Castro. It's a particularly dark stretch of a fairly well-traveled street, and the darkness comes as a surprise. One moment earlier you find yourself in the glare of one of the City's busiest intersections (and one of the best spots to get a cab), before the Twin Peaks Bar, known, unkindly, as the Glass Coffin, given its clientèle of silver-haired gay men sipping Irish coffees and looking out at the street. Next you pass the card shop, a tanning salon (natch), a hair salon and then the apartment buildings which have the misfortune to be located a little too close to the bars of the Castro and whose doorways have proven irresistible to the bathroom-challenged. Then you cross the short street, Hartford, when the light disappears.
The two boys pulling a cart of groceries from Cala turned onto Hartford; I could hear their chatter slide off behind me to the right, the cart of paper towels bouncing up onto the curb. And thought nothing of it. It's an area that is lousy with multi-million dollar Victorians and cramped studios with four-digit rents and no parking and no pets allowed.
It's also surprisingly seedy. Meth and alcohol are doubtless to blame, and, in my less charitable moods I also blame the locals who are easy touches for the able-bodied twenty-somethings panhandling outside A.G. Ferrari and Cliff's Variety. My liberal tendencies go down like a drunken trick whenever I see these kids who remind me too much of the Orinda and Moraga teens who hung out on Telegraph Avenue and begged for change when I was an undergrad at Cal, their clothes infinitely more expensive than mine. I have less tolerance for them, addicted to pretense more than the beggars with real substance abuse problems. Tina is rampant. Tina is crystal meth for gays, even the name more fabulous than 'crank,' which was the name I grew up knowing. Crank was the purview of the rural folk, cooked up readily and giving my father, the judge, no small degree of job security. They kept coming, their teeth rotting out of their heads, their wild-eyed look not out of place in the basement of the Prado, all Goya and Bosch. Painterly hells that seemed literally fantastic, but here they are, in front of you, begging for money, filthy and terrifying.
And numbing. There are too many of them, these (not-so-transient) transients, to the point where I don't think most of us really see them anymore. How else to explain that walking along the street, with its significant foot traffic, that I would be the only one to notice the man passed out on the staircase, his jeans around his ankles, his boxers around his knees?
I called 911 while walking to a brighter corner, passing a covered pickup truck where three men were drinking Sierra Nevadas, and made me feel like I'd walked in on their living room. Then stood on the corner where a woman who appeared to be - and this may be uncharitable - a fag hag abandoned by her fag, stumbled into the side of the building, tried to play it off and then threw trash from her purse into the tree well across the sidewalk. She gave me an evil look.
The 911 dispatcher asked me a thousand questions, each of them more detailed than the last, prompting me to walk back to look more closely at the guy, past the beer drinkers who watched, bemused. Yes, he seems to be alive. No, I can't tell how old he is. No, I have no idea if he's been injured. Yes, let me give you a painstaking description of the building since apparently the address is not enough. Finally, I gave him my number and hung up, and headed home. I climbed the stairs and paused to watch the paramedics go by, sirens blaring, feeling suddenly disgusted with myself. My motivation, I realized, was not merely compassion for this helpless individual; I also just wanted the man gone.


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