depressed looking at the pictures, so she put them down and went into the bedroom. She undressed. She looked at her body—whole, not a bad figure—in the mirror. It was an automatic reaction with her to close the curtains when she was naked, so she turned quickly and went to the window and did that. She went back to the mirror; the room was darker now and her body looked better. She ran her hands down her sides, wondering if the feel of her skin was anything like the way the sculpture would feel. She was sure that the sculpture would be smoother—her hands would move more quickly down the slopes of it than she wanted—that it would be cool, and that somehow she could feel the grayness of it. Those things seemed preferable to her hands lingering on her body, the imperfection of her skin, the overheated apartment. If she were the piece of sculpture and if she could feel, she would like her sense of isolation.
This was in 1972, in Philadelphia.
Distant Music
On Friday she always sat in the park, waiting for him to come. At one-thirty he came to this park bench (if someone was already sitting there, he loitered around it), and then they would sit side by side, talking quietly, like Ingrid Bergman and Cary Grant in
She was twenty, and she worked in an office; she was pretty because she took a lot of time with makeup, the way a housewife who really cared might flute the edges of a piecrust with thumb and index finger. He was twenty-four, a graduate-school dropout (theater) who collaborated on songs with his friend Gus Greeley, and he wanted, he fervently wanted, to make it big as a songwriter. His mother was Greek and French, his father American. This girl, Sharon, was not the first woman to fall in love with Jack because he was so handsome. She took the subway to get to the bench, which was in Washington Square Park; he walked from the basement apartment he lived in. Whoever had Sam that day (they kept the dog alternating weeks) brought him. They could do this because her job required her to work only from eight to one, and he worked at home. They had gotten the dog because they feared for his life. A man had come up to them on West Tenth Street carrying a cardboard box, smiling, and saying, “Does the little lady want a kitty cat?” They peered inside. “Puppies,” Jack said. “Well, who gives a fuck?” the man said, putting the box down, his face dark and contorted. Sharon and Jack stared at the man; he stared belligerently back. Neither of them was quite sure how things had suddenly turned ominous. She wanted to get out of there right away, before the man took a swing at Jack, but to her surprise Jack smiled at the man and dipped into the box for a dog. He extracted the scrawny, wormy Sam. She took the dog first, because there was a veterinarian’s office close to her apartment. Once the dog was cured of his worms, she gave him to Jack to begin his training. In Jack’s apartment the puppy would fix his eyes on the parallelogram of sunlight that sometimes appeared on the wood floor in the late morning—sniffing it, backing up, edging up to it at the border. In her apartment, the puppy’s object of fascination was a clarinet that a friend had left there when he moved. The puppy looked at it respectfully. She watched the dog for signs of maladjustment, wondering if he was too young to be shuttling back and forth, from home to home. (She herself had been raised by her mother, but she and her sister would fly to Seattle every summer to spend two months with their father.) The dog seemed happy enough.
At night, in Jack’s one-room apartment, they would sometimes lie with their heads at the foot of the bed, staring at the ornately carved oak headboard and the old-fashioned light attached to it, with the little sticker still on the shade that said “From home of Lady Astor. $4.00.” They had found the lamp in Ruckersville, Virginia, on the only long trip they ever took out of the city. On the bed with them there were usually sheets of music—songs that he was scoring. She would look at the pieces of paper with lyrics typed on them, and read them slowly to herself, appraisingly, as if they were poetry.
On weekends they spent the days and nights together. There was a small but deep fireplace in his apartment, and when September came they would light a fire in the late afternoon, although it was not yet cold, and sometimes light a stick of sandalwood incense, and they would lean on each other or sit side by side, listening to Vivaldi. She knew very little about such music when she first met him, and much more about it by the time their first month had passed. There was no one thing she knew a great deal about—as he did about music—so there was really nothing that she could teach him.
“Where were you in 1974?” he asked her once.
“In school. In Ann Arbor.”
“What about 1975?”
“In Boston. Working at a gallery.”
“Where are you now?” he said.
She looked at him and frowned. “In New York,” she said.
He turned toward her and kissed her arm. “I know,” he said. “But why so serious?”
She knew that she was a serious person, and she liked it that he could make her smile. Sometimes, though, she did not quite understand him, so she was smiling now not out of appreciation, but because she thought a smile would make things all right.
Carol, her closest friend, asked why she didn’t move in with him. She did not want to tell Carol that it was because she had not been asked, so she said that the room he lived in was very small and that during the day he liked solitude so he could work. She was also not sure that she would move in if he did ask her. He gave her the impression sometimes that he was the serious one, not she. Perhaps “serious” was the wrong word; it was more that he seemed despondent. He would get into moods and not snap out of them; he would drink red wine and play Billie Holiday records, and shake his head and say that if he had not made it as a songwriter by now, chances were that he would never make it. She hadn’t really been familiar with Billie Holiday until he began playing the records for her. He would play a song that Billie had recorded early in her career, then play another record of the same song as she had sung it later. He said that he preferred her ruined voice. Two songs in particular stuck in her mind. One was “Solitude,” and the first time she heard Billie Holiday sing the first three words, “In my solitude,” she felt a physical sensation, as if someone were drawing something sharp over her heart, very lightly. The other record she kept thinking of was “Gloomy Sunday.” He told her that it had been banned from the radio back then, because it was said that it had been responsible for suicides.
For Christmas that year he gave her a small pearl ring that had been worn by his mother when she was a girl. The ring fitted perfectly; she only had to wiggle it slightly to get it to slide over the joint of her finger, and when it was in place it felt as if she were not wearing a ring at all. There were eight prongs holding the pearl in place. She often counted things: how many panes in a window, how many slats in a bench. Then, for her birthday, in January, he gave her a silver chain with a small sapphire stone, to be worn on the wrist. She was delighted; she wouldn’t let him help her fasten the clasp.
“You like it?” he said. “That’s all I’ve got.”
She looked at him, a little startled. His mother had died the year before she met him; what he was saying was
