Bookmarker tag: project/secret-life (60 notes)

Well, anyway, after a year we had an affair. It was intense and passionate, a big mess. Jude wouldn’t talk about it. I left him to live by myself with the children. Jude showed up and told me to get into the car. We were going to New York, where Jude would play jazz and we would save our marriage.

We never did discuss Max. We both worked hard in New York. Jude practiced and jammed, played Bronx weddings, strip shows in Jersey until he got into the union. I made children’s clothes that even sold at Bloomingdale’s. We were happy. New York was wonderful then. Allen Ginsberg and Ed Dorn read at the Y. The Mark Rothko show at MoMA, during the big snowstorm. The light was intense from the snow through the skylights; the paintings pulsated. We heard Bill Evans and Scott LaFaro. John Coltrane on soprano sax. Ornette’s first night at the Five Spot.

Her life in New York had been erratic and unconnected. She had lived hand to mouth most of the time, working a series of menial jobs that made her feel isolated and unseen, yet strangely safe. She ate dinners of rice and beans or boxes of Chinese takeout food on the floor. She stayed up until seven or eight in the morning working on her manuscripts, and then slept all day. She went to Harlem to interview voodoo practitioners. She went to nightclubs and after-hours bars, standing on the periphery of scene after scene with Leisha or some other, less central girlfriend. She took long walks late at night, especially in winter, loving the sound of her own muted footfalls, the slush-clogged city noises, and the sight of the bundled, shuffling drunks staggering home, looking up in surprise to see a young woman walking alone at 4:00 A.M. The desolation and cruelty of the city winter horrified and fascinated her. She was astonished by the contrasting layers of existence sitting so closely atop one another, and the desperate survival of bag people and misfits wedged into the comfortless air pockets and crawl spaces between layers. During her first year in the city she gave spare change to anyone who asked her. Eventually she gave money only if she happened to have some in her hand when she was asked.

My husband and I still have sex. We still go on dates. We still take family vacations. Nobody could call us “estranged.” It’s just that for the past four or five years, significantly predating my emotional affair, we seem to speak different languages, that old feeling of connection refusing to click into place, constantly getting stuck in the wrong groove. Maybe this is just what a long-term marriage looks like. Does my husband even think anything is wrong? He swings between chilliness and volatility lately, and I find myself acting overly polite toward him, like he is a customs official or a cop, knowing things will go more smoothly if I am “nice.” I used to be so intense that I exhausted him with my attempts at engagement. When I look at the early years of our relationship (when I loved him madly), the woman in those memories strikes me as a needy little dog perpetually trying to jump up on a too-tall couch, yapping the whole while. I don’t know what to make of the fact that my happiest marital years now also make me ashamed of myself. When we were first living together, he complained that I was too intense, too much, and three times made noise about breaking up, but then committed, became acclimated to my perpetual pursuit. If he’s noticed I’m no longer chasing, he hasn’t said so.

So, no. What she ought to do was wrap them up and send them off, without any enjoyment now; wrap them up and, disappointed, send them off; and in astonishment be rid of them. Also because a person must have some consistency, her thinking ought to have some continuity: if she’d spontaneously decided to hand them over to Carlota, she should stick to her decision and give them away. Because no one changed their mind from one moment to the next.

Rory knew before he came to New York what sort of life he would have. He’d read about it in novels by hip young authors who lived there. He saw the apartment, small but high-ceilinged, a tall, sooty window with a fire escape twisting past a chemical-pink sky. Nights in frantic clubs, mornings hunched over coffee in the East Village, warming his hands on the cup, black pants, black turtleneck, pointed black boots. He’d intended to snort cocaine, but by the time he arrived, that was out. He drank instead.

It is a hot, lazy day. They are becoming torpid from so many days of lying in the sun. They will be ready to go back to Chicago tomorrow.

“It reminds me of that place in France two years ago,” Lucy says. “What was that hotel?”

“Can’t remember,” Parker says. “Never can remember that stuff.”

They have been all over the world, Lucy thinks, watching the sea. Yet so little of it has stuck with her. She clings to names, to snapshots and matchbooks, but the many seasons have mingled hopelessly. She used to arrange their photographs according to which bathing suit she was wearing—the polka-dotted one in Cannes, the striped red in Spain. But the sand and water around the bathing suits all look the same.

A glorious day, today: New York hard-edged in the clear autumn sun, buildings sharply outlined against the open sky, streets crowded with pyramids of fruits and vegetables, flowers in papier-mâché vases cutting circles on the sidewalk, newspaper stands vivid in black and white. On Lexington Avenue, in particular, an outpouring of lovely human bustle at noon, a density of urban appetites and absorptions.

I think this was true for most of us at City College. We still used the subways, still walked the familiar streets between classes, still returned to the neighbourhood each night, talked to our high school friends, and went to sleep in our own beds. But secretly we had begun to live in a world inside our heads where we read talked thought in a way that separated us from our parents, the life of the house and that of the street. We had been initiated, had learned the difference between hidden and expressed thought. This made us subversives in our own homes.

As thousands before me have said, ‘For us it was City College or nothing.’ I enjoyed the solidarity those words invoked but rejected the implied deprivation. At City College I sat talking in a basement cafeteria until ten or eleven at night with a half dozen others who also never wanted to go home to Brooklyn or the Bronx, and here in the cafeteria my education took root. Here I learned that Faulkner was America, Dickens was politics, Marx was sex, Jane Austen the idea of culture, that I came from a ghetto and D. H. Lawrence was a visionary. Here my love of literature named itself, and amazement over the life of the mind blossomed. I discovered that people were transformed by ideas, and that intellectual conversation was immensely erotic.

Now, of course, the evidence is weighing heavily against me. This man and I had met at a journalists’ conference. Desire had flared quickly, and then happiness had taken us both by surprise. We had spent a month together. Now we had separated, I back to New York, he to the Midwest to finish an assignment. Our plan had been to meet in New York in six weeks. Meanwhile, he was to call the day after I got home. Two weeks have now passed: no phone call. He’s on the road. I have no way of reaching him. It’s been two weeks of concentrated misery. It’s the first thing I’m aware of when I wake, the last thing before I sleep. I sleep so badly that often I’m awake in the night, whereupon I remember and the pain is dazzling. By now I’m not a character in a Doris Lessing story, I am a Doris Lessing story. The world is a framed space filled in by obsession. I move through the space grim and staring-eyed, a modern woman condemned to the knowledge that the experience of love will be played out repeatedly on an ever-diminishing scale, but always with a full complement of fever and sickness, intensity and denial.

She copied them from dresses worn by movie stars, princesses, from the models of fashion designers. But she had the gift of remaking them so that on her they seemed more charged with energy. My mother never sewed a dress for herself that didn’t make her appear an extraordinary woman. Whereas at home she was diminished to a bundle of rags sitting on a chair, when she went out she endowed her body with the pride of the stunning appearance, the silver-screen splendor of the open-air cinemas on summer nights at the sea. She was a timid woman, yet in the way she dressed she demonstrated a boldness, an imagination that frightened and humiliated me. The more I hated her dressing up, the more, once outside, I felt around her my father’s alarm, the admiration of other men, their overexcited talk, the effort at gaiety intended to please her, the envy and the insult for the way she could make herself beautiful. The effect my mother had in a tram, in the funicular, on the street, in the stores, at the movies embarrassed me. The fact that she dressed with such care to go out, with her husband or alone, gave me the impression that she concealed a desperate disgrace, and I felt shame and pity for her. When, in the clothes she made for herself, she radiated all the light she could, that exposure made me suffer: seeing her decked out, I found her a badly reared child, an adult woman humiliated by ridicule. In those striking outfits I felt alternately seduction, mockery, and death. So a mute fury gripped me, a wish to ruin her with my own hands and ruin myself, and then to erase the false look of a diva’s daughter, the descendant of a queen, that she sought to give me by sewing night and day. I wanted her in her house clothes, that was my mother, even though I was pleased with her novel-like beauty. I wanted her without her flair for sewing. When I could avoid the clothes she made for me, I reacted with the desire to be sloppy: not to look like a pretty little daughter on special offer.

Ferrante: I’m very fond of The Lost Daughter. It cost me a lot to write. A story has to push beyond your very capacity to write it, you have to fear at every line that you won’t make it. The books I’ve published all originated like that, but The Lost Daughter left me feeling the way you do when you swim until you’re exhausted and then realize you’ve gone too far from the shore.

I am less interested in zombie stories, though, than I am in this neighborhood’s particular light. The thing I most want to tell you is how the sunlight is here, but I don’t know how to describe it. It’s obviously the same sun that lights the rest of the city, but there is something different about it. Maybe it’s our lack of trees, or the reflection of the river, or the lowness of most of the buildings, or the supersaturated colors, deep reds and greens, the bright wild complicated graffiti. We don’t have the trees of South Brooklyn, the shady corridors of stoops, the tall stately brownstones of Fort Greene or Park Slope. We don’t have cobblestone streets. What we have is this naked golden light. It’s a thin, big-sky light, kind of Western, cinematic. Since the first day I saw it, it has alternately flustered and comforted me. Today its particular quality will have half the people in the neighborhood drinking in the afternoon. By five or six, some of the couples will already be fighting on the streets, one of them wrangling the drunker, more belligerent one home, because there is always a drunker, more belligerent one, and one who needs to feel like he or she is taking care of someone.

At the moment, though, a really tall guy on roller skates is coasting down the long steep slope of the pedestrian walkway with his legs and arms spread wide and the wind in his fingers. He has the biggest satisfied grin on his face. There are always a few people a day who roll like this, on bikes or boards or even just running, arms wide, falling down the bridge into Williamsburg, in the pretty light.

These two men. I could say ‘I love you’ to each of them. To L in the most direct, old-fashioned and simple way: I know him, I like him, he is like me, we know each other without effort, two greedy, cheerful, sexy, sociable people, takers of foolish risks. To the other, how? A thinker, intellectual, contained, cautious, measured, hard-working, private. And married. This will have to be lived. It can’t be walked away from.

Serious fiction could respond to the accelerated world; but serious poetry couldn’t. Naturally it couldn’t. A poem, a non-narrative poem, a lyric poem – the first thing it does is stop the clock. It stops the clock while whispering, Let us go then, you and I, let us go and examine an epiphany, a pregnant moment, and afterwards we’ll have a think about that epiphany, and we’ll…But the speeded-up world doesn’t have time for stopped clocks.

Meanwhile the novelists subliminally realised that in their pages the arrow of development, purpose, furtherance, had to be sharpened. And they sharpened it. This wasn’t and isn’t a fad or a fashion (far less a bandwagon). Novelists aren’t mere observers of the speeded-up world; they inhabit it and feel its rhythms and breathe its air. So they adapted; they evolved.

I don’t know, he says. The one thing I said to myself in the car was, if she comes inside with you, don’t start talking to her about chess. It takes up too much of my life already, to be quite honest. Like to say the absolute truth, I spend too much time on it, because I’m not even that good. Although it makes me really sad to admit that. You know, a lot of people told me I was letting it take up too much time, and I just thought they didn’t understand. But now I think, maybe I’ve really wasted a lot of my life. Like when other people were out having fun, getting girlfriends or whatever, I was at home basically reading. You have to read a lot of opening theory – that’s the beginning of a game, the first moves. Which have all been played before, so you just have to learn them. It’s not even that interesting, but it has to be done. So you have all these openings that come from books, and you have all these endgame strategies, which can be honestly kind of formulaic. And you’re learning all this for what? Just to get to an okay position in the middle game and try to play some decent chess. Which most of the time I can’t even do anyway. Sometimes I think, if I could go back to age fifteen, I would just give up. I was already pretty good then, I haven’t gotten much better. And I could have used that time to get more of a social life. I don’t lie in bed every night just thinking about chess, you know. I won’t go into detail on what I do think about, but I can tell you it’s usually not related to chess at all.

[...] He was in a good mood, and he wanted to kiss her, and for a while they kissed, and then without talking any more he made love to her again. It was obvious then that it was not going to be enough that he was too young and going through a bereavement. Those were solid sensible ideas, powerful enough for the surface of daily life, but not powerful enough for the hidden life of desire shared between two people. They ate breakfast together afterwards and had the coffee, and now they are walking in the laneway, quiet, contented, and the feeling between them seems good and somehow wholesome. As they turn the corner around the low stone wall, the lane dips down ahead, and rainwater has pooled in the hollow, reflecting the clear blue of the sky, and around the water she can see little birds, drinking and preening themselves. At the sound of the approaching footsteps, the birds lift themselves into the air, and there are more of them, many, starlings, with dark iridescent wings, and they lift themselves in one cloud into the blue air, rising, all together, while Margaret and Ivan both stop and look. All as one the birds move together, a dark cloud beating with the loud muscular sound of wings, ascending towards the overhead telephone wire, and strangely it seems now the cloud parts, one half rising up above the wire and the other half falling below, cut cleanly, and then together the two clouds combine once more into an edgeless and mobile arrangement, which is called a murmuration, Margaret thinks. Wow, says Ivan under his breath. Down by the pool of water a few smaller birds of a different kind are still bathing themselves, little sparrows, or finches. And the pale blue air all around them is still and silent, the leaves of the trees are silent and still. Margaret touches Ivan’s hand and he smiles and they go on walking. The other birds dart off through the air as they draw near. [...]

Reading Flaubert one is plunged into persons with whom one is in complete disaccord, who are irksome. Sometimes one feels with them, and then somehow they suddenly reject one’s sympathy and one finds oneself once again antagonistic to them. Obviously it was this that fascinated me, because it made me curious. This is precisely Flaubert’s art. It is clear that he detested himself, and when he speaks of his principal characters, he has a terrible attitude of sadism and masochism towards them: he tortures them because they are himself, and also to show that other people and the world torture him. He also tortures them because they are not him and he is anyway vicious and sadistic and wants to torture others. His unfortunate characters have very little luck, submitted to all this.

At sunset, Manhattan shimmered like a single thing, a beaten piece of gold or some mythical animal flicking its pink feathers in the sun, and beside its ravishing silhouette the steps Aziz and his compatriots were taking seemed too small: amassing drums of nitroglycerine and ammonia and fertilizer in a nearby family’s basement; stacking them behind an upended plastic swimming pool in whose turquoise basin they would eventually fold them into gallons of petrol, using a canoe paddle to stir. Bemoaning the fact that Wall Street had been made a pedestrian zone to protect it from suicide bombers. Collecting bits of pipe for detonators. Useless. Useless and small. Like Jersey City itself, which had looked so near to Manhattan on the map as to be the same place, as good as there, Aziz had told himself in English, practicing, but that had proved an error of perspective that you could only make from afar.

People at Iowa love to love Prairie Lights, the local independent bookstore. In Prairie Lights I found myself overwhelmed by the literature of the senses and the literature of the quirky sensing voice. I wanted heavy books from a bunch of different disciplines; on hermeneutics, on monetary policy, on string theory, on psychoanalysis, on the Gospels, on the strange war between analytic and continental philosophers, on sexual pathology. I was twenty-three. I knew I wanted to write a novel of ideas, a novel of systems, but one also with characters, and also heart—a novel comprising everything, not just how icicles broken from church eaves on winter afternoons taste of asphalt (but that, too). James Wood did not yet loom over everything, but I wanted to make James Wood barf. At Prairie Lights, I would have felt much better buying the work of Nathan Englander (alum) if it had been next to that of Friedrich Engels. I felt there how I feel in bars that serve only wine and beer.

When I was at Iowa, Frank Conroy, Engle’s longest-running successor, did not name the acceptable categories. Instead, he shot down projects by shooting down their influences. He loathed Barth, Pynchon, Gaddis, Barthelme. He had a thing against J. D. Salinger that was hard to explain. To go anywhere near Melville or Nabokov was to ingest the fatal microbes of the obnoxious. Of David Foster Wallace he growled, with a wave of his hand, “He has his thing that he does.”

Conroy hated what he called “cute stuff,” unless it worked, but it tended never to work. Trying to get cute stuff to work before a sneering audience is like trying to get an erection to work before a sneering audience. Conroy’s arsenal of pejoratives was his one indulgence in lavish style. “Cockamamie,” he’d snarl. “Poppycock.” Or “bunk,” “bunkum,” “balderdash.” He could deliver these quaint execrations in tones that made H. L. Mencken sound like Regis Philbin.

That’s up to them, I thought, which reminds me that I have to stop using phrases meaningless except between me and Denoon. See what happen! is another phrase I have to stop using for the same reason. That’s up to them arises from an older Jewish couple who had come to Botswana with the Peace Corps and had had a number of difficult cultural adjustments to make, the one they talked about most being that their Indian upstairs neighbors ate rice every day. The Roths believed strongly that it was more appropriate to eat potatoes every day as a starch staple. Mr. Roth agreed with his wife that the Indians were strange, but when she continued to wonder over and over at this matter in front of people, his attempt to get her to abbreviate her going on about this was to say — of the Indians preferring rice — That’s up to them. I told this story to Nelson and he found it as obscurely funny as I did, and between us it became indispensable as a signum of the recurring problem of other people doing things you find peculiar or stressful but probably shouldn’t. The provenance of See what happen! was a lake in a park in Oakland where there were flocks of geese and ducks. A rabble of Hispanic boys was there, with one ten- or eleven-year-old ringleader urging a five-year-old minion to try to urinate on a duck. The five-year-old was reluctant but began complying, running after some ducks with his tiny penis out, after the older boy had inspired him with cries of See what happen! The deed was being done in the scientific spirit, apparently. Where could you find a better emblem for dubious propositions being vigorously encouraged, and where is Denoon, who understands, and what is he doing now?

Grandpapa died at the end of the autumn, after lingering on interminably; my mother shrouded herself in black crêpe and had all my clothes dyed black. This funereal get-up did not improve my appearance; it set me apart, and I felt it condemned me to an austere way of life that was beginning to weigh heavily upon my spirits. The students, both boys and girls, used to parade up and down the boulevard Saint-Michel in laughing gangs; they went to cafés, theatres, cinemas. As for me, after reading learned tomes and translating Catullus all day, I would spend the evenings doing mathematical problems. My parents, by helping to push me, not into marriage, but into a career, were breaking with tradition; nevertheless they still made me conform to it; there was never any question of letting me go anywhere without them, nor of releasing me from family duties.

They did not disappoint me: I was disconcerted, dazzled, transported. Apart from the rare exceptions I have mentioned, I regarded works of literature as historical monuments which I would explore with more or less interest, which I sometimes admired, but which did not concern me personally. But now, suddenly, men of flesh and blood were speaking to me with their lips close to my ear; it was something between them and me; they were giving expression to the aspirations and the inner rebellions which I had never been able to put in words, but which I recognized. I skimmed the cream of the Sainte-Geneviéve library; with fevered brow, my brain on fire, and my heart pounding with excitement, I read Gide, Claudel, Jammes. I exhausted the resources of Jacques’ private library; I took out a subscription to the ‘Maison des Amis des Livres’, in which Adrienne Monnier, in a long dress of grey home-spun, held court; I was so greedy for reading matter that I couldn’t be satisfied with the two-books-at-a-time rule: I would secretly slip half a dozen or so into my satchel; the difficulty was getting them back on the shelves, and I’m afraid I didn’t get them all put back. When it was fine, I would go and read in the Luxembourg Gardens; I would walk in the sun round the fountains in a state of exaltation, repeating phrases I liked. Often I would install myself in the reading-room of the Institut Catholique which offered me a quiet spot to read in only a few steps from home. It was there, seated at a black desk among pious students and seminarists in long robes, that I read, with tears in my eyes, the novel that Jacques loved above all others and which was called not Le Grand Môle but Le Grand Meaulnes. I found release in reading as once I had done in prayer. Literature took the place in my life that had once been occupied by religion: it absorbed me entirely, and transfigured my life. The books I liked became a Bible from which I drew advice and support; I copied out long passages from them; I learnt by heart new canticles and new litanies, psalms, proverbs, and prophecies and I sanctified every circumstance in my existence by the recital of these sacred texts. My emotions, my tears, and my aspirations were no less sincere on account of that: the words and the cadences, the lines and the verses were not aids to make-believe: but they rescued from silent oblivion all those intimate adventures of the spirit that I couldn’t speak to anyone about; they created a kind of communion between myself and those twin souls which existed somewhere out of reach; instead of living out my small private existence, I was participating in a great spiritual epic. For months I kept myself going with books: they were the only reality within my reach.

He had intercourse with her. She was glad that at least now finally the unfortunate game would end and they would again be the two people they had been before and would love each other. She wanted to press her mouth against his. But the young man pushed her head away and repeated that he only kissed women he loved. She burst into loud sobs. But she wasn’t even allowed to cry, because the young man’s furious passion gradually won over her body, which then silenced the complaint of her soul. On the bed there were soon two bodies in perfect harmony, two sensual bodies alien to each other. This was exactly what the girl had most dreaded all her life and had scrupulously avoided until now: lovemaking without emotion or love. She knew that she had crossed the forbidden boundary, but she proceeded across it without objections and as a full participant; only somewhere, far off in a corner of her consciousness, did she feel horror at the thought that she had never known such pleasure, never so much pleasure as at this moment—beyond that boundary.

‘Either I must make Tonka my wife,’ he told himself, ‘or I must give her up and give up these thoughts.’

But no one will blame him for doing neither one nor the other, despite these reasonings of his. For although all such thoughts and feelings may well be justified, nobody nowadays doubts that they are very largely figments of the imagination. And so he went on reasoning, without taking his reasoning seriously. Sometimes it seemed to him that he was being sorely tried, but when he came to himself again and spoke to himself again, as it were, man to man, he had to tell himself that this ordeal consisted, after all, only of the question whether he would force himself to believe in Tonka against the ninety-nine per cent probability that she had been unfaithful to him and that he was simply a fool. Admittedly this humiliating possibility had by now lost much of its importance.

Looking back I can see that I always knew what I would have done. I once knew that my husband was so completely mine, and so every choice that followed was only another version of that knowing. I would do it all again, which is not the same as saying I will. When I think about everything I can remember—as many memories as I can hold at once, and then the ones that come up later, surfacing when I least expect them—I know I would do it all exactly the same, with all the same answers. I would say yes, say more, say never, say no.

5/7/52

With these serious people, these bons vivants, who take so much more seriously their amusements, their aesthetic surroundings, than any artist takes his work or his creative process, the creative process begins to atrophy in their presence, for the curious reason that their pursuit of pleasure is so business like. And once they have it—pleasant café-bars, shopping-centers, an efficient maid, a garden, sunlight, then life, instead of relaxing, becomes shopping, getting repairs done, planning, anxiously, next summer’s vacation: in short, the element of pleasing, of amusement, goes out of the artist companion, and he can no longer find his proper plane. Amusement, entertainment, via writing, disappears in a fantastic world somewhere far away. As is usual, the paradox in this fascinates me.

[...] Insofar as I had any project in mind, it was to reconcile Trotsky and the orchids. I wanted to find some intellectual or aesthetic framework which would let me - in a thrilling phrase which I came across in Yeats - 'hold reality and justice in a single vision'. [...]

What were these six weeks about? What were we waiting for? Were we hoping for something? We seemed to be living in silence. My husband had brought books to read: he had perfect pitch as far as language was concerned and, like a great musician, could tell the false note from the true. He was like Lázár in this respect. We’d sit on the balcony at twilight and I’d read to him: French poems, English novels, heavy German prose. And Goethe and some scenes from Hauptmann’s Florian Geyer. He loved that play. He had seen it on stage once, in Berlin, and had never forgotten it. He also loved Büchner’s Danton’s Death. And Hamlet, and Richard III. I was obliged to read him verses by the great Hungarian poet János Arany, from his late Autumn Crocuses cycle. Then we’d dress, have supper in one of the best restaurants, drink sweet Italian wine and eat sea crab.

In some ways we were living like nouveaux riches, like people who want to make up for everything they have ever lacked, to enjoy it all, and all at once. People that listen to Beethoven while chewing on a capon and slurping French Champagne in time to the music. But it was also like saying good-bye to something. Those years, the last years before the war, were drenched in this peculiar atmosphere. It was like saying good-bye without quite knowing it. My husband said precisely that: something about Europe. I said nothing. It was not Europe I was leaving. Can we, just the two of us, as women, own up to the fact that, concepts such as “Europe” have little to do with us? What I knew deep in my heart was that I lacked the strength to cut myself off from something more important. I was almost choking with helplessness.

Why do we write things about ourselves? To absolve ourselves of guilt? To confess? To right a wrong? To be heard? To apologize? To clarify things for ourselves or others? I’ve wondered all these things as I sit down to write this.

I’ve been writing and unwriting this essay for years now. It’s difficult, when you’ve resisted telling a story for so long, to know where to start. Especially when it has haunted you to not tell it. When it has knocked around inside your brain, loudly in the middle of the night, asking why it didn’t deserve to be told, asking you who you might have hurt by not telling it, who you might truly be, deep down, because of your decision not to.

I wake in the middle of the night from a bad dream that was actually a good dream. In my dream I was pregnant. It was before and I was still pregnant. I was so relieved to find out I hadn’t lost the baby after all. And then when I wake up I am devastated all over again.

There is a cruelty in abstraction. It cuts into flesh. It relies on our fear of mortality for its meaning. The way it disturbs, distresses is meant to undermine some illusion of duration, of time controlled, even simply perceived. My paintings were abstract and splashed with guilt as much as paint, scratched with shame as much as with the knife or spatula. Back in Philadelphia I discovered bad dreams and fitful sleep. I locked myself away to explore those abstractions. My isolation wore well as I was an artist and artists were supposed to be moody and at least occasionally reclusive. The paintings I made I could just barely look at. I drank. When I emerged from my bed, so to speak, and went to my studio and revealed my paintings at my review, no one said a word. My professors, one after another, quietly, privately gave me nods of approval, then backed away as if something was wrong with me. They had no idea.

My mother. After my parents split up, when I was eleven, it was just the two of us. On Sunday nights we watched Murder, She Wrote, eating bowls of ice cream side by side on the couch. She always solved the mystery by the second commercial break; she knew from the lost umbrella in the corner of the shot, or else from the fishy alibi that didn’t check out because the murderer used “he” to describe a female dentist. “Just got lucky,” she’d say. It wasn’t luck. It was her close attention to the details of the world, the same keen eye that kept track of every doctor’s appointment, every passing comment I’d made about a school project, a tiff with a friend; she always followed up, wondered how it went.

Her skin carried the sweet, clean scent of her soap—that blue tub of chilly white pudding that she rubbed across her high cheekbones. She baked loaves of fresh brown bread and gave me heels straight from the oven, still warm.

She helped me write down recipes in a little spiral-bound notebook of index cards so I could make us dinner once a week: sloppy joes with soy crumbles, or a casserole of pop-up biscuits and cream of mushroom soup. My economist father was on the other side of the country, or in his apartment across town, or in the sky. It was hard to keep track. He and I had dinner once a month. Sometimes more, sometimes less. He’d never had my biscuit casserole.

Unless you say otherwise, people assume the end of a marriage involves an affair. So I am saying otherwise. This one did not. Just the mistake of two people believing they could make a life together, when in fact they couldn’t. Which is its own betrayal.

My parents’ marriage left me more allergic to affairs than to endings. But I knew there were people who felt otherwise—who believed the worst thing was giving up too soon.

I was certainly capable of infidelity—had inherited some version of my father’s capacity, even as I judged him for it. In the past, I’d cheated on two boyfriends—could still remember waking up in the beds of other men, trapped inside my own body like a rumpled, foul-smelling outfit I could not remove.

For me, cheating had been a way to avoid the work of either fixing a relationship or ending it. This time, with C, I did not want to avoid that work. But I was scared of myself. I had no illusions about my own innocence. Whenever I heard myself saying, I’d never do that, I heard a false promise. We can’t imagine ourselves doing many things until we do them.

What! How can so many thoughts and observations possibly have elapsed in so brief a period? An impressionist will answer along the lines of “The distortions inherent in our perception of time,” but to us counters, time is a bore— and not just because too much has been said and written about it. Time is irrelevant to math. [...]

[...] those two years of graduate school, of writing workshops and literature classes, had been the happiest of his life. He’d hauled boxes for a moving company, read two books a week, and begun the novel that Athena and some others, too, had liked. Alone by choice on Saturday nights, writing by an open window in his studio apartment, Gregory had experienced a kind of euphoria: a swelling, bursting, yearning hunger that had something in common with lust but included everyone, from the revelers outside his window to the carousers down the hall. He was where he wanted to be, and needed nothing else.

I take a shower, look in the mirror, and think to myself that I am only twenty years old, and that it feels like I have been married for a generation. It feels like life beyond these green rooms is rushing by for other people as if to the sound of kettledrums and tom-toms. Meanwhile I am only twenty years old, and the days descend on me unnoticeably like dust, each one just like the rest.

I did not see myself particularly as a woman. I did not feel that I had any particular gender. But in a restaurant one day, where I sat with my foot in its sandal up on the edge of a chair, a stranger came over to talk to me and went back to his seat and then later, on his way out, passed me and leaned down to touch my bare toes. In my surprise, I was forced out of one way of being and into another. When I returned to the first way of being, I was not quite the same.

I was forced to remember there was something in me besides this mind working so hard and so monotonously, and that this body could appear to be not just for the use of this mind, to be alone with it for long periods of time, that this body and this mind could be social things.

Fall had arrived, and a feeling of hope and freshness suffused the city. The sky was a vivid, seersucker blue. I was finished with my first day back working with Marvin and Eric at Bowery Film, strolling under a canopy of green leaves that were big and floppy, a few gold or ruby-red around the edges, one twirling downward as I crossed Washington Square Park. The light cut a sharp shadow instead of summer’s fuzzy outlines. Autumn had brought in definition, a sense of gravity returning to a place where it had been chased out by the sun, by the diffuse rule of humidity. There was a late-September crispness in the air. I thought of smashed horse chestnuts on the sidewalks of Reno. The feel of new corduroy. Of course I had a great story to report, and the hopefulness I sensed from the gold-edged leaves above me could have been my own.

I had run an errand for Marvin, dropping off processed film to an address on lower Fifth, and was on my way to meet Sandro. The NYU students loafing around the empty fountain in the park were trying out the fall fashions, the boys in sweaters of wholesome colors, orange, brown, and green. The girls in pleated, brushed-cotton coats and suede clogs or those oxfords with the wavy soles. Lace knee socks and hand-tooled leather purses with a long strap worn crosswise between the breasts. A few berets. In light, dry gusts, the air riffled the leaves, yellow as wax beans, and a few floated softly downward. In such hopefulness, even a beret seemed like a good idea.

I had my thirty-first birthday during that summer of 1949. Hitherto I had worked hard and relentlessly in my profession. So coming to this autumn warm Paris was an experience which had the effect of knocking down barriers. Love had both time and opportunity to grow freely, opening closed rooms and knocking down walls. I could breathe. My treachery to Ellen and the children existed somewhere in a mist, ever-present but strangely stimulating. For a few months, there lived and breathed a bold production that was incorruptibly true, so therefore priceless, although it turned out to be horribly expensive when the bill came.

I had wearied of my bohemian existence and married Ka’bi Laretei, an up and coming pianist. We moved into a handsome villa in Djursholm, where I intended to live a well-organized bourgeois life. It was all a new and heroic production which rapidly turned into a new and heroic disaster, two people chasing after identity and security and writing each other’s parts, which they accepted in their great need to please each other. The masks quickly cracked and fell to the ground in the first storm and neither had the patience to look at the other’s face. Both shouted with averted eyes: look at me, look at me, but neither saw. Their efforts were fruitless. Two lonelinesses were a fact, failure, an inadmissible reality. The pianist went on tour, the producer produced and the child was entrusted to competent hands. Outwardly, the picture was of a stable marriage between successful contracting parties. The decor was tasteful and the lighting well arranged.

It's not easy. There was a time I did see him from a distance, but I was too young. I looked at him from too far off. Friends had pointed him out to me at the Sorbonne; they spoke of him a great deal, with a mixture of admiration and disapproval. It was whispered that he drank and frequented brothels. If that had been true, I think it would have attracted rather than repelled me; I was still rebelling against my pious childhood. In my mind, sin was a touching manifestation of the absence of God, and if someone had told me that Dubreuilh raped little girls I'd have taken him for a saint of sorts. But his vices were minor and his too-well-established fame irritated me. When I began taking his courses, I had already made up my mind that the 'great man' was a charlatan. Of course, he was different from all the other professors. He would come rushing into the room like a gust of wind; he was always four or five minutes late. He would survey us for a moment with his large, crafty eyes, and then he would begin speaking in either a very amiable or a very aggressive voice. There was something provocative in his surly face, his violent voice, his bursts of laughter which sometimes seemed to us a little insane. He wore very white shirts, his hands were always carefully manicured, and he was impeccably shaven; it was impossible, therefore, to attribute to negligence his zipper jackets, his pullovers, his clumsy shoes. He preferred comfort to decency with such an obvious lack of restraint that I thought it affected. I had read his novels and didn't like them at all; I expected them to bring to me some inspiring message, and all they ever spoke to me of were indifferent people, frivolous sentiments, and a lot of other things that didn't seem to me the least bit essential. As for his courses, they were interesting all right, but he never really said anything worthy of a genius. And he was always so cocksure of being right that I had an irresistible desire to contradict him. Oh, I was convinced, too, that the truth was to the left; ever since my childhood I had sniffed an odour of stupidity and lies in bourgeois thinking, a very foul-smelling odour. And then I had learned from the Gospel that all men are equal, are brothers; that's one thing I continue to believe in with an unshakable faith. But spiritually, after I had been for so long crammed full of absolutes, the void left in the heavens made a mockery of all morality I had been taught. But Dubreuilh believed there could be salvation here on earth. I let him know where I stood in my first essay. 'Revolution, fine,' I said, 'but what then?' When he gave me back my paper a week later as we were leaving the classroom, he ridiculed my efforts. According to him, my absolute was the abstract dream of a petty bourgeoise incapable of facing reality. Of course I couldn't hold my own against him, and he won every round. But that didn't prove anything, and I told him as much. We resumed our discussion the following week and this time he tried to convince me, rather than overwhelm me. I had to admit that in private discussion he didn't at all seem to feel that he was a great man. He began chatting with me, rather often after classes, sometimes he walked home with me occasionally taking a longer route than was necessary. And then we began going out together in the afternoons, the evenings. We stopped talking about morality and politics and other lofty subjects. He told me about the people he knew and the things he did, and most of all he would take me for walks, show me streets, squares, quays, canals, cemeteries, suburbs, warehouses, vacant sites, little cafes, and a hundred corners of Paris that were completely new to me. And I began to realize that I had never really seen things I believed I had always known; with him everything took on a thousand meanings — faces, voices, people's clothing, a tree poster, a neon sign, no matter, what. I reread all his novels. And I soon realized I had completely misunderstood them the first time. Dubreuilh gave the impression of writing capriciously, for his own pleasure, completely without motivation. And yet on closing the book, you felt yourself overwhelmed with anger, disgust, revolt; you wanted things to change. To read certain passages from his works, you would take him for a pure aesthete; he has a feeling for words, and he's interested in things for themselves, in rain and clear skies, in the games of love and chance, in everything. Only he doesn't stop there; suddenly you find yourself thrown in among people, and all their problems become your concern. That's why I'm so determined for him to continue writing; I know through my own experience what he can bring to his readers. There's no gap between his political ideas and his poetic emotions. Because he himself loves life so much, he wants all men to be able to share it abundantly. And because he loves people, everything that's part of their lives interests him deeply.

He went upstairs and sat down at his desk. She really deserved being shown the manuscript. That way he would be rid of her for good. Of course, he'd have to cut the manuscript a bit before publication — unless she should die before then. But in the meantime, when he reread it, he felt revenged. 'In a way, literature is truer than life,' he said to himself. 'Dubreuilh played me for a sucker, Louis is a skunk, Paula poisons my life — and I go on smiling at them: On paper, you say exactly and completely what you feel.' Once more, he read through the description of the break up. How easy it is to break things off on paper! You hate, you shout, you kill, you commit suicide; you carry things to the very end. And that's why it's false. 'Yes, it's false,' he said to himself, 'but it's damned satisfying. In life you're constantly denying yourself, and others are always contradicting you. Paula exasperates me, and yet in a little while I'll take pity on her and she'll think that basically I still have some love for her. On paper, I make time stand still and I impose my convictions on the whole world; they become the only reality.' He unscrewed the top of his pen. Paula would never read those pages, and yet he exulted in them as if he had forced her to recognize herself in the portrait he had drawn of her; a woman acting the part of a lover and loving only her histrionics and her dreams; pretending to be noble, generous, self-sacrificing, when in fact she is without pride and without courage, steeped in the egoism of her feigned passions. That was how he saw her, and on paper she matched that picture exactly.

I felt a need for distractions; those too-intense hours had tired me. In the streetcar, I dozed on Lewis's shoulder. I didn't try to figure out where I was in that city; it didn't seem to me as if it had fixed arteries and precise means of transportation like the others. It was necessary to conform to certain rituals that Lewis knew, and then places would surge up from nowhere. The Delisa Club surged up from nowhere, crowned with a mauve halo. There was a full-length mirror just inside the door and together we smiled at our reflections. The top of my head was on a level with his shoulder; we looked young and happy and I said gaily, 'What a handsome couple!' And then I felt a wrench in my heart. No, we weren't a couple, we'd never be a couple. We could have loved each other, I was sure of that. But at what point in time, at what place in the world? Nowhere on earth, in any case, and at no point in the future. 'We'd like to have dinner,' Lewis said. A- very dark-complexioned maitre d’hôtel, who looked like a heavyweight boxer, led us to a booth near the stage. Baskets filled with fried chicken were set before us. The musicians hadn't arrived yet, but the place was full - a few whites and many negroes, some of whom were wearing fezzes on their heads. 'Why are they wearing fezzes?'

“Did you ever see the green flash,” she asked him after class, “down at Ocean Beach?”

He had not, he told her. She explained that it was an optical effect at sunset, when rays from the top of the sinking sun turned green. She had never seen it either, she said.

“Are you sure it isn’t a story cooked up by the Irish drunks who live out there?”

She laughed. They were standing outside the school trailer. It was a June evening when the sun sets late. The light was gold from valley haze and low, slanting into her eyes, filling the irises.

Looking at someone who is looking at you was a drug as strong as any other.

“Move it, Hall!” an officer yelled. It was time for evening count. “Move your ass, now! I said go!”

AFTER THEY MARRIED SHE learned to feel their skin as double-sided. They felt a pause. Theirs was too much feeling to push through the crack that led down to the dim world of time and stuff. That world was gone. They held themselves alert only in those few million cells where they touched. She learned from those cells his awareness and his courtesy. Love so sprang at her, she honestly thought no one had ever looked into it. Where was it in literature? Someone would have written something. She must not have recognized it. Time to read everything again.

What will you think about this from your deathbed? My husband’s wants had been consistent—to get married, to stay married, to have a child—while mine had become clear the hard way. I had, like so many fools before me, gotten right up to the edge of one life in order to learn I had to run in the opposite direction. If I had been more like him, maybe the deathbed question would have made me stay, but I wasn’t, so I left.

She and Peter had begun dating at nineteen. She’d broken up with him twice in college. Both times, he’d convinced her to take him back, saying he couldn’t live without her. She didn’t really believe him capable of such extreme emotion. He’d always be stable and predictable, she felt.

She’d seen from the beginning that he was very ambitious. When she thought the worst of him, she thought that everything in his life⁠—⁠his friendliness, his interests in children’s charities and golf, every single one of his acquaintances⁠—⁠was in fact only his ambition in all its various forms, as if he were just one thing, really, like a little mechanical device clacking its way upward.

In his own way, Peter could be distant, simply because he was so focused on his work. But in his distance he assumed the best of her. So he seemed to have no sense that she was having an affair, once she was. She continued to sleep with Eleu after they returned to New York.

Secrecy is the number one organizing principle of an infidelity. An affair always lives in the shadow of the primary relationship, hoping never to be discovered. The secrecy is precisely what intensifies the erotic charge. “Sex and subterfuge make a delicious cocktail,”7 writes journalist Julia Keller. We all know from childhood the glee of hiding and keeping secrets. They make us feel powerful, less vulnerable, and more free. But this dark pleasure is frowned on in adulthood. “I’ve always been a what-you-see-is-what-you-get kind of person,” says Angela, a punctilious Irish American paralegal who realized, through her affair with a client, that she enjoys sneaking around. “Discovering that I could act in total breach of my own long-held values was both bewildering and exciting at the same time. Once I was speaking with my sister, who was rattling away about the wrongdoing of cheaters, all the while smiling inwardly at my own secret. Little did she know that she was looking into the face of the ‘villain.’”

Emotional involvement is the third element that may play a role in infidelity. Most affairs register an emotional component, to one degree or another. At the deep end of the spectrum we have the love affair, where the accompanying bouquet of passionate feelings is integral. “I thought I knew what love was, but I have never felt like this before” is a common refrain. People in this state talk to me about love, transcendence, awakening, destiny, divine intervention—something so pure that they could not pass it by, because “to deny those feelings would have been an act of self-betrayal.” For those involved in such an unparalleled love story, the term “affair” is inadequate, for it doesn’t begin to capture the emotional depth of the experience. “When you call it cheating, you reduce it to something vulgar,” Ludo says. “Because she had gone through something similar, Mandy was the first person with whom I’ve ever been able to open up about my father’s abuse. Yes, we had sex, but it was so much more than that.”

While for some, breaking the rules is a long-deferred dream, for others, entitlement is a way of life. They simply assume they are above the rules. Their narcissism gives them license to breach all conventions. For them, infidelity is opportunism—they cheat with impunity, simply because they can. Their grandiosity is the master narrative.

All affairs are plots of entitlement, but I am particularly interested in the meaning of entitlement for those who have lived responsible, dutiful, committed lives. What does rebellion represent for these upstanding citizens? What are we to make of the self-contradictory nature of their trespasses, when the constraints they are defying are the very ones they themselves created?

This distinction between the person and the experience is crucial in helping people to extricate themselves from their affairs. The extramarital excursion will end, but their souvenirs will go on traveling with them. “I don’t expect you to believe me right now, but you can terminate your relationship and keep what it gave you,” I tell her. “You reconnected with an energy, a youthfulness. I know that it feels as if in leaving him, you are severing a lifeline to all of that, but I want you to know that over time you will find that some of this also lives inside of you.”

In your misty bedroom, the sunlight, having penetrated the lowered Venetian blinds, formed two golden ladders on the floor. You said something in your muted voice. Outside the window, the trees breathed and dripped with a contented rustle. And I, smiling at that rustle, lightly and unavidly embraced you.

I looked you straight in the face. I looked with all my soul, directly. I collided with you. Your eyes were limpid, as if a pellicle of silken paper had fluttered off them—the kind that sheathes illustrations in precious books. And, for the first time, your voice was limpid too. “You know what I’ve decided? Listen. I cannot live without you. That’s exactly what I’ll tell him. He’ll give me a divorce right away. And then, say in the fall, we could …”

I interrupted you with my silence. A spot of sunlight slid from your skirt onto the sand as you moved slightly away.

What could I say to you? Could I invoke freedom, captivity, say I did not love you enough? No, that was all wrong.

An instant passed. During that instant, much happened in the world: somewhere a giant steamship went to the bottom, a war was declared, a genius was born. The instant was gone.

[...] regardless of what happened to me or to her, in between, we never discussed anything, as we never thought of each other during the intervals in our destiny, so that when we met the pace of life altered at once, all its atoms were recombined, and we lived in another, lighter time-medium, which was measured not by the lengthy separations but by those few meetings of which a short, supposedly frivolous life was thus artificially formed. And with each new meeting I grew more and more apprehensive; no—I did not experience any inner emotional collapse, the shadow of tragedy did not haunt our revels, my married life remained unimpaired, while on the other hand her eclectic husband ignored her casual affairs although deriving some profit from them in the way of pleasant and useful connections. I grew apprehensive because something lovely, delicate, and unrepeatable was being wasted: something which I abused by snapping off poor bright bits in gross haste while neglecting the modest but true core which perhaps it kept offering me in a pitiful whisper. I was apprehensive because, in the long run, I was somehow accepting Nina’s life, the lies, the futility, the gibberish of that life. Even in the absence of any sentimental discord, I felt myself bound to seek for a rational, if not moral, interpretation of my existence, and this meant choosing between the world in which I sat for my portrait, with my wife, my young daughters, the Doberman pinscher (idyllic garlands, a signet ring, a slender cane), between that happy, wise, and good world … and what? Was there any practical chance of life together with Nina, life I could barely imagine, for it would be penetrated, I knew, with a passionate, intolerable bitterness and every moment of it would be aware of a past, teeming with protean partners. No, the thing was absurd. And moreover was she not chained to her husband by something stronger than love—the staunch friendship between two convicts? Absurd! But then what should I have done with you, Nina, how should I have disposed of the store of sadness that had gradually accumulated as a result of our seemingly carefree, but really hopeless meetings?

Caro lay in her frozen bed and stared at the skylight, which was a sheet of clotted ice. She lay in darkness or in moonlight, remembering how, one evening of the previous year, she had come in from work to find Paul sitting at her table writing; and that he had got up and embraced her and asked, "How does it strike you, to find a light on and someone waiting for you?" He had put his mouth to her hair and said, "I have wished that Tertia did not exist." Now it was Caro whom, for his convenience, he wished away.

Love had not been innocent. It was strange that suffering should seem so.

I rushed to see L'Avventura. It was the movie I had been preparing for, and it came at the right time in my development. As a child, I had wanted only action movies. Dialogues and story setups bored me; I waited for that moment when the knife was hurled through the air. My awakening in adolescence to the art of film consisted precisely in overcoming this impatience. Overcompensating, perhaps; I now loved a cinema that dawdled, that lingered. Antonioni had a way of following characters with a pan shot, letting them exit and keeping the camera on the depopulated landscape. With his detachment from the human drama and his tasteful spying on objects and backgrounds, he forced me to disengage as well, and to concentrate on the purity of his technique. Of course the story held me, too, with its bitter, world-weary, disillusioned tone. The adolescent wants to touch bottom, to know the worst. His soul craves sardonic disenchantment.

I said I had not gone to New York to be a model, and I hadn’t. I’d gone there for life and sex and cruelty. Not something you learn in community college. Not something you write in a notebook. The city was so big and bright that for a moment my terrible heaven paled, then went invisible. I thought it was gone, but what I couldn’t see, I felt walking next to me in streets full of vying people. I felt it in their fixed outthrust faces, their busy rigid backs, their jiggling jewelry, their creeping and swagger. I felt it in the office workers who perched in flocks on the concrete flower boxes of giant corporate banks, eating their lunches over crossed legs and rumpled laps, the wind blowing their hair in their chewing mouths and waves of scabby pigeons surging at their feet, eating the bits that fell on the pavement. I felt it in the rough sensate hands of subway musicians playing on drums and guitars while the singer collected money with his cup, still singing like he was talking to himself in a carelessly beautiful voice while riders streamed down concrete stairs like drab birds made fantastic in flight. I felt monstrous wants and gorgeous terrors that found form in radio songs, movie screens, billboards, layers of posters on decayed walls, public dreams bleeding into one another on cheap paper like they might bleed from person to person. I took it in and fed on it, and for a while, that was enough.

Really everyone who wins the Nobel Prize does seem overrated. Is this the best anyone can do? you wonder. Note to self, she thinks: Don’t win Nobel Prize. So far there is little danger. Three months ago she sent out her best short story to five publications; the result to date is two perfunctory rejections. Meanwhile she is at work on a novel—that is what she tells Daniel and her parents. It would be truer to say that the idea of the novel simply follows her wherever she goes. It is one of her skills to be able to describe how other novelists sound. But she doesn’t for the life of her know what her own fiction should sound like; that is the missing timbre for which she is constantly listening, the unknown tune to which her ears are pricked up. How much easier it would be to write a pastiche of Coetzee! But that is not how to do it. The way to write is not as if you have just learned the craft, at the school of the masters; the way to write is as if you have somehow always known how.

All I had were words, but I had no warmth to infuse them with. I felt I had nowhere else to go but satire. Satire shares something with empathy, but it’s a contorted relationship. Maybe they’re stepsiblings. They’re forced to live together, but satire spends all its time bullying empathy. The first version of Class had a big satire problem. Since all I felt was sadness and loneliness, and guilt about the pleasures of traveling and partying, and also about the way literature had provided a way away from my family and that specific church across that specific street, I retreated to my French literature gods—Proust, Maupassant, Zola, Balzac, Flaubert—and chose to make fun of society. Fucking society! I crushed those characters and their mannerisms. I didn’t know what else I could do.