The Prowess and Fortune of a Street Vendor

A Parson 2
Alexander Parson, street vendor, organizes book inventory on the corner of 72nd Street and Broadway

 

By Lynnette M. Booker

One of the many advantages of being a street vendor is the tangible sense of free will: the freedom to set your own hours and change business locations indiscriminately. But Alexander Parson, a local street vendor, says he will never leave the Upper West Side where the money is easy and the commute is a few blocks down the street.

Parson wakes up every morning and leaves his apartment which he shares with his brother’s family. Before the sun rises, he walks four blocks to the intersection of 72nd Street and Broadway where there are two tables covered with large tarps. Parson sits beside the tables on a black crate with a cup of coffee to keep his hands warm. He doesn’t remove the tarps. He just sits and reads and waits for the sun to break.

In a pair of blue jeans, a blue navy peacoat, and worn construction boots, Parson doesn’t meet one’s typical expectation of a businessman. Despite his appearance, Parson says he is in the book business, not the bookstore business where a startup costs over $3,000, financing is over $3,000, average monthly expenses are over $70,000, and average monthly sales are over $80,000, which leaves the owner with an average monthly profit of about $11,000. Parson makes a little over a quarter of that a month. He doesn’t pay rent or wages, and he doesn’t have a store—just two long tables to tend.

This is the day-to-day workings of an informal street vendor on 72nd Street and Broadway.

As the sun rises over the Upper West Side, there are cinematic elements that one sees in films about New York. The streets teem with pedestrians. The sounds of impatient honks and the rattling trains beneath your feet. The well-known vendor, who everyone seems to know by name, engages in jovial conversation or stern inquires about his inventory that most often concludes with firm handshakes and less often with cash transactions.

Later at 9 a.m. Parson begins to unwrap his tables which lie at the head of a succession of tables down Broadway, teeming with New York’s most precious commodity: books. Hundreds of books are stacked, one on top of another, on Parson’s tables. From a distance, they look haphazard and informal but every book is categorized by themes—classic, modern, history, theatre and art, autobiography and biography, and, American and British novels.

The question is how does Melville and Hemingway, RuPaul and Lauren Conrad, and even Oprah Winfrey ends up on his tables?

“I don’t buy books; it’s not like I have a store,” says Parson. “Everything is donations.”

Parson’s movements are fast and brisk as he sorts through new inventory. Suddenly a pedestrian walks up behind Parson and scans the books. He picks a few up, flips through their pages, and then smiles at Parson before he walks away.

At 52, Parson, stands as an exemplar of perseverance in America. He started six years ago as an apprentice for two street vendors. For one year, Parson worked under their management, transporting and selling books, and completing other menial responsibilities. That same year, when the men decided to retire, they handed down their tables, business contacts, and inventory to Parson. In a year, he gained expertise in street vending and a chance to change his circumstances at the age of 46.

Late into the afternoon, he sits, stands, and socializes with other vendors through the chilly, overcast day. With satisfied sells, Parson disappears for an hour. Massy White, another street vendor who works beside Parson, tends to Parson’s tables while he is gone. The street vendors on the Upper West Side have a brotherhood: a code to look after each other’s tables when one is gone.

Parson returns with more books.

Parson is very scrupulous about the quality of the books he sells even though they are donated. He doesn’t accept books that have been written in, highlighted, have bent and loose pages, and that are crinkled and torn.

“The better condition of the books, the better price you can get,” he says, which an average book on his table sells for $5. A much better deal that one would get at Barnes & Noble.

As Parson packs up his wares, there is a stillness on the street as if there is an invisibility between him and the pedestrians. The civility is gone and soon will he, but the books will stay.

When the street vendors close business for the night, there are no carts and no van or trucks and no storage barrels. The same books that are donated for sell are the same books left on the street—unguarded and unprotected.

“There is a respect in the neighborhood,” Parson says.

Later at 8 p.m., Parson covers his tables with the same tarps and ties their corners securely around the tables’ legs; then, he walks away.

The Gory Tale of The Hateful Eight

The Gory Tale of The Hateful Eight

Lynnette M. Booker

The Hateful Eight is a gory tale—just a story—about two bounty hunters, a fugitive prisoner, and a so-called sheriff travel to the town of Red Rock during an unexpected blizzard. To avoid being caught in the blizzard, they take shelter at Minnie’s Haberdashery in postbellum Wyoming, where they meet a motley group of men who are conspicuously untrustworthy. The bounty hunters and the sheriff soon realize the men are not who they say they are.

Quentin Tarantino’s eighth film, once again, redresses the Negro (Black) role, this time in post-Civil War in America through the character Major Marquis Warren (Samuel L. Jackson), who is the hero in the film and exploits his power as a revered major and bounty hunter.

We meet Warren after a soaring overture while a stagecoach carrying John Ruth (Kurt Russell), a bounty hunter known as “The Hangman,” and Daisy Domergue (Jennifer Jason Leigh), a fugitive prisoner, hurtles through snow. The stagecoach halts at an unexpected barricade made of white, frost-bitten corpses with Warren patiently perched on high. Warren is stranded and needs a ride to Red Rock.

The image of a Negro man stranded with a pile of white corpses happens not to bother O.B. or Ruth, which in post-Civil War America would have been an unlikely and intolerable reality as we know it. The only thing that bothers Ruth is whether Warren, whom at the time he doesn’t recognize as an acquaintance, is going to steal Daisy, who has a $10,000 bounty on her head. After a few precautionary measures—removing of weapons, showing proof of paperwork, and answering inquisitive questions—Ruth allows Warren passage to the town of Red Rock with them where Warren is also headed to cash an $8,000 reward he has for combined corpses. Immediately Daisy voices her opinion about taking up with a “Nigger,” and instantly Ruth elbows her.

In the stagecoach, Ruth asks Warren if he can, once again, read the letter from Abraham Lincoln. Warren modestly obliges. Ruth is astonished over the letter and in excitement shows Daisy, who instantly spits on the letter. Immediately Warren punches Daisy in the face so hard that she flies out the moving stagecoach along with Ruth, who is handcuffed to her. Warren signals O.B. to halt with two pounds to the ceiling of the stagecoach. As Warren goes to rescue his letter and apologize for his negligent impulse, O.B. warns them of a man in the distance. Immediately Ruth assumes that Warren and the man are conspirators to steal his bounty on Daisy’s head. With fear and trepidation, Ruth demands Warren to put on the handcuffs, and in seconds of threat-like convincing, Warren grudgingly obliges.

The man introduces himself as Chris Mannix, an avowed racist who claims to be the new sheriff of Red Rock. Coincidentally, they are all headed to the town of Red Rock. Warren and Ruth don’t believe Mannix is the new sheriff of Red Rock because of his family’s history as Southern renegades. Despite the conspicuous coincidence, Ruth allows Mannix a ride but only under the condition that he wears handcuffs. When Mannix refuses to put on the handcuffs, Ruth makes it clear: no handcuffs—no passage.

Mannix instructs O.B. to inform the town folks in Red Rock to charge Ruth with his murder. If Ruth leaves Mannix out in the blizzard, it is like leaving him out to die, which constitutes murder. Ruth quickly ruminates over Mannix’s statement. Weighing his options, Ruth strikes an agreement with Warren that they will have each other’s back as a means of protecting each other’s possession of bounty. Ruth removes Warren’s handcuffs and allows Mannix into the stagecoach, which now heads to Minnie’s Haberdashery to seek shelter out of the storm, where they meet an assortment of inconspicuous men: the Mexican, the Englishman, the cow boy (man), and Confederate soldier.

The film makes a sharp turn into a guessing game of figuring out what is true and isn’t.

No SPOIL alerts!

The movie is a must-see—it is funny, shocking, bloody, entertaining, and has beautiful sumptuous shots, uncompromising language, and the best character of all, Daisy Domergue, whose background is mysterious yet needs no explanation. Daisy’s brutish demeanor and sadistic impulses are explanation enough to why she is being hanged. She is a character who seems expected to receive the most sympathy, perhaps because she is a woman, but happens to be the character we hate the most. Even though Domergue is subjected to the most verbal abuse and beatings that seem justifiable in every way, she shows how much stronger she is than all her male counterparts. She freely says what comes to mind and usually is pummeled for it, even once with a hot bowl of chicken stew in the face. But Daisy recovers from each blow with depraved relish (she licks her wounds with pleasure).

Once again Tarantino pushes the envelope that regards him as a lauded film maker.

Tatum Takeover Lip Sync Battle

By Lynnette Booker

Lip Sync Battle’s Season Two premiere was a Tatum take over, with Channing squaring off against wife Jenna Dewan Tatum on Thursday. Channing, pulling off a stellar performance of Beyoncé’s girl empowerment Run-the-World, flawlessly upstaged Jenna when Beyoncé joined him on stage. Immediately the crowd went wild as Jenna, herself, standing behind a disbelieving LL Cool J, appropriated the right expression—stunned—along (as well as the) with the expression that one has realized that she has just lost the competition.

But before Channing pulled an epic performance on the show, ever, Jenna executed a gyrating rendition of her husband’s performance in Magic Mike. From gyrating with a metal polisher to a metal pole to a large nail gun, Jenna concluded her sexy performance with penal gestures and a Tatum on Tatum lap dance.

After host LL Cool J announced a tie, it was clear that Jenna was taking home the winner’s belt.

Lip Sync Battle airs Thursdays (10 p.m. ET) on Spike.