which allowed Hebert to feign a moment of embarrassment even as he was emboldened. Outside in the still-rainy night, the sky was many shades of gray. Hebert called a taxicab, one shade of yellow. At intervals he began to speak, and each time she cocked her head to show that she was listening. She took his hand in his hotel as they rode up in the elevator. The way to do it, she kept thinking, is just to do it. It reminded her of a sentence of his —“Opportunities will not represent themselves unless they are re-created and re-produced, and by that time they are less opportunities than products that carry the sense of opportunity”—and that made her laugh. She stifled her laugh by putting his hand in her mouth.
Hebert, though one of the sharpest and most original of modern thinkers, was uncomfortable in bed. His movements were sudden and seemed to have little to do with his pleasure. Deborah had always taken pride in her body, particularly in bed. It was one of the rare places where she could dominate and seem submissive. Here, though, she felt she was risking injury to Hebert. After working the bed from head to foot, they made their way to the couch. She sat there naked. He occupied the end closer to the window. “Do you believe that humans have bird songs?” he said. “By that I mean, do you think each of us has a native melody that, unsung or sung, represents us like a fingerprint?”
“Stop avoiding me,” she said. Many thoughts drifted across his face, slowly at first and then quickened by the winds of his panic. He was triumphant, he was contrite, he was friendly, he was brusque. Mostly, he was limp, skinny, and pale, and she was delighted. Having gone at him, she could now set him aside. The power had shifted entirely. She had been wary of returning to men, but this was precisely why her decision was immoderate. She took a cigarette and stood by the window as he got dressed.
“Next week, I will be in a different hotel,” he said. “And another after that.”
“Well, then, I will see you in one of those,” she said.
When she called Boatman the next day, she explained herself forcefully. “Got him,” she said. “Two strikes, one after the other. The second time around he took it to me a little bit more. It was like he saw something on the surface and had the courage to go in after it.”
“Right-o,” Boatman said. He was as unfazed by her as ever. “Who’s on tap for tonight? The prime minister?”
That night she read but retained little, and when she finally gave up, she did not sleep. She expected to have kept something from her time with Hebert: memories, pictures. But her recollection of the evening was pitch-black. She reread his book to try to jog her memory. The next night she painted better, but still no memories. She was drawing a deep blank. On Friday night, she went to a cafe down the street and allowed herself to be chatted up by a young French lawyer who loved to talk about automobiles and drugs and gourmet foods, after which she followed him to his apartment and engaged in a drunken and spirited session on a bed he had not bothered making from the night before. The morning after that, her memory of him was sharp, down to individual smells and textures. There was a patch of hair on his lower back. But she could recollect nothing of Hebert.
The following week, Hebert held another event at another rock club. She attended. He read. The audience was somewhat more hostile this time; a young man stood up without being acknowledged and challenged Hebert on his decision to speak only English. “Don’t get so exercised about it, man,” Hebert said, and enough of the crowd laughed that he was able to move on. Afterward there was a reception in the lobby, as before. Deborah stood in the corner with her legs crossed and watched Hebert work the room. It should have been a source of excitement to see him swerve from guest to guest. He noticed her and drew near. “Hello,” he said. He was looking at her like she was already hooked, and she decided to play along. She heard a murmur ripple through the crowd standing near the door. In the cab he said nothing. In the elevator he said nothing. They sat on the edge of his bed and watched television. At last she grew impatient, reached into his pants without an invitation, and began to work on him. The result was not what she had expected. His entire body was consumed by a spasm of pleasure. He leapt up and plunged back down. “Oh! Oh!” he yelled. His face was as red as his eyes were bright. During the next hour he made love to her three times, each more intensely than the last. He took her out to sea. Stretched out beneath him, she wondered if she would forget this, too.
SHE DID, WITHIN A DAY. She shut her eyes tightly and tried to recover it, any part of it, but she could not. She did not even tell Boatman that she had gone back to Hebert. “I have a magazine for you,” Boatman said. “How about lunch tomorrow?”
“I feel a little sick,” she said.
She canceled a second lunch date and then the cures began to come in on two legs: Wilbon, who owned a watch shop; Denis, a musician; Leigh, a British actor who had worked briefly in adult films; Charles, an optometrist. She even considered a dalliance with Boatman, raised the issue with him at lunch. He looked at her, then burst out laughing, then took her hand in his. “I’m going to have to say no,” he said. “I’d rather keep living through you, if that’s okay.” This she remembered down to the last precise thing—the streak of blue ink on Boatman’s right hand, which had the appearance of a vein—but she could not retrieve a single detail about Hebert. She went back to read his essays, found them brilliant as always, but had no memory of the man. What did he smell like? How did he conduct himself while at her breast? “What is happening to me?” she asked Boatman. He laughed but said he didn’t believe her. She flipped through the blips in her mind: the tall one, the skinny one, the goatee, the glasses. She could see them perfectly, but when she tried to come around to the other side of them, she could not. They were pictures in a deck of cards. She shuffled them, but it was no consolation. She called Boatman on the phone and was humiliated by the safety he felt.
She flew back to Miami on Labor Day weekend, leaving Hebert’s book in the small apartment off the rue Beauregard. Still humiliated, she met a man named James at a party in a friend’s backyard. He was large and dark and told her, soon after they met, that he thought of her as his girlfriend. “Oh?” she said. She was secretly pleased that someone was making this decision. On their fourth date he took her away for the weekend to a house he had bought with his ex-wife. “I always thought it needed a birdhouse,” he said. He fashioned the birdhouse carefully, and it was a testament to his skills as a carpenter. He made a frame. He added a round front door and a window as decoration. He shingled the roof with tiny shingles and hammered in a perch just beneath the door. She watched him from the porch.
James stood back and looked at what he had made. Deborah called to him. Her voice turned him. Just then an untimely gust of wind arrived. It knocked down the umbrella post, which bumped against the table, which tilted downward. The birdhouse slid into the creek. “Well, hell,” he said. “There it goes.” And there it went. It floated down the creek until the creek fed the river and continued on down the river, turning as if with purpose whenever the river turned. People on the opposite bank saw the floating birdhouse and laughed at it, amazed. James came back inside the house, his face darkened by his failure. Deborah was sitting in a love seat rereading the magazine that Boatman had given her. The piece about Hebert quoted one of his famous statements, that music was a superior substitute for time itself: “What is not remembered in a song is kept nonetheless,” he wrote, “because the next notes collect those that came before them.” She looked at the picture that accompanied the article. That was exactly how he had looked when he had taken her to bed, or was it? James kicked the wall next to her chair. “I want that birdhouse to roast in hell,” he said. She knew she would remember everything she was hearing. As she told Boatman on the phone that night, it wasn’t so much what James said as the way he was saying it. “Hey,” Boatman said. “That’s exactly why I’m going to remember what you’re saying now.”
TO KILL THE PINK
(Harlem, 1964)
I’M GOING TO MALAWI. I’M WRITING THAT DOWN ON A SINGLE sheet of paper, folding it into thirds, putting it into an envelope, and leaving it on the kitchen table leaning up against the sugar bowl. When I go, I don’t want you to have any outstanding questions about where I’ve gone. Though most of your questions are outstanding. Pause. Get it? Remember when I used to do that, make a joke and then wait a minute before announcing it back to you like you were blind or deaf or dumb? I’ve been doing that to you ever since we were kids, ever since I nicknamed you Tails on account of your pigtails and it stuck. Fifteen years later you are a grown woman with a fine shape, top-shelf and bottom-drawer both, and it’s that bottom drawer that lets the nickname live, even
