• Published on

    Tofu Spring Rolls, Comfort Stations, and Deep Breaths

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    I rushed in, looking for the cheap stuff. My shift (or "piece") was about to start, and I needed food. This was unusual. I usually bring lunch. There was the banh mi, the soy sauce noodles, here was the layout of sushi and bento... what was cheap? I resolved upon going full time to never open my paychecks, and continue living as if on a part-time budget. A way of staying happy.

    There they were. Tofu spring rolls, "$3.99 only." Cheap. Protein. Vegetables. Perfect. I paid and ran out the door to the great and towering 7/49.

    There are short routes, and there are long ones. I prefer longer ones because you're not repeating yourself so many times. Leave those ten-minute Mercer Island loops to whoever likes that stuff. The 7/49 is gigantic, serves as broad a spectrum of humanity as there exists in the city, with ons and offs the whole way. Many people use the through-route, riding for a while.*

    You can guess the drawback of driving long routes, however. If nature calls, it may be another hour or more before you can use a restroom. In theory, you could pull over and find one, but are you really going to? What if there's a line at the gas station? Will the restaurant let you use it? Will this place even have– and meanwhile there's a crowd waiting on the bus, and more waiting down the street....

    This was precisely the predicament I found myself in, several hours after eating the world's least digestible tofu spring rolls. It's different than being at the end of the line, wherein I believe religiously in taking the time for restrooms and exercise. More pressure. At Broadway and Roy I decided to hold it all the way to Rainier and Henderson, about 70 minutes away. I could do this. John Coltrane kicked his heroin habit through sheer force of will. This oughta be cake.

    No one on the bus knew why, but my normal driving style, not slow but definitely not fast, suddenly became extremely urgent. Gone was the Nathan Approach of attempting to drive exactly the same whether on time or late, expeditious but not rushing– nope, none of that now. Too sensible. It was time to burn some rubber. "Let's get outta here, " I said into the PA as left a zone. We were hauling.

    As it happens, driving like this doesn't really affect what time you get there. People think it does. Have you ever noticed when you drive home at 70 mph instead of 55, all those cars you spent so much energy passing just end up right behind you on the exit ramp? The effect is amplified on a bus, what with all the starts and stops.  Rushing on a bus is generally pretty useless, not to mention rougher on the joints, and incredibly dangerous– wait, all that is too logical! I'm trying to use the bathroom here! Rational thought can wait. We flew through town like a jealous tornado, disappointing runners left and right, tearing wildly across the arterials and giving the left lane a reason to exist. My hello's and thank you's acquired a clipped roboticism that gave Kate (the automated voice) a run for her money.

    After making it out to Rainier in what felt like record time but was probably only a minute or three faster, I raced over to the comfort station and used it, and used it, and used it. Oh, how lovely. How enchanting. What a beautiful world it is.

    I spent the remainder of my break wandering around Saar's Market. A Muslim woman was seated on the floor, looking over the choices of pots and pans. A regular passenger greeted me in the bread aisle. The checker gave me a free paper bag, saying, "I may need a ride one day!"

    On the return trip into town, I discovered I was still in urgent mode. Why? I don't know. There's something addicting about it. Once you lock in, it's a little hard to jump back into relaxation. I pressed harder than necessary on the gas, and could feel my heart racing as we took a yellow light. If you drive the bus like I normally do, you'll know this type of stress doesn't really figure in your day. I was discovering how much it changed me.

    A girl got on at Genessee asking for free transfers. "Next time," I said to her and her man. "Next time?!" they muttered, accepting but nonplussed. They know me as the accommodating happy Nathan driver. Everyone down there does. "This guy's cool," I'll hear them say as they board. This girl hadn't paid, but she had acknowledged me– what more could you ask for? I need to slow down, I thought, flooring it to the next zone.

    At 8th and Pike, a middle-aged man with glasses stepped aboard. "I just got off Sound Transit," he said, "and I don't have an Orca card and I'm trying to go to Wallingford. Could I ride?"
    "Yeah, that sounds fine."
    "Could I have a transfer?"
    "Tell you what, why don't you ride my bus for free, and then pay the next bus."
    "Yeah but could I have a transfer?"

    I raised my hands to my head in exasperation but stopped mid-motion, my hands frozen in front of me before reaching my face. I paused for a moment. Everything was still, and I could feel the crowd– other folks getting on, him, guys sitting behind us– watching. Most of all I felt myself, watching my own behavior.

    My first two years driving bus were spent at Bellevue Base and East Base. When I went straight from that to driving not just a downtown route but a trolley, every driver at Bellevue had advice for me. Much of it was very helpful (Angle into zones! Use 4-ways when doing the unexpected! Know your headways!). I remember veteran Terry nodding sagely, thinking it all over, on one of our last days relieving each other on the 245. He trained me on my very first day driving live service. We went back a bit.

    "There will be days," he said finally, "when your patience will be pushed to the limit." He enunciated the phrase with a weight made real by memory and hardship. To the limit. That's all he said. He didn't offer a solution.
    "Hmm," I said. I had no idea he was talking about.

    In films we see protagonists reacting to high stress situations with alertness and brilliant precision, when they're at their best. You don't see them when they're not at their best. When people are chasing Matt Damon, it's never when he's underslept or has a headache or diarrhea. Life, however, is different.

    I broke the electric pause by saying, "I'm having a rough night and I shouldn't be taking it out on you. I'm sorry."
    "You're the shit," he said, accepting the transfer I offered, then quickly getting out of my way, perhaps thinking I might regress.

    "I hope you have a better night," a man who'd been watching said as he stepped out.
    Let yourself receive it, I thought. "Thank you! Thanks for saying that!"

    Driving up East Pine I reflected. How had this loss of perspective happened? Wasn't I strong enough to get out of this addictive headspace, which had been entirely of my own making? It'd been a terrific night, all things considered. It hadn't been a rough night at all. Bring me back to myself, I silently asked of the passengers and the world around me. I need your help.

    In moments like this I throw myself out there even further than normal. The reasoning being, if I put more of myself out there, I'll get more back. It always works. Eventually someone responds, and it helps me climb the ladder back to being myself. I'd like to get to the point of doing this independently, but sometimes you need a little push.

    Into the PA, approaching John and Olive Streets: "Comin' up is Johhhhhn Street, John or Olive, depending on which way you roll... John, where you can get a 43, or an 8."

    "John, where you can get a john," said the man with glasses, coming forward.
    "There you go!"
    "Hey, out in the U District, is the 44 still running every fifteen minutes?"
    "Yeah! Well, the 44 is every fifteen till midnight,"
    "Oh, tight,"
    "But the 43 is only every half right now."
    "Oh okay. So I can probably hop out here, score some drugs and then be on my way!"
    I laughed. It sounded absurd, and yet somehow in tune with the zany, hopping madness of the neighborhood around us. "Just another Sunday night!" I said.
    "Exactly!"
    "Well, I hope it's a great evening!"
    "Thanks! Y'ave a good night!"
    Right after he left a girl with dreads and a pitbull got on, perhaps one of the heroin set that lounges outside Dick's. The dreads were tinged with red, and her face was lively and present.

    "How are you tonight," she asked, preempting what I usually say to the passengers.
    "My night is great! And yours?"
    She winked at me discreetly and smiled, affirming that yes, it had indeed been a great night. She was so right.

    Later I'd see him again, two nights later. He suffers from severe insomnia. In fact, he hadn't slept in the time between now and since we last spoke. We extolled the virtues of various parks. We like Cal Anderson, we decided, because of its community park vibe. When it's nice out, everyone in the neighborhood seems to come out. It always reminds me of Seurat's 1884 Un dimanche après-midi à l'Île de la Grande Jatte, come to life. He agreed. "Gas Works is great too," he said. "Like Cal but without the drugs."

    --

    *Service planners, please keep the through-route. There's no question I'm asked more often than, "do you turn into the 7?," and nothing more pleasing than to be able to say yes and see them smile in relief. Transferring, especially at night, is not fun.
  • Published on

    Rainier & 39th, Sometime after 10pm / Thanks for that Vote!

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    "I'ma be real wit choo, man. You deserve to be driver uh duh year. Every time I see you you be friendly. You be gettin' out and helpin' somebody. And not jus' this year, but every single time, you be tellin' em where we at, lettin' people know. Really though. Dude. If it was a vote, I'd be votin' for you."

    He came all the way from the very back to say that, this kid. He'd stalked up here from the nether regions of the bus, pulling his headphones down around his neck, this adolescent boy dressed in classic thuggy teen gear, visually indistinguishable from the thoughtless, glum and confrontational youth persona we're all familiar with, the fellow you're supposed to be wary of on your walk home. 

    But here he was, one of the very same, sharing such unabashedly unhip praise. I don't know specifically what inspired him. I'd just hopped out of the bus to help a Latino boy learn how to use the bike rack. Of course I blush at his kind words, but I'm blown away less by what he said than the fact that he felt the need to say it, to walk all the way up here and go to the trouble of expressing his adamant approval for those most utterly uncool of attributes– decency, graciousness. Altruism. 

    Who says virtues are lost on the youth?

    --

    Once again, regarding my current show, which is one of my all-time favorites and one of the better shows I've ever been in, is closing! Last chance to see 150 small works! I'll be there from 5pm to 6:30 only. Stop on by if you can!

    --

    And much more importantly, THANK YOU, you lovely Seattle voters, for voting yes on buses! Without knowing it, this boy thanks you. The great human collective thanks you, the churning organism that keeps this city alive, the fastest-growing city in the nation.  No major city doesn't also have an excellent transit infrastructure, and no city with a great rail network doesn't also have killer bus service. Seattle doesn't just need to preserve its system, but to expand, and this measure allows for that. Incredibly, we'll finally be looking at service changes that aren't just a bunch of reductions. People working in the off hours or unusual commutes will be able to keep their jobs, allowing the city to keep thriving. I'll be able to continue the blog, to keep riding the bus everywhere, and I won't be laid off! Honestly, how can I thank you enough?

    The new service hours will largely go into maintaining the current network and beefing up existing service with added runs and frequency. But look also for a possible split of the C and D with new service on those routes to South Lake Union and SODO, as well as extending the daytime 70/71-series express pattern into the evenings and Sundays. Details here. For myself, I'd love to see some more wire! And the 280 restored! One can hope!

  • Published on

    Expectations / Revised Closing Show Hours

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    "Please, don't bust a cap in my ass," he said with a sigh, stepping on.
    "I'm not going to bust a cap in you. In fact, I'm gonna give you a transfer!"
    "Man, Thank you! I appreciate choo!"

    I would too, if someone, instead of shooting me, elected to give me a a nice blue piece of paper. Definitely what we'd call the preferred alternative. I've never had someone thank me for refraining to bust a cap in their ass!

    ---

    IMPORTANT: The last chance to see my current show, which contains 150 pieces of new work by me, is on Thursday, November 20. This Closing Show is from 6pm to 9, and it's free as always. 

    UPDATE: I will not be there for the entire show. Due to a prior commitment, I will be present only from 5pm (before the show starts, but the gallery will be open) until 6:30. Of course I'd prefer it if you came then! Hope you can make it!

  • Published on

    Birdman, (a) Film of the Decade

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    Trailer for the film here. Image courtesy of Fox Searchlight.

    We've all seen children walk out of a movie convinced it's their new favorite of all time. You sense their heady excitement as they rhapsodize their favorite scenes and wallow in the glory of newfound exhilaration. Then, a week later, they'll have forgotten all about it.

    I tend to hesitate before canonizing a new film, because I don't want to confuse such euphoria with a thoughtful appraisal of quality. Usually, only time separates the grain from the chaff. Those who went around ten years ago saying Lord of the Rings were the best films ever made are probably biting their tongues now, just as the Academy doesn't like to trumpet that it voted How Green Was My Valley over Citizen Kane for Best Picture 1941.

    But there have been a few times when, backed up by all your film knowledge, and by the undeniability of what you're looking at, you know this is a film which will be talked about in twenty years' time. Many great films are being made now, but there's a different feeling between watching those and watching a masterpiece like the great American films of the seventies or Western European films of the sixties. It's rare, but sometimes that feeling will surface while watching a new movie: you're sitting in the theatre, and you feel awed by a presence, an entity that is slightly beyond your understanding, and you know you're witnessing something particularly special.

    It takes some serious confidence (maybe hubris is more accurate) as a critic to place a new release alongside the sacred cows. Remember when, in 1962, L'Avventura was voted by Sight and Sound as one of the ten best films of all time, only two years after it was made? And how right they turned out to be. Can you imagine a serious publication doing that now?

    I'm here to argue that Alejandro Gonzalez Inarritu's Birdman is just such a piece. It's the new 8 1/2. It is a crowning achievement not just of the year, but of this quarter-century. I think it's an easy argument to make.

    Birdman follows a washed-up actor (Michael Keaton) whose fading career was built on playing a superhero (the birdman of the title) over and over again. Now, seeking to restore some credibility to his name, he's mounting a Broadway play based on a Raymond Carver story. He's plagued by self-doubt, a lead actor who threatens to destroy the production through sheer force of attitude, a critic determined to end the play's run, and a daughter who doesn't believe in him. And every now and then, he floats in the air, or causes things to move by themselves. Also starring are Ed Norton, Naomi Watts, Zach Galafianakis, Emma Stone, Andrea Riseborough, Amy Ryan, and others.

    What's so great about that story, you would do well to ask. I'll respond by quoting Roger Ebert: it's not what the movie's about, it's how it's about it. It's all impeccably acted and written, but when we're talking about film of the decade, you expect that. Two things elevate it.

    Birdman taps into something universal. It's not really about the "inside baseball" of actors and the stage and the New York theatre scene, although it traffics realistically in that milieu. It's about the universal human urge to be loved, and it's about a man who, like almost all of us, confuses love with admiration. He yearns for the affirmation of respect, and his craving for that vastly supercedes the love he could have in his life. He wants to prove his own self-worth to himself, but his desires are such that he needs the involvement and confirmation from others... and in that path danger lies.

    Milan Kundera wrote that we all wish to "leave a mark," as it were, to defy mortality in our own small way by offering a contribution that will outlast our physical lives. For many people, this means having children. For others, it means making art. Some do both, but in any event, there is the need to create, to alter the course of the stream a little, prove that at one time, you really existed. Riggan Thomson (the Keaton character) feels this need in desperation, and the concentrated form of his trying to realize it with this one play allows for much rich dramatic exploration.

    Inarritu considers these dilemmas in a way that feels immediate. One feels very little separation from the screen and ourselves; he's captured the zeitgeist (allow me that overused phrase just once, as it's entirely justified here) on a level that is uncanny. The film explores so many aspects of how we live today– the trappings, the thought patterns, the change, the shifts in language and perspective– and does so with a weary smile, a tone that manages to be both existential and comedic. I'm struggling with the words here. The film, with images and sounds, conveys what I cannot with mere words. If I could capture it all, well, the film wouldn't be so special. There is the moment between Ed Norton and Emma Stone on the rooftop; Emma Stone's diatribe against her dad; the indelible conversation between Keaton and the theatre critic, and the one with his ex-wife.

    Inarritu has spoken of the film having much to do with his turning fifty, and the resulting rethinking and reorientation of his priorities. He also speaks of wanting to confront these issues not with cynicism, but with humor. It's worth quoting a short interview passage at length:

    "I was particularly interested in — two things. One, never be ironic or cynical. I'm so fucking tired of the irony and cynicism that rules the fucking culture and world now. Everything has to be cool. Everything has to be detached emotionally. Everything has to be a little bit too smart. Nothing is really truthful or honest or emotional. There's always this ironic take on everything. And I didn't really want to be a smartass laughing about these characters or pointing or preaching at the industry, because everyone knows where we are. I was always careful that everything would come from the point of view of Riggan, not me commenting on it. Because there were a lot of comments I could have done, but we had to be restrained, because that would have been the "smartass writer." So everything comes from the truth of Michael. With the theater critic, we didn't want to portray bad or good. From the point of view of the critic, she's absolutely right. From the point of view of Riggan, he's absolutely right."

    This lack of irony in the film's perspective seems to be a common element I'm noticing in films being made now that I think will stand the test of time. "We've reached the peak of fake," a friend recently told me, and it will be outdated in the years to come like we wouldn't believe. In the way that realism and naturalistic acting will never go out of style, truth and sincerity have a currency that cuts through the passing fads. Variety's Peter Debruge writes that like The Great Beauty, Birdman "never allow[s] its justifiable cynicism to drown out what idealism remains." How refreshing.

    This, as well as the non-judging warmth Inarritu has for his imperfect characters, have a palpable effect on the film's tone, and make it quite unlike many other movies. Regular readers will know how much I delight in these two perspectives.

    The other element that elevates Birdman is Inarritu's decision to have the entire film appear to be shot in a single, continuous take. I cannot stress what a big deal this is. Birdman isn't actually shot in a single take– like Alfred Hitchcock's Rope, there are a few spots where the camera slides behind someone's back or somesuch, allowing for an invisible cut– but that's not the point.

    The point is that (save for one scene) we never see the camera cut from one image to another image. We've been watching a century's worth of films that do this, and have intuitively learned the grammar by which films communicate. Editing is what allows film to be its own art form. All its other elements– acting, photography, writing, music, sets– those all stem from other disciplines. Only in film can you juxtapose moving images, and achieve the magic of, by placing two images after each other, cause a third element (a thought in the viewer's head) to manifest. By watching hundreds of films that do this, we've learned the language of cinema whether we know it or not, in much the same way we've learned English.

    Birdman has none of that.

    To watch amounts to experiencing a new art form, much like filmmaking but strangely different. The camera glides down hallways and around people with dazzling high-wire grace. There is the visual idea that life flows together. It's not a fragmentation of time and space, but an ongoing mobius strip of connected moments. We subconsciously know that a cut can hide truth; imagine a scene of two people at a table, with the camera cutting between them, showing first one person, than the other. Because of that cutting, we know there's a possibility the two were never actually seated at the table together. Now imagine the camera not cutting, but panning back and forth between the two people– you know now, with confidence, that the two people are really there together, at the same time. The continuous, unbroken shot is one of the last hallmarks of truth in cinema. We know the monsters are fake; we know the backgrounds might be computer-animated; but a moving, unbroken shot is very hard to fabricate. Because of this, Birdman feels startlingly real.

    Aside from the effect the single take has on us (and the aesthetic joy of watching how and where it will drift to next), there is also the effect it has on the film's production. Film scholar Kristin Thomson once wrote of her love of animated movies. She began to notice many of her favorite films at years' end were animated, and she concluded that it wasn't because they were animated, but because of how good they were. She theorized this was because unlike live-action filmmaking, animation leaves absolutely no room for improvisation or quick (or lazy) decisions. Every single thing must be meticulously planned and considered before the money is invested on animating it. All this thought, she argued, tended to result in superior quality.

    The same can be said of Birdman. Because the film isn't a series of a few hundred shots, but perhaps just five or so, it can't be "edited." Inarritu speaks of feeling "totally naked" in the making of it– you couldn't make a single mistake on set, or the entire elaborate shot would have to be redone. Everything had to be thought about and planned out. He couldn't spend six months in the editing room intellectualizing everything and rethinking the film and fixing mistakes, no; all of that thought had to be done beforehand, and synthesized into the moment of shooting. Rather than just shooting a handful of standard setups and figuring it out later, where the camera is at any given time was given tremendous consideration– what does it mean for both characters to be in the frame right now? Should he be in the corner, or in the center, in relation to whom? Whose point of view is this scene to be told from?

    There you have it. I won't wrap up this review with a string of superlatives. Instead I'll repeat a line from the film, in which Keaton takes the theatre critic to task for her reviews, and so succinctly states everything wrong with film criticism today: "there's nothing in here about technique, or structure, or intention...it's just a bunch of opinions backed up by a bunch of other comparisons!"

    I hope I have offered a review that does the former, and offers some insight and analysis into something you might really love. Give it a chance.
  • Published on

    Finishing School!

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    The older gent who'd asked earlier about Third and Marion– the ferry terminal– sidles up as we approach his stop. He's in beige slacks and a golf hat.
    "How d'you like living on Bremerton?"
    "Well, it's cheaper!" he replies with a smile.
    "No fair, I'm a little jealous!"
    "It's still up and coming. There's a lot of blue collar folk, sailors,"
    "Right up my alley!" I say, tugging on my uniform collar, which really is blue. He loves this, laughing richly.
    "You haven't been doing this very long, have you?"
    "You know, it's been seven years."
    "Whoa. Wow. They obviously sent you to finishing school!"
    We're both giggling. "Something like that!"
    "Seven years, and you still...."
    "I still love it, by some act of magic. Fingers crossed!"
  • Published on

    It's Neutral Beige's Night

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    I still wonder if it had gone differently had I been a little more present when they got on. These two men were the last two to rush aboard at Fourth and Pike, just in time now, right as the light turned green.

    The first man was a squat and burly older figure with an ex-football frame, that familiar silhouette of muscular shapes gone plump. Shorts and a torn T-shirt, fifties, white. He asked if I go to Broadway. Yes, I answered distractedly, checking around to see if it was still possible to take the light. Just behind him the second man boarded, a tall, thin fellow in his sixties, dressed in a neutral beige jacket, khakis and walking shoes that curiously didn't identify any class  or status affiliation. He may have been homeless or a millionaire, European or American. He nodded as I said, "glad you made it." I closed the doors and said into the mic, "okay, we're gonna take this light here, hang on," smoothly accelerating away with six seconds left. Plenty of time. 

    We continued up Pike without incident. Ex-football man sat up front watching the proceedings, grunting with satisfaction as I dove into the bus lane to skirt traffic. I thought about engaging him but didn't, enjoying a moment of quiet time. Maybe I should have. Beige fellow was seated next to him, but they didn't speak with each other and were clearly strangers.

    At Bellevue and Pine, we rolled to a gentle stop for the red light. Football stood and came up to me, saying, "hey, can I get out right here? I kinda wanta go to that store, what is it, Benson's, back there on the corner."
    "You know, I've actually gotten in trouble for doin' that, so I gotta say no, but there's a stop around the corner."
    "But I wanna go to the store."
    "Yeah, there's a stop just up the block here. Didn't you say you wanted to go to Broadway?"
    "I know. I wanna go right back there."
    The light is staying red, and staying red, and staying red. "I can let you out around the corner here, we got a stop just up the block."
    "You can't let me off right here?"
    "We're almost there."
    "How about if I go out the emergency window?" He points at the first door side window that has a red emergency lever, which happens to be directly behind those first side-facing seats, where the neutral beige man is sitting.
    "You can do that," I say, not expecting him to.

    He stalks his squat frame over to the window and pulls down the red lever, pushing out the window, preparing to stick his leg through, but– there's one small problem. The beige guy is in the way, sitting right in front of him. He's been sitting there, oblivious to the above conversation, and now he's confused: there's a burly guy with a handlebar mustache standing right in front of his face, doing– what? Sticking his leg over my shoulder–

    "What? What the fuck are you DOING?!" he screams.
    "Outta my way," mutters Football.
    "STAY THE FUCK OFFA ME!" Neutral Beige lifts his legs to his chest and shoves them with all his might into Football's stomach. Football is propulsively thrown backwards, crash-landing into the wheelwell right behind me. A girl sitting in the midst of all this stands up, disentangling herself, and walks to the back. I imagine she's thinking, since when did fights happen at the front of the bus? 

    The burly man lunges forward– "STAY THE FUCK AWAY FROM ME," from the the Beige guy, hollering at top volume– lunges forward and grabs the old man's legs and yanks backward, almost appearing to be trying to pull his legs apart from his body. Now the old man's waist and legs are on the floor with his top half following quickly behind. He is on the floor but not completely, his neck still pinned on the seat bottom, and Mr. Football is collapsing on top of him, going at it with his fist.  A right into the man's face or left shoulder, hard to tell, somebody's knee hitting the floor. Neutral Beige flounders with his arms, blocking, rotating rather ably out from underneath, shouting in stammers. "Get the, fuck off...fucking asshole...." We're moving into the language of grunts.

    All this has been less than ten seconds. That red light is still red. I open the front door, saying loudly, "guys, guys, guys, okay," and Football stands, extricating himself from this mysteriously capable older fellow and running into things on his way out the door, howling in tongues, throwing scraps of paper at me, trying to get back inside but I'm closing the doors, yes just in time, thank you, and the light is mercifully now turning green. I roll slowly away. He's out there still, like a fairy-tale monster who just won't go away, still chasing after us, smashing his fist into the front side window, shattering it into a thousand spiderwebs. So much energy. Where does it come from? Why do fights always happen over the most picayune matters?

    Eventually, of course, he's gone. Neutral Beige is gathering himself, talking to the others around him. I ask, "how ya feelin'? Can I call the police for ya, if you want to make a statement...?"
    "Nah, it's up to you."
    "You sure?"
    "Oh yeah, I'm fine."

    I looked at him. He was sitting there, much like before the incident, but there was something new in this scene. His being was completely energized. He exhaled with a relief that couldn't fully hide his excitement. 
    "You feel alright?"
    "Oh, yeah, it's nothing."

    Actually, he felt great. 

    You could smell it. Exhilaration was coursing through his veins, and he was no longer old or young or tall or whatever; he was the original version of himself, the invincible youth we all remember being, and his quality had just been proven to himself in no uncertain terms. Wouldn't you feel great? The worst thing you could imagine, the worst-possible scenario had taken place on his bus ride home. He was attacked by a younger, bigger, stronger man without provocation, and he had held his own with no assistance. I've still got it, you think to yourself, and everything is in its right place. It's not something you discuss with others. He just sat there, trying not to smile.

    "I hope you have a great rest of the evening," I told him when he got off. 
    "Oh, I will," he said, allowing himself a small grin, the vitality beaming through. I think he was the happiest person on the bus.