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The t-shirt has transformed into the most ubiquitous item in apparel in American fashion and culture.
The T-shirt’s humble beginnings :
The first manufactured t-shirt was invented between the Spanish-American War in 1898 and 1913 when the U.S. Navy began issuing them as standard undershirts.
This undershirts gradually called a T-shirt because of the way it is shaped like the letter ‘T’, this natural, usually cotton-based, item of clothing was an obvious choice for military use-hard wearing yet breathable.
Even then, it took until 1920 for the actual term “t-shirt” to be inducted into the English dictionary, thanks to F. Scott Fitzgerald being the first person to publish the word in his novel "This Side of Paradise."
"So early in September Amory", writes Fitzgerald, "provided with 'six suits summer underwear, six suits winter underwear, one sweater or T-shirt, one jersey, one overcoat, winter, etc," set out for New England, the land of schools."
The T-shirt becomes unisex :
During WW2 women took on many roles previously designated to men, and with more manual tasks to tackle, clothing began to cross the gender divide. The Sears catalogue from 1945 shows t-shirts aimed at women. Actresses like Katherine Hepburn also made the fashion for traditionally male attire more popular.
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Paulette Goddard (born Marion Levy; June 3, 1910 – April 23, 1990) was an American actress, a child fashion model and a performer in several Broadway productions as a Ziegfeld Girl; she became a major star of Paramount Pictures in the 1940s. Her most notable films were her first major role, as Charlie Chaplin's leading lady in Modern Times, and Chaplin's subsequent film The Great Dictator. She was nominated for an Academy Award for Best Supporting Actress for her performance in So Proudly We Hail! (1943). Her husbands included Chaplin, Burgess Meredith, and Erich Maria Remarque.
Goddard was the daughter of Joseph Russell Levy (1881–1954), the son of a prosperous cigar manufacturer from Salt Lake City, and Alta Mae Goddard (1887–1983). Her father was Jewish, her mother Episcopalian of English ancestry. They married in 1908 and separated while their daughter was very young, although the divorce did not become final until 1926. According to Goddard, her father left them, but according to J. R. Levy, Alta absconded with the child.[11] Goddard was raised by her mother, and did not meet her father again until the late 1930s, after she had become famous.
In a 1938 interview published in Collier's, Goddard claimed Levy was not her biological father.[13] In response, Levy filed a suit against his daughter, claiming that the interview had ruined his reputation and cost him his job, and demanded financial support from her. In a December 17, 1945 article written by Oliver Jensen in Life, Goddard admitted to having lost the case and being forced to pay her father $35 a week.
To avoid a custody battle, she and her mother moved often during her childhood, even relocating to Canada at one point. Goddard began modeling at an early age to support her mother and herself, working for Saks Fifth Avenue, Hattie Carnegie, and others. An important figure in her childhood was her great uncle, Charles Goddard, the owner of the American Druggists Syndicate. He played a central role in Goddard's career, introducing her to Broadway impresario Florenz Ziegfeld.
In 1926, she made her stage debut as a dancer in Ziegfeld's summer revue, No Foolin', which was also the first time that she used the stage name Paulette Goddard. Ziegfeld hired her for another musical, Rio Rita, which opened in February 1927, but she left the show after only three weeks to appear in the play The Unconquerable Male, produced by Archie Selwyn. It was, however, a flop and closed after only three days following its premiere in Atlantic City.
Soon after the play closed, Goddard was introduced to Edgar James, president of the Southern Lumber Company, located in Asheville, North Carolina, by Charles Goddard. Aged 17, considerably younger than James, she married him on June 28, 1927 in Rye, New York. It was a short marriage, and Goddard was granted a divorce in Reno, Nevada, in 1929, receiving a divorce settlement of $375,000.
Goddard first visited Hollywood in 1929, when she appeared as an uncredited extra in two films, the Laurel and Hardy short film Berth Marks (1929), and George Fitzmaurice's drama The Locked Door (1929).
Following her divorce, she briefly visited Europe before returning to Hollywood in late 1930 with her mother. Her second attempt at acting was no more successful than the first, as she landed work only as an extra.
In 1930, she signed her first film contract with producer Samuel Goldwyn to appear as a Goldwyn Girl in Whoopee! (1930). She also appeared in City Streets (1931) Ladies of the Big House (1931) and The Girl Habit (1931) for Paramount, Palmy Days (1931) for Goldwyn, and The Mouthpiece (1932) for Warners.
Goldwyn and she did not get along, and she began working for Hal Roach Studios, appearing in a string of uncredited supporting roles for the next four years, including Show Business (1932), Young Ironsides (1932), Pack Up Your Troubles (1932) (with Laurel and Hardy), and Girl Grief with Charley Chase.
Goldwyn used Goddard in The Kid from Spain (1932), The Bowery (1933), Roman Scandals (1933), and Kid Millions (1934).
The year she signed with Goldwyn, Goddard began dating Charlie Chaplin, a relationship that received substantial attention from the press. It marked a turning point in Goddard's career when Chaplin cast her as his leading lady in his next box office hit, Modern Times, in 1936. Her role as "The Gamin", an orphan girl who runs away from the authorities and becomes The Tramp's companion, was her first credited film appearance and garnered her mainly positive reviews, Frank S. Nugent of The New York Times describing her as "the fitting recipient of the great Charlot's championship".
Following the success of Modern Times, Chaplin planned other projects with Goddard in mind as a co-star, but he worked slowly, and Goddard worried that the public might forget about her if she did not continue to make regular film appearances. She signed a contract with David O. Selznick and appeared with Janet Gaynor in the comedy The Young in Heart (1938) before Selznick lent her to MGM to appear in two films.
The first of these, Dramatic School (1938), co-starred Luise Rainer, but the film received mediocre reviews and failed to attract an audience.
Her next film, The Women (1939), was a success. With an all-female cast headed by Norma Shearer, Joan Crawford, and Rosalind Russell, the film's supporting role of Miriam Aarons was played by Goddard. Pauline Kael later wrote of Goddard, "she is a stand-out. fun."
Selznick was pleased with Goddard's performances, particularly her work in The Young in Heart, and considered her for the role of Scarlett O'Hara. Initial screen tests convinced Selznick and director George Cukor that Goddard would require coaching to be effective in the role, but that she showed promise, and she was the first actress given a Technicolor screen test.
Russell Birdwell, the head of Selznick's publicity department, had strong misgivings about Goddard. He warned Selznick of the "tremendous avalanche of criticism that will befall us and the picture should Paulette be given this part...I have never known a woman, intent on a career dependent upon her popularity with the masses, to hold and live such an insane and absurd attitude towards the press and her fellow man as does Paulette Goddard...Briefly, I think she is dynamite that will explode in our very faces if she is given the part."
Selznick remained interested in Goddard for the role of Scarlett. After he was introduced to Vivien Leigh, he wrote to his wife that Leigh was a "dark horse" and that his choice had "narrowed down to Paulette, Jean Arthur, Joan Bennett, and Vivien Leigh".
After a series of tests with Leigh that pleased both Selznick and Cukor, Selznick cancelled the further tests that had been scheduled for Goddard, and the part was given to Leigh. It has been suggested that Goddard lost the part because Selznick feared that questions surrounding her marital status with Charlie Chaplin would result in scandal. However, Selznick was aware that Leigh and Laurence Olivier lived together, as their respective spouses had refused to divorce them, and in addition to offering Leigh a contract, he engaged Olivier as the leading man in his next production Rebecca (1940). Chaplin's biographer Joyce Milton wrote that Selznick was worried about legal issues by signing her to a contract that might conflict with her pre-existing contracts with the Chaplin studio.
Goddard signed a contract with Paramount Pictures and her next film, The Cat and the Canary (1939) with Bob Hope, was a turning point in the careers of both actors. They promptly were re-teamed in The Ghost Breakers (1940).
Goddard starred with Chaplin again in his 1940 film The Great Dictator. The couple split amicably soon afterward, and Goddard allegedly obtained a divorce in Mexico in 1942, with Chaplin agreeing to a generous settlement.
At Paramount, Goddard was used by Cecil B. De Mille in the action epic North West Mounted Police (1940), playing the second female lead.
She was Fred Astaire's leading lady in Second Chorus (1940), where she met actor Burgess Meredith, her third husband,.
Goddard made Pot o' Gold (1941), a comedy with James Stewart, then supported Charles Boyer and Olivia de Havilland in Hold Back the Dawn (1941), from a script by Billy Wilder and Charles Brackett, directed by Mitchell Leisen.
Goddard was teamed with Hope for a third time in Nothing But the Truth (1942), then made The Lady Has Plans (1942), a comedy with Ray Milland.
She did Reap the Wild Wind (1942), playing the lead, a Scarlett O'Hara type character. Co-starring Milland and John Wayne, it was a huge hit.
Goddard did The Forest Rangers (1942). One of her better-remembered film appearances was in the variety musical Star Spangled Rhythm (1943), in which she sang "A Sweater, a Sarong, and a Peekaboo Bang" with Dorothy Lamour and Veronica Lake. She and Milland did The Crystal Ball (1943).
Goddard received one Oscar nomination for Best Supporting Actress for the 1943 film So Proudly We Hail!.
Goddard was teamed with MacMurray in Standing Room Only (1944) and Sonny Tufts in I Love a Soldier (1944). She was one of many Paramount stars in Duffy's Tavern (1945).
Goddard's most successful film was Kitty (1945), in which she played the title role.
In The Diary of a Chambermaid (1946), Goddard starred with Burgess Meredith, to whom she was married at the time, under the direction of Jean Renoir. It was made for United Artists.
At Paramount she did Suddenly It's Spring (1947) and De Mille's Unconquered (1947). During the Hollywood Blacklist, when she and blacklisted husband Meredith were mobbed by a baying crowd screaming "Communists!" on their way to a premiere, Goddard is said to have turned to her husband and said, "Shall I roll down the window and hit them with my diamonds, Bugsy?"
In 1947, she made An Ideal Husband in Britain for Alexander Korda, and was accompanied on a publicity trip to Brussels by Clarissa Spencer-Churchill, niece of Sir Winston Churchill and future wife of future Prime Minister Anthony Eden.
Goddard and her husband were among several stars in On Our Merry Way (1948).
At Paramount, she did two movies with MacDonald Carey: Hazard (1948) and Bride of Vengeance (1949). She then left the studio.
In 1949, she formed Monterey Pictures with John Steinbeck. Goddard starred in Anna Lucasta (1949), then went to Mexico for The Torch (1950). In England, she was in Babes in Bagdad (1952); then she went to Hollywood for Vice Squad (1953), Sins of Jezebel (1953), Paris Model (1953), and Charge of the Lancers (1954). Her last starring role was in the English production A Stranger Came Home (known as The Unholy Four in the United States).
Goddard began appearing in summer stock and on television, guest starring on episodes of Sherlock Holmes, an adaptation of The Women, this time playing the role of Sylvia Fowler, The Errol Flynn Theatre, The Joseph Cotten Show, and The Ford Television Theatre.
She was in an episode of Adventures in Paradise and a TV version of The Phantom.
After her marriage to Erich Maria Remarque, Goddard largely retired from acting and moved to Ronco sopra Ascona, Switzerland.
In 1964, she attempted a comeback in films with a supporting role in the Italian film Time of Indifference, which was her last feature film.
After Remarque's death in 1970, she made one last attempt at acting, when she accepted a small role in an episode of The Snoop Sisters (1972) for television.
Upon Remarque's death, Goddard inherited much of his money and several important properties across Europe, including a wealth of contemporary art, which augmented her own long-standing collection. During this period, her talent at accumulating wealth became a byword among the old Hollywood élite. During the 1980s, she became a fairly well known (and highly visible) socialite in New York City, appearing covered with jewels at many high-profile cultural functions with several well-known men, including Andy Warhol, with whom she sustained a friendship for many years until his death in 1987.
Goddard married the much older lumber tycoon Edgar James on June 28, 1927, when she was 17 years old; the couple moved to North Carolina. They separated two years later and divorced in 1932.
In 1932, Goddard began a relationship with Charlie Chaplin. She later moved into his home in Beverly Hills. They were reportedly married in secret in Canton, China, in June 1936. Years later Chaplin privately told relatives that they were married only in common law. Aside from referring to Goddard as "my wife" at the October 1940 premiere of The Great Dictator, neither Goddard nor Chaplin publicly commented on their marital status. On June 4, 1942, Goddard was granted a Mexican divorce from Chaplin.
In May 1944, she married Burgess Meredith at David O. Selznick's home in Beverly Hills. They divorced in June 1949.
In 1958, Goddard married author Erich Maria Remarque. They remained married until Remarque's death in 1970.
Goddard had no children. In October 1944, she suffered the miscarriage of a son with Burgess Meredith.
Goddard underwent invasive treatment for breast cancer in 1975, successfully by all accounts. On April 23, 1990, aged 79, she died at her home in Switzerland from heart failure while under respiratory support due to emphysema. She is buried in Ronco Village Cemetery, next to Remarque and her mother.
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What Are The Finest Summer Outfit Ideas For Sweatshirts?
Sweatshirts are a fashion world godsend for anyone who prefers comfort above trends and participates in any type of exercise program. We'll go into the specifics of sweatshirt fashion later, but for now, consider how this basic piece of clothing makes our lives so much simpler. We guarantee that after reading about what are sweatshirts in an article dedicated to them, you'll never go back to dull and ineffective gym apparel again. A sweatshirt attire may appear straightforward, but it does not convey how you feel. Why? Because the insides are composed of fleece and brushed for softness. Fleece, a soft, warm fabric akin to wool, is used as a liner. Sweatshirts are always large or loose. Even though they are listed as sweater kinds, they are not sweaters. Quite the reverse, in fact. That is, you can work out in a sweatshirt but not a sweater until winter hits. That is the primary distinction between a sweater and a sweatshirt. Sweatshirts are one of the various summer garments. Sweatshirts are sometimes referred to as hoodies by some people. Sweatshirts are made of strong cotton and have a lining inside to absorb moisture. They're designed to cover your chest and arms, preventing any hint of extra moisture from interfering with your activity.
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Welcome To Kimi Men Clothes Factory Store
Hello, we are a garment manufacturer that supports customization. At present, it is mainly 3D digital printing products.
We will always update the styles. Please pay attention to us! (And there will be Kids 3D digital printed T-shirts, hooded sweaters, sports pants.. Under development, wholesalers are welcome to inquire)
Tips
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I never liked when my stepfather would drive me to school. It wasn’t because I was embarrassed by his car; the ’87 Pontiac got us where we needed to be and then some. It was more so how I found him to be weak. He let my mom rule him, and somehow I thought his frayed machismo might find my skin like a plotting ointment. I found myself studying the sky for planes from that backseat window, most of all trying to guess exactly where a given hunk of traveling metal and its passengers were off to. I’m pretty sure my guesses were always confined to the states, as the geography of thinking beyond and what places fit where would get lost just around the time Sean’s car would halt and I’d shuffle to homeroom.
“Can I get you anything else, maestro?” my waiter asks. For the past twenty minutes or so, I’ve been slowly sipping a black coffee and picking at this dry blueberry muffin, waiting for Gianna to arrive. I’m not buying anything else. She is lucky I agreed to come to this damn diner. The parking is so so and some of our most memorable arguments happened in the booths here. Whoever made the menu goes skimp on the omelet and there’s something I don’t trust about their maple syrup like a station with gas prices lower than nearby spots.
“Thanks, buddy, but no I’m ok,” I reply. The waiter has pillows under his eyes, not the glaring hangover or mid-term up all night weights, but somewhat noticeable, especially by another night owl. He has yet to declare his name, and I haven’t cared to ask. I study his veiny hands, and though his short fingernails are without dirt, I suspect he still lets a family member cut his hair. And who the hell is maestro, anyway? I put my head down to tear at the muffin and shift my cup, yet he stays in the same spot. I’m hoping it doesn’t come to the inevitable. The stage where I have to get in his tired face and let him know I’m not with that sugary stuff.
“Their uniforms do nothing for me,” he says.
“I’m sorry, what?” I ask.
“The Trail Blazers’ uniforms,” he answers, pointing up to the flat screen positioned in the corner. A replay of last night’s game versus Oklahoma City is playing with the volume off.
“Red and black work together, but ugh, they can do better with those bending lines that take up most of the jersey. It’s all too…too…too…I don’t know, but once I think of something better, I should reach out to their people.”
Gianna told me the owner of Swan Street is originally from Portland, and the dude has yet to come to grips he is more than 2,600 miles from home. The pennants and postcards on the wall scream of everything Oregon and his Left Coast Is the Best Coast pie is a hit here in WNY. She made me try it the night we first hooked up. I didn’t like it, but I said I did.
“I’m a fashion student at Buff State,” the waiter points out.
Oh, wow, that’s what’s up,” is my reply. I give him a look as if to ask why isn’t he serving other people, yet it’s mid-morning and empty, and the rush from the Larkin Building across the street won’t come about until lunch hour.
“Where do you go?”
“Oh, I’m not in school, right now.”
“Guy, I feel you. It’s not for everybody. When you think about it, they’re just teaching us how to make someone else money. Fashion is the closest thing to independence if you ask me. But I hear there’s a big need for the trades nowadays because all of the dinosaurs our grandparents used to call in the Yellow Pages are retiring, and few young folks are stepping into those jobs, you know.”
“Good point,” I say with a shrug. I forgot to put on my Timex, so I’m starting to stare at the spot where the tan line on my wrist will eventually be. Doing odd landscaping gigs two or three times a week every summer will do that. Gianna has been sending me e-mails of jobs here and there. I’ve filled out a few applications online, yet there’s something discouraging about completing questionnaires where you can’t tell the truth. Where the hell is she? For the past six months, we’ve been doing the distance thing after she moved to Albany for some job in a big library. I can’t remember all the details, but she’s happy and spends less time knitting uneven sweaters for her yorkie and sending me recipes off Pinterest she knows I’ll never make on my own. Today is supposed to be the day we decide.
“Coming!” the waiter whose name is Jackson shouts. I now know this little useless tidbit because a male voice from the kitchen yelled his name while I was staring out the window. Three tulips stand at attention from the flower bed that needs just as much attention as the blueberry muffin ingredients. She must think I have all day.
The entrance door swings open. A toddler boy wearing overalls wobbles over the threshold. His mouth already has stains of juice, and he wants no assistance from his parents who give off this que sera, sera vibe. The man and woman scan the room, and locate me in their tripod scope of discovery, only to flash grins at me before muttering some baby gibberish to the little one, as he has already rung the front counter bell enough to awaken something in the basement of a day failing to officially start.
Hey, fine folks, how are you?” Jackson asks the newest patrons, sort of doing some half-hearted skip to the front. “As you can see we are jam packed, but I’m sure we can find something cozy and comfortable for ya.” Everybody laughs, except the tike and I.
“Oh no…no…no, Brady,” the mother says, smiling once she realizes her little person is running toward my booth. She is too late. He grabs the second menu from the table, and waves it wildly like my grandmother sometimes does with those usher appointed fans during stuffy marathon church services.
“You eat,” is what I make out from the boy. “Him eat, right?”
“I’m so sorry,” the mother says. “He’s a traveler.”
I look at the father who just shakes his head, as if there is more he wishes he could tell me over a Cuban and some bourbon.
By now, the mother comes over to my booth and ushers away her little explorer by the arm.
“Him eat, right?” continues the boy. “Him do it…”
“Yes, honey,” says his mom. “Go to Daddy.”
“This is why I hate going too many places in a day,” the father says in a tone somewhere between madness and unbridled surrender.
“It’s fine,” the mother says. “It really is ok.”
“Well, let’s get you guys seated,” Jackson breaks in, mustering up a manufactured smile he’s most likely perfected in the back kitchen or voguing outside one of his textile classes.
I look at the clock on the wall behind the front counter, and spread some butter on the muffin.
When Gianna moved into her upstairs apartment on Claremont Ave. with her two girlfriends, I helped them. Being her boyfriend, I knew such heavier things would fall to me. We found a way to defy trigonometry, stubbornly bending half painted corners with used furniture and appliances. She is the organized type of XX and that day the Eisenhower in her began to bloom. She elected to drive the U-Haul with Jamie and Allison, as I was content to drive my own car and meet them at the new place. My commander of a woman backed the truck on to the lawn, got out and handed her troupe instructions and goals written on loose-leaf. I put the paper in my back pocket, and just grabbed labeled boxes. The first few trips, I placed them where they needed to be, the carefully taped cardboard containing shampoo, tampons, and razors found their home in the bathroom. Maybe it was because no one else’s boyfriends showed up until I was a sweat stained version of former self, or the way Gianna stood in the downstairs doorway with frustration when her full proof battle maps left no margin for things falling apart or how the summer rain would slap our efforts then back pedal into some distant pocket on the other side of town before I could adequately curse it, but I found myself unashamedly putting boxes in rooms where they didn’t belong. We later ate pizza and drank bottled water on the floor, a collegiate picnic of sorts. Both boyfriends whose names I dismissed looked as if they struggled to please any woman, and their talk of IPAs and invites to join a softball league only made my decision to leave more justifiable. “Oh, before you go, lover, can you help me hang these?” Gianna asked me, as she opened a box marked CLOCKS in black sharpie. It wasn’t her handwriting, and as her and I went room to room hanging ticking numbers with power drill and the dull need to be alone, the thought of that stayed long after I left.
“Hey, Ian,” Gianna says. She leans over and kisses both of my cheeks before sitting down.
“When did you come in? I didn’t even see you.”
“I’m a love ninja,” she declares. “I move in silence.”
“Well, Ms. Storm Shadow, are you having your usual? There’s a new waiter working, and he is full of life.”
“Be nice, lover.”
“What makes you think I’m not.”
“I know you.”
“Do you, really?”
“I’d like to think I know if the man I love is being an asshole or not.”
I still hear the ongoing jabber of my toddler friend from the other side of the diner, and once Jackson discovers I am no longer solo, he darts towards the action.
“You didn’t tell me you were waiting on a lovely guest, my guy,” Jackson shrieks. “Exciting.”
“Good morning,” Gianna says. “Is it still morning? No…wait…it’s technically morning? Sorry my brain is in every county of the state today.”
“No worries, I understand,” Jackson replies. “It’s finals time, and I’m the same way. I’m living the dream, though. Stress and all.”
“If it isn’t too much trouble, I think I’ll try something new today.”
“You have to get our new red velvet pancakes,” our waiter urges. “To die for!”
“Hmmm, should I?” She calls my name, but I’m staring at little Brady who is biting his straw and too curious to be held at bay by whatever routine conversation his parents may be conducting.
“Ian?”
‘What’s up, GiGi?” I snap back onstage, knowing the second time she calls me is the important one of the two. I shrug and simply say it’s spring.
“I am a horrible server,” Jackson says. “I didn’t start by asking you what you wanted to drink. I’m so caught up in the vibe of you two chirping birds.” Gianna orders the pancakes and asks for orange juice to come when the food arrives.
“Are we going to do this?” she asks.
“I’m prepared either way,” I say.
“That’s not the right answer. It’s been three months.”
“But how are you feeling?” I ask, picking out blueberries I can find in the torn pieces of muffin.
“Ok, I guess,” she says. “I still get sick, and the new clothes fit now.”
I want to bring up something about how I’ve applied to the latest jobs she’s sent me, but I close my eyes and try to take it in every molecule of air in the building.
“What time do you have to be back tonight?” I ask.
“I don’t. I already called in sick for tomorrow.”
“Go easy, you’re going to need those days later down the road.”
“So you’re saying you do want this, right?”
“I want to keep you happy and occupied.”
I turn at the waist and find the tulips outside the window. I wish I could pick all three and the curtain would close.
“And here you go,” Jackson declares with a smile, waiting for immediate approval. “I present delicious pancakes, your juice and our in-house maple syrup.”
“It looks amazing,” Gianna says.
“Is there anything else I can get you?” It’s as if Jackson wishes he were the stack of crimson flapjacks with a melting cube of butter atop.
“We’ve got all the bases covered for now,” she says. With fork and knife in hand, the woman I met at a farmer’s market four summers ago, puts a piece of pancake to my mouth. I submit to her honor, and chew slowly so I can really give her the truth of it all.
“What do you think?”
“They’re actually really good,” I admit.
She takes a bite and her eyes become big with unexpected glee.
“Boy, you better get one more taste because I can’t promise I’ll save anything else.”
“Go ahead,” I say. “It’s all you. You need it for strength. After all…you know…”
“You act like it’s some sort of plague, Ian.”
“No, I don’t. It’s just…”
“It’s just what?”
“A lot.”
“No shit, man,” she says, now with a tear bubbling by the corner of her eye nearest the window.
“We can make it work.”
“Do you really want it to?”
“I’m here.”
“Have you even thought of names?”
“Of course, I have.” Really I haven’t, and now would be a fantastic time for Jackson to save the scene.
“Have you told your mom?” she asks, still eating.
“Yeah, she knows.”
“What are her thoughts?”
“You know my mom, GiGi.”
“I don’t want to play games.”
“I see no ball or joystick.”
“Answer a question for once in your life,” she shouts. By now, the tears have bullied the breakwall and run southward to a place I have little to no access to. It’s one of those classic embarrassing moments when I sense all eyes are upon us, yet I have no hard evidence to support it other than the intuition that comes from past battlefields still ripe with blood. The Larkin Building traffic infiltrates what was an empty place of business.
“My mother told me to be a man,” I say.
Gianna stares at me for awhile before she finishes the plate of pancakes, only leaving streaks of red mingled with the sappy sauce that is the Oregonian’s special recipe. Without as much time to devote to us any longer, our waiter gives me the check and says he hopes to see us soon. I tell him thank you and good luck with his exams before I make my way to the front counter where there is now a female waitress at the register.
“It seems you made a friend,” Brady’s mom says. “He hasn’t stopped talking about the man who eats by himself.” The family of three prepares to leave the diner, a precautionary measure on the part of the husband and father who doesn’t want to cause a scene I suspect.
“Maybe I’ll see you in this joint sometime soon, little man,” I say to Brady. “Be good for your mommy and daddy.”
I foot the bill and tip, and wait for Gianna to come from the bathroom. I know she will want to take a walk and possibly talk more on what is a pleasant afternoon in early May. Once again, I’m looking out the window where I see Brady and his parents walking to their car. The father has little patience, and if it wasn’t for his wife, who knows where that car would go. She is the reason her child gets away with picking one of the tulips I’ve been staring at all morning. That little boy doesn’t have to take unnecessary long walks. If anything, I am sure he fixates on passing airplanes.