For the body of Tamara, whose thighs made him a fetishist of thighs.
For the body of Norma, goose-fleshed, wet.
For the body of Patricia, which he had still to tame.
For the body of Shell, which was altogether sweet in his memory, which he loved as he walked, the little breasts he wrote about, and her hair which was so black it shone blue.
For all the bodies in and out of bathing suits, clothes, water, going between rooms, lying on grass, taking the print of grass, dancing discipline, leaping over horses, growing in mirrors, felt like treasure, slobbered over, cheated for, all of them, the great ballet line, the cream in them, the sun on them, the oil anointed.
A thousand shadows, a single fire, everything that happened, twisted by telling, served the vision, and when he saw it, he was in the very centre of things.
Blindly he climbed the wooden steps that led up the side of the mountain. He was stopped by the high walls of the hospital. Its Italian towers looked sinister. His mother was sleeping in one of them.
He turned and looked at the city below him.
The heart of the city wasn’t down there among the new buildings and widened streets. It was right over there at the Allan, which, with drugs and electricity, was keeping the businessmen sane and their wives from suicide and their children free from hatred. The hospital was the true heart, pumping stability and creations and orgasms and sleep into all the withering commercial limbs. His mother was sleeping in one of the towers. With windows that didn’t quite open.
The restaurant bathed the corner of Stanley and St. Catherine in a light that made your skin yellow and the veins show through. It was a big place, mirrored, crowded as usual. There wasn’t a woman he could see. Breavman noted that a lot of the men used hair tonic; the sides of their heads seemed shiny and wet. Most of them were thin. And there seemed to be a uniform, almost. Tight chinos with belts in the back, V-neck sweaters without shirts.
He sat at a table. He was very thirsty. He felt in his pocket. Shell was right. He didn’t have much money.
No, he wouldn’t go to New York. He knew that. But he must always be connected to her. That must never be severed. Everything was simple as long as he was connected to her, as long as they remembered.
One day what he did to her, to the child, would enter his understanding with such a smash of guilt that he would sit motionless for days, until others carried him and medical machines brought him back to speech.
But that was not today.
The juke-box wailed. He believed he understood the longing of the cheap tunes better than anyone there. The Wurlitzer was a great beast, blinking in pain. It was everybody’s neon wound. A suffering ventriloquist. It was the kind of pet people wanted. An eternal bear for baiting, with electric blood. Breavman had a quarter to spare. It was fat, it loved its chains, it gobbled and was ready to fester all night.
Breavman thought he’d just sit back and sip his Orange Crush. A memory hit him urgently and he asked a waitress for her pencil. On a napkin he scribbled:
Jesus! I just remembered what Lisa’s favourite game was. After a heavy snow we would go into a back yard with a few of our friends. The expanse of snow would be white and unbroken. Bertha was the spinner. You held her hands while she turned on her heels, you circled her until your feet left the ground. Then she let go and you flew over the snow. You remained still in whatever position you landed. When everyone had been flung in this fashion into the fresh snow, the beautiful part of the game began. You stood up carefully, taking great pains not to disturb the impression you had made. Now the comparisons. Of course you would have done your best to land in some crazy position, arms and legs sticking out. Then we walked away, leaving a lovely white field of blossom-like shapes with footprint stems.
CREDITS
The epigraph poem and others quoted in The Favourite Game are from The Spice Box of Earth by Leonard Cohen, and are reprinted by kind permission of the publishers, McClelland & Stewart Ltd.
The lyrics on this page are from “The Girl That I Marry” by Irving Berlin. Copyright © 1946 (Renewed) by Irving Berlin. All rights for the world, excluding the U.S., China, Japan, Okinawa controlled by Warner Chappell Music Ltd. All rights reserved. Used by permission of Warner Bros. Publications U.S. Inc., Miami, FL. 33014.
The lyrics on this page are from “Near You” by Kermit Goell and Francis Craig. Copyright © 1947 (Renewed) by Supreme Music Corporation. All rights administered by WB Music Corp. All rights reserved. Used by permission of Warner Bros. Publications U.S. Inc., Miami, FL. 33014.
The lyrics on this page–this page are from “I Almost Lost My Mind” by Ivory Joe Hunter © 1956 (Renewed) by Unichappell Music, Inc. All rights reserved. Used by permission of Warner Bros. Publications U.S. Inc., Miami, FL. 33014.
Leonard Cohen was born in Montreal in 1934. His artistic career began in 1956 with the publication of Let Us Compare Mythologies. He has published twelve books, including two novels, The Favourite Game and Beautiful Losers, which was a finalist for CBC Radio’s Canada Reads 2005. His most recent books are Stranger Music: Selected Poems and Songs and Book of Longing. He has made seventeen albums, the latest being Dear Heather. Numerous tribute albums, in many languages, have celebrated his songs. His work is known and loved throughout the world.
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