The narrow corridor leads to an open, yet small area. This area is a room that is visited quite frequently
by the people who dwell here. The ice cold,
beige, ceramic tiles line the floor in repeated twelve inch squares
that demand you cover your feet before you dare step on them. There are two type of walls in here: one
regular drywall, the other cinder blocks—both are painted sky blue, both are chipped and cracked. On the front wall, the one with the cinder
blocks, two identical, brown frames hang, encircling sheer reflective panels. These panels hold the power to replicate
anything that stands in their way.
Directly below these frames, a counter space extends, composed of a
cream marble laminate covering over smooth, light wood.
Two gaping holes are cut out of the counter-top; this is
where two matching porcelain bowls are nestled—they sit directly in front of
the frames. A silver, shiny canal
rests atop the bowls, where pure, clear, liquid smoothly flows through and
splashes into the bowl which catches its every drip. The presence of this sight is initiated by pulling
a knob on either side of the canal.
Depending on which one you turn, you have the power to control the
temperature, speed, and duration of the liquid.
Next to each porcelain bowl sits a pump containing thirteen point five
fluid ounces of an antibacterial, white cleanser that promotes healthier and
softer skin, predominantly used on one’s hands.
Next to the laminate counter-top, attached to the cinder block, sky blue wall, is a single, white, command-strip hook.
From it, hangs a one foot, fuzzy, black, tight-knit, cloth. It collects the wet particles from one’s
hands, leaving hands smooth and dry, while the cloth itself becomes damper and damper.
The usefulness of this area, though, isn't solely for the
cleansing of one’s hands; it’s what is done before the cleansing of the hands that
titles this room for what it is. Across
from the porcelain bowls sit two larger porcelain bowls. Each is bright white, rests nicely on the
floor, and includes a lid to cover the bowl when not in use. In each bowl sits the same clear liquid that
the counter-top bowls produce, although this liquid is not for one’s hands. These white, sturdy bowls are meant to sit
on. One would choose to sit on the bowl
to relieve and release any inner pressures or discomfort that one may be
feeling.
Next to these large bowls sit a metal stand with a larger,
circular base. At the top of the metal
stand, another piece of metal protrudes to the side, allowing something hollow
to hang off of it. On this stand, thin, white,
flower embossed, square tissues hang, connected by perforated lines. These tissues are wound around a dark brown,
circular cardboard and hung on the metal stand.
Directly in front of the grand bowl is a white curtain with
twelve small holes at the top, spread evenly across the entire fabric. In each of these holes, a plastic, circular
clip loops through, joining the curtain and the metal bar above it, allowing
the curtain to not only hang, but to open and close with external force. This allows privacy for those using the large,
white bowl.
After one is finished, one precedes to push down a silver
lever, placed on the white backboard of the deep bowl. When this lever is pushed, the liquid and
other containments circle round the bowl and then disappear through an opening
in the back. Accompanying this act is the
rushing sound of a vortex approaching and then quickly fading.
Then, one opens the curtain and walks four steps forward to
the smaller porcelain bowls. One would
use the antibacterial, creamy substance to remove any germs that have
accumulated over time, rub their hands against the black, fuzzy, cloth hanging
on the sky blue, cinder block wall, precede down the narrow corridor, and go
back to whatever they were doing before their bladder called.
