Another try: Medusa’s Daughters (a title I changed to Daughters of Medusa because it sounded more resonant), about images of angry-faced women. I had the Statue of Liberty, the woman on the Starbucks logo—both of them now look more blank than angry to me—and when The Fellowship of the Ring came out I added Cate Blanchett as Galadriel, with her face in psychedelic negative, ranting about how all would love her and despair. I was going to argue that repressed anger was the true solution to the mystery of the Mona Lisa’s smile, but once I had that thought I couldn’t take it any further.
Still another try: Brides of Bluebeard (which I changed to Bluebeard’s Brides because it sounded less pretentious), about the old movies I’d seen with my husband in which women found themselves married to evil men. I’d read The Runaway Bride, by Elizabeth Kendall, and this was to be its sinister counterpart. Loretta Young in The Stranger, where Orson Welles is a Nazi who’s managed to lose his accent, Grace Kelly in Dial M of course, Gaslight, Rosemary’s Baby and borderline cases like Rebecca and Suspicion and Jane Eyre—all of which had Joan Fontaine, so maybe it should actually be about her? This book would have a personal part too, but I would’ve had to decide what I thought about my own marriage, and I’m still having trouble with that. (See above. See below.)
I should throw out my notes for these projects—God only knows how many thousands of words on floppy disks, the computers on which they were written being long dead—lest anybody should read them when I’m dead, but who might that be? My brother’s home-schooled spawn? Anyway, I doubt I’ll be feeling this shame on the other side: triteness will be the least of the sins for which I’ll be called to account. “It’s always rough going at first,” my husband used to tell me. “You have to write through the self-loathing.” I hated to hear myself complaining to him, but I think he liked it; he got to be supportive and wise, without being threatened by my actually accomplishing anything. This is the version in which he hates me for being a woman—and if that’s too harsh a view of what was going on, I suppose it’ll get straightened out for me when we’re no longer seeing through a glass darkly. The other version is the one in which he knows he’s a failure too. Peekskill had been his last commission, and what was he supposed to do—sit there designing imaginary museums and concert halls for the use of imaginary people? So day after day he went in and painted, and even I could tell his canvases were as trite as my own projects: he worked at them simply to be working. If I resented his finding some pleasure in that, and there’s no “if” about it, then I guess that tells you what a bad wife I was, and what a crabbed spirit. I mean, no wonder the writing came to nothing. Apparently you need some joy in order to get anything off the ground, though I have to say that my husband’s joy—that’s what he called it, and he must have known—in giving himself over to his shapes and colors, with the music carrying him along, never made his results any better. There must have been a few hundred paintings in that storage unit, and that was back in my time.
—
During our first winter in the new house, we got snowed in for a day and a half and the power went off. “Why didn’t I have them put in a fucking generator?” he said. “Christ, we can’t even flush the toilets.”
I had some life left in my laptop, so we got in bed, pulled the duvet over our shoulders and played solitaire together, taking turns. I reached under his pajama bottoms, under his briefs, and he said, “Your hand is cold.” It was the first time he’d turned me down, which I’d thought neither of us was allowed to do. True, he was in a bad mood about the power—surely this needs no commentary—and my hand was cold. But. So I went under with my head and took him in my mouth, and our marriage was saved.
After I’d made him come, he fell asleep and I took care of myself, trying to be quiet about it. He snored awhile, then started giving out these little cries—uh, uh—which must have sounded like mighty yells to him, and I shook his shoulder to wake him. “God—horrible.” He rolled his head back and forth on the pillow. “Thank you. I guess my mind wanted to have a talk with me. Do you suppose it shuts up when you die?”
“That would be the hope,” I said.
“Some hope,” he said. “We’re fucked every which way, aren’t we.”
“Why would you expect me to be the expert?” I said.
“Oh, I’m just complaining into the void,” he said. “It hits me every once in a while, that’s all. I thought you might know the feeling.”
“Are we having a moment?” I said.
“Okay, you’re not inclined,” he said. “Distasteful subject—whatever the subject was. Did we think to bring that bottle in here?”
—
We didn’t know anybody in town—the New Yorkers who had weekend places socialized with one another and the locals were, what can one say, locals—but his friends would come up from the city, marvel at the house and sometimes stay for a night or two: musicians or artists or writers or academics. These were men his age, but not all of them showed up with younger wives or girlfriends, and not all the women his age were bitches to me. One of those women, a poet who was still friendly with his ex-wife, told me he looked ten years younger. “You must be a pistol,” she said. “I wish Milt could borrow you for a week.” (This was her husband, a gray-haired sculptor who wore bib overalls under his suit jacket, apparently to hide his weight.) “I bet he’d come back a giant refreshed.” But when a married English professor brought his grad-student protégée for a weekend, she got drunk, took it into her head that I was flirting with her mentor and came after me in the kitchen. “If you want his bad breath in your face, it’s fine with me. And his three-inch cock. Just do me a favor and drive me to the train.”
The summer after we moved in, a friend of his stayed for two months in Spandau—yet another name for the basement—to work on his novel; a condo was going up across the street from his apartment in Brooklyn, and construction started at eight every morning. If he came up here, my husband told him, he wouldn’t be underfoot—that is, he would be underfoot, but. The novelist kept his own hours, ate dinner with us a night or two a week; other nights he’d take us out to the sports bar or go wherever by himself. One morning, I went downstairs to do laundry and met a woman coming out of his door, wearing a bar-length skirt. Fat knees, pretty face. I thought I recognized her from the convenience store in town, but maybe not. She introduced herself as a friend of the novelist’s—she must have thought that knowing his name made it okay for her to be here—and went out the private entrance. I heard a car start up, stepped outside and watched a little sky-blue Kia—a good name for her, I thought—go down the driveway. I didn’t tell my husband, because I couldn’t decide what attitude to take. One possibility: that Kia might have sketchy friends among the locals and that he’d better change the codes on the security system. Another: that she was just some poor girl who’d wanted to get laid, and the novelist was handsome in what you’d now call the George Clooney mode. (He had a longtime girlfriend, whom I’d met, but she’d gone to Europe for a couple of months.) And still another: Why put my husband on alert, not that it really crossed my mind to sneak down there myself. Or if it ever had formed itself into a thought, well, you could just let thoughts come and go, and at this point my husband still fucked me like a man with a younger wife he wouldn’t be able to fuck forever.