Working. Part 1

Working.

Studs Terkel.

For Jude Fawley; for Ida, who shares his vision; for Annie, who didn't.

Acknowledgments.

As in two previous works, Division Street: America and Hard Times, my benefactors were friends, acquaintances, and wayfaring strangers. A suggestion, a casual comment, a tip, a hunch: a collective thoughtfulness led to the making of this book.

Among these singularly unselfish scouts were: Marge Abraham, Joe Agrella, Marvin David, Lucy Fairbank, Lou Gilbert, De Witt Gilpin, Bill Gleason, Jake Green, Lois Greenberg, Pete Hamill, Denis Hamill, Noel Meriam, Sam Moore, Bill Moyers, John Mulhall, Bryce Nelson, Patricia O'Brien, Jessie Prosten, Al Raby, Kelly Sanders, Florence Scala, Ida Terkel, Anne Thurson, Warren Weaver, Steven Yahn, Beverly Younger, Connie Zonka, and Henry de Zutter.

For the third time, Cathy Zmuda transcribed hundreds of thousands of spoken words-perhaps millions in this instance-onto pages that sprang to life. Her constant good humor and perceptiveness were as rewarding to me as her astonis.h.i.+ng technique. Nellie Gifford's acute observations as a volunteer editor, at a time the ma.n.u.script was really gargantuan, helped immeasurably in cutting the lean from the fat. A perspective was offered by both that might otherwise have been missing.

My grat.i.tude, too, to Nan Hardin, for her generosity of time and spirit, as a knowing guide during a memorable trip through Indiana and eastern Kentucky. My colleagues at radio station WFMT, notably Ray Nordstrand, Norman Pellegrini, and Lois Baum, were once again remarkably understanding and ingenious during my prolonged leaves of absence. I know I gave them a hard time, but theirs was truly grace under pressure.

Especially am I grateful to my editor, Andre Schiffrin, whose idea this was, as twice before. His insistence and quiet encouragement, especially during recurring moments of self-doubt, are evident in all these pages. And to his nimble a.s.sociates, Myriam Portnoy and Dian Smith, for their bright-eyed look at what was becoming burdensome matter-a salute.

Every man's work shall be made manifest: for the day shall declare it, because it shall be revealed by fire; and the fire shall try every man's work of what sort it is.

-I Corinthians 3:13.

You can't eat for eight hours a day nor drink for eight hours a day nor make love for eight hours a day-all you can do for eight hours is work. Which is the reason why man makes himself and everybody else so miserable and unhappy.

-William Faulkner.

The "work ethic" holds that labor is good in itself; that a man or woman becomes a better person by virtue of the act of working. America's compet.i.tive spirit, the "work ethic" of this people, is alive and well on Labor Day, 1971.

-Richard M. Nixon.

I like my job and am good at it, but it sure grinds me down sometimes, and the last thing I need to take home is a headache.

-TV commercial for Anacin.

FOREWORD.

Babe Secoli, a supermarket checker for nearly thirty years, is proud of her dexterity in moving items along the conveyor belt. If asked, she will do a little dance, showing how she hits the keys on the cash register with one hand, pushes the food along with the other and intermittently whacks the conveyor-belt b.u.t.ton with her hip. She knows what everything costs-the price list on the register is, she says, only "for the part-time girl." Almost everything amuses her, especially the rich ladies who drop in to shoplift meat. "I'm a couple of days away," she says, "I'm very lonesome for this place."

Ms. Secoli's is one of the dozens of throaty, acerbic voices in Working, Studs Terkel's oral history of working life, which was published thirty years ago this spring. When it appeared, Working was a revelation, a window on the thoughts of Americans who were rarely heard from: hospital aides, skycaps, gravediggers. Many of the interviews follow a similar, surprising trajectory, beginning with mundane workplace details but quickly moving on to existential thoughts. Even for the lowliest laborers, Mr. Terkel found, work was a search, sometimes successful, sometimes not, "for daily meaning as well as daily bread."

The oral histories in Working are wistful dispatches from a distant era. The early. 1970s were the waning days of the old economy, when modern management practices and computers were just beginning to transform the American workplace. In the last thirty years, productivity has soared, but job satisfaction has plummeted. It is hard to read Working without thinking about what has gone wrong in the workplace.

Mr. Terkel's ragtag collection of little-guy monologues was a runaway bestseller. Part of its appeal was the unusual, occasionally illicit glimpses it offered into the ways of the world. "If you work nights and it's real quiet, I don't think there's an operator who hasn't listened in on calls," a switchboard operator says. "The night goes faster." A gas-meter reader tells of the codes meter men put on customer cards when there was an attractive woman in the house.

Mr. Terkel's interlocutors also offer deeper insights. A parking lot attendant holds forth on why working people are better tippers than Cadillac drivers. A prost.i.tute reflects that she was "the kind of hustler who received money for favors granted," not the kind who "signs a lifetime contract for her trick," or who "carefully reads women's magazines and learns what it is proper to give for each date, depending on how much. . . [he] spends on her."

It is striking how many of Mr. Terkel's subjects have found the meaning he says they are looking for. "Obviously I don't make much money," a bookbinder says, but she still loves repairing old books because "a book is a life." A gravedigger recalls how impressed a visiting sewer digger was with his neat lines and square edges. "A human body is goin' into this grave," he says proudly. "That's why you need skill when you're gonna dig a grave."

There are disgruntled workers in Working who feel caged in by their jobs, but many others exult in their ability to demonstrate their competence, to show off their personality and to perform. "When I put the plate down, you don't hear a sound," a waitress says. "If I drop a fork, there is a certain way I pick it up. I know they can see how delicately I do it. I'm on stage."

The 1970s were a slower age, and much of the workers' pleasure in their jobs is related to the less-demanding time clock. A hospital billing agent can take time off from dunning patients to look in on a man whose leg was amputated, who has no one to care for him. "If he's going to live in a third-floor flat and he doesn't have anybody home, this bothers me," she says. A stewardess says she is supposed to spend a half-hour on a Boston to Los Angeles flight socializing with pa.s.sengers.

Three decades later, we are caught up in what a recent book dubbed "The New Ruthless Economy." High tech and new management styles put workers on what the author Simon Head calls "digital a.s.sembly lines" with little room for creativity or independent thought. As much as 4 percent of the work force is now employed in call centers, reading canned scripts and being supervised with methods known as "management by stress." Doctors defer to managed-care administrators and practice speed medicine: in 1997, they spent an average of eight minutes talking to a patient, less than half the time they spent a decade earlier.

It is much the same in other fields. There have been substantial productivity gains. But those gains have not found their way to paychecks. In a recent two-and-a-half-year period, corporate profits surged 87 percent, while wages rose just 4.5 percent. Not surprisingly, a study last fall by the Conference Board found that less than 49 percent of workers were satisfied with their jobs, down from 59 percent in 1995.

When Working was written, these trends were just visible on the horizon. A neighborhood druggist laments "the corner drugstore, that's kinda fadin' now," because little shops like his can't compete. "Most of us, like the a.s.sembly line worker, have jobs that are too small for our spirit," an editor says. "Jobs are not big enough for people."

When America begins to pay attention to its unhappy work force-and eventually, it must-Working will still provide important insights, with its path-breaking exploration of what Mr. Terkel described as "the extraordinary dreams of ordinary people."

-Adam Cohen.

INTRODUCTION.

This book, being about work, is, by its very nature, about violence-to the spirit as well as to the body. It is about ulcers as well as accidents, about shouting matches as well as fistfights, about nervous breakdowns as well as kicking the dog around. It is, above all (or beneath all), about daily humiliations. To survive the day is triumph enough for the walking wounded among the great many of us.

The scars, psychic as well as physical, brought home to the supper table and the TV set, may have touched, malignantly, the soul of our society. More or less. ("More or less," that most ambiguous of phrases, pervades many of the conversations that comprise this book, reflecting, perhaps, an ambiguity of att.i.tude toward The Job. Something more than Orwellian acceptance, something less than Luddite sabotage. Often the two impulses are fused in the same person.) It is about a search, too, for daily meaning as well as daily bread, for recognition as well as cash, for astonishment rather than torpor; in short, for a sort of life rather than a Monday through Friday sort of dying. Perhaps immortality, too, is part of the quest. To be remembered was the wish, spoken and unspoken, of the heroes and heroines of this book.

There are, of course, the happy few who find a savor in their daily job: the Indiana stonemason, who looks upon his work and sees that it is good; the Chicago piano tuner, who seeks and finds the sound that delights; the bookbinder, who saves a piece of history; the Brooklyn fireman, who saves a piece of life . . . But don't these satisfactions, like Jude's hunger for knowledge, tell us more about the person than about his task? Perhaps. Nonetheless, there is a common attribute here: a meaning to their work well over and beyond the reward of the paycheck.

For the many, there is a hardly concealed discontent. The blue-collar blues is no more bitterly sung than the white-collar moan. "I'm a machine," says the spot-welder. "I'm caged," says the bank teller, and echoes the hotel clerk. "I'm a mule," says the steelworker. "A monkey can do what I do," says the receptionist. "I'm less than a farm implement," says the migrant worker. "I'm an object," says the high-fas.h.i.+on model. Blue collar and white call upon the identical phrase: "I'm a robot." "There is nothing to talk about," the young accountant despairingly enunciates. It was some time ago that John Henry sang, "A man ain't nothin' but a man." The hard, unromantic fact is: he died with his hammer in his hand, while the machine pumped on. Nonetheless, he found immortality. He is remembered.

As the automated pace of our daily jobs wipes out name and face-and, in many instances, feeling-there is a sacrilegeous question being asked these days. To earn one's bread by the sweat of one's brow has always been the lot of mankind. At least, ever since Eden's slothful couple was served with an eviction notice. The scriptural precept was never doubted, not out loud. No matter how demeaning the task, no matter how it dulls the senses and breaks the spirit, one must work. Or else.

Lately there has been a questioning of this "work ethic," especially by the young. Strangely enough, it has touched off profound grievances in others, hithero devout, silent, and anonymous. Unexpected precincts are being heard from in a show of discontent. Communiques from the a.s.sembly line are frequent and alarming: absenteeism. On the evening bus, the tense, pinched faces of young file clerks and elderly secretaries tell us more than we care to know. On the expressways, middle management men pose without grace behind their wheels as they flee city and job.

There are other means of showing it, too. Inchoately, sullenly, it appears in slovenly work, in the put-down of craftsmans.h.i.+p. A farm equipment worker in Moline complains that the careless worker who turns out more that is bad is better regarded than the careful craftsman who turns out less that is good. The first is an ally of the Gross National Product. The other is a threat to it, a kook-and the sooner he is penalized the better. Why, in these circ.u.mstances, should a man work with care? Pride does indeed precede the fall.

Others, more articulate-at times, visionary-murmur of a hunger for "beauty," "a meaning," "a sense of pride." A veteran car hiker sings out, "I could drive any car like a baby, like a woman change her baby's diaper. Lots of customers say, 'How you do this?' I'd say, 'Just the way you bake a cake, miss.' When I was younger, I could swing with that car. They called me Lovin' Al the Wizard."

Dolores Dante graphically describes the trials of a waitress in a fas.h.i.+onable restaurant. They are compounded by her refusal to be demeaned. Yet pride in her skills helps her make it through the night. "When I put the plate down, you don't hear a sound. When I pick up a gla.s.s, I want it to be just right. When someone says, 'How come you're just a waitress?' I say, 'Don't you think you deserve being served by me?' "

Peggy Terry has her own sense of grace and beauty. Her jobs have varied with geography, climate, and the ever-felt pinch of circ.u.mstance. "What I hated worst was being a waitress. The way you're treated. One guy said, 'You don't have to smile; I'm gonna give you a tip anyway.' I said, 'Keep it. I wasn't smiling for a tip.' Tipping should be done away with. It's like throwing a dog a bone. It makes you feel small."

In all instances, there is felt more than a slight ache. In all instances, there dangles the impertinent question: Ought not there be an increment, earned though not yet received, from one's daily work-an acknowledgement of man's being?

An American President is fortunate-or, perhaps, unfortunate-that, offering his Labor Day homily, he didn't encounter Maggie Holmes, the domestic, or Phil Stallings, the spot-welder, or Louis Hayward, the washroom attendant. Or, especially, Grace Clements, the felter at the luggage factory, whose daily ch.o.r.e reveals to us in a terrible light that Charles d.i.c.kens's London is not so far away nor long ago.

Obtuseness in "respectable" quarters is not a new phenomenon. In 1850 Henry Mayhew, digging deep into London's laboring lives and evoking from the invisible people themselves the wretched truth of their lot, astonished and horrified readers of the Morning Chronicle. His letters ran six full columns and averaged 10,500 words. It is inconceivable that Thomas Carlyle was unaware of Mayhew's findings. Yet, in his usual acerbic-and, in this instance, unusually mindless-manner, he blimped, "No needlewoman, distressed or other, can be procured in London by any housewife to give, for fair wages, fair help in sewing. Ask any thrifty housemother. No real needlewoman, 'distressed' or other, has been found attainable in any of the houses I frequent. Imaginary needlewomen, who demand considerable wages, and have a deepish appet.i.te for beer and viands, I hear of everywhere. . . . "1 A familiar ring?

Smug respectability, like the poor, we've had with us always. Today, however, and what few decades remain of the twentieth century, such obtuseness is an indulgence we can no longer afford. The computer, nuclear energy for better or worse, and sudden, simultaneous influences flashed upon everybody's TV screen have raised the ante and the risk considerably. Possibilities of another way, discerned by only a few before, are thought of -if only for a brief moment, in the haze of idle conjecture-by many today.

The drones are no longer invisible nor mute. Nor are they exclusively of one cla.s.s. Markham's Man with the Hoe may be Ma Bell's girl with the headset. (And can it be safely said, she is "dead to rapture and despair"? Is she really "a thing that grieves not and that never hopes"?) They're in the office as well as the warehouse; at the manager's desk as well as the a.s.sembly line; at some estranged company's computer as well as some estranged woman's kitchen floor.

Bob Cratchit may still be hanging on (though his time is fast running out, as did his feather pen long ago), but Scrooge has been replaced by the conglomerate. Hardly a chance for Christmas spirit here. Who knows Bob's name in this outfit-let alone his lame child's? ("The last place I worked for, I was let go," recalls the bank teller. "One of my friends stopped by and asked where I was at. They said, 'She's no longer with us.' That's all. I vanished.") It's nothing personal, really. d.i.c.kens's people have been replaced by Beckett's.

Many old working cla.s.s women have an habitual gesture which illuminates the years of their life behind. D. H. Lawrence remarked it in his mother: my grandmother's was a repeated tapping which accompanied an endless working out of something in her head; she had years of making out for a large number on very little. In others, you see a rhythmic smoothing out of the hand down the chair arm, as though to smooth everything out and make it workable; in others, there is a working of the lips or a steady rocking. None of these could be called neurotic gestures, nor are they symptoms of acute fear; they help the constant calculation.2 In my mother's case, I remember the illuminating gesture a.s.sociated with work or enterprise. She was a small entrepreneur, a Mother Courage fighting her Thirty Years' War, daily. I remember her constant feeling of the tablecloth, as though a.s.sessing its quality, and her squinting of the eye, as though calculating its worth.

Perhaps it was myopia, but I rarely saw such signs among the people I visited during this adventure. True, in that dark hollow in Eastern Kentucky I did see Susie Haynes, the black lung miner's wife, posed in the doorway of the shack, constantly touching the woodwork, "as though to smooth everything out and make it workable." It was a rare gesture, what once had been commonplace. Those who did signify-Ned Williams, the old stock chaser, Hobart Foote, the utility man-did so in the manner of the machines to which they were bound. Among the many, though the words and phrases came, some heatedly, others coolly, the hands were at rest, motionless. Their eyes were something else again. As they talked of their jobs, it was as though it had little to do with their felt lives. It was an alien matter. At times I imagined I was on the estate of Dr. Caligari and the guests poured out fantasies.

To maintain a sense of self, these heroes and heroines play occasional games. The middle-aged switchboard operator, when things are dead at night, cheerily responds to the caller, "Marriott Inn," instead of identifying the motel chain she works for. "Just for a lark," she explains bewilderedly. "I really don't know what made me do it." The young gas meter reader startles the young suburban housewife sunning out on the patio in her bikini, loose-bra'd, and sees more things than he would otherwise see. "Just to make the day go faster." The auto worker from the Deep South will "tease one guy 'cause he's real short and his old lady left him." Why? "Oh, just to break the monotony. You want quittin' time so bad."

The waitress, who moves by the tables with the grace of a ballerina, pretends she's forever on stage. "I feel like Carmen. It's like a gypsy holding out a tambourine and they throw the coin." It helps her fight humiliation as well as arthritis. The interstate truckdriver, bearing down the expressway with a load of seventy-three thousand pounds, battling pollution, noise, an ulcer, and kidneys that act up, "fantasizes something tremendous." They all, in some manner, perform astonis.h.i.+ngly to survive the day. These are not yet automata.

The time study men of the General Motors a.s.sembly Division made this discomfiting discovery in Lordstown. Gary Bryner, the young union leader, explains it. "Occasionally one of the guys will let a car go by. At that point, he's made a decision: 'Aw, f.u.c.k it. It's only a car.' It's more important to just stand there and rap. With us, it becomes a human thing. It's the most enjoyable part of my job, that moment. I love it!" John Henry hardly envisioned that way of fighting the machine-which may explain why he died in his prime.

There are cases where the job possesses the man even after quitting time. Aside from occupational ticks of hourly workers and the fitful sleep of salaried ones, there are instances of a man's singular preoccupation with work. It may affect his att.i.tude toward all of life. And art.

Geraldine Page, the actress, recalls the critique of a backstage visitor during her run in Sweet Bird Of Youth. He was a dentist. "I was sitting in the front row and looking up. Most of the time I was studying the fillings in your mouth. I'm curious to know who's been doing your dental work." It was not that he loved theater less, but that he loved dentistry more.

At the public unveiling of a celebrated statue in Chicago, a lawyer, after deep study, mused, "I accept Mr. Pica.s.so in good faith. But if you look at the height of the slope on top and the propensity of children who will play on it, I have a feeling that some child may fall and be hurt and the county may be sued. . . ."

In my own case, while putting together this book, I found myself possessed by the mystique of work. During a time out, I saw the film Last Tango in Paris. Though Freud said lieben und arbeiten are the two moving impulses of man, it was the latter that, at the moment, consumed me. Thus, I saw on the screen a study not of redemption nor of self-discovery nor whatever perceptive critics may have seen. During that preoccupied moment I saw a study of an actor at work. He was performing brilliantly in a darkened theater (apartment), as his audience (the young actress) responded with enthusiasm. I interpreted her moans, cries, and whimpers as bravos, huzzahs, and oles. In short, I saw the film as a source of a possible profile for this book. Such is the impact of work on some people.

A further personal note. I find some delight in my job as a radio broadcaster. I'm able to set my own pace, my own standards, and determine for myself the substance of each program. Some days are more sunny than others, some hours less astonis.h.i.+ng than I'd hoped for; my occasional slovenliness infuriates me . . . but it is, for better or worse, in my hands. I'd like to believe I'm the old-time cobbler, making the whole shoe. Though my weekends go by soon enough, I look toward Monday without a sigh.

The danger of complacency is somewhat tempered by my awareness of what might have been. Chance encounters with old schoolmates are sobering experiences. Memories are dredged up of three traumatic years at law school. They were vaguely, though profoundly, unhappy times for me. I felt more than a slight ache. Were it not for a fortuitous set of circ.u.mstances, I might have become a lawyer-a determinedly failed one, I suspect. (I flunked my first bar examination. Ninety percent pa.s.sed, I was told.) During the Depression I was a sometime member of the Federal Writers' Project, as well as a sometime actor in radio soap operas. I was usually cast as a gangster and just as usually came to a violent and well-deserved end. It was always sudden. My tenure was as uncertain as that of a radical college professor. It was during these moments-though I was unaware of it at the time-that the surreal nature of my work made itself felt. With script in hand, I read lines of stunning ba.n.a.lity. The more such scripts an actor read, the more he was considered a success. Thus the phrase "Show Business" took on an added significance. It was, indeed, a business, a busyness. But what was its meaning?

If Freud is right-"his work at least gives him a secure place in a portion of reality, in the human community"3-was what I did in those studios really work? It certainly wasn't play. The sales charts of Proctor & Gamble and General Mills made that quite clear. It was considered work. All my colleagues were serious about it, deadly so. Perhaps my experiences in making life difficult for Ma Perkins and Mary Marlin may have provided me with a metaphor for the experiences of the great many, who fail to find in their work their "portion of reality." Let alone, a secure place "in the human community."

Is it any wonder that in such surreal circ.u.mstances, status rather than the work itself becomes important? Thus the prevalance of euphemisms in work as well as in war. The janitor is a building engineer; the garbage man, a sanitary engineer; the man at the rendering plant, a factory mechanic; the gravedigger, a caretaker. They are not themselves ashamed of their work, but society, they feel, looks upon them as a lesser species. So they call upon a promiscuously used language to match the "respectability" of others, whose jobs may have less social worth than their own.

(The airline stewardess understands this hierarchy of values. "When you first start flying . . . the men you meet are airport employees: ramp rats, cleaning airplanes and things like that, mechanics. . . . After a year we get tired of that, so we move into the city to get involved with men that are usually young executives. . . . They wear their hats and their suits and in the winter their black gloves.") Not that these young men in white s.h.i.+rts and black gloves are so secure, either. The salesman at the advertising agency is an account executive. "I feel a little downgraded if people think I'm a salesman. Account executive -that describes my job. It has more prestige than just saying, 'I'm a salesman.'" A t.i.tle, like clothes, may not make the man or woman, but it helps in the world of peers-and certainly impresses strangers. "We're all vice presidents," laughs the copy chief. "Clients like to deal with vice presidents. Also, it's a cheap thing to give somebody. Vice presidents get fired with great energy and alacrity."

At hospitals, the charming bill collector is called the patients' representative! It's a wonderland that Alice never envisioned. Consider the company spy. With understandable modesty, he refers to himself as an industrial investigator. This last-under the generic name, Security-is among the most promising occupations in our society today. No matter how tight the job market, here is a burgeoning field for young men and women. Watergate, its magic spell is everywhere.

In a further bizarre turn of events (the science of medicine has increased our life expectancy; the science of business frowns upon the elderly), the matter of age is felt in almost all quarters. "Thirty and out" is the escape hatch for the elderly auto worker to the woods of retirement, some hunting, some fis.h.i.+ng. . . . But thirty has an altogether different connotation at the ad agency, at the bank, at the auditing house, at the gas company. Unless he/she is "with it" by then, it's out to the woods of the city, some hunting, some fis.h.i.+ng of another sort. As the work force becomes increasingly younger, so does w.i.l.l.y Loman.

Dr. John R. Coleman, president of Haverford College, took an unusual sabbatical during the early months of 1973. He worked at menial jobs. In one instance, he was fired as a porter-dishwasher. "I'd never been fired and I'd never been unemployed. For three days I walked the streets. Though I had a bank account, though my children's tuition was paid, though I had a salary and a job waiting for me back in Haverford, I was demoralized. I had an inkling of how professionals my age feel when they lose their job and their confidence begins to sink."4 Dr. Coleman is 51.

Perhaps it is this specter that most haunts working men and women: the planned obsolescence of people that is of a piece with the planned obsolescence of the things they make. Or sell. It is perhaps this fear of no longer being needed in a world of needless things that most clearly spells out the unnaturalness, the surreality of much that is called work today.

"Since Dr. Coleman happens to be chairman of the Federal Reserve Bank of Philadelphia, he quit his ditchdigging job to preside over the bank's monthly meeting. When he looked at the other members of the board, he could not keep from feeling that there was something unreal about them all."5 Something unreal. For me, it was a feeling that persisted throughout this adventure. (How else can I describe this undertaking? It was the daily experience of others, their private hurts, real and fancied, that I was probing. In lancing an especially obstinate boil, it is not the doctor who experiences the pain.) I was no more than a wayfaring stranger, taking much and giving little. True, there were dinners, lunches, drinks, some breakfasts, in posh as well as short order places. There were earnest considerations, varying with what I felt was my companion's economic condition. But they were at best token payments. I was the beneficiary of others' generosity. My tape recorder, as ubiquitous as the carpenter's tool chest or the doctor's black satchel, carried away valuables beyond price.

On occasions, overly committed, pressed by circ.u.mstance of my own thoughtless making, I found myself neglecting the amenities and graces that offer mutual pleasure to visitor and host. It was the Brooklyn fireman who astonished me into shame. After what I had felt was an overwhelming experience-meeting him-he invited me to stay "for supper. We'll pick something up at the Italian joint on the corner." I had already unplugged my tape recorder. (We had had a few beers.) "Oh, Jesus," I remember the manner in which I mumbled. "I'm supposed to see this hotel clerk on the other side of town." He said, "You runnin' off like that? Here we been talkin' all afternoon. It won't sound nice. This guy, Studs, comes to the house, gets my life on tape, and says, 'I gotta go' . . ." It was a memorable supper. And yet, looking back, how could I have been so insensitive?

In a previous work, a middle-aged black hospital aide observed, "You see, there's such a thing as a feeling tone. And if you don't have this, baby, you've had it." It is a question I ask myself just often enough to keep me uncomfortable. Especially since my host's gentle reprimand. Not that it was a revelatory experience for me. Though I had up to that moment succeeded in burying it, this thief-in-the-night feeling, I knew it was there. The fireman stunned me into facing up to it.

(Is it any wonder that in some societies, which we in our arrogance call "primitive," offense is taken at being photographed? It is the stealing of the spirit. In remembering such obscenities, a South African "adventure" comes to mind. In 1962, on the road to Pretoria, a busload of us, five Americans and thirty Germans, stopped off at a Zulu village.

As the bare-breasted women ran toward the tourists, the cameras clicked busily. "Tiki! Tiki!" cried the women. A tiki is worth about three cents. The visitors, Reetmeister cigars poised on their pouting lips, muttered, "Beggars." They were indignant. A simple quid pro quo-and a dirt cheap one, at that-was all their subjects had in mind. Their spirit for a tiki . . .) The camera, the tape recorder . . . misused, well-used. There are the paparazzi; and there is Walker Evans. The portable tape recorder, too, is for better or for worse. It can be, tiny and well-concealed, a means of blackmail, an instrument of the police state or, as is most often the case, a transmitter of the ba.n.a.l. Yet, a tape recorder, with microphone in hand, on the table or the arm of the chair or on the gra.s.s, can transform both the visitor and the host. On one occasion, during a play-back, my companion murmured in wonder, "I never realized I felt that way." And I was filled with wonder, too.

It can be used to capture the voice of a celebrity, whose answers are ever ready and flow through all the expected straits. I have yet to be astonished by one. It can be used to capture the thoughts of the non-celebrated-on the steps of a public housing project, in a frame bungalow, in a furnished apartment, in a parked car-and these "statistics" become persons, each one unique. I am constantly astonished.

As with my two previous books, I was aware of paradox in the making of this one. The privacy of strangers is indeed trespa.s.sed upon. Yet my experiences tell me that people with buried grievances and dreams unexpressed do want to let go. Let things out. Lance the boil, they say; there is too much pus. The hurts, though private, are, I trust, felt by others too.

When Andre Schiffrin, my editor, who persuaded me to undertake the other a.s.signments (Division Street: America and Hard Times), suggested this one, I was, as before, hesitant. I am neither an economist nor a sociologist nor The Inquiring Reporter. How am I to go about it?

Seven years ago, seeking out the feelings of "ordinary" people living out their anonymous lives in a large industrial city, "I was on the prowl for a cross-section of urban thought, using no one method or technique." Three years later, I was on the prowl for the memories of those who survived the Great Depression. In each case, my vantage was that of a guerrilla. I was somewhat familiar with the terrain. In the first instance, it was the city in which I had lived most of my life. It concerned an actual present. In the second, it was an experience I had shared, if only peripherally. It concerned an actual past. But this one-in which the hard substance of the daily job fuses to the haze of the daydream-was alien territory. It concerned not only "what is" but "what I imagine" and "what might be."

Though this was, for me, a more difficult a.s.signment, my approach was pretty much what it had been before. I had a general idea of the kind of people I wanted to see; who, in reflecting on their personal condition, would touch on the circ.u.mstances of their fellows. Yet, as I suspected, improvisation and chance played their roles. "A tip from an acquaintance. A friend of a friend telling me of a friend or non-friend. A face, vaguely familiar, on the morning bus. An indignant phone call from a listener or a friendly one. . . ."6 Cases come to mind.

While riding the el, I was approached by a singularly tall stranger. Hearing me talking to myself (as I have a habit of doing), he recognized my voice as "the man he listens to on the radio." He told me of his work and of his father's work. His reflections appear in the sequence "Fathers and Sons." He told me of two of his students: a young hospital aide and a young black man who works in a bank. They, too, are in this book.

There was a trip to eastern Kentucky to see the remarkable Joe Begley, who is worth a book by himself, though none of his reflections are found in this one. It was his suggestion that I visit Joe and Susie Haynes, who live in the hollow behind the hills. They, in turn, guided me to Aunt Katherine. One life was threaded to another, and so tenuously . . .

It was a young housewife in a small Indiana town who led me to the strip miner, with whom she had some words, though recognizing his inner conflicts. She told me, too, of the stonemason, who, at the moment, was nursing a beer at the tavern near the river. And of the farmer having his trials in the era of agribusiness. And of the three newsboys, who might have a postscript or two to offer readers of Horatio Alger.

"I realized quite early in this adventure that interviews, conventionally conducted, were meaningless. Conditioned cliches were certain to come. The question-and-answer technique may be of some value in determining favored detergents, toothpaste and deodorants, but not in the discovery of men and women."7 There were questions, of course. But they were casual in nature-at the beginning: the kind you would ask while having a drink with someone; the kind he would ask you. The talk was idiomatic rather than academic. In short, it was conversation. In time, the sluice gates of dammed up hurts and dreams were opened.

As with the other books, there are deliberate omissions in this one: notably, clergymen (though a young priest is here), doctors (there is a dentist), politicians, journalists and writers of any kind (the exception is a film critic; her subject, work as reflected or non-reflected in movies). I felt that their articulateness and expertise offered them other forums. My transcribing their att.i.tudes would be nothing more than self-indulgence. I was interested in other counties not often heard from.

Choices were in many instances arbitrary. People are engaged in thousands of jobs. Whom to visit? Whom to pa.s.s by? In talking to the washroom attendant, would I be remiss in neglecting the elevator operator? One felt his job "obsolete." Wouldn't the other, too? In visiting the Chicago bookbinder, I missed the old Ma.s.sachusetts basket weaver. I had been told about the New Englander, who found delight in his work. So did my Chicago acquaintance. Need I have investigated the lot of an a.s.sembler at the electronics plant, having spent time with spot-welders at Ford? An a.s.sembly line is a line is a line.

An unusually long sequence of this book is devoted to the automobile-its making, its driving, its parking, its selling. Also its servicing. There is its residue, too: traffic, noise, accident, crime, pollution, TV commercials, and human orneriness at its worst.

"The evil genius of our time is the car," Barry Byrne, an elderly architect, observed several years ago. "We must conquer the automobile or become enslaved by it." (He was a disciple of Frank Lloyd Wright, who spoke of the organic nature of things. "It was his favorite word. When you look at a tree, it is a magnificent example of an organic whole. All parts belong together, as fingers belong to one's hands. The car today is a horrible example of something not belonging to man.") Less than a year after our conversation, Mr. Byrne, on his way to Sunday ma.s.s, was run down by a car and killed.

As for the men and women involved in its manufacture, a UAW local officer has his say: "Every time I see an automobile going down the street, I wonder whether the person driving it realizes the kind of human sacrifice that has to go in the building of that car. There's no question there's a better way. And they can build fewer cars and resolve many of the human problems . . ." Though the sequence is headed "The Demon Lover," the t.i.tle of another Child ballad might have just as appropriately been used: "The False Knight upon the Road."

But it provides millions with jobs. So does ordnance work (another euphemism called upon; "war" has only one syllable).

As some occupations become obsolete, others come into being. More people are being paid to watch other people than ever before. A cargo inspector says, "I watch the watchman." He neglected to tell who watches him. A young department head in a bank finds it amusing. "Just like Big Brother's watching you. Everybody's watching somebody. It's quite funny when you turn and start watching them. I do that quite a bit. They know I'm watching them. They become uneasy."

Here, too, grievances come into play. The most profound complaint, aside from non-recognition and the nature of the job, is "being spied on." There's the foreman at the plant, the supervisor listening in at Ma Bell's, the checker who gives the bus driver a hard time, the "pa.s.senger" who gives the airline stewardess the gimlet eye . . . The indignation of those being watched is no longer offered in muted tones. Despite the occasional laugh, voices rise. Such humiliations, like fools, are suffered less gladly than before.

In the thirties (as rememberers of "Hard Times" remembered), not very many questioned their lot. Those rebels who found flaws in our society were few in number. This time around, "the system stinks" was a phrase almost as recurrent as "more or less."

Even the "company girl" had a few unexpected things to say. I was looking for an airline stewardess, who might tell me what it was really like. Pressed for time, I did what would ordinarily horrify me. I called a major airline's public relations department. They were most cooperative. They suggested Terry Mason (that's not her name). I a.s.sumed it would be a difficult experience for me-to find out what it was really like, under these circ.u.mstances. I underestimated Miss Mason's s.p.u.n.kiness. And her sense of self. So, apparently, did the PR department. She concluded, "The younger girls don't take that guff any more. When the pa.s.senger is giving you a bad time, you talk back to him." Her name may be Terry, but obviously n.o.body can "fly her."