Stone Mattress: Nine Tales(13)

She’s taken to renaming him according to her own analysis of his mood of the day, or his mood of the hour, or his mood of the minute: according to her, he’s moody. Each mood is personified and given an honorific, so he’s Mr. Grumpy, Mr. Sleepy, Dr. Ironic, Sir Sardonic, and sometimes, when she’s being sarcastic or possibly nostalgic, Mr. Romantic. A while back she used to call his penis Mr. Wiggly, but she’s given up on that, and on her attempts to revive his non-existent libido with unguents and sex jellies that taste of strawberry jam and invigorating ginger lemon and toothpaste mint. There was also an adventure with a hair dryer that he would prefer to forget. “It’s quarter to four,” she continues. “Let’s get ready for our company!” Next will come the hairbrush – that’s one thing he’s managed to hold on to, his hair – and then the lint brush. Dog-like, he sheds.

“Who is it this time?” says Gavin.

“A very nice woman,” says Reynolds. “A nice girl. A graduate student. She’s doing her thesis on your work.” She herself had once been doing her thesis on his work: that had been his downfall. It had been very seductive to him, then, to have an attractive young woman paying such concentrated attention to his every adjective.

Gavin groans. “Thesis on my f*cking work,” he says. “Christ defend us!”

“Now, Mr. Profanity,” says Reynolds. “Don’t be so mean.”

“What the f*ck is this learned scholar doing in Florida?” says Gavin. “She must be a moron.”

“Florida’s not the hick town you keep saying it is,” says Reynolds. “Times have changed; they’ve got good universities now and a great book festival! Thousands of people come to it!”

“Fan-f*cking-tastic. I’m impressed,” says Gavin.

“Anyway,” says Reynolds, ignoring him, “she isn’t from Florida. She’s flown in from Iowa just to interview you! People all over are doing work on your work, you know.”

“Iowa, f*ck,” says Gavin. Work on your work. Sometimes she talks like a five-year-old.

Reynolds gets going with the lint brush. She attacks his shoulders, then takes a playful swipe in the direction of his crotch. “Let’s see if there’s any lint on Mr. Wiggly!” she says.

“Keep your lustful claws off my private parts,” says Gavin. He feels like saying that of course there’s lint on Mr. Wiggly, or dust at any rate, or maybe rust; what does she expect, because as she is well aware Mr. Wiggly has been on the shelf for some time. But he refrains.

To rust unburnished, not to shine in use, he thinks. Tennyson. Ulysses sets out on his last voyage, lucky him, at least he’ll sink with his boots on. Not that Greeks wore boots. One of the first poems Gavin had to memorize in school; he turned out to be good at memorizing. Shameful to admit, but that’s what turned him on to poetry: Tennyson, an outmoded Victorian windbag, writing about an old man. Things have a habit of coming full circle: a bad habit, to his mind.

“Mr. Wiggly likes my lustful claws,” says Reynolds. How gallant of her to put that in the present tense. It used to be a game of theirs – that Reynolds was the seductress, the dominatrix, the femme fatale, and he was her passive victim. She’d seemed to enjoy that scenario, so he went along. Now it’s no longer a game; none of the old games work. It would only make both of them sad to attempt to revive them.

This isn’t what she signed up for when she married him. She most likely envisioned a fascinating life, filled with glamorous, creative people and stimulating intellectual chit-chat. And that did happen some, when they were first married; that, and the flare-up of his still active hormones. The last kaboom of the firecracker before it fizzled; but now she’s stuck with the burnt-out aftermath. In his more lenient moments, he feels sorry for her.

She must be finding consolation elsewhere. He would if he was her. What does she really do when she goes out to her spinning classes or off to her so-called dancing evenings with her so-called girlfriends? He can imagine, and does. Such imaginings once bothered him, but now he contemplates Reynolds’s possible transgressions – not only possible, but almost certain – with clinical detachment. She’s surely entitled to some of that: she’s thirty years younger than him. He probably has more horns on his head – as the bard would say – than a hundred-headed snail.

Serves him right for marrying a youngster. Serves him right for marrying three of them in a row. Serves him right for marrying his graduate students. Serves him right for marrying a bossy, self-appointed custodian of his life and times. Serves him right for marrying.

But at least Reynolds won’t leave him, he’s fairly certain of that. She’s polishing up her widow act; she wouldn’t want it to go to waste. She’s so competitive that she’ll hang in there to make sure neither of the two previous wives can lay claim to any part of him, literary or otherwise. She’ll want to control his narrative, she’ll want to help write the biography, if any. She’ll also want to cut out his two children – one from each ex-wife, and hardly children any longer, since one of them must be fifty-one, or maybe fifty-two. He hadn’t paid much attention to them when they were babies. They and their pastel, urine-soaked paraphernalia had taken up so much space, they’d attracted so much attention that ought to have been his, and he’d decamped in each case before they were three; so they don’t like him much, nor does he blame them, having hated his own father. Nevertheless there’s sure to be some squabbling after the funeral: he’s making sure of that by not finalizing his will. If only he could hover around in mid-air to watch!