Luster(4)

“You can be yourself with me, you know,” he says, and it’s all I can do not to laugh right in his face.

“Thanks,” I say, but I know he doesn’t mean it. He wants me to be myself like a leopard might be herself in a city zoo. Inert, waiting to be fed. Not out in the wild, with tendon in her teeth.

“Also, if I don’t make you come, I want you to tell me,” he says, motioning for the check.

“So we’re going to have sex? This is going well?”

“Don’t you think so?”



* * *



On our way back to the car, it begins to rain. The rain is light but unexpected, and the park is already halfway through the closing fireworks. We stand in the lot and wait for the finale. He drapes his arm around me as they start to send up the white dahlias. I press my face into his shirt, and it is damp with sweat and chlorine. All day it has been impossible to get dry. He touches the back of my neck and his fingers stick.



* * *



When we get in the car, the windows are wet on our side of the glass. He turns on the wipers and removes his shirt. He has this smile as he does it that gives me the impression he is aware of himself, and it makes me want to sit on his face. I have prepared for this. I wore this dress because it is easy to take off. But then he puts the car in drive and we are on the road. I sit and watch the roadside lights strobe across his face. The route from Jersey to the city is unusually clear. He hangs his arm out of the window and sings along to the radio in a soft, confident voice. The song on the radio is Idris Muhammad’s “Could Heaven Ever Be Like This.” It came out in 1977, three years after Eric was born. I sing along in the least weird way I can manage, which is still pretty weird.

“How do you know this?” he says, and I want to be cool. I want to say that I found the record in a shop, misplaced behind some goblin prog. Not that I heard it sampled by two separate songs and spent 2003–2006 on crude message boards, trying to seek it out. I want to tell him that Donna Summer’s “Spring Affair” is the only thing that got me through 2004, but I have omitted the events of this year from our correspondence.

“I love disco,” I say, and he smiles and turns up the music. This is how we travel into the city, aloft on the late seventies. He drives at a mellow clip with one hand on the wheel, and I know I am almost home when the air begins to stink. When we pull up to the curb, he turns down the music and asks again if I had a good time.

“Yes,” I say, my ears still full of the highway wind.

“You better not be lying to me,” he says, and then his hand is on my thigh. Wrapped around the back of my neck. There is no discernible pattern to his touch and he is so silent I can’t even hear him breathing. Otherwise, I am aware of every atmospheric fluctuation inside the car: the lost radio channel and low FM fuzz, half in half out, so that against the lazy circles of his fingers a voice occasionally emerges from the speaker with oily DJ verve and says you’re listening to; the dome light; the dim halo around his head; his eyes large and bright.

“I want you to suck my fingers,” he says.

“Okay,” I say, and take one finger into my mouth. And then two. And then three. And then suddenly, he hooks his fingers and pulls me toward him by the bottom row of my teeth.

“You fucking slut,” he says, and then releases me.

“Come up.”

“Not tonight. Let me take you out on Thursday.”

“Sure,” I say, but I am embarrassed. All day I have been waiting to take him apart. I cleaned my room and bought three boxes of Plan B. I get out of the car and wave as he drives away. As I climb the stairs to my apartment, I have already resolved to call out of work tomorrow and spend all night furiously masturbating to Top Chef.



* * *



Unfortunately, my vibrator is dead. I scrounge around for some batteries, but none of the ones I find are double-A. I try to use my fingers, but a roach crawls across the ceiling when I’m getting close. When I look in the mirror, one of my falsies is gone. I hope this has happened recently, and I have not been walking around all day with one sad, glue-drenched eye. Everything I’ve done to prepare for his visit feels embarrassing. The extra toothbrush, the eggs and LaCroix I bought for our postcoital brunch. I make an omelet and eat it in the dark. I think of the look on his face when he had his fingers in my mouth. His sneer, suspended in the blue-dark.



* * *



I look for my paints, and when I find them, they are mostly congealed. It has been two years since I painted anything, but I have optimistically kept a bag of art supplies on hand. There is a dead mouse in the bag, and I have no idea how long it’s been in there. Because for two years I have slowly moved all my art supplies out of view. I have woken up from dreams where my hands are slick with oil and turpentine and lost the inspiration by the time I brushed my teeth. The last time I painted, I was twenty-one. The president was black. I had more serotonin and I was less afraid of men. Now the cyan and yellow come out hard. I need hot water to make them mix. I work with the paint, let the acrylic dry, and when it isn’t right I rework it again. I remain as faithful as I can to scale. I mix thirteen shades of green, five shades of purple I don’t need. My palette knife breaks in two. When it is almost 5:00 a.m., I have a passable replication of Eric’s face. The slope of his nose in the soft red light of the dash. I rinse my brushes and watch dawn come in its smoky metropolitan form. Somewhere in Essex County, Eric is in bed with his wife. It’s not that I want exactly this, to have a husband or home security system that, for the length of our marriage, never goes off. It’s that there are gray, anonymous hours like this. Hours when I am desperate, when I am ravenous, when I know how a star becomes a void.