What I Loved

  In May, she wrote to tell me that she was coming to New York for a week in June. She was going to stay with me, but her letters made it clear that the visit didn't mean a resumption of our old life. As the day approached, my agitation mounted. By the morning of her arrival, it had reached a pitch that felt something like an inner scream. The very thought that I would soon see Erica again didn't excite me as much as wound me. As I wandered around the loft trying to calm myself, I realized that I was holding my chest like a man who had just been stabbed. After sitting down, I tried to untangle that feeling of injury but couldn't do it—not fully. I knew, however, that Matt was suddenly everywhere.

  The loft reverberated with his voice. The furniture seemed to hold the imprint of his body. Even the light from the window conjured Matthew. It won't work, I thought to myself. It's not going to work. As soon as Erica stepped through the door, she started crying.

  We didn't fight. We talked in the intimate way of old lovers who haven't seen each other for a long time but hold no grudges. One night, we ate dinner with Bill and Violet in a restaurant and Erica laughed so hard at a Henny Youngman joke Bill told about a man hiding in a closet that she almost choked, and Violet had to beat her on the back. At least once a day Erica stood in the doorway of Matt's room for several minutes and looked in at what remained of it—the bed, his desk and chair, and the watercolor of the city Bill had given me and which I had framed. We made love twice. My physical loneliness had taken on shades of desperation, and when Erica leaned close to kiss me, I leapt at her. She trembled through my attack and had no orgasm. Her lack of pleasure soured my release, and afterward I felt empty. The night before she left, we tried again. I wanted to be careful with her, gentle. I touched her arm cautiously and then kissed it, but my hesitation seemed to irritate her. She lunged for me, grabbed my hips, and pinched my skin with her fingers. She kissed me hungrily and climbed on top of me. When she came, she made a small, sharp noise, and she sighed again and again, even after I had ejaculated. But under our lovemaking I felt a bleakness that couldn't be dispelled. The sadness was in both of us, and I think we pitied ourselves that night, as if we were other people looking down on the couple who lay together on the bed.

  In the morning, Erica reassured me that she didn't want a divorce unless I wanted one. I said I didn't. "I love your letters," she said. "They're beautiful."

  The comment annoyed me. "I think you're glad you're leaving," I said.

  Erica moved her face close to mine and narrowed her eyes. "Aren't you glad I'm leaving?"

  "I don't know," I said. "I really don't know."

  She put her hand on my face and stroked it. "We're broken, Leo. It's not our fault. When Matt died it was like our story stopped. There was so much of you in him ..."

  "You'd think we could at least have each other," I said to her.

  "I know," she said, "I know."

  After she was gone, I felt guilty because, turbulent as my feelings were, I detected in them the relief Erica had been brave enough to mention. At two o'clock in the afternoon, I drank a glass of Scotch in my chair like an old booze hound. As I told myself not to drink in the afternoon again, I felt the alcohol move into my head and then into my limbs. I leaned back into the fraying cushions of my chair and knew what had happened to me and Erica. We wanted other people. Not new people. Old ones. We wanted ourselves before Matthew died, and nothing we did for the rest of our days would ever bring those people back.

  That summer I began to work on Goya's "black paintings." Studying his monsters and ghouls and witches kept me occupied for hours at a time during the day, and his demons helped to keep mine at a distance. But when night came, I walked through other imaginary spaces, subjunctive realms in which I saw Matt talking and drawing, and Erica near me— unchanged. These waking fantasies were pure exercises in self-torture, but around that same time Matthew started to come to me in my dreams, and when he came, he was as much there as he had been in life. His body was as real, as whole, as palpable as it had always been. I held him, spoke to him, touched his hair, his hands, and I had what I couldn't have when I was awake—the unshakable, joyous certainty that Matthew was alive.

  While Goya didn't feed my gloom, his savage paintings gave new license to my thoughts—permission to open doors that in my former life I had left closed. Without Goya's ardent images, I'm not sure that Violet's piano lesson would have come surging back with such surprising force. The daydream began after I had seen Bill and Violet for dinner. Violet was wearing a pink sundress that showed her breasts. A long walk in the sun that afternoon had turned her cheeks and nose a little red, and while she talked to me about her next book, which had something to do with extreme narcissism, mass culture, pictures, instant communications, and a new illness of late capitalism, I found it hard to listen to her. My eyes kept wandering onto her flushed face and over her bare arms and onto her breasts and then to her fingers, with their pink polish. I left dinner early that evening, spent some time with the objects in my drawer, and then began leafing through a large book of Goya's drawings, starting with the ones for the Tauromaquia. While I admit that the artist's sketches of a bullfight have little in common with Violet's piano lesson and her encounter with Monsieur Renasse, the loose energy of his lines and his fierce rendering affected me like an aphrodisiac. I kept turning the pages, eager for more pictures of brutes and monsters. I knew every one of them by heart, but that night their carnal fury scorched my mind like a fire, and when I looked again at the drawing of a young, naked woman riding a goat on a witches' Sabbath, I felt that she was all speed and hunger, that her crazed ride, born of Goya's sure, swift hand, was ink bruising paper. His beast runs, but his rider is out of control. Her head has fallen back Her hair streams out behind her and her legs may not cling much longer to the animal's body. I touched the woman's shaded thigh and pale knee, and the gesture sent me to Paris.

  I changed the fantasy as it suited me. There were nights when I was content to watch the lesson through a window across the street and other nights when I became Monsieur Renasse. There were nights when I was Jules peeking through a keyhole or floating magically above the scene, but Violet was always on the bench beside one of us, and one of us would always reach out and grab her finger in an abrupt, violent motion and whisper "Jules" into her ear in a hoarse, insistent voice, and at the sound of the name, Violet's body would always tighten with desire and her head would fall back, and one of us or the other would have her right there on the piano bench, would pull up her pink dress from behind and lower the small underpants of varying colors and descriptions and enter her as she made loud noises of pleasure, or one of' us would drag her under a potted palm and part her legs on the floor and make raucous love to her while she screamed her way to orgasm. I released untold amounts of semen into that fantasy and inevitably felt let down afterward. My pornography was no-more idiotic than most, and I knew I wasn't the only man who indulged himself in harmless mental romps with the wife of a friend, but the secret pained me nevertheless. I would often think of Erica afterward and then of Bill. Sometimes I tried to supplant Violet with another figure, a nameless stand-in who could take her place, but it never worked. It had to be Violet and it had to be that story, not of two people but of three.

  Bill worked long hours on a series of autonomous pieces about numbers. Like O's Journey, the works took place inside glass cubes, but these were twice as large—about two feet square. He drew his inspiration from sources as varied as the Cabbala, physics, baseball box scores, and stock market reports. He took a number between zero and nine and played with it in a single piece. He painted, cut, sculpted, distorted, and broke the numerical signs in each work until they became unrecognizable. He included figures, objects, books, windows, and always the written word for the number. It was rambunctious art, thick with allusion—to voids, blanks, holes, to monotheism and the individual, to the dialectic and yin-yang, to the Trinity, the three fates, and three wishes, to the golden rectangle, to seven heavens, the seven lower
orders of the sephiroth, the nine Muses, the nine circles of Hell, the nine worlds of Norse mythology, but also to popular references like A Better Marriage in Five Easy Lessons and Thinner Thighs in Seven Days. Twelve-step programs were referred to in both cube one and cube two. A miniature copy of a book called The Six Mistakes Parents Make Most Often lay at the bottom of cube six. Puns appeared, usually well disguised—one, won; two, too, and Tuesday, four, for, forth; ate, eight. Bill was partial to rhymes as well, both in images and words. In cube nine, the geometrical figure for a line had been painted on one glass wall. In cube three, a tiny man wearing the black-and-white prison garb of cartoons and dragging a leg iron has opened the door to his cell. The hidden rhyme is "free." Looking closely through the walls of the cube, one can see the parallel rhyme in another language: the German word drei is scratched into one glass wall. Lying at the bottom of the same box is a tiny black-and-white photograph cut from a book that shows the entrance to Auschwitz: ARBEIT MACHT FREI. With every number, the arbitrary dance of associations worked together to create a tiny mental landscape that ranged in tone from wish-fulfillment dream to nightmare. Although dense, the effect of the cubes wasn't visually disorienting. Each object, painting, drawing, bit of text, or sculpted figure found its rightful place under the glass according to the necessary, if mad, logic of numerical, pictorial, and verbal connection—and the colors of each were startling. Every number had been given a thematic hue. Bill had been interested in Goethe's color wheel and in Alfred Jensen's use of it in his thick, hallucinatory paintings of numbers. He had assigned each number a color. Like Goethe, he included black and white, although he didn't bother with the poet's meanings. Zero and one were white. Two was blue. Three was red, four was yellow, and he mixed colors: pale blue for five, purples in six, oranges in seven, greens in eight, and blacks and grays in nine. Although other colors and omnipresent newsprint always intruded on the basic scheme, the myriad shades of a single color dominated each cube.

  The number pieces were the work of a man at the top of his form. An organic extension of everything Bill had done before, these knots of symbols had an explosive effect. The longer I looked at them, the more the miniature constructions seemed on the brink of bursting from internal pressure. They were tightly orchestrated semantic bombs through which Bill laid bare the arbitrary roots of meaning itself—that peculiar social contract generated by little squiggles, dashes, lines, and loops on a page.

  In several pieces Bill alluded to the often tedious business of acquiring the signs we need for comprehension—a fragment of Mark's math homework, a chewed pencil eraser, and my favorite in cube nine: the figure of a boy fast asleep at a desk, his cheek only partly covering a page of algebra. It turned out that these pictures of boredom were more personal than I thought. Bill confided to me that Mark had been doing so badly in school that the headmaster had gently suggested to Bill that he consider looking elsewhere. It wasn't an expulsion, the man had emphasized, merely a bad match between student and school. Mark's high I.Q. didn't compensate for his lack of concentration and discipline. Perhaps a less rigorous curriculum would suit him better. Bill had been on the telephone with Lucille for hours about a new school, and in the end Lucille had found a place that would accept Mark, a "progressive" institution near Princeton. The school took him with a single condition: they wanted him to repeat the eighth grade. The fall after he turned fourteen, Mark moved to Cranbury with his mother and spent his weekends in New York.

  That year he grew six inches. The little boy who had played chess with me was replaced by a lanky teenager, but his temperament stayed the same. I've never seen a boy more free of adolescent heaviness than Mark His body was as light as his spirit, his step weightless, his gestures graceful. But Bill never stopped worrying about his son's dilatory attitude in school. His school reports were erratic—A3s turned to D's. His teachers used adjectives like "irresponsible" and "underachieving." I eased Bill's mind with platitudes. He's a little immature, I would say, but time will change that. I listed great men who had been lousy students and star students who'd turned into mediocrities. My pep talks usually worked. "He'll turn it around," Bill would say. "Just wait. He'll find his way, even in school."

  Mark began to visit me on the weekends, usually on Sunday afternoon, before he returned to his mother's house. I looked forward to the sound of his feet on the stairs, to his knock, and to his open, untroubled face when I let him into the apartment. Often he would bring a piece of artwork to show me. He had started making small collages from magazines, some of which were interesting. One afternoon in the spring, he appeared at my door with a large shopping bag. After I let him in, I noticed that he had grown since I'd last seen him. "I can look you straight in the eyes now. I think you're going to be even taller than your father."

  Mark had been smiling at me, but as I spoke, he looked grumpy. "I don't want to grow anymore," he said. "I'm tall enough."

  "What are you, five-ten now? That's not too tall for a man."

  "I'm not a man," he said peevishly.

  I must have looked surprised, because Mark shrugged and said, "Never mind. I don't really care." Lifting the bag toward me, he said, "Dad thought I should show you this."

  After sitting down on the sofa with me, Mark pulled out a large piece of cardboard, which had been folded in half and opened like a book. The two halves were covered with pictures cut from magazine ads, all of young people. He had also cut out a few words and letters from more ads and pasted them over the images: CRAVE, DANCE, GLAM, YOUR FACE, and SLAP. I found the images a little dull, to be honest, a confusing hodgepodge of the chic and beautiful, and then I noticed the same little photograph of a baby in the middle of both pages. I looked down at the infant's fat, drooping cheeks. "Is that you?" I said, and laughed.

  Mark didn't seem to share my humor. "There were two copies of that picture. Mom let me have them."

  To the right of one photo and to the left of the other, I noticed two more photographs, both of which had been blurred by several layers of Scotch tape. I looked more closely. "What are these?" I said. "Two of the same picture again, right?"

  Through the Scotch tape, I made out the vague outline of a head in a baseball cap and a long thin body. "Who is it?"

  "Nobody."

  "Why is he covered up in tape?"

  "I don't know. I just did it. I didn't think about it I thought it looked good."

  "But it's not from a magazine. You must have found it somewhere."

  "I did, but I don't know who it is."

  "This part of the picture is the same on both sides. The rest isn't. It takes a while to see it, though. There's so much going on around it, but the photos are eerie."

  "You think that's bad?"

  "No," I said. "I think that's good."

  Mark closed up the cardboard and put it back into the bag. He leaned back on the sofa and put his feet on the coffee table in front of us. His sneakers were enormous—size eleven or twelve. I noticed that he was wearing the oversized, clownish pants favored by boys his age. We were silent for a while, and then I asked him the question that abruptly came to my mind: "Mark, do you miss Matthew?"

  Mark turned to me. His eyes were wide and he pressed his lips together for a moment before he spoke. "All the time," he said. "Every day."

  I fumbled for his hand on the sofa and breathed in loudly. I heard myself grunt with emotion, and my vision blurred. When I had gotten hold of his hand, I felt him squeeze mine firmly.

  Mark Wechsler was a few months shy of fifteen. I was sixty-two. I had known him all his life, but until then, I hadn't considered him a friend. All at once, I understood that his future was also mine, that if I wanted a lasting rapport with this boy who would soon become a man, I could have it, and the thought became a promise to myself: Mark will have my attention and care. I've relived that moment many times since then, but in the last couple of years, as with other events of my own life, I've started to imagine it from a third point of view. I see myself reach for my handkerc
hief, remove my glasses, and wipe my eyes before I blow my nose loudly into the white fabric. Mark looks on at his father's old friend with sympathy. Any informed spectator would have understood that scene. He would know that the emptiness left in me by Matthew's death could never be filled by Mark. He would have understood clearly that it wasn't a matter of one boy replacing another but a bridge built between two people over an absence they both shared. And yet, that person would have been wrong, just as I was wrong. I misread both myself and Mark. The problem is that my scrutiny of the scene from every possible angle doesn't reveal a single clue. I haven't left out words or gestures or even those emotional intangibles that pass between people. I was wrong because, under the circumstances, I had to be wrong.

  The idea came to me the following week. I said nothing to Mark, but I wrote to Erica and asked her what she thought. I proposed that we allow Mark to take Matthew's room as a studio where he could work on his collages. His room upstairs was small, and he could use the extra space. The change would mean that the room where Matt had lived would not remain a mausoleum, an uninhabited, unused space for nobody. Mark, Matthew's best friend, would bring life back to it. I argued strenuously for the cause, told Erica that Mark missed Matt every day, and then said it would mean a lot to me if she gave me her permission. I told her frankly that I was often lonely and that having Mark around lifted my spirits. Erica answered me promptly. She wrote that a part of her was reluctant to let the room go, but that after thinking it over, she agreed. In that same letter, she told me that Renata had given birth to a little girl named Daisy, and that she had been made the child's godmother.