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Zero History

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interesting, required volunteers, the bulk of them young men. Who might otherwise be,<br />

for instance, skateboarding, or at least wearing clothing suggestive of skateboarding. And<br />

male streetwear generally, over the past fifty years or so, she said, had been more heavily<br />

influenced by the design of military clothing than by anything else. The bulk of the<br />

underlying design code of the twenty-first-century male street was the code of the<br />

previous midcentury’s military wear, most of it American. The rest of it was work wear,<br />

most of that American as well, whose manufacture had coevolved with the manufacture<br />

of military clothing, sharing elements of the same design code, and team sportswear.<br />

But now, according to the French girl, that had reversed itself. The military needed<br />

clothing that would appeal to those it needed to recruit. Every American service branch,<br />

she said, illustrating each with a PowerPoint slide, had its own distinctive pattern of<br />

camouflage. The Marine Corps, she said, had made quite a point of patenting theirs (up<br />

close, Milgrim had found it too jazzy).<br />

There was a law in America that prohibited the manufacture of American military<br />

clothing abroad.<br />

And that was where Bigend, Milgrim knew, hoped to come in. Things that were<br />

manufactured in America didn’t necessarily have to be designed there. Outerwear and<br />

sporting-goods manufacturers, along with a few specialist uniform manufacturers,<br />

competed for contracts to manufacture clothing for the U.S. military, but that clothing had<br />

previously been designed by the U.S. military. Who now, the French girl had said,<br />

somewhat breathlessly, as though she were closing in on a small animal in some forest<br />

clearing, clearly lacked the newly requisite design skills to do that. Having invented so<br />

much of contemporary masculine cool in the midcentury, they found themselves<br />

competing with their own historical product, reiterated as streetwear. They needed help,<br />

the French girl had said, her mouse clicks summoning a closing flurry of images, and<br />

they knew it.<br />

He sipped his latte, looking out, watching people pass, wondering if he could see the<br />

French girl’s thesis proven in the garments of this morning’s pedestrians. If you thought<br />

of it as a kind of pervasive subtext, he decided, you could.<br />

“Excuse me. Would you mind if I shared the table?”<br />

Milgrim looked up at this smiling American, ethnically Chinese, in her black sweatshirt,<br />

a small plain gold cross, gold-chained, worn atop it, one white plastic barrette visible, as<br />

some unsleeping module of addict street-alertness, hardwired to his very core, crisply<br />

announced: cop.<br />

He blinked. “Of course. You’re welcome.” Feeling muscles in his thighs bunching,<br />

tight, readying themselves for the dash out the door. Malfunction, he told the module.<br />

Post-acute withdrawal syndrome. Flashback: His limbic brain was grooved for this, like<br />

the tracks of the wheels of Conestoga wagons, worn ankle-deep in sandstone.<br />

She put her sacklike white pleather purse on the table, her plastic-lidded pale blue Caffè<br />

Nero cup beside it, pulled out the chair opposite him, and sat. Smiled.

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