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Fact or Fiction Friday

Tanya: Creature of the Night

by anna on 07.10.2009

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People, we’re on vacation this week at this quaint place that doesn’t have wireless internet. This makes it hard to do new blog posts, and also there are these things called “family time” and “relaxation” that keep getting in the way of blogging progress. So today we’re in reruns–I’m bringing back a classic Tanya story for the benefit of people who might have missed her the first time around. This post originally appeared on October 2, 2008. Enjoy. Again.

It is the late fall of 1994, and you are sitting in the outer room of the small apartment that you share with Tanya at Kingscote Gardens. You are just where you wanted to be, living with Tanya, smack dab in the middle of campus, and just a few hundred yards away from the Coffee House, where you will undoubtedly down a pitcher of beer later, just as soon as it doesn’t seem so totally early in the day as to be embarrassing.

There is a stench coming from the general vicinity of the kitchen, the sink of which holds a pile of dirty dishes, including several plates covered in cheese, because cheese is mostly what Tanya eats–cheese, and sometimes pasta or the occasional piece of cheesecake. You wouldn’t know it by looking at her–she looks like a young Catherine Zeta-Jones, though you don’t know who that is yet, because it is only 1994 and The Mask of Zorro is still several years away. But Tanya’s home is in France, and though she is not French, she has mastered the French woman’s knack for eating whatever she wants without gaining weight, and, more to the point, she is anosmic, so the stench might as well not exist to her.

But what is your excuse? They are not your dishes, no, but this is your airspace, right? Was it primarily your trash that you finally gave in and emptied, dragging it down the back stairway, carefully breathing through your mouth so as to not pass out, and shuffling carefully out of the way of some other residents making their way up the stairs–overhearing, but determinedly ignoring them saying, “Uggh, it’s like something died in here.” What was it that made you give in with the trash, that the dishes have yet to accomplish?

You are halfway through Jane Eyre for your senior seminar, but a rumbling in the next room prompts you to take out one of the neon green earplugs you crammed into your ear to drown out Tanya’s three separate alarm clocks going off. The last time you saw Tanya was two days ago, but you knew she was there, because you had been checking periodically, listening at the foot of her loft to make sure she was still breathing, marveling at the fact that she could sleep through that kind of noise, and even more wondrous, at the fact that there was still any cocaine left. But here she was again, in her pajamas, her hair still strikingly perfect after two days in bed sleeping off a three or four day coke binge.

The crazy girl was talking about vampires again. She was obsessed with vampires, back when it wasn’t cool to be. There was no Twilight series then, no True Blood on HBO, and I’m not even sure how big Anne Rice was in those days. But Tanya was obsessed, and she had found TV shows on basic cable, way past anyone discerning going to bed, that dealt with the plight of the vampire who wanted to be good, but who fought their unholy urges to drink blood. She really thought this was an interesting topic, this being a vampire, and spoke of it as something that might be an ambitious aspiration, yes, but still something that could be accomplished, not unlike others of our classmates would talk of McKinsey consulting jobs or getting into UCSF Med School.

Somewhere in the vampire monologue, you notice something blackish all over Tanya’s otherwise perfectly white teeth. What is that? Chocolate? You have never known Tanya to eat chocolate, at least not in the obsessive, hiding food beneath the mattress kind of way that it would have to have been–given the fact that she has been holed up in her loft for two days. What is that, you think? At length, you decide to ask, though you are never sure if you should do that in these kinds of situations. What is most polite? Never mind, Tanya is headed to the bathroom.

It’s blood. She has blood on her teeth. And you realize then that this cocaine thing has gotten totally out of control, she sleeps all day and stays up all night, she has blood in her postnasal drip, she is disappearing for days at a time, talking obsessively about bizarre topics, making lists of things that make no logical sense, avoiding class, avoiding friends, unless they come equipped with an 8-ball or a bottle of Night Train. Somebody is going to have to do something. It seems absurd that it would be you, given . . . well, just given. But who else will do it?

She walks out of the bathroom, wiping her mouth, tasting the blood, smiles and says, “Maybe I really am a vampire.

Tanya: Night Train (I)

by anna on 05.15.2009

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You didn’t know that Night Train was anything more than an urban legend until that time you saw a bottle of it on Tanya‘s shelf, in the apartment you had once shared, on the first and last time you spoke with her after you had (inadvertently) gotten her institutionalized on a 24-hour hold (that lasted three weeks). Before that, Night Train had been a regular fixture in the self-aggrandizing folklore that Andy wove about himself, but you had always assumed it was a fictional construct he had invented to make his days in Arizona sound more interesting. It had been memorialized in a Guns ‘n’ Roses song as well, but you thought that this, too, was just a metaphorical romanticizing of the excesses of alcohol consumption sans brand specificity–not unlike the hazy etiology of the drug-induced psychosis depicted in “The Garden,”–because it lacked the kind of easily identifiable semiotic indices (e.g. “Shoved it in the bindle and I shot it in the middle”) that marked “Mr. Brownstone,” for example, as being obviously about heroin in specific, rather than just addiction to a psychotropic drug in the abstract.

Besides, you had never really listened to the lyrics of “Night Train.” You were more of a “November Rain” kind of girl, and anyway, Guns ‘n’ Roses was just the band that you and Andy could agree upon, being halfway between Bon Jovi and The Smiths, inasmuch as any one band could be said to accomplish this herculean task. If you had paid attention to the lyrics, it would have been clearer that Night Train was real, and not just a figment of some (devastatingly cheap) alcoholic’s imagination:

I’m on the Night Train
And I’m lookin’ for some
I’m on the Night Train
So’s I can leave this slum

and, later,

I’m on the Night Train
And I’m ready to crash an’ burn
Night Train
Bottoms up
I’m on the Night Train
Fill my cup

(Guns ‘n’ Roses, “Night Train,” Appetite for Destruction, Geffen Records 1987)

Looking back, it might have struck you that, when Axl Rose (not yet famous) was stumbling around Sunset Boulevard east of Fairfax (where it starts to get sketchy), high on the supply of Night Train that would inspire this tribute to a cheap, wine-based alcohol, you were stuck taking Industrial Arts from a guy with one eye who dropped his pencil every day in class on the off chance that a female student might bend over to pick it up. And you might have recognized a cynical poeticism there, in the common need for the sweet escape that twist-top spirits promises to kindred souls looking to leave the confines of the respective slums (however they defined them) that fenced them in.

Night Train Express is the kind of drink that could only be found at places like Ernie’s, a liquor store a few miles from campus that was best known for its liberal identification policies, but which also boasted a store of specialty twist-top wines which are generally unfamiliar to people outside the population of hardcore drunks, transients, and overachieving university students. Night Train would have been shelved adjacent to Boone’s Farm Apple-Flavored Wine that your friend Leigh favored (because it cost only $2), and this explained why you had never seen it yourself. Underage, and without a feasible ID, you never went inside on the pilgrimages to Ernie’s, since your presence might jeopardize the entire buy.

But Tanya, without a car of her own, and just back from an extended stay in the hospital, had managed to get her hands on a bottle of Night Train, a fact that distracted you as you sat there, in the old apartment, already drunk but determined to listen to whatever it was that Tanya had to say to you in the aftermath of your betrayal. Had she made a special trip to Ernie’s to get the Night Train? And if so, why? Was it a statement on the trajectory of her life now, post-psych ward? Post-abandonment? Post-betrayal by the people who claimed to be her best friends? Was it the kind of thing she felt she deserved now? Or had it been a gift: a token of appreciation from the strange new friends she had recently acquired? Was this the kind of thing that people gave each other, having met in the psych ward? Because there were new people in her life now, a girl you had never seen and her seventeen-year old brother, with whom you were certain Tanya was now sleeping, these people that hung around the apartment at Kingscote that you had moved out from under the pretense that your parents had required it of you, which was hypocritical and dishonest reasoning, but which had worked.

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Tanya: Director’s Cut

by anna on 05.08.2009

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Photo by burning shark

Like many wayward young adults, Tanya had extremely overprotective parents, though it would be impossible to say which came first: their exaggerated vigilance, or her rebellion. For as long as you had known her, Tanya had maintained at least two or three different versions of the truth, parceling it out carefully into personalized manuscripts that revealed only the essentials to each relationship she maintained. You knew that you had worked your way into a higher level of the truth than had many, including Cate and Linda, but you also knew that your copy contained plenty of omissions. It was the development of these various truths that allowed Tanya to be, in her own estimation, an honest person: she never really lied to anyone, because omissions and deflections were something different altogether. And because of their panic over her well-being, her parents received the copy of the story that was most spotted by redactions: they lived on a different continent, enveloped in a shroud of mystery, and their twice-yearly visits to Tanya at school were much dreaded and required weeks of preparation to be able to present the story of Tanya’s everyday life in the manner that fit with their expectations.

The Masons, for all their peculiarities and mysteries, had seen a good deal of the world and must have wanted to spare Tanya the knowledge of good and evil they had extracted–painfully?–from doing whatever it was they did, living and operating wherever it was they had. Against all reason, they seemed to believe that Tanya had maintained some vestige of innocence, even as her childhood and teens were spent in countless countries and among peers who knew no boundaries to money and privilege. How they could convince themselves that Tanya had absorbed none of the chaos that surrounded her was a mystery to you, given her penchant for black leather, cigarettes, and the fact that she had been forced–by her parents–to abort a pregnancy at the age of 16. But maybe they did not really believe she was innocent, and were instead trying to get her back on track, to turn back the clock to a time where they could have better protected her. You weren’t a parent then and there was no way you could have understood, since everything they had done was completely foreign to your age and experience, and the experience of anyone you had ever encountered.

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