And no, the children of wealthy families, consigned to Swiss boarding schools, are nothing if not wily. It was common knowledge among my peers and myself that a crafty student some years before had stolen a key to the residence hall, a master key, and secreted said key beneath a specific rock near the hall's main door. In the event a wanton little Miss Slutty Slutpants sneaked away for a clandestine tryst or to smoke a cigarette and found herself locked out, rather than face reprimand she had merely to use this key held in common for such sinful emergencies and later return it to the usual hiding place. As convenient as this shared key was, under the rock only a few steps away, with my bare hands frozen to the door handles I had no means to reach it.
My mom would tell you, "This is one of those Hamlet moments." Meaning: You need to make a significant effort to determine whether you're to be or not to be.
If I scream and yell until a night watchman arrives, I'll be mortified, humiliated, but alive. And if I freeze to death I'll save my dignity, but be... well, dead. Probably I'll be a figure of pathos and mystery for future generations of girls at this school. My legacy will be a stringent new set of rules about accounting for every girl. My legacy will be a ghost story which girls my age will tell to scare each other after lights-out. Maybe I'll linger as a naked spirit they glimpse in mirrors, outside windows, at the far end of moonlit corridors. Those future privileged urchins will summon my ghost by repeating: "Maddy Spencer... Maddy Spencer... ," three times while gazing into a mirror.
Again, that's a form of power, albeit a fairly impotent form of power.
And, yes, I know the word disassociation.
As much as I fancy that spooky gothic immortality, I start screaming for a guard. Shouting, "Help!" Shouting, "Au sec-ours!" Shouting, "Bitte, helfen sie mir!" The falling rush of snow hushes every sound, dampening the acoustics of the entire midnight world, blocking any echo that might carry my voice very far into the dark.
By this time my hands were the hands of a stranger. I could see my bare, blue feet, but they belonged to someone else. As blue as Goran's veins. In a glass pane of the door, I could see my own face reflected, my image framed by the frost of my breath condensing and freezing on the small window. Yes, we all appear somewhat absurd and mysterious to each other, but that girl I saw was no one to me.
Her pain was not my pain. Here was Catherine Earnshaw's dead face haunting the wintry windows of Wuthering Heights, blah, blah, blah....
That waifish me, reflected in moonlight or streetlight, I watched her pulling her fingers away from the steel handles, her skin peeling away still clinging to the metal, leaving the whorls and palm prints like patterns of frost. Abandoning the wrinkled road map of her lifeline, her love line and heart line, I watched this strange girl, her face grim and resolute, walk on frozen stick legs to retrieve the key and save my life. This girl I didn't know, she pulled open the heavy door, her hands sticking once more, tearing away yet another thin layer of this stranger's fragile skin. Her hands, so frozen they didn't bleed. The metal key froze between her fingers so resolutely she was forced to carry it to bed.
Only in bed, smothered between blankets, drifting to sleep, did her skin thaw and the girl's hands began to bleed quietly into her clean, starched white sheets.
X.
Are you there, Satan? It's me, Madison. Please do NOT get the idea that I'm some Miss Trollopy Van Trollop. It's true that I've read the Kama Sutra, hut why anyone would bother to attempt such revolting gymnastics remains largely a mystery to me. In regard to sex, mine is a kind of complete intellectual understanding with no real aesthetic appreciation whatsoever. Forgive my uneducated distaste. While I know what organ stimulates what, the bizarre, sordid business of phallus and orifice interaction, the exchange of chromosomes required for procreation of the species, I have yet to grasp the appeal. Meaning: yuck.
It is no accident that I segue from a scene in which my group is confronted by a towering nude giantess to a flashback in which I, myself, am undressed and exploring both my interior and exterior environs without the usual protective layers of clothing or shame. In the enormous, exposed figure of Psezpolnica, no doubt I feel an affinity, perhaps an admiration for any female who can present herself with such apparent lack of self-consciousness, seemingly in complete disregard for how she might be judged and exploited by her audience. Having masqueraded one Halloween as Simone de Beauvoir, I guess I'll always be a bit de Beauvoir.
The satire of Jonathan Swift remains a staple of English-speaking primary education—including my own—but it's usually limited to the first volume of Gulliver's Travels; or, in very daring and progressive classrooms, strictly as an illustrative example of irony, students might also read Swift's classic essay "A Modest Proposal." Few teachers would risk introducing the second volume of Lemuel Gulliver's memoirs, his misadventures in the island nation of Brobdingnag, where looming giants capture and make of him a household pet. No, it's far safer to present children, those powerless, diminutive children, with a narrative in which a giant is taken prisoner and manipulated under the control of tiny beings whose sole reason for not murdering him is their fear that his gargantuan corpse might decompose and threaten the overall public health.
It remains unknown to the majority of children that in the kingdom of Brobdingnag, in the second volume, Swift's picaresque travelogue does get a tad bit tawdry and dicey.
These are the salacious tidbits one learns when bothering to do the supplemental reading for extra credit. Especially while spending Christmas vacation naked, alone in an otherwise empty residence hall. In the second volume of Swift's masterpiece, once the giant residents of Brobdingnag capture Gulliver, he's presented at their royal court and is made a kind of mascot, forced to live in the queen's apartments, in very intimate proximity among the very gigantic ladies-in-waiting. It's these ladies who pleasure themselves by removing their clothing and lying together, sharing a bed while our hero is compelled to journey the peaks and valleys of their way-naked bodies. Writing in the guise of his narrator, Swift describes these women—the most-lovely female aristocrats of their society, who would appear so charming and appealing from a distance—as in fact constituting a swampy, reeking Gehenna in actual up-close physical contact. Our minuscule hero stumbles about their spongy, damp flesh, encountering monstrous pubic thickets of hairs, inflamed blemishes, vast cavernous scars, pits, knee-deep wrinkles, stretches of dead flaking skin, and shallow puddles of fetid perspiration.
And yes, it's duly noted that such a landscape depicted by Swift bears a marked resemblance to the actual terrain of Hell. This spreading landscape of noblewomen recline in their afternoon languor, expecting, really demanding that this teeny shrunken man bring them to pleasure. All the while, he stumbles and reels in disbelief and utter disgust of them. Overwhelmed with sickness and horror, exhausted, our enslaved Gulliver is forced to labor until the giant women are satisfied. In all of English literature, few passages can match this one of Swift's for its descriptive bluntness and unwelcome, masculine crudity.