I’m a little late for this but batteries aren’t included and better late than never. Since I’ve been tagged twice, once by skdadl at pogge and again by Beijing York at Resettle This!, I supose I better hop to it. I am largely unemployable except in a particular field that is filled with directionless hopefuls who just like to read. And I don’t even really like to do that. I’ll let you know how it turns out.
Anyway, here is work that I have been paid for in my life, as far as I can remember.
- Installing motherboards in new computers for Medway High School
- Casual worker hired out by the Youth Employment Agency
- Dishwasher at a Chinese-Jewish restaurant (with two very offensive caricatures on the front of their menu)
- Grill cook and sandwich maker at same
- Campaign Volunteer for an anti-gay, anti-feminist, anti-poor Ontario Progressive Conservative candidate. I’m still working this off.
- Gas station attendant at Canadian Tire
- Cook at Mongolian Grill
- Cook (again) at the wonderful Kelsey’s restaurant
- Tree thinner and Brushcutter in Alberta, BC and Quebec. Best job I ever had by leaps and bounds.
- Catering cook
- Usher at Centaur Theatre
- Barista!
- Primo Barista!
- Volunteer producer for community radio station
- Admin assistant at University Secretariat
- Grad Student. Not really a job, or paid.
- Reader for James Tait Black Award for Fiction
- Now I work in a pub serving cask ales and whisky to lonely criminal lawyers and actuaries in Edinburgh’s New Town. Hurry up please its time.
As for tagging five other bloggers, you’ll have to wait for an update. I’m new to this (see lateness, above) and the only bloggers I ‘know’ have already tagged me. Maybe I can come up with something, but this will have to do for now!
Filed under: Film | Tags: 9/11, James Marsh, Karlheinz Stockhausen, Man on Wire, Phillipe Petit, Wire Walking, World Trade Center

I saw James Marsh’s fantastic Man on Wire (2008) last night. It’s a film about Philippe Petit, wire walker par excellence. Paced like an action film, Marsh uses interviews, tasteful re-enactments and original footage to recreate Petit & co.’s daring ‘coup’ in which they counterfeit identification, dress-up alternatively as workmen and businessmen, fire an arrow from one tower to the next with a cord attached and string a 450-pound cable between the newly constructed World Trade Center towers. All this for the easy part: for Petit to walk above 110 stories in the early hours of 7 August 1974.
Even the Port Authority police officer, Sgt. Charles Daniels, sober in his report to the press, couldn’t hold back his wonder in the final instance:
I observed the tightrope ‘dancer’—because you couldn’t call him a ‘walker’—approximately halfway between the two towers. And upon seeing us he started to smile and laugh and he started going into a dancing routine on the high wire….And when he got to the building we asked him to get off the high wire but instead he turned around and ran back out into the middle….I figured I was watching something that no one would ever see again, that it was a once-in-a-lifetime experience.
There is the added thrill of seeing these artists, vagabonds, grifters and potsmokers break into the WTC in the context of the 1993 attempted bombing and of course, 9/11. As Marsh says in an interview with Time Out,
it’s basically a plot against these buildings, and they’re all foreigners. They’re hanging around and taking all sorts of photographs and pretending to work for various official companies in order to gain access. The big difference is that the end result is something beautiful. It’s illegal, but it’s not wicked.
For me, that’s the magical part of Petit’s story. After 9/11, Electronic music pioneer Karlheinz Stockhausen, when prompted for a reaction to the attacks on the WTC, famously responded by calling them ‘the greatest work of art that is possible in the whole cosmos’. The hijackers, he continued, had achieved ’something in one act’ that ‘we couldn’t even dream of in music’, in which ‘people practice like crazy for ten years, totally fanatically, for a concert, and then die….You have people who are so concentrated on one performance, and then 5000 people are dispatched into eternity, in a single moment’. It was grotesque detachment on the part of Stockhausen, but certainly, this sentiment is going through the back of our minds when we watch Marsh’s film. Except wonderfully, magically, Marsh, through Petit, subverts the horror, the ate of the September 11 attacks and gives us the beautiful image of a man dancing a quarter mile above the streets, kneeling in midair and saluting us with an impish flourish.
Marsh inlays Petit’s story with all the conventions of a heist flick: love interest, ‘professionals’ vs amateurs, the untrustworthy accomplice, and a bond of homosocial love between the protagonist and his lifelong friend shattered by the momentousness of the crime. However it is difficult for any mere action plot to recreate the drama contained in this candid statement from Petit:
I had to make the decision to take my foot, anchored on the building, and put it on the wire. Not many people dare to take that first step – to land on the Moon, to dive into a great abyss in the sea. I feel that sensation each time I grab the balancing pole and start a high-wire walk. It is not exactly the same feeling each time, but it is a feeling of intimate decision. Not for nothing is it called the first step, like the first step on a new continent.
It’s a beautiful thing. See it!


