The photo has been cut; a third of it has been cut off. In the lower left corner there's a hand, scissored off at the wrist, resting on the grass. It's the hand of the other one, the one who is always in the picture whether seen or not. The hand that will set things down.
How could I have been so ignorant? she thinks. So stupid, so unseeing, so given over to carelessness. But without such ignorance, such carelessness, how could we live? If you knew what was going to happen, if you knew everything that was going to happen next--if you knew in advance the consequences of your own actions--you'd be doomed. You'd be as ruined as God. You'd be a stone. You'd never eat or drink or laugh or get out of bed in the morning. You'd never love anyone, ever again. You'd never dare to.
Drowned now--the tree as well, the sky, the wind, the clouds. All she has left is the picture. Also the story of it. Read more »
But in the end, back she comes. There's no use resisting. She goes to him for amnesia, for oblivion. She renders herself up, is blotted out; enters the darkness of her own body, forgets her name. Immolation is what she wants, however briefly. To exist without boundaries.
She imagines him imagining her. This is her salvation.
In spirit she walks the city, traces its labyrinths, its dingy mazes, each assignation, each rendezvous, each door and stair and bed. What he said, what she said, what they did, what they did then. Even the times they argued, fought, parted, agonized, rejoiced. How they'd loved to cut themselves on each other, taste their own blood. We were ruinous together, she thinks. But how else can we live, these days, except in the midst of ruin?
Sometimes she wants to put a match to him, have done with him, finish with that endless, useless longing. At the very least, daily time and the entropy of her own body should take care of it- wear her threadbare, wear her out, erase that place in her brain. But no exorcism has been enough, nor has she tried very hard at it. Exorcism is not what she wants. She wants that terrified bliss, like falling out of an airplane by mistake. She wants his famished look.
The last time she'd seen him, when they'd gone back to his room- it was like drowning: everything darkened and roared, but at the same time it was very silvery, and slow, and clear.
I wonder which is preferable -- to walk around all your life swollen up with your secrets until you burst from the pressure of them, or to have them sucked out of you, every paragraph, every sentence, every word for them, so at the end you're depleted of all that was once as precious to you as hoarded gold, as close to you as your skin -- everything that was of the deepest importance to you, everything that made you cringe and wish to conceal, everything that belonged to you alone -- and must spend the rest of your days like an empty sack flapping in the wind, an empty sack branded with a bright fluorescent label so that everyone will know what sort of secrets used to be inside you?
I've written nothing for the past week. I lost the heart for it. Why set down such melancholy events? But I've begun again, I notice. I've taken up my black scrawl; it unwinds in a long dark thread of ink across the page, tangled but legible. Do I have some notion of leaving a signature, after all? After all I've done to avoid it, Iris, her mark, however truncated: initials chalked on the sidewalk, or a pirate's X on the map, revealing the beach where the treasure was buried.
Why is it we want so badly to memorialize ourselves? Even while we’re still alive. We wish to assert our existence, like dogs peeing on fire hydrants. We put on display our framed photographs, our parchment diplomas, our silver-plated cups; we monogram our linen, we carve our names on trees, we scrawl them on washroom walls. It’s all the same impulse. What do we hope from it? Applause, envy, respect? Or simply attention, of any kind we can get?
At the very least we want a witness. We can’t stand the idea of our own voices falling silent finally, like a radio running down.
