As Guy walked back to the compound now, his flashlight stabbed into visibility tunnels of the night woods, tangents along his curving path. Somehow at every step it was surprising that there wasn’t anyone but him in any of the tunnels. Like everyone else, he had fantasies of his own of living for himself in the years that were remaining — of giving up law, in his case. The trouble was, the remainder might stretch for as long as a century; no one knew. And Guy had reached the age past which it is no longer in one to become a different person, not even one’s true self.
Nobody is innocent, says the ice cube. You’re not as experienced as you think you are, says the ice cube tray. Experience isn’t everything, says the ice cube. What else is there, says the ice cube tray. Feeling, says the ice cube. I don’t understand, says the ice cube tray.
Her mother’s prophecy struck me as a terrible, sinister curse: You, daughter, will die before me. The curse of a miserable woman who should never have had a child. A daughter. A Greek curse, though I don’t know of a Greek tragedy with that in its story. Here is a daughter cursed by her mother, who becomes a curse to her friends. I wasn’t alone.
When Marcella doesn’t show the next week for their appointment, Ruth is worried. She calls Marcella’s cell phone and there’s no answer. She tries her again the next day, and this time a man picks up.
The strength of my desire, previously unknown to me, feels overpowering. It also feels necessary, which means that it is dangerous.
As soon as I hang up, every movement feels curiously weighty. Things somehow mean more than they used to. I sit for a while, feeling the rug under my legs, then slowly wash my face and feel the water bead on my skin. I stare at the bones of my face in the mirror, and I look shadowed and unrecognizable. A liquid warmth spreads through my body. I complete the assignment.
He eats, cuts more. A thick coin of marbled purple slithers across the counter and over the lip to the floor. He scoops it up, gobbles. Five-second rule, he says. She stares at the tiles that haven’t been mopped since they moved in: Are you looking for food poisoning? Don’t believe in it, he replies, setting his bottle back on the squid stain. I don’t endorse your obsessive fixations, he says, turning back to his spitting pan, tossing in a ring and tentacle to test the oil’s heat. Charlotte arrives at last, via Uber, straight off the flight, fashionable, strangely neat, with a hard little mouth.
What did feet feel toward hands, their pretentious, elegant cousins?
Like many people my age, like Molly, I’d been deeply in love with this man, and had spent hours hurling myself spastically around the house to his songs, and I’d continued to be a partisan of his music and, what, brand, until the music got so boring that it wasn’t worth the energy anymore. Whatever bad shit he was into, I probably would have stayed loyal if there’d been worthwhile product. The sadness I felt watching the movie had something to do with a person’s art betraying them, of watching a man who has grown bored with the possibilities of his craft attempting to find, somewhere in his past, something worth preserving, and finding nothing.
1970 is an inauspicious year for a young heterosexual feminist to launch an ambitious career of promiscuity.
The sexual revolution is cresting. Men have been riding it like the perfect wave, with women newly eager yet still reliably abject. Now, however, the women’s movement is riling that perfect wave with confounding currents: both extolling the vast potential of female sexuality (multiple orgasms!) and demanding that men fulfill it, now. To many men feminism is a betrayal, a threat, or a joke; to others it is a challenge. They are excited and wary, aggressive and cowed, all at once.
"You know, everything that we’ve been doing together actually is the plot of ‘Goodbye, Columbus.’ "
But it turns out that I love those books. They have that same quality of being unrepentant. And the idea that you can write a novel that very clearly, unabashedly, unrepentantly has autobiographical elements, a novel that says, “What, fuck you, who even cares? This is what a novel is, and you can like it or you can get off the bus”—I appreciated that.
