Kafka Was the Rage_ A Greenwich Village Memoir - Anatole Broyard [49]
With a girl, there was always the definition of terms: what getting into bed meant to her and what it could mean to me. Why are we doing this? she would ask, and I would have to make up a lie because I didn’t know the answer. As we pressed up against the idea of love, as we felt its heat and blinked in its light, the personal and the philosophical met in a blur.
I would be seized with an incredible sincerity, and while I knew that this sincerity was temporary, there was a sense in which it was eternal too. The girl and I were like two bows bent all the way back, with only one arrow between us. Seduction was a touching and beautiful genre, the most heartfelt literature of the self. At such times, I saw myself as I might be, as lovable. And I think the girl saw herself at her best too, as inspiring.
There was a wonderful embarrassment about it all, a moral nakedness. A contemporary writer, a psychotherapist, defined embarrassment as radiance that doesn’t know what to do with itself—and that’s what we had. We had radiance. When people are embarrassed, it’s as if they’ve fallen out of their compulsive rhythms and are framed for a moment in an absolute, undefended stillness.
Undressing was a drama in itself. A girl standing with her arms behind her back, at the clasp of her bra, had some of the beauty of a crucifixion. She also looked as if she was hiding something behind her, a gift. Pausing, gazing past me into the middle distance, her arms still back, handcuffed by hesitation and desire, she was trying to see the future or the end of love. And when at last her breasts sprang loose, she looked down at them with as much amazement as I did.
When a girl took off her underpants in 1947, she was more naked than any woman before her had ever been. It was as if time or history itself had been evolving toward her nakedness, yearning for it. The men of my generation had thought obsessively about her body, had been elaborately prepared for it, led up to it by the great curve of civilization. Her body was on the tip of our minds, a pinup on the brink of our progress, our freedom. We’d carried it, like a gun, all through the war. The nakedness of women was such an anticipated object that it was out in front of American culture, like the radiator ornament on the hood of a car. We were at that point in our social evolution where we had taken in as much awareness of women’s bodies as we could stand without going mad. We were a nation of voyeurs.
Perhaps, when she had undressed, a girl would apologize for her body, say that it was too thin or fat, that her breasts were too small. It was always she who had to measure up, who had to justify men’s furious imaginings. If she had dared to refer to it, she might have apologized for her sex—its wetness, its pungency, its hairiness, its peculiar, almost furtive location. She might end her undressing with