The Hall
In the hall of Lutheran Hospital, the hall that connects the third floor of the Orthopedics Hospital to the regular part of the hospital are windows on each side--large windows that a car can go through, windows that start two feet from the floor and stop two feet from the ceiling, windows that aren't divided by much except about every three to five, where a piece of wall jets out. The windows are situated much like window seats without a cushions. In this hall are three offices and a small boutique center, which is no longer in business. The offices and the empty boutique divide up one side of the hall, making a center nook, the place where I sleep in the evening. This is how the three offices and the empty boutique are arranged: The empty boutique and one office is placed closes to the regular hospital, the office down the hall. Some 30 feet is left for chairs and tables, the nook I mentioned, before the next two offices appear. After those offices, another open space where the windowed-wall cuts into the doors that lead to the Orthopedics Hospital. The offices, upon inspection one day, when noticing a door open, has the very same large windows as the hallway. Here, in the nook, a pocket of sorts, is my bedroom by night. The chairs and couches in this part of the hall are different from those in the other cubby hole area and the waiting are for ICU, except for the chairs used around the tables. (I must stop this observation briefly to tell you about one conversation I can hear, one of many that becomes part of this hallway: much grief finds its way to this hall. An older gentleman with a midlife women pass me to stand in front of the empty boutique. She begins to cry, he pats her back, in a hug I suspect, but I can hear the light patting; whispers and whimpers persist. There is much of this here; and still there is laughter as families meet, coming to know grief, often over an older person, not the young--the young are few here.)
Back to those windows; they intrigue me. The large windows allow vision to the construction of the main hospital, a fifth floor addition. Sometimes I imagine the crane not functioning correctly, the items upon its lift smashing through the hall. Here, it is quieter, even during the day, less traffic, even when the carts come barreling through with equipment and people walking to and from each hospital. The waiting room is always full, the elevator always busy.
As I attempt to finish this sketch, I am not in the hallway. I cannot honestly recall the wall colors. I can see the pattern in the chairs: the green and green blue colors. As vivid as I think the pattern is in my mind, as often as I have it, I'm without words to describe it because it is not in front of me. At a glance, from memory, a person can assume it is camouflage, which I say it is, but the pattern . . . I must see it, is not truly leaves and twigs--or is it. I've yet to determine if there is a genuine pattern with all the times I have stared at it. (Again grief can be heard as I sit alone in the hallway, sit on one of the couches that make up my makeshift bed late at night; a man talking to a brother, a sister, I do not know who, but someone who comes across as family by the way he speaks. His mother has been sent her from St. Joe. The situation is not good. She has been made more ill by the actions taken at St. Joe. His anger doesn't override his grief, but his voice speaks the pain of negligence, of lawsuit. The many different issues that bring us here.)
I have made time to write while in the hallway. My makeshift bed all tore down, I sit looking about me. The walls are a dirty cream, not quite a tan with a peach tint. Those chairs--let me get to them in a moment. The floor is carpeted: green mainly, a dark green, probably a hunter green with a cream and barn red in a splattered patterns highlighting the greens. This carpet comes in a darker type pattern as well, which creates a square outline in some areas of the hall--well this one is rectangle. Now for the chairs and couches: a person can witness leaves and twigs, but the lay out of the pattern is very deceptive because squares come in--some squares have tattered edges. There are a few vines with leaves at the tips, but don't stand out. The colors of this pattern also throws a person off: slate gray, off-dirty white, three to four tones of green with a blue hint in them. The couch pattern I've stared at mostly develops its own character, an entity, as if it shifts shapes, moves as if uncomfortable with its being: an eye within a jaw, the jaw jetting out sharply like that of a broken skull where the jaw protrudes. This same pattern repeats, but because of its position on this couch it stands alone.
There are two coffee tables in here; all the tables are alike among the three areas. The top is bordered by light colored wood, the same wood used for the legs (and beneath most likely). It feels like polished compressed wood. The top itself might be formica, a tan, brown mixture of colors in a splattered-marbled pattern.
Oh, those chairs have wood along the back and the cushions are divided by the same wood, making the couches look like individual seats, three side by side. The couches and chairs are wood framed benches of sort.
On one wall hangs a TV--LG; a light switch at the edge of this wall (this is the wall against the centered offices). Across from it, on the other wall, hangs a picture. Until now, I have not noticed it, I have not paid attention to it, nor looked at it.
I will not be finishing this sketch unless my son is placed back into ICU. He has moved to the regular part of the hospital, meaning he is better. There is much more to sketch.
