Wednesday 28 November 2012

A Post-industrial Vignette and a Driving Song


The density of the landscape slowly melts into the falling night. The hesitant rain, quietly coming and going, dots the windshield with ephemeral drops. I drive through the falling night: I drive back home, my eyes fixed on the red lights of the car in front of me. Postmodern life, I wonder, so replete with suburban roads and constant traffic flows, so glassy and dimly lit, so unpredictable: rhythms of work which are as hesitant as the autumn rain, now coming, now going, as capricious as the changing season. Winter is coming, by the way...
The car in front of me turns left and I unthinkingly probe the night with the high-beam lights. There’s not much to see beyond the flickering radius of the lampposts. Deserted sidewalks, precariously crammed between apparently empty houses and the road; scattered stores, here and there glimmering in the dark; and, overlooking the ensemble, heavy, silent and often crumbling buildings of old textile factories loom beyond the reach of the lights. The factories are everywhere: this is the heart of industrial Minho. Places like Vila das Aves, Moreira de Cónegos, Vizela, Pevidém, places with interesting names that may sometimes sound familiar on account of local football teams. Places of low wages, widespread illiteracy and rampant unemployment.
I stop somewhere among these places to pump fuel. Rising prices, a few cars and a lorry. As I finish pumping a car queues up behind mine. It takes rather long to pay. The lorry driver is telling a guy how easy it is to get a job when one has a driving license for heavy weight vehicles. In the meanwhile the cashier stares at the cash register, apparently unable to deal with some technical problem. The lorry driver completes his idea: “some money is needed to get all the proper licences, of course; prepare to spend some 3000 euros in the process”. The guy, not older than thirty, laughs off the idea: “3000 euros?” he gasps, mentally processing such a huge amount, such an unthinkable fortune; “I would get married if I had 3000 euros; why would I need a job in the first place if I had such money?”. 3000 euros, a driving licence, a job: those things are apparently way beyond the reach of the guy, their sheer inaccessibility making them not even worth the effort of trying. The lorry driver allows himself a little smile, takes his change and leaves.
As this edifying conversation takes place I keep looking at the car behind mine. It didn’t move, even though all pumps had long become available. Some ten minutes have gone by and there it is: why doesn’t its owner simply choose another pump? As I pay I notice that the fuel station staff is growing impatient with the guy. I learn that he must have been there for quite a while: he’s waiting for a coffee; I mean, he’s trying to persuade the staff into giving him a coffee: “I would pay for it if I had 3000 euros”, he amusedly says.
I take my change, slightly disturbed by the passivity of the customer who keeps on waiting behind my car. I’m about to make some gesture, some shoulder shrugging, something that could express some empathy, some regret for the time it took me to pay when I actually see the driver: a middle-aged woman, her eyes blankly looking at some fixed point in the distance; there’s no sign in her whatsoever indicating that she had moved at all during the nearly fifteen minutes it took me to pay; I give up my shoulder shrugging: she simply didn’t see me. In her eyes nothing but absolute nothingness.
I have seen this look on other people’s faces: the look of purposelessness. Time stretches no more than a day for these people, the future lying somewhere in the distance, vanishing beyond the radius of the lampposts, darkened by the crumbling building of some old textile factory. They are utterly demoralized by having nothing to do, nothing to expect, nothing to hope for.
I drive through the night. I turn on the radio: news of austerity darken the darkness even more. I change to another station and some music fills the car. Driving music, how appropriate: this one, to be more precise.



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