I look around and try to smile gratefully as Myrna seems to speak for everyone, even without conferring. A miracle, that woman. There appears to be no dissent.
I say, Well now, and sip my Scotch and think of my bed in the next room strangled in the twists of sheets and blankets, edges dragging on the floor. I am not afraid of death, I decide to add. I am afraid of what going on like this will do to me and to my daughter and to my husband.
Elliott, arranged next to me on the sofa, looks at his fingers, which tip to tip form a sort of steeple between his knees.
I am getting into the swing of it. I tell them the cancer is poisoning at least three lives and that I refuse to be its accomplice. This is not a deranged act, I explain. Most of them have known for quite a while my belief that intelligent suicide is almost always preferable to the stupid lingering of a graceless death.
There is silence, grand as Versailles. It seems respectful.
Shennan, Algonquin princess with black braids and sad eyes, stands and says in the oratory deadpan of sixth-grade book reports: I think I can speak for Liz when I say that suicide can be, often is, the most definitive statement one can make about one's life, to say that it's yours and that you are not going to let it wither away like something in a refrigerator drawer. As it is Liz's life to do with as she pleases, so it is her death. As long as Liz and I have known one another, I think we have both realized that she would probably be a suicide. It is no inchoate fancy. It is Liz's long-held vision, a way of meeting one's death squarely, maturely. It is an assertion of life, of self.
(Ah, Shennan dear, yes, but didn't I always say that seventy-one would be better than forty-two, in love as I am with prime numbers, those curious virginal devils, and they could always say, ah, yes, she died in her prime — even at seventy-one — good god I'm really getting awful, Joanie, what did I tell you, babe?)
Shennan finishes by saying it is the culmination of a life philosophy, the triumph of the artist over the mortal, physical world.
It will possibly be the most creative act Liz has ever accomplished, adds my husband. I mean, it could be viewed that way.
He swallows with some difficulty, his wonderful Adam's apple gliding up and down his throat, a tiny flesh elevator. I think of the warm beers, unfinished books, the buttonless sweaters, and the miscarriages upstairs. I wonder if he could be right.
I think it is beautiful she is doing this for me, Elliott adds as a further announcement. He squeezes my shoulder. I look for tears in his eyes and think I spot the shiny edge of one, like a contact lens.
Well now, I say.
Now we all get up and cry and eat brie and wheat thins. Joanie steps toward me with her husband, William. Until now no one has mentioned God.
I fear for you, Liz. She is crying. I hold her. Why didn't you tell me this before? she murmurs. Oh, Liz, I fear hell for you. What are you doing?
William doesn't bullshit: It's crap, Liz. There's no such thing as an aesthetic suicide. You're not going to be able to stand back afterward and say by jove what a damn good job I did of it. You'll make the Post, Liz, not the Whitney. This all smacks of some perverse crypto-Catholic martyrdom of yours. It's deluded. It's a power play.
(I can clear my throat louder than anyone I know.)
I appreciate your candor, William. (I have named my books well.)
You know, he continues, a roomful of people, it sounds beautiful, but it's fishy. Something's not right underneath.
Joanie the star of catechism class: We love you, Liz. God loves you, please—
I understand, I interrupt, if you cannot help me do it.
Help you do it? they chorus, horrified. They leave early, forgetting their umbrellas. The room is reeling.
Frank Scherman Franck pulls at his cowlick, sips Cherry Heering. His cowlick bounces back up again, something vaguely lewd. You are a marvel, Liz, he coos. It's a brave and awesome thing you are doing. I never thought you'd actually go through with it, but here you are…
(Cherry Heering, Hairy Cherring.) Do you believe in God, Frank Scherman Franck? I ask.
Well, long story, he begins. We have a kind of mutual agreement: I won't believe in him and he won't believe in me. That way no one gets hurt.
Sometimes I still believe in God, Frank Scherman Franck, I say, but then that belief flies away from me like a child on a swing, back and forth, back and forth, and I do not really say this. (Cow lick, lick cow.) I notice William has returned for his umbrella. He stops Elliott in the foyer, says something urgent, something red. I can hear Elliott's reply: If I saw or felt any ambivalence I would, William, but there's no ambivalence. She's sure. She's strong. She knows what she's doing. I have to believe in her.
Excuse me, I say to Frank as I run off to hide temporarily in the bathroom. I lock the door behind me and bury my face in Elliott's bathrobe hanging on the inside hook like a sheepish animal. I could get lost in it, this vast white country of terrycloth, the terrain of it against my face, Elliott's familiar soapy smells inextricable, filling, spinning my head. I turn around and sink back against the door, against the robe. I do not look in the mirror. This place is a mausoleum of pills and ceramic and fluorescent lights blinking on and off so quickly you think they're on all the time, those clever devils. But we know better don't we. This is where the dead belong, with the dying belonging to the dead belonging to no one. This is not supposed to go like this. I am getting drunk. I think we were supposed to sit around rather politely, perhaps even woodenly, and discuss this thing, cool as iced tea, a parlor of painters and poets like the Paris salons, like television, and we would all agree (my reasoning flawless) that my life ultimately meant my death as well and that it was a right both civil and humane to take whatever actions my free will so determined yadada yadada, and they would pronounce me a genius and not steal the best lines and they would weep just the right amount that anyone should weep for Bastille Day and no one would fucking mention God or hell and when I stepped out of the bathroom I would not see Shennan eyeing Elliott's ass as the two of them stand alone in the kitchen, one slicing cheese, the other arranging crackers, nor would I have to suffer the aphasic stupidity of the articulate (therefore unforgivable) who when offered the topaz necklace of a dying woman do not know what to say (and Myrna, this is not Myrna, Myrna is a poet who flies to Olbia, dismisses lovers, sculpts in words, her poems like the finest diamonds in the finest Fabergés of the finest Czar, not faltering, defeated by topaz). I do not like to watch Myrna grope; she doesn't do it well.
I am something putrid. I wonder if I smell, decaying from the inside out like fruit, yet able to walk among them like the dead among the living, like Christ, for a while, only for a while, until things begin to show, until things become uncomfortable. I return to the living room, grin weakly, stand among my friends. I am something incorrect: a hair in the cottage cheese. Something uncouth: a fart in the elevator.
go like this; my husband pushes my head between my knees.
Ugh, what a night, I say, huh.
Ssshhhh. Be quiet. This increases the oxygen to the cortex. You know you're not supposed to drink like that.
I inhale four times with the drama of the first amphibian. How am I doing so far?
The sun is up, depressing me like the mindless smile of a cheerleader. My face is the big bluish-white of white elephants.