I went. No one else was home. We crawled underneath the Steinway Grand in the living room, and I sucked him off. Afterward we sat together on the front porch while he smoked cigarettes. This pattern continued until I left high school. One night we broke into the village pharmacy and stole bottles of Tuinals and quaaludes before the alarm went off then ran laughing breathlessly back to his house, where he pretended to sleep while I hid in his closet. We weren’t caught, but I was too paranoid to ever try it again.
I liked to watch him sleep; I liked to watch him nod out. I took pictures of him and got them processed over in Mount Kisco. At night in my room I’d look at those photographs—his eyes closed, cigarette burning in his hand—and masturbate. I told him I’d do anything for him. A few years later, he got caught burglarizing another drugstore up in Putnam County. His parents bailed him out and he wrote to me, desperate and lonely, while he was awaiting sentencing. I never wrote back. His family moved to the Midwest somewhere. I don’t know what happened to him.
He was the only person I ever really cared about. I still have those photos somewhere.
In 1975 I graduated from high school and started at NYU. I had vague plans of studying photojournalism. That all changed the night I went over to Kenny’s Castaways to hear the New York Dolls. The Dolls never showed, but someone else did, a skinny chick who screamed at the unruly audience in between chanting bursts of poetry while a tall, geeky guy flailed around with an electric guitar.
After that I quit going to classes. I took up with a girl named Jeannie who waitressed at Max’s Kansas City. For a few months she supported me, and we lived in a horrible fourth-floor walkup on Hudson Street. The toilet hung over a hole in the floor; the clawfoot tub was in the kitchen. We put a sheet of plywood over the tub and on top of that a mattress we scrounged from the street. I didn’t tell my father I’d been suspended from NYU. I used the checks he sent to buy film and speed, black beauties, crystal meth. There was a light that fell on the streets in those days, a light like broken glass, so bright and jagged it made my eyes ache, my skin. I’d go down to see Jeannie when she got off work at Max’s and take pictures of the people hanging out back. Some of those people you’d still recognize today. Most you wouldn’t, though back then they were briefly famous, just as I was to be. Most of them are dead now.
Some of them were dead then. I shot an entire roll of film of a kid who’d OD’d in the alley early one morning. No one wanted to call the ambulance—he was already dead, why bring the cops down? So I stood out there, shit-colored light filtering from the streetlamp, and photographed him in closeup. I was nervous about bringing the film to the place I usually went to. I had a friend at the university process the film there for me.
“This is sick stuff, Cass,” he said when I went to pick it up. He handed me the manila envelope with my contact sheets and prints. He wouldn’t meet my eyes. “You’re sick.”
I thought they were beautiful. Slow exposure and low light made the boy’s skin look like soft white paper, like newsprint before it’s inked. His head was slightly upturned, his eyes half-open, glazed. You couldn’t tell if he’d just woken up or if he was already dead. One hand was pressed upon his breast, fingers splayed. A series of black starbursts marred the crook of his bare arm; a white thread extended from his upper lip to the point of one exposed eyetooth. I titled the photo “Psychopomp.” I decided it was strong enough that I should start assembling a portfolio, and so I did, the pictures that would eventually become part of my book Dead Girls.
People used to ask me what it was like to take those photographs.
“‘How do you think it feels?’” I shot back at the guy from Interview. “‘How do you think it feels? And when do you think it stops?’”
He didn’t get it. No one does. I can smell damage; it radiates from some people like a pheromone. Those are the ones I photograph. I can tell where they’ve been, what’s destroyed them, even after they’re dead. It’s like sweat or semen or ash, and it’s not just a taste or scent. It shows up in pictures, if you know how to catch the light. It shows up in faces, the way you can tell what a sleeping person’s dreaming, if they’re happy or frightened or aroused. I don’t know why it draws me; maybe because I dream of leaving this body the way other people dream of flying. Not flying to a sunny beach or a hotel room, but true escape, leaving one body and entering another, like one of those wasps that lays its eggs inside a beetle so a wasp larva grows inside it, eating the beetle until the new wasp emerges.
It sounds creepy, but I always liked the idea of disappearing then becoming something new. That of course was before I disappeared.
But taking a picture feels like that sometimes. When I’m getting it right, it’s like I’m no longer standing there with my camera, with my eye behind the lens, looking at someone. It’s like it’s me lying there and I’m seeping into that other skin like rain into dry sand.
Sometimes it happens with sex. Once I brought a sixteen-year-old boy back to the apartment. I’d picked him up at a club, dark eyes, curly dark hair, a crooked front tooth, tiny scabs on the inside of his arm where he’d been popping heroin, still too scared to mainline.
The tooth is what got me. I’m still sorry I didn’t shoot him. He was beautiful, one of those Pasolini kids who absorbs light then shines it back into your eyes and blinds you. But I left my camera on the floor, and instead I just fucked him, more than once. Then I lay awake and watched him sleep. When he woke in the morning he looked at me, and I saw what had happened to him: his mother’s death, the small apartment in Queens where he lived with his father and sister, the after-school job at a pet shop. Cleaning fish tanks, measuring out birdseed. He told me all this, but I already knew; I could see the light leaking from his eyes. I wanted to photograph him, but suddenly I felt real panic. I gave him coffee and money for a cab and literally pushed him out of the door. The look he gave me then was crushed and confused, but that I could live with. What I couldn’t deal with was the knowledge that he was so close to dead already. The only thing that had made him feel alive was fucking me.
I tried to explain this to Jeannie. She looked at me like I’d spit in her face.
“You’re crazy, Cass. You’re, like, a nihilist. You’re in love with annihilation.”
“Yeah? So is that a bad thing?”
She didn’t think that was funny. She left me soon after and got a job at a massage parlor. I didn’t care. I stayed in the apartment. By then I’d gotten messed up with a rich girl from Sarah Lawrence who liked slumming with me. She split when the school year ended, by which time my father had figured out what was going on—that I’d been kicked out of school and was no doubt spending the checks he sent on drugs. He was surprisingly calm. He made sure I knew he wouldn’t give me another dollar until I straightened out and earned enough to put myself back through school, but he also let me know I was always welcome back home. I thanked him and kept in touch intermittently, usually by postcard.
I bought a tripod and began doing a series of pictures, black-and-white photographs of me dressed and posed like women in famous paintings. I called the series “Dead Girls.” There was me as Ophelia, wearing a thrift-shop bridal gown and ribbons, floating in a tenement bathtub filled with black-streaked water—dye bled from the ribbons so that it looked as though blood flowed from my dress. There was me topless, sprawled in a Bowery alley on my back as Waterhouse’s dead “St. Eulalia.” For Munch’s “The Next Day” I lay on top of my plywood bed with empty wine bottles scattered around me. I used a similar setup for Walter Sickert’s “The Camden Town Murder.”