And now in Sonia he seemed to have found a woman who appreciated him and should by rights have been the perfect woman. But there were snags. Piper's perfect woman, culled from the great novels, was a creature who combined purity with deep desires. Piper had no objection to deep desires provided they remained deep. Sonia's didn't. Even Piper could tell that. She emanated a readiness for sex which made things very awkward. For one thing it deprived him of his right to be predatory. You couldn't very well be beastly if the angel you were supposed to be beastly to was being even beastlier than you were. Beastliness was relative. Moreover it required a passivity that Sonia's kisses proved she lacked. Locked occasionally in her arms, Piper felt himself at the mercy of an enormously powerful woman and even Piper with his lack of imagination could not see himself being predatory with her. It was all extremely difficult and Piper, sitting on the sundeck watching the ship's wake widening towards the horizon, was struck once again by the contradiction between Life and Art. To relieve his feelings he opened his ledger and wrote, 'A mature relationship demands the sacrifice of the ideal in the interests of experience and one must come to terms with the Real.'
That night Piper armed himself to come to terms with the Real. He had two large vodkas before dinner, a bottle of Nuits St Georges, which seemed to be appropriately named for the encounter, during the meal, followed this with a Benedictine with his coffee and finally went down in the elevator breathing alcohol and endearments over Sonia.
'Look, you don't have to,' she said as he fondled her on the way down. Piper remained determined.
'Darling, we're two mature people,' he mumbled and walked unsteadily to the cabin. Sonia went inside and switched on the light. Piper switched it off again.
'I love you,' he said.
'Look, you don't have to appease your conscience,' said Sonia.
'And anyhow...'
Piper breathed heavily and seized her with dedicated passion. The next moment they were on the bed.
'Your breasts, your hair, your lips...'
'My period,' said Sonia.
'Your period,' murmured Piper. 'Your skin, your...'
'Period,' said Sonia.
Piper stopped. 'What do you mean, your period?' he asked vaguely aware that something was amiss.
'My period period,' said Sonia. 'Get it?'
Piper had got it. With a bound the author by proxy of Pause O Men for the Virgin was off the bed and into the bathroom. There were more contradictions between Life and Art than he had ever dreamt of. Like physiological ones.
In the big house overlooking Freshman's Bay in Maine, Baby Hutchmeyer, nee Sugg, Miss Penobscot 1935, lay languorously on her great waterbed and thought about Piper. Beside her was a copy of Pause and a glass of Scotch and Vitamin C. She had read the book three times now, and with each reading she had felt increasingly that here at last was a young author who truly appreciated what an older woman had to offer. Not that Baby was, in most aspects, older. At forty, read fifty-eight, she still had the body of an accident-prone eighteen-year-old and the face of an embalmed twenty-five. In short she had what it takes, the It in question having been taken by Hutchmeyer in the first ten years of their married life and left for the last thirty. What Hutchmeyer had to give by way of attention and bovine passion he bestowed on secretaries, stenographers and the occasional stripper in Las Vegas, Paris or Tokyo. In return for Baby's complaisancy he gave her money, indulged her enthusiasms whether artistic, social, metaphysical or ecocultural, and boasted in public about their happy marriage. Baby made do with bronzed young
