Krysztof Waterford-Wajda would survive three further suicide attempts. Then, just one month before Professor Solanka metaphorically took his own life, saying good-bye to everyone and everything he held dear and striking out for America with a spiky-haired doll in his arms a special, early-period limited edition of Little Brain in bad condition, the clothes ripped, the body damaged—Dubdub dropped dead. Three arteries had been badly clogged. A simple bypass operation could have saved him, but he refused it and, like an English elm, fell. Which perhaps, if one were searching for such explanations, helped trigger Professor Solanka’s metamorphosis. Professor Solanka, remembering his dead friend in New York, realized that he had followed Dubdub in so many things: in some of his thinking, yes, but also into le monde mediatigue, into America, into crisis.
Perry Pincus had been one of the first to intuit the link between them. She had returned to her native San Diego and now taught, in a local college, the work of some of the critics and writers whom she had carnally known. Pincus 101, she called it, brazen as ever, in one of the annual Happy Holidays messages she never failed to send Professor Solanka. “It’s my personal greatest-hits collection, my Top Twenty,” she wrote, adding, a little cuttingly, “You’re not in it, Professor. I can’t walk around in a man’s work if I don’t know which entrance he prefers.” Her season’s greetings were invariably accompanied, incomprehensibly, by the gift of a soft toy—a platypus, a walrus, a polar bear. Eleanor had always been much amused by the annual parcels from California. “Because you wouldn’t fuck her,” Professor Solanka was informed by his wife, “she can’t think of you as a lover. So she’s trying to become your mother instead. How does it feel to be Perry Pinch-ass’s little boy?”
3
In his comfortable Upper West Side sublet, a handsome, high-ceilinged first- and second-floor duplex boasting majestic oak paneling and a library that spoke highly of the owners, Professor Malik Solanka nursed a glass of red Geyserville zinfandel and mourned. The decision to leave had been wholly his; still, he grieved for his old life. Whatever Eleanor said on the phone, the break was almost certainly irreparable. Solanka had never thought of himself as a bolter or quitter, yet he had shed more skins than a snake. Country, family, and not one wife but two had been left in his wake. Also, now, a child. Maybe the mistake was to see his latest exit as unusual. The harsh reality was perhaps that he was acting not against nature but according to its dictates. When he stood naked before the unvarnished mirror of truth, this was what he was really like.
Yet, like Perry Pincus, he believed himself to be a good person. Women believed it too. Sensing in him a ferocity of commitment that was rarely found in modern men, women had often allowed themselves to fall in love with him, surprising themselves—these wised-up, cautious women!—by the speed with which they charged outward into the really deep emotional water. And he didn’t let them down. He was kind, understanding, generous, clever, funny, grown-up, and the sex was good, it was always good. This is forever, they thought, because they could see him thinking it too; they felt loved, treasured, safe. He told them—each of his women in turn—that friendship was what he had instead of family ties, and, more than friendship, love. That sounded right. So they dropped their defenses and relaxed into all the good stuff, and never saw the hidden twisting in him, the dreadful torque of his doubt, until the day he snapped and the alien burst out of his stomach, baring multiple rows of teeth. They never saw the end coming until it hit them. His first wife, Sara, the one with the graphic verbal gift, put it thus: “It felt like an ax-murder.”
“Your trouble is,” Sara incandescently said near the end of their last quarrel, “that you’re really only in love with those fucking dolls. The world in inanimate miniature is just about all you can handle. The world you can make, unmake, and manipulate, filled with women who don’t answer back, women you don’t have to fuck. Or are you making them with cunts now, wooden cunts, rubber cunts, fucking inflatable cunts that squeak like balloons as you slide in and out; do you have a life-size fuck-dolly harem hidden in a shed somewhere, is that what they’ll find when one day you’re arrested for raping and chopping up some golden-haired eight-year-old, some poor fucking living doll you played with and then threw away. They’ll find her shoe in a hedge and there’ll be descriptions of a minivan on TV and I’ll be watching and you won’t be home and I’ll think, Jesus, I know that van, it’s the one he carries his fucking toys around in when he goes to his perverts’ I’ll-show-you-my-dolly-if-you’ll-show-me-yours reunions. I’ll be the wife who never knew a thing. I’ll be the fucking cow-faced wife on TV forced to defend you just to defend myself, my own unimaginable stupidity, because after all, I chose you.”
Life is fury, he’d thought. Fury-sexual, Oedipal, political, magical, brutal-drives us to our finest heights and coarsest depths. Out of furia comes creation, inspiration, originality, passion, but also violence, pain, pure unafraid destruction, the giving and receiving of blows from which we never recover. The Furies pursue us; Shiva dances his furious dance to create and also to destroy. But never mind about gods! Sara ranting at him represented the human spirit in its purest, least socialized form. This is what we are, what we civilize ourselves to disguise—the terrifying human animal in us, the exalted, transcendent, self-destructive, untrammeled lord of creation. We raise each other to the heights of joy. We tear each other limb from fucking limb.
Her name was Lear, Sara Jane Lear, some sort of distant relative of the writer and watercolorist, but there wasn’t a trace of antic Edward’s immortal nonsense in her. Howpleasant to know Sara Lear, who remembers such volumes of stuff! Some folks think her awfully queer, but I find her pleasant enough. The revised verse didn’t raise the ghost of a smile. “Imagine how many times people have recited those exact words to me and you’ll excuse me for not being impressed.” She was a year or so his senior and was writing a thesis on Joyce and the French nouveau roman. In her second-floor flat on Chesterton Road, “love”—which in retrospect looked more like fear, a mutual clutching at the life belt of the other while drowning in twenty-something loneliness—made him plow his way twice through Finnegan’s Wake. Also the dour pages of Sarraute, Robbe-Grillet, and Butor. When he looked up miserably from the great heaps of their slow, obscure sentences, he found her watching him from the other armchair, turning in his direction that angular devil-mask of a face, beautiful but sly. Sly-eyed lady of the Fenlands. He couldn’t read her expression. It might have been contempt.
They married too quickly for thought and felt trapped by the mistake almost immediately. Yet they stayed together for several miserable years. Afterward, when he told the story of his life to Eleanor Masters, Solanka cast his first wife as the one with the exit strategies, the player most likely to resign the game. “She gave up early on everything she desired most. Before she found out she wasn’t up to it.” Sara had been the outstanding university actress of her generation but had left it there, forever leaving behind the greasepaint and the crowd without a word of regret. Later she would also abandon her thesis and get a job in advertising, emerging from the chrysalis of her bluestocking wardrobe and spreading gorgeous butterfly wings.
This was soon after their marriage ended. When Solanka found out about it he was briefly furious. All that effortful reading for nothing! And not only reading. “Thanks to her,” he raged at Eleanor, “I saw L’Annee derniere a Marienbad three times in one day. We spent a whole weekend working out that damn matchstick game they play. ‘You wont win, you know’. – ‘It’s not a game if you can’t lose.’ – ‘Oh, I can lose, but I never do.’ That game. Thanks to her it’s still stuck in my head, but she’s buggered off to the universe of if you’ve got it flaunt it. I’m stuck here in the blasted couloirs of French fiction and she’s in a Jil Sander power suit in a forty-ninth-floor corner office on Sixth Avenue, pulling down, I have no doubt, some major bucks.”