Snapped. Pamela Klaffke

by, but she says it was no big deal to nip up there and back. She’s also picked up cut flowers and opened the blinds to the day.

      “I have Mondays off,” she says between bagel bites. “We shoot Tuesday to Saturday.”

      I remember now. She’s a film office PA. She lives in Pointe-Claire with her parents. There’s a guy with a hat and porn on his phone. “So what are your plans for today?” I ask.

      “I don’t know. Just hang around, I guess. But should probably go home and change. I used your shower, though. I hope that’s okay.”

      “Use whatever you want. And if you’re looking for something to wear, I’m sure you could find something at my office—we’ve got piles of stuff.” It is true. The Swag Shack is full of free stuff companies send us in hopes that we’ll write about it, put it on our IT LIST. Most of the stuff is crap that no one could possibly want, but sometimes it is such spectacular crap we put it on our ICK LIST. Then the publicists at the companies—the very people who sent us this crap stuff in the first place—call up whining and angry and we laugh at them and ask them if they’ve ever actually read Snap and they get all flustered and say yes, of course, but are suddenly nervous and polite and have a call they have to take on the other line, so goodbye.

      There is good stuff, too. Cute clothes, but it’s been ages since a pair of pants that fit me have come in and I could use new pants. The free-stuff publicists call up our market editors and ask about me, about Ted—favorite colors, hated colors, sizes. I haven’t gotten around to telling anyone that I’m not an eight, but a ten now, so none of the pants they send over fit. If they ask, I tell our market editors I don’t like the pants—any of them—even if I do. It’s better than sending some internal e-mail that’s sure to end up on someone’s goddamn blog announcing that my ass is fatter. Like they haven’t noticed. But skirts, if they’re A-line or pleated, they fit. My waist is still an eight—it’s my ass that’s a ten. And tops are fine. Shoes and handbags are the best. I don’t wear jewelry so I couldn’t care whether it’s free or not.

      I take Eva to work with me. It’s exciting for her and I’m happy that she drives and that I don’t have to walk or contend with the Metro today. My legs are achy and my knee cracks as I cross it over the other in the passenger seat of Eva’s Saab. She presses a button and the top comes down. I’m grateful for this because I worry that the smell of my hangover has defeated that extra spray of perfume.

      The Snap building is squat and two storeys, a former embroidery factory in the east end. The first floor is reception and production, there’s a fully equipped photo studio, and piled high to the ceiling in one corner there’s a heap of old Macs that looks like it could tumble down at any moment, but really they’re all superglued together and affixed to the wall. Sometimes when Ted and I are taking corporate clients though we tell them it’s art.

      I spin Eva around through production, the studio, mumble a few introductions. She seems impressed and keeps saying, “Oh, my gosh.” Eva doesn’t swear, I’ve noticed. She says goodness and gosh, and I’m waiting for a golly-gee. This could annoy me, but it’s Eva so it doesn’t.

      We take the freight elevator to the second floor. I can’t face the stairs even though I know my ass will never shrink riding an elevator. Today I’m a lazy bitch and I couldn’t care. I’ve brought a CD with the DOs and DON’Ts fashion photos for the week. I’ll give it to Layout, then show it to Ted, who will laugh and sign off and we’ll get proofs of the entire issue and mark it up one more time before six when it has to go to the printer. By noon tomorrow it’ll be in record stores and fashion boutiques and cafés in Montreal that we’ve personally approved. On Wednesday, it’ll be in more record stores and fashion boutiques and cafés across the country and in the States that I suppose someone at some point has visited and approved on our behalf, but that’s Ted’s responsibility, not mine.

      My office, like Ted’s, is an actual office, with walls and windows and a door that locks. When we first moved into the building it was all open and chaos. Music blared and people smoked at their desks, although even back then it was against city bylaws. There’s still music and chaos and it’s fun to watch through the windows of my quiet, sound-proofed office, but I have to smoke on the roof.

      Music and chaos is good for business, so we built the boardroom in the middle of it all and glassed it in. Ted’s in there meeting with our branding team. I wave and he nods. I lead Eva to my office and collapse immediately into the swiveling fuchsia chair I received as a gift from a boring furniture manufacturer that made a splash in the market by hiring a flamboyant women’s wear designer to create a line of equally flamboyant home and office furnishings that got lots of press but sold abysmally. Our research showed the price point was too high—there are only so many people who will pay eight thousand dollars for a polka-dot leather sofa and they don’t shop at the boring furniture manufacturer’s stores. So they can’t say we didn’t tell them so.

      “I love your chair,” Eva says.

      “Here—give it a try. It’s stylish and ergonomic.” Christ. I’m an infomercial. I muster all my strength and lift myself out of it, placing both hands on my desk in front of me for balance. I hear my knees crack—both of them this time. Beside my desk there’s an empty garbage pail. It’s larger than your average office garbage pail, but I know I can’t wedge my ass into that one, either.

      Eva spins around in the fuchsia chair. “Mmm. Comfy.”

      “Free,” I say. Like that explains anything. I think I may be retarded today, but I know enough to know I can’t say that because this isn’t junior high when Ted and I called everything gay and retarded and we called each other gaylord and retard. You can’t say that unless you created South Park and you’re saying it through those animated kids that are surprisingly still funny, because you never know who’s gay or has a retard in their family.

      Pleased with my self-censoring restraint, I walk Eva to the Swag Shack. It’s the Swag Shack because that’s what’s burned into the plank of wood above the door. It’s a room, the office Ted and I were going to give to the fancy financial executive we never got around to hiring. Instead, we beefed up our in-house accounting staff and none of them are fancy enough for an office. But we may have to rethink this because they keep complaining about the chaos and the noise and someone quits what seems like every second day, but is actually more like every five months according to Ted, and Ted would know because they report to him.

      The Swag Shack is jammed with racks and shelves. There’s free stuff everywhere. I let Eva loose and tell her to grab what she wants and come back to my office when she’s done. I think she’s going to freak—her eyes are all buggy and glazed, her mouth twisted in wonder. I’ve seen this look before—on girls the first time they enter the Swag Shack, on guys who are fucking me right before they come and on drummers, particularly the ones who are good.

      “Sara, oh, my goodness! I don’t know where to start,” Eva says. She hugs me and I pat her shoulder. “Thank you!”

      “Take as long as you want,” I say and lope back to my office.

      My eyes swim across the page. I’m in the boardroom proofing with Ted and our art director, Brian. My head is throbbing and I’m out of Advil. I’m sticky and sweaty and if there was ever any doubt earlier in the day that I was toxic and stinky, it’s gone. I want to crawl under the giant kidney-shaped table, but it’s glass-tinted, completely see-through—and people will notice. I force myself to read each word, take in every photo cutline, check the folio at the bottom of the pages. I find a missing word and I’m very proud.

      I get to the DOs and DON’Ts page and there’s Parrot Girl, looking disaffected, slouchy and numb. It’s not too late to move her to a DO, but I don’t because that will just make me feel more toxic and retarded. I sign off on the issue, as do Ted and Brian, who scrams at once, pressed to make the final changes before deadline. My work here is done and all I can think about is my bed.

      “Who’s the redhead?” Ted asks as we’re clearing off the boardroom table.

      “What?”