My Misspent Youth (5 page)

How different the ride down that clanking elevator was from the ride up! Like a lover to whom you suddenly turn one morning and feel nothing but loathing, my relationship to my suburban town went, in the time it took that elevator to descend six floors, from indifference to abhorrence. With all the drama and preciousness of a seventeen-year-old girl, I now realized the pathetic smallness of my world. I now saw the suburbs, as I announced to my father, “for what they really are.” The suburb/city alliance was, in my opinion, an unequal partnership between parasite and host, a dynamic permanently tainted by a sense that although the suburbs cannot live without the city, the city would hardly notice if the suburbs were all spontaneously irradiated by a tyrannical dictator of a distant star system.

Worst of all, the suburbs were a place from which escape held little romance. Unlike the kid from the small midwestern or southern town who saves up for bus money to come to the big town, the suburban New Jersey teenager who sits in her bedroom, listening to 1980s Suzanne Vega records and longing for some life that is being vaguely described in the songs—“my name is Luka, I live on the second floor” (could this be on 104th Street?)—doesn’t elicit much sympathy. But I persevered, planning my escape through the standard channels: college selection. I’d seen the music copyist’s apartment during the summer between my junior and senior years of high school and so applying to college that fall became a matter of picturing the apartment and wondering what kind of college an inhabitant of such an apartment would have attended.

My logic, informed by a combination of college guidebooks and the alma maters of those featured in the
New York Times
wedding announcements, went something like this: Bryn Mawr rather than Gettysburg, Columbia rather than N.Y.U., Wisconsin rather than Texas, Yale rather than Harvard, Vassar rather than Smith. My ranking system had nothing to do with the academic merits of the schools. It was more a game of degrees of separation from Upper West Side house plants and intellectualism. Somehow, Vassar emerged as the most direct route. After all, Meryl Streep, a girl from suburban New Jersey, had gone there (and later played Woody Allen’s ex-wife in
Manhattan
), as well as the Apthorp-dwelling Rachel Samstadt in
Heartburn,
a character based on Nora Ephron, a personal role model of mine, not to mention a real life resident of the Apthorp. I also had some vague notions about getting myself into a position where I could become a writer, and this had something to do with being “artsy.” So in a manner particular to restless suburban girls who consider themselves “different” and “unconventional” in much the same way that protagonists in young adult novels are portrayed, I was so consumed with going to a particular kind of artsy college and mixing with a particular kind of artsy crowd that I could do nothing during my entire senior year of high school but throw wads of paper into a wastebasket from across the room and say “If I make this shot, I get into Vassar.”

I made the shot. I went to Vassar. It was either the best move of my life or the biggest mistake. I’m still not sure which. Though it would be five years until I entered my debt era, my years at Vassar did more than expand my intellect. They expanded my sense of entitlement so much that, by the end, I had no ability to separate myself from the many extremely wealthy people I encountered there. For the record, let me say that a large part of that sense of entitlement has been a very good thing for me. Self-entitlement is a quality that has gotten a bad name for itself and yet, in my opinion, it’s one of the best things a student can get out of an education. Much of my success and happiness is a direct result of it. But self-entitlement has also contributed to my downfall, mostly because of my inability to recognize where ambition and chutzpah end and cold, hard cash begins. Like the naïve teenager who thought Mia Farrow’s apartment represented the urban version of middle-class digs, I continued to believe throughout college that it wasn’t fabulous wealth I was aspiring to, merely hipness.

Though there were lots of different kinds of kids at Vassar, I immediately found the ones who had grown up in Manhattan, and I learned most of what I felt I needed to know by socializing with them. In this way, my education was primarily about becoming fully versed in a certain set of references that, individually, have very little to do with either a canon of knowledge as defined by academia or preparation for the job market. My education had mostly to do with speaking the language of the culturally sophisticated, with having a mastery over a number of points of cultural trivia ranging from the techniques of Caravaggio to the discography of The Velvet Underground. This meant being privy to the kind of information that is only learned from hours spent hanging out with friends in dorm rooms and is therefore unavailable to those buried in the library trying to keep their scholarships or working at Stereo World trying to pay the bills. It is to have heard rumors that Domino’s Pizza has ties to the pro-life movement, that Bob Dylan’s mother invented White-Out and that Jamie Lee Curtis is a hermaphrodite. It is to never wear nude panty hose, never smoke menthol cigarettes, never refer to female friends as “girlfriends,” and never listen to Billy Joel in earnest. It is to know at least two people featured in the
New York Times
wedding pages on any given Sunday and to think nothing of putting $80 towards a bridal shower dinner at a chic restaurant for one of these people. It is to know that anyone who uses the word “chic” is anything but. It is to know arugula from iceberg lettuce, Calder from Klimt, Truffaut from Cassevetes. It is to be secure in one’s ability to grasp these comparisons and weigh one against the other within a fraction of a second, to know, as my Jewish Manhattanite friends put it, “from stuff”—to know from real estate, from contemporary fiction, from clothing designers and editors of glossy magazines and Shakespearean tragedies and skirt lengths. Name-dropping was my drug of choice and I inhaled the stuff. By the time graduation came, I’d earned a degree in English, but that seemed incidental to my stellar achievements in the field of “from stuff.”

I still wanted to be a writer. And with my ever-evolving sense of entitlement, that seemed more possible than ever. When I graduated in 1992, I followed a herd of my classmates into Manhattan, many of whom moved back in with their parents on Park Avenue. I got myself an entry-level job in publishing, and, along with a couple of friends, rented a five-room, prewar apartment with chipping paint on 100th Street and Riverside Drive, a mere four blocks from the scene of my 1987 epiphany. I was ecstatic. Such expert marksmanship! Such rich rewards for thorough research and careful planning. My job, as an editorial assistant at a glossy fashion magazine, paid $18,000 a year. The woman who hired me, herself a 1950s-era Vassar graduate, told me that she hoped I had an independent source of income, as I surely wouldn’t be able to support myself on my salary. But I did support myself. My roommates, an elementary school teacher who was making $19,000 a year and a film student who worked part-time at a non-profit arts organization, supported themselves too. We each paid around $550 per month and lived as recent graduates should, eating ramen noodles and $0.99 White Rose macaroni and cheese.

Looking back, I see those years as a cheap, happy time. It was a time at which a certain kind of poverty was appropriate; anything ritzier would have been embarrassing. Our neighborhood was a place for people who knew the city, for people
from
the city. Unlike the west seventies and eighties, which I’ve always experienced as slightly ephemeral, mall-like and populated by those who’ve come from elsewhere, the residents of this neighborhood seem to give off a feeling of being very deeply rooted into the ground. It’s also a place that has absolutely no investment in fashion. No matter what the decade, there’s an odd 1970s quality to the neighborhood. It’s a place where you can still find people wearing corduroy blazers, a place that has always made me think of both the television show
Taxi
and the cover of Carole King’s
Tapestry
album. Though I was living completely hand-to-mouth, I loved my neighborhood and looked forward to moving ahead in my career and one day being able to afford my own place in roughly an eight-block radius. From my position at the time, that seemed well within the range of feasibility. It was 1993, I was twenty-three, and I’d received a raise so that I was earning $21,000. I had no idea it was the closest I’d be to financial solvency for at least the next decade.

I’d been told I was lucky to get a job at a magazine—I had, after all, graduated into what was being called the worst job market in twenty years—and even though I had little interest in its subject matter, I didn’t dare turn down the position. Within my first week on the job, I found myself immersed in a culture that was concerned entirely with money and celebrity. Socialites sat on the editorial board in order to give input on trends among the extremely wealthy. Editorial assistants who earned $18,000 managed to wear Prada, rent time-shares in the Hamptons, have regular facials, and pay thousands of dollars a year for gym memberships and personal trainers. Many of them lived in doorman buildings in the West Village or Upper East Side, for which their parents helped foot the bill.

This wasn’t my scene. I felt as far away from my
Hannah and Her Sisters
fantasy as I had in the suburbs. I didn’t want to be rich. I just wanted to live in New York and be a writer. Moreover, I wanted to be a writer in New York immediately. After a year of office work, I decided that an M.F.A. program in creative writing would provide the most direct route to literary legitimacy. I applied to exactly one program, Columbia, which, not coincidentally, happened to be located in my neighborhood. It’s also the most expensive writing program in the country, a fact I ignored because the students, for the most part, seemed so down-to-earth and modest. Unlike my Prada-wearing, Hamptons-going colleagues from the magazine, Columbia students, in their flannel shirts and roach-infested student housing, seemed as earnest and unrich as I was, and I figured that if they could take out $20,000-a-year loans, so could I. Even as I stayed at Columbia for three years and borrowed more than $60,000 to get my degree, I was told repeatedly, by fellow students, faculty, administrators, and professional writers whose careers I wished to emulate, not to think about the loans. Student loans, after all, were low interest, long term, and far more benign than credit-card debt. Not thinking about them was a skill I quickly developed.

If there is a line of demarcation in this story, a single moment where I crossed the boundary between debtlessness and total financial mayhem, it’s the first dollar that I put toward achieving a life that had less to do with overt wealth than with what I perceived as intellectual New York bohemianism. It seems laughable now, but at the time I thought I was taking a step down from the Chanel suits and Manolo Blahniks of my office job. Hanging out at the Cuban coffee shop and traipsing over the syringes and windblown trash of upper Broadway, I was under the impression that I was, in a certain way, slumming. And even though I was having a great time and becoming a better writer, the truth was that the year I entered graduate school was the year I stopped making decisions that were appropriate for my situation and began making a rich person’s decisions. Entering this particular graduate program was a rich person’s decision. But it’s hard to recognize that you’re acting like a rich person when you’re becoming increasingly poor. Besides, I was never without a job. I worked for an anthropology professor for $9 an hour. I read manuscripts at $10 a pop for a quack literary agent. I worked at a university press for $10 an hour. Sometimes I called in sick to these jobs and did temp work in midtown offices for $17 an hour. A couple of times I took out cash advances on my credit cards to pay the rent.

There were a handful of us who were pulling these kinds of stunts. My roommate had maxed out her credit cards in order to finance a student film. I knew several women and even a few men who were actively looking for rich marriage partners to bail them out of their debt. One aspiring novelist I know underwent a series of drug treatments and uncomfortable surgical procedures in order to sell her eggs for $2,500. A couple of promising writers dropped out of the program and left the city. These days, when I talk to the people who left, they give off the sense of having averted a car crash but by the same token, they wonder if they’d be farther along in their careers had they stuck it out. But this question of sticking it out has less to do with M.F.A. programs than with the city in general. Whether or not one is paying $20,000 a year to try to make it as a writer, New York City has become a prohibitively expensive place to live for just about anyone. Although I’ve devoted a lot of energy to being envious of Columbia classmates whose relatives were picking up the tab for their educations, it’s now becoming clear to me that assuming the presence of a personal underwriter is not limited to entry-level jobs at glossy magazines or expensive graduate programs. These days, being a creative person in New York is, in many cases, contingent upon inheriting the means to do it.

But the striver in me never flinched. As I was finishing at Columbia, my writing career was giving off signs that it might actually go somewhere. If I hadn’t been doing so well I might have pulled out of the game. I would have gotten a job, started paying my bills, and averted my own impending car crash. Instead, I continued to hedge my bets. I was publishing magazine articles regularly and, after a few months of temping at insurance companies and banks, scored some steady writing gigs that, to my delight, allowed me to work as a full-time freelance writer. After five years and eight different roommates in the 100th Street apartment, I was earning enough money to move to my own place and, more importantly, had garnered enough contacts with established Manhattanites to find myself a two-year sublet in a rent-stabilized apartment. The fact that I got this sublet through a connection from a Columbia professor has always struck me as justification enough for the money I spent to go to school; as we all know by now, the value of a rent-stabilized one-bedroom is equal to if not greater than that of a master’s degree or even the sale of a manuscript to a publisher. And though I still had not hit the literary jackpot by producing the best-seller that would pay off my loans and buy me some permanent housing, I still felt I’d come out ahead in the deal.