Cat's Eye - Margaret Atwood [7]
But the next day we snuck out to lunch, alone, and got plastered. That word, plastered, on the brink of obsolescence, indicates to me what sort of an event that was. It was a retrospective. And I still think of it as sneaking out, though of course Ben knew all about it. Though he would never go to lunch with his own first wife.
“You’ve always said it was such a disaster,” Ben said to me, puzzled.
“It was,” I said. “It was horrible.”
“Then why would you want to have lunch with him?”
“That’s hard to explain,” I said, though it may not be. What we share, Jon and I, may be a lot like a traffic accident, but we do share it. We are survivors, of each other. We have been shark to one another, but also lifeboat. That counts for something.
In the old days Jon did constructions. He made them out of bits of wood and leather he’d pick out of people’s trash, or else he’d smash things—violins, glassware—and glue the pieces into the position of the smash; shatter patterns, he called them. At one time he wrapped pieces of colored tape around tree trunks and took photographs of them, at another he made a replica of a mold-covered loaf of bread that breathed in and out with the aid of a small electric motor. The mold was made from the hair clippings of himself and friends. I think there’s even some of my hair on that loaf of bread; I caught him snitching some out of my hairbrush.
He does special effects for movies now, to support his artist habit. The studio is scattered with his half-finished doings. On the workbench where he keeps his paints, glues, knives, and pliers, there’s a hand and arm, done in plastic resin, arteries worming from the cut end, straps to strap it on. There are hollow casts of legs and feet standing around on the floor like elephant-foot umbrella stands; in one of them there’s an umbrella. Also there’s part of a face, with the skin blackened and withered, made to fit over the actor’s real face. A monster, warped by others, bent on revenge.
Jon has told me he isn’t sure this hacked-up body-part stuff is the sort of thing he should be doing. It’s too violent, it doesn’t contribute to human goodness. He’s coming to believe in human goodness in his old age, which is certainly a change; I’ve even found some herbal tea in the cupboard. He claims he’d rather make friendly animals for children’s shows. But as he says, you have to eat, and there’s just more demand for cut-off limbs.
I wish he were here, or Ben, or any man I know. I’m losing the appetite for strangers. Once I would have focused on the excitement, the hazard; now it’s the mess, the bother. Getting your clothes off gracefully, always such an impossibility; thinking up what to say afterward, without setting the echoes going in your head. Worse, the encounter with another set of particularities: the toenails, the ear holes, the nosehairs. Perhaps at this age we return to the prudishness we had as children.
I get up off the duvet, feeling as if I haven’t slept. I riffle through the herbal tea bags in the kitchenette, Lemon Mist, Morning Thunder, and bypass them in favor of some thick, jolting, poisonous coffee. I find myself standing in the middle of the main room, not knowing exactly how I got in here from the kitchenette. A little time jump, a little static on the screen, probably jet lag: up too late at night, drugged in the morning. Early Alzheimer’s.
I sit at the window, drinking my coffee, biting my fingers, looking down the five stories. From this angle the pedestrians appear squashed from above, like deformed children. All around are flat-roofed, boxy warehouse buildings, and beyond them the flat railroad lands where the trains used to shunt back and forth, once the only entertainment available here on Sundays. Beyond that is flat Lake Ontario, a zero at the beginning and a zero at the end, slate-gray and brimming with venoms. Even the rain from it is carcinogenic.
I wash in Jon’s tiny, greasy bathroom, resisting the medicine cabinet. The bathroom is smeared with fingerprints