“I could throw a tennis ball from my front door, and it would easily roll right into the street here,” Damian muses, his coral blue eyes alit and longing. Despite living so near, he had never ridden the bus in Albuquerque nor attempted to explore the strange universe of Central Avenue, which hums and hisses day and night less than three blocks from his home. A woman and child stare down at him from an advertisement poster at the bus stop as we wait for Ol’ Number 66. It’s about time you came, they seem to say.
Although for years he had managed to avoid the “tragedy train” that runs the East-West span of Albuquerque’s most classic thoroughfare, Damian’s work as an emergency department (ED) nurse has held him in close orbit to that world. Emergency rooms in Albuquerque are, after all, not so terribly unlike bus stops, and they share many of the same frequent flyers. If bus stops are places where the most destitute among us can congregate in relative safety and temporarily avoid run-ins with the law, emergency rooms are like full-service hotels for the homeless, where even the most wretched of souls can occasionally get a meal and a bit of respect (so long as something hurts, and something always does).
Today, however, Damian and I are just two more passengers on the city bus, though probably nosier than most others aboard. Our mission is (as usual for this blog) to strike up conversation with anyone and everyone who is willing to share their story, and to take photographs of them as they go about their day. And this is not difficult to do, because once one enters the realm of public space, he automatically becomes a participant, voluntarily or not, in all its rapidly unravelling melodrama. Our first such call of duty consists of mediating an argument between a bus driver and a wheelchair-bound woman called “La Loca.”
“You’re lying to me!” La Loca screams at the bus driver.
“I already got two wheelchairs, lady!” the driver screams back, and then pleads with me to jump aboard and confirm this fact and put the case to rest.
I hop aboard and see that indeed there already are two wheelchair bound passengers on the bus. I communicate this to La Loca with an apologetic shrug, after which she calms down and seems to let the matter go. I make a note to myself for future reference: Only two wheelchairs are permitted to ride on the bus at a time.
A mid-story disclaimer: There is systematic methodological bias in this blog about public transportation in Albuquerque, New Mexico. I tend to portray time and again a very specific part of the city (Central Avenue) at a specific hour of the day (evening) as if this were the general reality of life in Albuquerque’s public spaces all the time. It most certainly is not. But as the city’s oldest main street, and its socio-cultural blood and guts, Central Avenue at dusk—the ever famous Route 66—carries in its bowels the very essence of what Albuquerque is, once was, and longs forever to be (or not to be). It is the city’s unaltered, unfiltered true self, the rawest expression of its fervent vitality and morbid decadence. It deserves, per consequence, all the loving attention a methodological bias can give.
Meanwhile, some twenty yards away, a family of four who had boarded a bus a half hour earlier now returns in a panic. They had nearly made it home before realizing with fright that they had left a backpack full of expensive baby gear on the bus stop bench. “We were sure it was gone for good,” Rene Junior says as he professes thanks to a goateed young man named Omar who had forgone several passing busses to guard the stranger’s belongings. All of it was still there, just as they left it.
“That’s what we do around here,” a large young Navajo man named Jeff Padilla explains to me in a tone that seems simultaneously empathetic and aggressive. “We take care of each other, man.”
Rene’s wife, Janelle, is ecstatic about the find, although she denies having felt very worried about losing the backpack, for she always knew she could trust the people around here. Even if there were some bad seeds scattered in the mix, the majority of folks are good and honest, she insists, just like Omar, who had not only saved her a pretty penny, but restored for everyone by his simple act of kindness a little bit of faith in humanity. Janelle also just loves to ride the bus, however. “It’s really fun, and we save sooo much money this way!”
Before we can jump back aboard a bus, we run into a middle-aged Navajo man who, upon seeing my camera, suggests that we bless its lens with his own cheerful and disarming smile. His name is Lincoln Tohdacheeny, or “Bitter Water,” and we know this not to be a lie because he takes out his Arizona State ID card to show us. My camera, meanwhile, does feel quite blessed by his smile, as do both Damian and I, and so with thanks in our hearts we invite him to a meal at a nearby fast food restaurant. As I go to pick up his order, however, I overhear the pretty young cashier hiss to her boss, “Oh gawd, it’s that nasty drunk guy again.” Apparently, Tohdacheeny’s charm doesn’t work on everyone.
Damian and I soon say our goodbyes to Tohdacheeny, although only temporarily, for we see him several more times throughout the evening, moving from bus to bus and always smiling giddily, as if a deep inner peace pervaded him. Now we jump aboard an eastbound line to Wyoming Blvd. We are in search of something meaningful, something to tie it all together, but night’s dark curtain has now begun its descent, and the play at hand has changed its tone. The plot is now far more chaotic and unintelligible, a sort of looming madness. It becomes harder and harder to hold it all in.
A young black man holds a pack of ice to his swollen, bloody face. He explains that he is a street fighter, and that nine out of the ten times it’s the other dude who looks like this, only this time the motherfucker got him with a cheap shot. An unsmiling young woman staunchly claiming her throne at the back of the bus glares at me with murder in her eyes, but nonetheless gives me permission to photograph her. Others jockey rowdily to either get in or get out of the frame. A fantastically drunk woman boards the bus with a lit cigarette, provoking the ire and dismay of the beleaguered bus driver. Eventually we follow this woman off the bus for a roadside dance and photo shoot. She says her name is “Don’t Remember.”
If the looming madness unnerves us a bit, our minds are soon eased by the kindness and good company of Pastor Mario and his faithful followers from the Iglesia Cristiana Manantial de Vida (Spring of Life Christian Church), who for months now have dedicated all of their Wednesday evenings to handing out food, drinks, evangelical literature, and live prayers to the down and out people of East Central Avenue.
“I was once lost like all these people you see here,” the 36-year old pastor explains, recalling his past drug addiction and subsequent path to Jesus Christ. “And you know, maybe most of them won’t ever read any of the words I gave them tonight, but one day…one day when they are really down, they will remember when someone reached out a helping hand. That’s all I hope for.”
One of the church women offers us a prayer as we began saying our goodbyes, and we accept with glee, for whatever one’s faith, there is very little to despise in being showered in exhortations of hope and love. We all then huddle in a circle, at least eight souls, and for a few minutes all the sirens and drunken shrieks of the mad world surrounding us fall silent before this mighty cacophony of praise and imprecation. Prayer, I think to myself, can be so deeply beautiful at times.
All the while tragedy lurks about us, however, waiting patiently to pounce again once the prayers have ended. Damian and I cross the street to wait for our final bus to take us home, and now the bus stop is full to capacity. It is full of people who wear their tragedy on their sleeves, who spit it from their mouths, bleed it from their ears, who wrap themselves in it like a blanket. Here is where we meet a charming and beautiful young woman named Naomi who by all appearances has only recently begun what is likely to be a long and arduous descent into the hell and quagmire of addiction. Here is where we meet two Lakota Sioux, a mother and child, penniless and stripped of identifying documents, banned from their reservation, and condemned to make their beds in the shadows of dumpsters. Here is where bus passes are exchanged for cigarettes, where EBT cards are exchanged for heroin, where souls are exchanged for survival. Here is now and any other day in our great and decadent city in the desert.
“How’d you like it?” I ask Damian as we roll homeward, leaving it all behind us.
“Awww man, this was great!” are the words he speaks, though his enormous smile says so much.
At our penultimate stop, a large and hobbling woman in her fifties finds a seat in front of us. Her own bright smile might shake the bus, might shake the world. She struggles a bit to wrap and tie her gold-glittered skull and bones bandana to her bald head, but her smile only grows larger and brighter.
“Why are you so happy?” I ask, perplexed.
“Why, son, I’m going home!”
And home we all went.