You are currently viewing Grocery Store Performer

Grocery Store Performer

1*

            I’d been recording co-workers reading poems in which I’d quoted them. My last interview was with Marty, who’d said, “Awareness is the opposite of thinking,” one shiny Tuesday morning almost a decade ago, and then, “boredom is only beautiful when it’s a form of pain,” while we waited like golems for our first shoppers of the morning.
          We worked on Monroe Street—small-town sheen of ice cream parlor, barber shop, drug store with tootsie pops—and the Captain wanted us to feel like a neighborhood store, but we were a chain. I’d worked for Trader Joe’s twice before, and each time I’d quit I thought I wasn’t coming back. It wasn’t good for my knees, my neck, I’d hurt myself just watching the clock.
          But I wrote poems there. I’d steal lines at the reg, in the freezer, while the baler crushed cardboard; focused by the relentless fine-grain of time slipping away, I’d give my writing the care and attention I still don’t give my life.
          When you ask someone who they are, they usually tell you what they do. I hadn’t planned to write about the grocery store. One day I misheard the lyric, like a haunted ghost, five minutes before ‘doors open,’ tried to keep that thought Muzak flooded in. I’d been eavesdropping on an argument between two stockers and a Mate—“We’re not in control, just products of our minds,” Patrick said. The Mate shook his head. “Protons and neutrons,” Mike seconded. “That’s not true—” the Mate swore; I squeezed my hand-truck by. I thought: Isn’t it the ghost that’s haunted, not his dead-end workplace? “…and we ’re in control of products of our minds,” the Mate said, shaking again, while I maneuvered towards the floor.

*

          This American Life’s episode-length story, “Three Miles” (550), is about the achievement gap between the affluent and the poor, which it literalizes in the three miles between University Heights High School and Ethical Culture Fieldston School. At the start of the episode, students from University Heights begin taking annual field trips to Fieldston. One girl from University Heights stands out; a decade later—when the story is being reported—the rich kids’ teachers describe their shock at how smart and capable she was. Interviews with former classmates, a high-school bestie, and teachers from both schools only lead to confusion; she must have graduated, securing a prestigious full-ride to a top private liberal arts college.
          She is “one of those kids you remember,” and “very, very smart,” another teacher confides, “full of potential.” “She spoke her mind. Brilliant, fierce, she was going to make it.” They only weren’t sure if she knew how smart and powerful a thinker she was.
          The student, Melanie, doesn’t want to be found. The reporter tries her phone— disconnected—a background check, which leads to multiple addresses and letters unanswered, even the office of vital records, and finally stakes out an old address where a man who turns out to be Melanie’s boyfriend lets slip her identity. Melanie wanted, we later discover, just to get out of the Bronx and not look back. The reporter’s surprised to find she works at a supermarket on Sixth Avenue, around the corner from the reporter’s office. What had gone wrong, for her to end up there?

2*

          The genius of “Three Miles” is in making the metaphor of class mobility as literal as the achievement gap. We root for Melanie as the reporter learns she had in fact been a finalist for a major scholarship, though just a finalist. She graduates early and does leave the Bronx—no one from her high school knows where she’s gone—but she stays in the city. She’s been at the supermarket for a decade, part-time at college classes; whenever she needs sleep or money she goes back to full-time at the store.
          “Three Miles” starts with the sheer lack of imagination the reporter attributes to Melanie’s high school classmates, who are said to be amazed by the library at Fieldston, a vision of scholarly haven Melanie had conjured and been failed by when she first arrived at University Heights. At Fieldston, Melanie sees the rich are ‘just like us,’ but with a massive leg up. In a kind of intellectual jujitsu, the show ends with the reporter and producer, Chana Joffe-Walt, structuring a reverse failure of imagination: that the affluent don’t see what those smart people failed by our education system are capable of. The reporter brightly warns her listeners—with the consequence that our economy could be much more efficient if everyone had the same chance to succeed—“…that the supermarket might be full of Melanies.”
          Well, of course it is. Why wouldn’t it be?
          The reporter’s nobility is that she wants to make the world a better place, no matter how hard even Melanie resists her do-gooderism. I want to believe the insight that ends the episode is manufactured for thematic effect: that the reporter was not so blind to the qualities of individual workers, literally millions of them staffing supermarkets in our country. But the people who make policy in this country really do struggle to imagine retail employees as having any potential.
          I started writing this essay years after “Three Miles” first aired in the early spring of 2015, a few months after I’d left Trader Joe’s. I’d written dozens of poems about how finished I was, how shoppers looked through me, how the university poets would catch the recognition in my eye and not know what it was for. But I also had a child on the way, and I needed to make money more quickly than that hourly rate. My background mirrored the reporter’s, but I’ve never been foolish enough to identify with Melanie: I’ve had many of the advantages that “Three Miles” is about, and they don’t go away.

3*

          I didn’t just work in the grocery store. I juggled three jobs: crew member, online grading, and regional coordinator for two branches of a community college writing center. I’d quit the grocery store for an emergency teaching job—a long-time adjunct there had burnt out and quit, taking what he’d saved to be a writer—but I kept the writing center and the grading, just in case. As hard as that semester was—the long commutes to teach and tutor, in opposite directions from one another, the slow enveloping approach of winter, the long, sleepless nights—I made the right call about sacrificing for all that work: before “Three Miles” first aired, my spring classes had been cut in half, and they told me I’d be lucky to teach at all the next fall.
          My son Owen was almost six months old.
          Trader Joe’s had, after all, been my neighborhood store; when I’d come back shopping I’d tell my co-workers what I’d left for, but I’d say teaching—not adjuncting—and how proud I was to be in front of a classroom again. I knew my position was precarious. I think about the ‘crew member’ title used at Trader Joe’s, a bit of narrative ornamentation tying us to our chain’s nautical theme, and the titles of ‘reporter’ or ‘producer.’ It is a brittle irony that many public radio employees also work contract to contract, with even less security than contingent faculty, with far less security than grocery store employees. They tackle stories of national import, and deep human connection, fortunate most of all I assume, if their bosses have the same aspirations to compassion that they demonstrate in their reporting.
           Eventually, we moved across the country for my spouse Lauren’s work, and in the years since, I earned a PhD. When I started writing this essay I juggled four jobs: writing center tutor, weekend desk attendant for a local museum, teaching poetry to kids and memoir to seniors. Sometimes I’d pick up gig-work tutoring online, but even surge pricing barely added up.
          Eight years after I left the grocery store for an emergency full-time adjunct position at a rural college, I did the same in Texas, with the same results. After a semester of work, I was told my position had been transformed, cut into several smaller part-time positions. Those jobs had already been posted—a month before—but I could still apply.
          “Three Miles” re-aired a few years ago; Lauren found it comical how obsessed I was with the whole grocery store aspect, which is really not what the show is ‘about.’ As a college graduate I am more than twice as likely to be middle-class, married, healthy, to enjoy my daily work, as the reporter points out, and Lauren reminded me.
          But the grocery store also means more than it’s taken for: health insurance and flexibility, stability, safe working conditions, interesting and diverse co-workers, sometimes unionized or nice enough compared to the alternatives. More than a week off when a child is born. Many of my friends remain at the grocery store, some of them plan to leave, some to make careers, some are just hustling, trying to figure out what’s next. I can say the same for many of my fellow PhDs.
          Everything I’ve done since the grocery store paid better. And yet, when my son was born I was back teaching as soon as they let us out of the hospital. This notion that education will save us, and for what, and to what end…I’m not so sure.

*

          Marty didn’t have a side hustle or a belabored academic career, and when I asked him before the interview how he liked to define himself, he said he would prefer not to.
          Giving Marty a ride home, he said he didn’t know he had it in him to say the thing I’d quoted in the poem. When we parked outside the house he shared with his sister and mother, Marty told me about how bad his semi-annual employee review went; he watched me lean close, listening hard. Marty, it turned out, was chastised for informing an order-writer that Belgian chocolate pudding moved next to broccoli florets “makes absolutely zero sense.” At his review he was told he had been discourteous with management; they didn’t like his attitude.
          “That one’s on the house,” Marty said, tapping the hood of my car, looking out over the snowy field hardened wherever grass met sidewalk, past that to Lake Monona frozen solid. He looked out quietly—we’d already shaken hands—and then he slowly peeled towards his front door. I wouldn’t see him again.

4*

Marty reads the poem he is quoted in.

¹Transcript:

2:20—
          [Marty, you work in a grocery store?]

I do.

          [Marty, I asked how you would define yourself, and you said— you didn’t want to define
          yourself.]
Yes.

          [(Interviewer laughs) If you could define yourself, how would you?]
Well Dmitri called me an artist. I wouldn’t go that far.

²Transcript:

2:51—
…I would say I’m closer to a performer.

          [I’ve noticed that you often change your look. You’ve got like this aesthetics of your
          appearance—]


Right—


          [You know the— beard, the facial hair in general, the mustache area (Interviewee       
          laughs), the hair, I always love your hair, you’re always doing something different with                your hair.]


So—


        [The glasses are beautiful.]


Thank you. Thank you. I try to just do whatever it is that I’m going to do and let other people if they so choose— define themselves— define me for myself, I guess. You know, it’s not up to me.

³Transcript:

4:28—
…why might hamster wheel be inappropriate?

          [Yeah. Let’s just say Kyle’s wrong.]

I agree with you that it’s not— it’s definitely not a hamster wheel. Because the variables are constantly changing. Despite the— you know, it being the same store. It’s not, you know?

          [What changes? I mean, the— the food changes, but—]

Its subtle. That’s— No. That’s, yeah. It stays the same because it is changing. I don’t know— it’s the interaction, the people that are there.

          [Everyone?]

Yeah, people are always changing.

4Transcript:

0:20—
          [Marty, would you please read the poem in which you were quoted?]

A FULL SHELF ALSO HIDES ITS SHAME

Boss calls me
Zen master.
I’m not
paying attention. Turn off
the part of my brain
that never got a reward?
Be Pavlovian, Boss says,
not the scientist.
There’s a clock on the wall
if I look to my left. Don’t
turn my head.
Kyle speaks softly, the managers
are the experiment.
We’re just the wheel they spin.
I try to know myself
by not thinking anything.

*

In the back room
flatten boxes
for the baler.
On the floor
face over
ghost stock.
I’m unashamed,
by what I’m not sure.

*

Proud and lonely
cashiers, interchangeable
as clenched teeth.
Awareness is
the opposite
of thinking, Marty insists.
Boredom is
only beautiful when it’s a form of pain.
I wince. Are you a feature
or a cause?
Can you shift from scenery
to moral self-instruction?
Before each check-out
a clip strip of waterfall
greeting cards hangs the same figure
at bottom looking up, gravity
obscured by
every higher card.
Understanding comes
from looking
at the single representation
we can see all of.
Realize this
for a moment, completely
present.
Take an hour to write
these lines beneath my grocery list
in seconds stolen
between shoppers—
what are you not
striving for today?

*

I look inside
myself: It’s me
all the way down.
Then through. It was as if
discovering this made it true.

“A full shelf also hides its shame” was previously published in Birmingham Poetry Review.
Picture of Joshua Gottlieb-Miller

Joshua Gottlieb-Miller

Joshua Gottlieb-Miller's poetry appears in Brooklyn Rail, Concision Poetry Journal, Berru Poetry Series, ANMLY, miCRo, Pithead Chapel, and elsewhere; multimedia and multi-genre work has been published at Grist Journal, Talking Writing, MAYDAY Magazine, and elsewhere. Previously he has been a Fellow at the Tent Writing Conference at the Yiddish Book Center. Currently Joshua teaches at San Jacinto College, and lives in Houston with his wife and son. His debut collection, The Art of Bagging, won Conduit’s Marystina Santiestevan First Book Prize, and is forthcoming.