which we input orders—with the new rule that the hotel bar, the Driftwood, is henceforth off-limits to restaurant employees. The culprit, I learn through the grapevine, is the ultraefficient twenty-three-year-old who trained me—another trailer home dweller and a mother of three. Something had set her off one morning, so she slipped out for a nip and returned to the floor impaired. The restriction mostly hurts Ellen, whose habit it is to free her hair from its rubber band and drop by the Driftwood for a couple of Zins before heading home at the end of her shift, but all of us feel the chill. Then the next day, when I go for straws, I find the dry-storage room locked. It's never been locked before; we go in and out of it all day—for napkins, jelly containers, Styrofoam cups for takeout. Vic, the portly assistant manager who opens it for me, explains that he caught one of the dishwashers attempting to steal something and, unfortunately, the miscreant will be with us until a replacement can be found—hence the locked door. I neglect to ask what he had been trying to steal but Vic tells me who he is—the kid with the buzz cut and the earring, you know, he's back there right now.
I wish I could say I rushed back and confronted George to get his side of the story. I wish I could say I stood up to Vic and insisted that George be given a translator and allowed to defend himself or announced that I'd find a lawyer who'd handle the case pro bono. At the very least I should have testified as to the kid's honesty. The mystery to me is that there's not much worth stealing in the dry-storage room, at least not in any fenceable quantity: “Is Gyorgi here, and am having 200—maybe 250—catsup packets. What do you say?” My guess is that he had taken—if he had taken anything at all—some Saltines or a can of cherry pie mix and that the motive for taking it was hunger.
So why didn't I intervene? Certainly not because I was held back by the kind of moral paralysis that can mask as journalistic objectivity. On the contrary, something new—something loathsome and servile—had infected me, along with the kitchen odors that I could still sniff on my bra when I finally undressed at night. In real life I am moderately brave, but plenty of brave people shed their courage in POW camps, and maybe something similar goes on in the infinitely more congenial milieu of the low-wage American workplace. Maybe, in a month or two more at Jerry's, I might have regained my crusading spirit. Then again, in a month or two I might have turned into a different person altogether—say, the kind of person who would have turned George in.
But this is not something I was slated to find out. When my monthlong plunge into poverty was almost over, I finally landed my dream job-housekeeping. I did this by walking into the personnel office of the only place I figured I might have some credibility, the hotel attached to Jerry's, and confiding urgently that I had to have a second job if I was to pay my rent and, no, it couldn't be front-desk clerk. “All right,” the personnel lady fairly spits, “so it's housekeeping, ” and marches me back to meet Millie, the housekeeping manager, a tiny, frenetic Hispanic woman who greets me as “babe” and hands me a pamphlet emphasizing the need for a positive attitude. The pay is $6.10 an hour and the hours are nine in the morning till “whenever,” which I am hoping can be defined as a little before two. I don't have to ask about health insurance once I meet Carlotta, the middle-aged African American woman who will be training me. Carlie, as she tells me to call her, is missing all of her top front teeth.
On that first day of housekeeping and last day—although I don't yet know it's the last—of my life as a low-wage worker in Key West, Carlie is in a foul mood. We have been given nineteen rooms to clean, most of them “checkouts,” as opposed to “stay-offers,” and requiring the whole enchilada of bed
Shawn Underhill, Nick Adams
Madison Layle & Anna Leigh Keaton