The Lost Girl Lets Go

There’s something about the midday nature of the appointment that gives it a furtive cast: The putting on of mom-like clothes, stockings and “better” shoes, garnet lip gloss and a comb pulled through my hair, to give the appearance that I am a more organized person than I actually am.

The keys clatter in the quiet as I lock the door, get in the car, and drive out of the neighborhood, careful to make sure I have the directions and the insurance card.

All the empty houses appear deserted and drowsy: everyone’s at work or school, and even the homeschoolers are hard at work by the kitchen table, their younger siblings laid down for early afternoon naps.

Then I’m on the ribbon of highway that carves through the as-yet-ungentrified decay of Washington, D.C.’s East Side—blessedly empty, with neither traffic nor construction, the now-obsolete RFK Stadium spun out on the right like a spectacular piece of road kill.

I love the steadying narcotic of driving like this: “[T]he freeways become a special way of being alive…the extreme concentration required in Los Angeles seems to bring on a state of heightened awareness that some locals find mystical” reads a quote from Reyner Banham’s Los Angeles: The Architecture of Four Ecologies, which I found in an essay on Joan Didion, whose novel Play It As It Lays is what I am trying to remember as I plow through the Nation’s Capital.

Then, before I know it—because there is no traffic—I’ve spun off myself—off a cloverleaf and onto a surface road that is clustered with mid-century, mid-rise apartment towers. Collectively, there are perhaps hundreds of these, off every exit of the Beltway, and aside from the barest variations—Virginia looks marginally newer and more big-boxy, Maryland grittier and more industrial—you could be in Chevy Chase or Springfield and not know the difference.

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