the opening and excerpts from

re-identity

(a work-in-progress)
by j jackson


Samuel Taylor Coleridge was not a very practical man, and to this purpose, or lack of it, opium lent itself perfectly:
"I am not a very practical man, and so I will get high."
(Or vice versa.)
"But you are so brilliant, a genius with words, and you write so little. You're dreaming your life away." Wordsworth, his dear friend, who is the epitome of productive practicality. Even his name suggests it, whereas Sammy's suggests a barren hilltop in a mining field, devoid of pleasant surroundings, though through his poetry you'd hardly realize it, the beauty of the words being, suggestive of the most natural, if bizarre of, landscapes.
Coleridge's closest friends, as true friends will do, provided him with environments in which to live his fantasies. His own early life was so unsettled, as he was unable to settle down for very long, that he relied on his friends and their more settled lives to nestle him. Because he spoke so well, they harbored him. They loved him, for his words, fragile being that he was. They took him in, because he took them in, to his heart, into his mind, he spoke so well.
Coleridge:
"I see such fantastic things, in this world alone. You can't imagine how my metaphysical wanderings satisfy me, beyond a physical world. You all are so tame by comparison, thinking action in this life is wildness. I want to awaken you, as I have been awakened. I want to take you places, out onto the seas, beyond the skies, into the far East, into magical lands where ordinary rules do not apply. But you are all so ordinary, you would rather stay at home and pace your tended gardens."

Wordsworth writes by pacing up and down his straight garden walk
composing perfectly constructed verse while Coleridge meanders
across seas of landscape stumbling through brambles over rock
imagining all the while that he's like somewhere off in Flanders.

I remember Eddie, who was Wordsworth, perfectly socially adapted.
Everybody liked me in those college days, before I had to go to work.
Later, I developed a love/hate relationship with the world of business.
I imagine, I am at school now, with all my friends around me. Before
I knew what fickle meant, I thought that friends were always faithful,
I thought they meant it when...they said they were my friends. No one
knows how evil I can be, though they think they do, when abandoned,
how I imagine their deluded awakenings discovering I'm conjuring up
their nightmares, divining their mechanisms of torture, intuiting truth,
converting their twisted situations into the fluency of presence where
I know what they are up to, in intent, seeking to contact me, because
they're lost, or losing it, and I'm the only one they can remember who
evoked new patterns out of old materials, simplifying and generating
their highly structured lives into energetic memories of former times.

But that's the present, and I am speaking more here of the distant past.
Everybody liked me, because I was compliant, or so they thought, as
I didn't speak, then, so much, but existed, being, attuned, to the all
they were/are, like now, since I've returned, to the way I always am.
Eddie knew this about me, and so he was my friend, and still is since
I haven't seen him in thirty years, so he doesn't know what I became,
adopting the ways of the world he was so good at, being an engineer
near the top of his class, contracting the navy for advanced degrees,
success came easily/naturally to him while I only dreamed, of being,
successful, at nothing in particular, the arts in general, metaphysics.
He doesn't know, how, in order to ensure my survival and prosperity,
I introjected patterns of behavior aimed at me, to keep me passive,
becoming active, sociable, developing social skills, learning, how
to talk, business talk, economic action, leadership command, war-
time counseling, charging ahead, making enemies, as they dictated
terms of surrender, ahead of time, planning ahead, to bring me down,
before I could advance myself too far that they could not catch up.

But this is so far off, now, this brings up the present, where I am
content again, where people want to know me, again, having lost
the image of authority, wishing I were back, to do their bidding, be
their scapegoat, a sounding board that can be burnt on the fires of
revenge when they finally see how it is they are/were in the actions
I imitate:

Wordsworth:

"I always admired you, the way you existed in the present, without artifice, the way you lacked affectation, being, open with the world, allowing it to flow so easily, in and out. People loved you, and you didn't even know it, you thought, that's the way the world is."
"Yes. But it took its toll, didn't it?" Coleridge. Now rapidly approaching old age, he worries that his misspent life is catching up with him, that he will have to answer for his lack of application.
"You have left enough. You have left us with the best of what you had, which is better than most." This is Wordsworth, being magnanimous.
"I am afraid, I will be condemned."
The logic is impeccable.

My real name is Sam. I live in a world of words. What are words worth? Nothing. A token economy, standing for the real. A currency we use as if we actually knew what we were talking about.
I never spoke too much when I was a kid. I still don't, but then I was not too capable of it, or rather, I was too shy, or more accurately, too afraid. Same thing, really. Fear engenders shyness.
Reality exists, beyond words. We're alive, but we don't often know it. Drugs sometimes wake us up, but drugs are killers. The problem is: so is everything else. We are dying, to talk, to someone.

Sam is a student, of life. He is continually learning. The problem is: most learning uses words. He is trying to find a way to learn without words. But all words generate themselves.
I write, in order to learn, about myself, my inner workings. I try to write without words, but all I produce is blank verse. I meditate on this process as a dog chases its tail. I spiral into an unknown world.
Meditation is, a long way to go to be, where we are. Echoes of distant galaxies heterodyne in a cosmic background. Time is material, it goes both ways. Without matter, there's no time, without time, no words.

§   §   §


Katy, my sister-in-crime, who also happens to be my real sister, tells me not to be so forthcoming with my spirit, when I will attract women to me, I would say unwittingly, except that I love the attention, even when I don't always know I'm trying to attract them. That's my crime, she says, not knowing it is also hers. (Our real crime is that we're artists, but she will not admit it. Her art is personality construction; my art is, I re-identify myself. It's the same thing, really. Being, genetically related, we are natural artists. It is also natural that she should be jealous of other women. I am, still, even though...) Many times I've looked back at my life and realized that women had been in love with me, for what I would consider no reason, except that I'd treated them in a certain way, with a respect that many men will not give them, that I faced them directly, looked into their eyes, and appreciated them for what they were, nothing more than that, or even when I didn't consider them consciously, our presence together creating in them a love for me that I hold mostly unconsciously within me, a love for all women or most, I'm a bit prejudiced against the fat ones, and the butt-ugly ones, although my definition of ugly is far more forgiving than that of most men. I have this scale that I rate women by, you know, like 1 to 10, except mine's 1 to 4, with a 5 reserved for the perfect woman, whom I've never met, or even seen, no one's ever made it to that level, and I'm not even sure what a woman would have to be to be a 5. Every woman is in a range from 1 to 4, but the range is not arranged as you might think, because my values re women, like most of my other values, are not normal, except at the lowest levels (survival/ subsistence/sex):
A level 0, of course, is a woman who deserves absolutely no consideration, either because she so desperately lacks self-esteem that she is repulsive, or because she is irremediably ugly. Some women (and men) allow their ugly insides (we all have them) to appear externally, as they physically become the person that they really are. Also included in this category are most male cross-dressers. (Yes, often I consider them to be women, which I'm sure they will appreciate, most of them. Unfortunately, though, they usually make ugly women. (There are exceptions.)
A level 1 is a woman who is just worthy enough in appearance to be classified, but only just. Otherwise, she is disregarded. There are all kinds of reasons why a woman might fall into this category, including reasons which have nothing to do with appearance. Some few women are such cunts or bitches that they do not deserve attention, no matter how good they look.
A level 2 to me might be an 8 or 9 on the scale of normal men. A 2 is a "beautiful" woman. You know the type: Hollywood beautiful, Claudia Schiffer or Cindy Crawford or RuPaul beautiful. These kinds of women don't so much excite me, even when they are not created or self-created, but are naturally occurring phenomena.
A level 3 to me is a woman who is truly natural, un-made-up, an ordinary woman, one whom some men might call homely. I love this type of woman, one who is not pretty, but not ugly, one who knows what she is and has no pretensions. Maybe its the psychology more than the appearance that attracts me, maybe I appreciate some women for the insight they have into themselves, and the honesty with which they approach their less-than-perfect lives.
A level 4 to me is what I call a "cute" woman. Meg Ryan cute. Jobeth Williams or Cindy Williams (before she got old and fat) cute. Cute women, ones who have that girlish look, especially older women who have retained it despite the aging process (e.g., Tess Harper or Lillian Gish), are near to my ideal.
And there are intermediate levels:
A level 2.5 is a woman who incorporates consensual beauty into a homely or ordinary appearance, usually via appropriately applied make-up (i.e., not over-done; in fact, quite under-done) and a conservative choice of clothing that covers her less-than-attractive, big-boned, slightly overweight body in a subtle and tasteful manner. (This type of woman in Spandex should be legal justification for butchery). You see this level of woman all the time in business, women who have entered the work world because their prospects of marriage or re-marriage are diminishing with age, and who are intelligent or educated enough to know how to create a pleasing appearance. Many women try to make it into this category and fail. Candy Crowley, for example. (Or maybe she doesn't try at all.) I'm sure she thinks she's being honest with herself and her public when she fails to dress up to this standard, but who does she think she's fooling when she turns sideways on camera to try to hide her continually increasing girth?
A level 3.5 is a woman who incorporates the qualities of plainness or homeliness and cuteness. This is a very attractive combination to me. I love homely (level 3) women, and I am very attracted to cute (level 4) ones, so to combine both these traits into one personality is a turn-on. Nancy Kulp is a good example of this category. You know, Jane Hathaway on "The Beverly Hillbillies." When women are cute, they are most impressionable, remaining child-like into adulthood. But when they are both cute and homely, they tend to grow up faster, with a more realistic appraisal of their self-image. I love to intentionally attract these types of women most, although usually I most often fail, because they know most certainly what they are, and what it is I'm up to.

Katy tells me not to do this, attract women to me without being serious about them, and I tell her I don't do it intentionally, it's them not me, but I have to admit that sometimes I do, and anyway, I don't often listen to Katy in this regard, although I pretend I do, I pretend I don't know really how I do it, when sometimes I really do, because I think Katy's a little bit jealous. I think she wants to keep me for herself (or to attract them for herself.)
Katy isn't normal, but then, neither am I, which is odd, since we come from a very "normal" family. I criticize her as much as she criticizes me, for trying to do the same things with women as I do, but she maintains that there's a difference, because she's serious about them. I tell her I am serious too, but she refutes this by asking me why then do I never manage to hook up with any of them any more, and I tell her I can never find anyone who measures up to my standards, but she tells me that's an excuse, that all women are imperfect, not so imperfect as men, but imperfect nonetheless, and anyway, she says, I am afraid of women. I tell her I am not, because I really am not, I would jump into a relationship with any less than perfect woman, if she wouldn't, inevitably, want more from me than I was willing to give, and Katy says that's because I'm not willing to give anything, I'm unwilling to compromise, I want everything to be my own way, I think I'm an artist who must live his own life and not include anyone in his life who doesn't fit perfectly into his art first. She's the same way as I am, but I don't tell her this, I keep this part to myself, she does the same thing I do to women, attracting them, never being sincere, although she thinks she is, this is one big projection of hers onto me, she's the insincere one, I am far more sincere than she is, in fact, because I don't often enter into physical relationships with women any more, I think I am more sincere, when I see where the relationships will go ahead of time and refrain from disappointing women I would become involved with. I should be less sincere. I should more blindly enter physical relationships, like I used to, before I became so questionably wise, getting what I can from them, getting what I need, and letting nature take its course, when we will eventually break up, because we are so different, women and myself, never wanting the same things. But I am too honest, it seems, for my own needs. I see what's coming, and I head them off before they even start. And even Katy, who is not different, who is the same as they are, cannot sustain a lasting relationship, probably for the same reasons. We are, partly, from the same genetic material, after all.
But I don't tell Katy any of this. Anyway, she's dead now.
But I still talk to her---no, really. I don't mean I talk to her gravestone, or even to her ghost. She's really here, as real as she ever was. She's just not physical any more, she's no longer in "this world," but then, neither am I, not completely, I never have been, even less than she (had been), she is as much still in this world as I am now, because she had been more in it when she had been alive and always ready to fuck anyone, even men sometimes.
Katy died four years ago, and it's left a big physical hole in my life. I tend to be more spiritual, certainly more spiritual than she (was). So she had been a big part of my physical ground, and now she is no longer. I don't know exactly how she died, but she probably killed herself, because she was always obsessing about her mother's suicide. (She was only my half-sister; her death was reported to have been mysterious.) I thought of going to investigate her death (she was in San Francisco at the time), but I figure it's better to leave some things as they are. In fact, I think it's better to leave most things as they are. Katy always said I was stupid in this regard, that life is for living, and if you make mistakes, so what, it's better to live and regret it than not to live at all, if you don't do things because you know you'll regret them, then you miss out on a lot of life. I never tell her about my ideas on this subject, but she knows them anyway. She was always smarter than I was, and she was always a bit psychic, intuitive, like her mother, especially now, and I always wished I was like her, but I'm not, not in this regard. I'm like her in a lot of ways, but not like this. I try continually to develop, and I succeed, a bit, especially when I talk to her, but I'm not anywhere near as good as she is, but I'm learning.

Katy was, is, a thin, wiry girlwoman. (She still looks like a girl, to me.) She's a waif-like entity now, but she'd always kept herself in good shape, by which I mean not so much healthy, but muscular. She never exercised, but she ate too little sometimes, not because she tried to diet, but because she often wasn't hungry. Even when we were kids, she'd pick at her food and would often end up sitting at the table after the rest of the family had left, because she hadn't finished eating. Our father soon learned not to make her eat when she didn't want to, because she made us feel so sorry for her when she'd be sitting all alone, never intending to eat what was on her plate, waiting him out. So she learned early how to stay thin all her life, she pre-conditioned herself, established her physiological pattern. But her muscular physique, which she got by being always active, even in her later years through her performance art, made her attractive in that other-worldly or alternate-lifestyle way. She had three tattoos which she got after she moved away from home when she was seventeen, a large rose on her right arm and shoulder with a stem with leaves and thorns that stretched down her arm and pierced it, causing drops of tattooed blood to drip, a dragon on her left arm and shoulder, and a miniature scene of a French medieval court with lounging femmes just above her shaved pubes (which she had to keep shaved to view the scene), to which she had, increasingly over the years, small details added. I particularly like this scene, as it is very provocative, and I wish I could see it more often.


§   §   §


I awaken in my bedroom of my childhood home, asleep on the floor. I am nineteen years old. It's late in the afternoon, and I have slept all day, after having been out until past dawn with Katy and her friends.
Dad is outside in the back yard. I hear him and the next door neighbor talking about the kids who run through the yards, so I get up to watch them through the window. Somehow, without being directly mentioned, I know I am included among the kids, as if I were far younger than I am. I know he thinks I am still young. He thinks of me in that way, I know. He doesn't want to let me grow up, and so I don't, always wanting/not wanting, needing to comply, being unable to stand up for myself, until many years later, when I turn the learned ability into a personality fault, or a character flaw that's been waiting patiently to surface, I'm not sure which. I'm not sure there's a difference.
I go into the bathroom. Colleen is over by the toilet with her back to the door, talking to herself in a undertone. She doesn't hear me enter, and she isn't aware I am there. I turn the water on in the sink, which calls her attention to me.
"Oh," she says. "I didn't know you were in here. You caught me talking to my friends." She indicates the small decorator soaps on the back of the toilet, which she treats as if they were small animals. She could have not mentioned them, pretending to talk to herself instead, but maybe she thinks that that activity would have been more unacceptable. I want to tell her that it's okay to talk to any entity or non-entity she wants to, but I only say that it's okay, and nothing more.
I hope she understands.
I go out into the kitchen. Katy is there with Mom, and Dad, who seems distant, so maybe I don't remember that he's still out in the yard and seen/felt through the window. Katy leaves the room, but her friend, Judy, remains. I've always liked Judy, but I never let on that I did, being too cool to reveal my feelings to her, ever since, when I was only seven and she six, I kissed her as we crawled through the hedges in front of her house and she acted as if I had done something wrong, which I felt I hadn't and adopted a "what" attitude, so she went into the house and told her mom, who (I heard through the screen door while standing on the porch) told her that I must like her a lot. From that experience I learned not to reveal my true feelings to women. One trial learning. Or the final, symbolic incident of a long chain of disremembered incidents occurring before it. Probably the latter. Or both.
I get a bowl of cereal and sit down at the kitchen table. Mom is cooking, preparing dinner. I get the idea, though nothing is said, that I am disapproved of for having slept all day. Even Katy, I feel, is secretly critical of me, although she was out with us herself last night--but then she (and Judy) did not sleep all the day away.
At my brother's house last New Year's Day, I talked about being glad that I can sleep wherever I want, at any odd hour, not having to be "normal." Maybe I'm experiencing an introjection into my superego from that experience. As I try to analyze myself, I ask myself if Mom would have been as intolerant as she appears to me now to have been, and the answer is: no, she wouldn't, so that I must conclude that my images of her is my superego functioning. I am my own worst critic. The world is never so hard on me as I am on myself.
Judy is interested in me (and this is why she doesn't leave the kitchen with Katy). She hangs around near me, talking to me when she can manage to get my attention. Actually, she has my full attention, but as is typical of me, I do not show it.
This is probably why I can command attention without any apparent effort, because women really do have my full attention, almost always, which although I do not reveal it, is intuitively sensed by them, fedback to them via unconscious signals. I pretend to a distance [cf. Dad's "distance" in the backyard] I don't feel, even to a distain--no, not to a distain, but I think I am interpreted in that way, and who knows, I may be repressing distain, but I "feel" (subconsciously) more its opposite, low self-esteem, which may be distain in counterpoint, a compensation for refusing to feel distain. If I were to admit willingly to superiority, I would maybe "solve" the low self-esteem problem. Or is this all the other way around, am I disdainful and repressing it as a compensation for a low self-esteem caused otherwise. It hardly matters. It's the complex, functioning as a patterned whole, that's important, not the individual parts. This idea of low self-esteem, et al., is what this whole thing is, perhaps, about. This is an idea I come to consciously after a few minutes of analysis, for a few minutes, thinking over these events.
Judy talks to me, and I easily (as opposed to my normal dissociated state of mind) recognize her attention/desire, to know me, to be close. She gets closer to me, so that she begins to touch me in ostensibly casual, accidental ways, but we know that our touch is not accidental, as it was not the previous night when she sat between Katy and me in the front seat of my car. I loved the physical contact I made with her, how our thighs pressed together at the hips, how warm she felt.
But, of course, I never called any attention to it. As I sit at the table eating my cereal, she stands next to me, her hip against my arm at the elbow. She becomes even more daring, brushing up against me more intimately and even holding/hanging onto me. I love the feel of the skin of her forearms, how soft and smooth and warm it is.
I imagine what it must be like to hold her naked body against mine, trying to translate the soft smooth warm arm feeling into a whole body experience.
She walks around to the other side of the table so that she can face me, and she tries to look into my eyes. She is patient, persisting until I finally look up at her. She knows, then, as I do, that I want her.
She winks her right eye at me, and I nod in assent.
She says, "What does that mean?"
I smile and continue to nod. I would formulate an answer that I think I should not need, an explanation, that it means merely that I agree with her, with her gesture (and that it means that I accept her offer, of implied sex, but I have no intention of making that meaning explicit), but Mom, from behind my back, says something critical to me, something which indicates that I am (we are) acting inappropriately, and Dad, who has appeared in the dining room, as if he were there all along, agrees. I explode in anger, flipping the spoon I hold away, as a casual, defiant, careless gesture, but I use more force than I intended and it flies up to the ceiling and bounces back down. Dad gets angry,
unlike Mom, who maintains her cool and critical demeanor. She would never have acted as he did, at least not overtly (although she may have felt it internally, who knows?) Dad though would definitely have reacted in this way, as a brief flash of authoritarian anger, which he would have instantly recovered from. He always recovered immediately from his shorts bursts of anger and returned to his most amiable self.
I storm out of the room, back into my room, looking for my boots [symbol of freedom, rebellion, travel, escape], intending to leave, but not without them, remembering that I had brought them in dirty, caked with mud, and had set them aside to clean them. Judy follows me through the house and down into the basement. The boots are not among the many pairs of boots and shoes arranged and disarranged in the basement, awaiting Dad's care. He always took great care with our shoes, polishing them, etc.
I go into the garage. My motorcycle is partially torn apart, under repair. I begin to reassemble it, intending to leave.
Judy and I begin a discussion as to her coming with me. I indicate that I have nowhere to stay, that it might be a life on the road, or at best, a life in substandard housing. I feel a great desire for her, and vice versa, I intuit. But there is no practicality here. We could never live together. I can survive by myself. I always have, ever since I left home, by my own wits. But I could never live that kind of a life with a woman, not with any respectable woman anyway. When I have been with women, I have always had a job. It seems like the thing to do. I don't want to be that kind of guy who lives off a woman because, out of a misplaced love, she decides to accept his way of live, yet aspires to higher standards and so works to provide herself, and thus him, with a better place to live, which looks to everyone else like she is supporting him--and maybe she is, who knows what kind of psychology lies beneath his surface justification, that he can survive on his own without working.
I never get the bike put back together, I give up on it, and we go out instead. And then we go to her apartment. But it only lasts one night, like a dream I once had and thereafter treasure, as a memory.


Personal Anti-Semitism

Jews (like everyone else) create their own (persecuted) situations. Not that the reaction against them is justified, but it is understandable. When you insist upon your exclusivity, when you exclude others, they react against this attitude, in retribution for what they think is your neglect. When you make yourself look superior, whether intentionally or not, you invite the thus-defined inferior world to react, against what they see as your highhanded position. It's merely a fact of life. In such situations are sown the seeds, of anti-Semitism, of bigotry, of hate. I am a small part Jewish. I see the persecution in myself, how I create it, when I exclude myself from others, which I am prone to do, but not as a Jew. This is a form of self-hate. I am self-anti-Semitic, in that I hate the superiority I find within, which I recognize as Jewish. And yet I love the fact that I am in part a Jew. I am included, self-inclusive, a member of the chosen race, scapegoated, to be forever, shunned by Jews and goyim alike, because I am self-exclusive.

Katy tells everyone she's Jewish, which is not entirely true. Mostly, she is German, just like me, with a smattering of Jew. I am also Irish, which she is not, because my father was part Irish, a small part, like Katy and I are Jews, but he believed he was Irish, because he liked to drink. I don't like to drink. I'm representative of a different generation. I liked drugs, and so did Katy, but not any more, neither of us, because I have a heart problem, and she doesn't need them any more, or so she said--not then, and certainly now. Maybe she died of drugs. Probably. I don't want to know.



His Name is Sam

1

The land out behind the house sunk an inch under his boots as Jack walked through the sparse trees toward the river. He heard his neighbor to the south calling to his dogs beyond the heavy brush. The day had been rainy, and still the sun would not shine, which was unusual. He always felt something was coming, something was about, when the weather felt this way. A snake slithered through the grass ahead of him. He only saw the briefest glimpse of its form, not enough to identify it, but enough to know it was quite large. He had better be careful. It was difficult to maintain an essential sense of presence after he had been inside too long. He had been ill with a stomach virus and so had not been out, which he did not like to do. He tried to be out for several hours on each day, to maintain his contact with the natural world, which he now began to focus on in earnest, as he remembers it. Then, he noticed he was not alone.

Something in the bush moved, ever so slightly, a motion that could only be detected through experience, when you have been outside so long. He stopped and waited. He sniffed the dank air. The hairs on the back of his neck rose. He waited. Then, he caught a flash of ebony and mauve skitter away to his left. A large lizard. Still, he waited. Then it saw it--then more of them.

He slowly backed away, as one of them, a small one, sensing his movement, started toward him as he turned to face it, and then it turned away, but a larger one, which followed the first's attack, did not hesitate, and so he took off running in the opposite direction, because if they are determined to attack, the only hope is that you can outrun them. At first, he ran north as fast as he could, but then, beginning to think, he quickly jerked his way around a tree, a dangerous move if the beast was too close behind, because they could turn with lightning speed, but it was not so close, he felt it was not so close, and he caught it by surprise, and he passed it far to its right before it had the time to react. He headed toward where he had heard his neighbor's voice, because if he was to be bitten, he wanted to be close to another human, hoping for the possibility that he might not be eaten before an intervention could occur. But it did not follow him after the turn.

He stopped short when he realized he was alone again, until he again realized he was not. He caught a glimpse of another one in the underbrush ahead. But it started away just as he saw it. He heard motions of others to the west, moving back toward the river. Then he saw his neighbor coming through the brush, his dogs yipping after him.

"Paul," he shouted out. "Be careful. Crocs all over the place."
"I know, mate. We've been chasin' 'em."

He felt foolish, then. But he was not a native, having lived here only seven years. And he did not have dogs. He'd had a dog, but it got eaten, so he never bothered to get another, because they were a lot of work only to succumb to so casual a demise.

2

He remembered a time back in the States when his father came for a visit and stayed two years. He got himself a place out by the junkyards so that he would not be in the way, even though he assured him he would not. He used to go to the junkyards every three or four days to see him, but mostly because he wanted to be near Joan, who had moved nearby, he discovered early on. He would never have made his presence known to her, that being the way he was, but he liked it that he could be near to her, in the same neighborhood, so to speak, because where his father lived could hardly be called a neighborhood, it was little more than a shack, but Joan lived adjacent to the area in a neighborhood that was hardly more than a collections of shacks itself. He wondered why she chose to live there. He wondered if her life had changed at all, because surely she could afford better housing, she had a good paying, if low-class job, unless something had happened. He really wanted to know, but not enough to go and seek her out to ask her.

And then one day as he was returning from picking up electronic supplies from a nearby town, walking along the old dirt road, he met a man who had sold supplies himself, standing at the front fence of his yard. The man recognized the label on the box he carried and commented on it, and they struck up a conversation about the business, and the guy told him about an old man who lived in Joan's neighborhood who had huge amounts of surplus electronic parts for sale at very reasonable prices. He got the man's address, dropped the package off at his father's house, and headed on over to the neighborhood. The old black man was sitting on his porch as he approached the house. They talked for a while, and the man told him that he was no longer in the business. He had a few things left lying around that he sold from time to time, but he had nothing that Jack wanted. As he was leaving, he saw Joan, walking across the street toward him, smiling broadly at him.

"What are you doing here? he asked, pretending not to have known she lived here.
"I live here now."
"Why?"
She didn't answer him, but kept on approaching, staring.

Something was different about the neighborhood, something he could not get his mind around. Then, as several people who obviously had been partying exited a house across the street and headed toward another larger group approaching from down the block, he realized that the air was filled with a festive activity, that atmosphere of pending revelry that he hated, as if a party was about to happen.

She must have sensed his wonder, because Joan said, "We're having a block party." He nodded, as if he knew it all along, or as if he concluded it on his own, which he did not. He should have, because that's what it felt like to him. But it had only been imagination in his mind, or maybe intuition that he had not attended to.

As Joan and he talked, about any subject that came up, she became more and more forward. She had always been awkward with him, making him more awkward with her, or maybe it was the other way around. Whichever, his ease with her as the conversation flowed, more easily than ever, prompted her to become more at ease with him. He had always liked her, and he had always assumed that she had always liked him even more. Or maybe that too was the other way around.
As they continued their conversation, which he knew even they spoke was about nothing at all, really, he began to become aware that people attended to them, interest grew as to their relationship, which was not much of anything until this day, but which always held a lot of potential, or so he, and/or she, thought. Where did he come from, these people, who seemed to know her, seemed to be thinking. When he became aware that his father was a part of the group, that he stood about a block away among a crowd with a glass of beer in his hand, looking his way, as if he saw what he was up to, he thought that it might be more than he could take. Strangers who might know what you are up to, the lurid thoughts you harbor in what might be called your soul, if that is not a sacrilegious idea, are perhaps okay, if they will accept what it is that you are all about, like any other person, if they will fail in your presence to acknowledge the secret intent you have. But when people who know you do they same, feel the same way, about you, then it makes you more self-conscious. And when your own father becomes a part of that group that is becoming aware that you are, after all, only a normal, prurient person, then... This kind of thing always happens when he talks to long, two threads of simultaneous thought, one normally social, the other increasingly paranoid, the two diverging the longer the social interaction continues, as if the one requires the other to balance it out.

It begins to get too close for him, and she begins to notice. But what might turn another woman off only serves to intensify Joan's feelings, he has always known--or felt. Understanding this about her, he is torn, between offering apologies and retreating, or continuing to do what he is not doing, standing, merely talking to her, nothing more, unless staring expectantly into her expectant eyes is something, more than how you would otherwise engage a different person. She is glowing now, he thinks, happy to be thusly engaged, becoming more and more animate, bestowing gentle touches on his arms, reaching out, doing everything she instinctively knows how to convince him to continue to approach that moment when he will ask that inevitable question, in whatever form, disguised or more direct, that it will take. But he does not ask it. He never asks it. He has never asked it, of anyone. He doesn't believe in asking. He believes in waiting, for a response to a question he never asks.

His father has worked his way down the block and stands behind him in the old man's yard. He turns slyly occasionally when the encounter with Joan permits it, when he can allow himself to look away for a moment from her eyes, when he can work their stance around so that he is facing that other side of the street when she isn't working it around another way for whatever reason she will have, and when he turns his way, he can see his father and the old man talking amiably and looking in his direction. He thinks he knows what they say, that is, he thinks he hears it, in unspoken words. The old man has come to a different opinion of him, he is sorry for being less than cooperative with him in his enquiries about the technical equipment, he has a better opinion of him now, now that he knows that his father is also black. It's usually the other way around, he remembers, when people, black as well as white, will come to know his heritage, thinking the less of him for the accident of his nature, for the oddity that his is, a genetic black with white skin, a hybrid, a breed, and a rare one at that, recessive to a bitter fault, and depressive as a result. And suddenly a thought of horror fills his chest: Joan does not know any of this. But she is very liberal, he thinks. She will understand. And yet, he cannot, could not ever, bring himself to tell her the truth. She would have to discover it for herself, and then he would have to pay the price, if any.

Being now vulnerable, or rather, now better understanding his vulnerability, he sees he is even more attractive to Joan, She doesn't know why, but she experiences intuitively the fact of it. And in the void he is creating by his lack of action, she is beginning to pursue him. He relies on this. It's his modus operandi. She finally sees that she has the power and she uses it, and they are all of a sudden leaving the street, toward a loft in a nearby converted warehouse where friends of hers stay, friends who are at the party. He feels relieved, of the burden of being known by anyone but her. They, others, might know tomorrow what he had been up to today, they might even know it, see it coming, some of them, today, but he will be out of their sight for a few hours, maybe even for the whole night.

3

The next day he was alone again, Joan having left him early that morning, before it had gotten light. He knew she expected him to call her. He would not. He had asked her not to leave. She felt she had to, so that she could play out her waiting game, he thought. But late that afternoon, she saw him across the street visiting the old man again. He saw her see him as she tried to turn away before he saw her, and when he did, she gave it up and crossed the street to him, waiting at the fence until he had finished speaking to the old man. They walked across the field beside the old man's house to the warehouse area behind the neighborhood. She was mostly quiet, walking with her arms folded awkwardly across her chest. He was quiet too, but he walked openly, remaining, ideologically, open to her, always, open to any woman who would want it to be so. And he knew she wanted it to be so, but she had to play the game, it had to be his idea, this relationship. He wanted to say these things to her, but he knew that it was a futile effort.

They sat beside an old road that ran along the expanse of abandoned warehouses. The day had been sunny, but now the sun was going down. She still held herself, her arms wrapped around her as if she were cold, although it was still a warm day. Eventually, awkwardly, they got around to talking about their previous night together. Although she would not commit to the idea that she had enjoyed herself, he knew she had. He knew he could talk her into it again, tonight, but he didn't try, which was what she wanted him to do, and what he wanted her to do, forever. But they were getting to that point again where she would, do it again, if fate in the form of previously made plans hadn't intervened.

An old rusted pickup truck approached, and all of Joan's melting reticence refroze. It sped down the cinder road and skidded to a stop. Despite himself, Jack heard himself say aloud, "Oh-oh."
"It's okay, " she said. "He always drives like that. It doesn't mean anything." She seemed, again, to be able to read his mind.

The guy got out of the truck, his slow, ambling bulk of a posture belying his driving manner, giving truth to Joan's analysis. He wandered over toward them and said something about going out with her that evening which started with the words "Hey, how ya doin' there, sweetie..." after which Jack found himself lost in an inability to attend to details so as to retain them, a skill he was well-trained in, attending and retaining, and which usually stayed with him, but which left him in this case like a speeding truck as his upper body filled with, well, hormones, for lack of a better word. He hated to feel like this, and whenever he did, his first, second, and last reaction was always to hurry as quickly away as he could without drawing any attention at all to himself, in other words, to be completely polite, civil, congenial, whatever, as he made his gracious escape, which people always praised him for, his coolness in charged situations, because they never knew the truth, he was that good at concealing it. But no matter how much he lost the actual words as he tried to plan his escape, he quite clearly got the sense of the short conversation between Joan and George. (Joan introduced them in the midst of this conversation, and they shook hands.) She and George had a date that night, and George had been looking for her.
Joan was as practiced at Jack at concealing her real feelings. Maybe, she was even better at it. She looked, for all the world to see, as if she were ready for the date, understanding no discrepancy between what she was apparently about to do and what she had done last night. Jack stared at her, not in any disrespectful way, not in anger or frustration, not out of jealousy or hurt, though all of those possibilities were to some degree inherent in his internally hidden behavior. But neither did he look at her in the way he had been looking at her previously, especially yesterday. And yet she saw what she must have thought was all of him, inside and out, he did not hide himself away with her as he did with George, what she must have thought was all of him poured out through his eyes and into her, or her into him back into her, or both together, back and forth. George watched this brief eternal exchange and must have thought, Jack thought, when he broke away to catch him watching, he knew what it was they felt. Jack looked back at Joan, and when he met a more determined, stoic face, he raised his arms palms out as if to say, "Make a choice." But he said nothing. And neither did she.

And then, fate again, stepped, or rather drove, in. A car turned into the road heading toward them, but stopping far short, probably because the road's increasingly poor, potholed, puddled surface repelled the driver. The road so obviously contrasted with the car's new and expensive appearance. The driver's door opened and a good-looking woman stepped out. She raised her hand, and Joan and George both looked at Jack, who raised his hand in an acknowledgement. The woman motioned for him to come to her. Joan had to know that this was an ordinary occurrence in his life. Someone from his past was always showing up, or so it had been when she had known him. She didn't know his far more recent past, when the pattern had reversed itself, or rather, when he had insisted that it become reversed.

Jack raised a finger to her and then turned back to Joan, who simply continued to stare at him, in the way he had stared at her. Not wanting to, he nevertheless forced himself, to say, only, "Well?"
She shrugged her shoulders. Nothing more. He turned and walked away toward the car. George turned his way to watch him go. When he turned back to Joan, she had changed. He didn't know how, nor why, but she looked different. He tried to understand.

George was a big man, broad-shouldered, not overweight, but husky, heavy, and tall. He had a broad face that could grin as broadly, as he had proven as he had approached the couple. His hair was slightly thinning, but it only added to his handsome appearance. As he stood before her, trying to read her, Joan sighed, barely perceptibly, but enough to let him know he was not very likely to have such a good time with her this night as he had had in the past. He asked, "What's the matter," as if he didn't know.

"Nothing," she said, in a way that meant he was not to believe her. She looked away from him toward the car just as Jack arrived at it. George turned to follow her gaze and they watched Jack and the woman talking in what appeared to be an intimate manner. "He doesn't care for me," she said.
George looked at her. "Sure he does."
She looked at him, away from Jack. She stared at him until he knew she was demanding an explanation.
"He wouldn't have walked away like that if he didn't care," George said.
She didn't understand and so continued to stare.
"He would have just left, if he wanted her instead, he wouldn't have told her to wait a minute. He wouldn't have asked you to choose first."
"He didn't ask."
"Sure he did. You just didn't hear him."
"You sure are being nice."
"I can be nice."
"Yes you can." She smiled. But she didn't mean it.
"A lot must have happened since last week."
"Since yesterday. But not so much."
"You should tell him how you feel."
"I can't."
"Why not."
"I already did."
"Oh. I see."
"No. You don't."
"I think I do."
"I didn't actually tell him anything. I meant...I mean..."
"I know what you mean."
They looked back down the road at the car. The woman was getting back in, and Jack was walking back toward them. George turned toward Joan to catch the look on her face before she made it go away.

As George looks on, they begin to haggle over who will do the chasing, who will be responsible for taking the initiative. This takes the form of words he can't remember. He wants her to be the way she was yesterday, assertive, leading the way, being the sexually aggressive partner. She did that, she feels, only as an initial ploy, to get him to begin to chase her. But she did it all night long, off and on, when he would not. Jack remembers his elation at each abandoned attempt pof hers to be less than intimate.

George leaves. He's far more intelligent than he appears, Jack thinks. His mind races. Being able to see well through her games, which she points out to him as a fault when she gets an inkling of what he's thinking, he says, "You don't want me then. You want George." That is, he thinks, she wants an instinctual male, not an intellectual one and doesn't know how really smart he is. But she smiles obscurely at his remark. She knows she doesn't want what he suggests. They come to a tacit agreement, that they will both desire each other, secretly, preserving an appearance of stone sobriety in public and reserving their passion for the bedroom. This exchange takes place in a very short time with so few words that Jack thinks he may have gotten it all wrong. Repressed passion does this to you.

He tells her, after they come to another brief experience of psychic understanding, that the woman in the car is his sister. He says this as a response to her suggesting an accusation of future infidelity with her.

"I remember seeing your sister," she says. "At the company picnic that time, when she showed up looking for you. I was watching from the hill as they drove into the parking lot, her and her radical friends. She didn't look anything like that woman. She used to be so...punk."
"She looks a lot more civilized...since she died."
He almost didn't say it, but they had come to a point where she would again know if he were holding something back from her.
She still couldn't see from a distance the pale olive color of her skin.
As close as they had become, as close as they had always been, non-physically, they still remained, a part of them, distant. She thinks she knows him, she thinks, she wants to know, more, bracing against further revelation, unaware of it, thinking she remains open toward him, when she is closing off. He can feel it, the closure she doesn't know, which she thinks she does.
She doesn't even know his real name, because when he worked with her he had been using an alias. His name is Sam.
And yet, she feels, she knows him. Something inside her relates to him directly, so that specific facts don't matter, she thinks, she knows him.
Yet still she doesn't know the truth.

§   §   §

The truth is, Katy is a whore. I don't really believe this, but by social standards, this is the way she has been labeled, because she chooses to be her own person and not blindly adhere to the "modest" beliefs of ordinary citizens--who never exist anyway, except as myths and old ladies who are too scared live their lives.
Prostitution is criminalized, even though it appears to be a victimless crime (or rather, the only victims are the participants) because it threatens to destroy the society, by diverting allegiances and resources away from the family. So, victims aren't the participants only, according to this definition. Every citizen is victimized by prostitution, all of the good people, anyone whose health insurance rates or taxes are increased by state medical subsidies, etc. It's a bitch, but prostitution is a social, not a personal, problem. I don't want to agree with this, I want individuals to have the right to do with their bodies what they will, but...
The problem is one of definition: whore, prostitute, slut, all mean, to the common "moral" person, the same thing. (If you have to insist on being moral, you are repressing your own immorality.) Katy is not a whore, literally. She doesn't do it for money...well, she does, or she has, but not professionally, i.e., she may do it in order to survive, take a few dollars or spend a night out of the cold in a man's bed, even with men she doesn't like, but she doesn't walk the streets looking for customers. She's no more of a prostitute than any housewife who insures her existence by living with a man she doesn't really love, for her own personal sake, or for the sake of her kids. A lot of women (and men) prostitute themselves in this way. And she's only a slut by the moralist opinion. She doesn't sleep with a lot of men just because they're available...well, maybe she is a slut. But this is just my own moral opinion. I am a bit of closet moralist myself, I guess.
Moralists, like prostitutes strive to remain in control. This is why moralists hate whores so much (and whores hate moralists). It's projection, a safe form of self-hate. "Normal" people submit to their lovers--or, at least, normal women do. They give up control, temporarily. (Some of the weaker-willed ones give it up on a more or less permanent basis.)
But it's an erroneous idea that if you're in love, you're supposed to submit to your lover, allowing him/her to do what they will to you, manipulate you, twist you around, etc. If you really love someone (as opposed to loving them weakly), you will be strong for them, refusing to enable their victimization of you and of themselves, all the while accepting them for what they are without allowing them to manipulate you.
Katy never submits.
She allows her body to be used, but never her mind.
If she finds herself falling in love with a guy, she refuses to have (any more) sex with him. This is what I have learned from her: sex is great, but it can control you; never allow it to do this. Control it instead. Love, on the other hand, when it gets out of hand, when it escalates into a transcendence of spirit so that you're not sure where you are any more, or even who you are, yourself or your lover...that's okay. But if you compromise the love with sex, then you allow the confusion of love (in itself a non-toxic state) to seep into the physical world where it plays with the ego and either results in controlling or in being controlled. It is almost impossible for lovers not to try to control each other and for one of them to succeed. It's better to be chaste in love and a slut in sex. Katy taught me this. She taught me a lot of other things too. She may have taught me to do these things intentionally. I don't know.

I'm in the midst of a gradual long-term transition away from fiction and into personal autobiography, which Virginia Woolf says is the inevitable course for a writer.
 
from Katy's journal

She draws parallels between her life and the lives of other people, fantasizing that she is those people in their time and place, documenting her feelings as if they were theirs, which well they might have been, the empathy being effective, slipping in and out of her space and theirs, weaving their lives into a matrix of personality. I do this same thing, but I am always only me.
Somehow, because she did it, it's okay for me to do it, and since I've been doing it for so long, even before I knew anything about her work, even when I was a kid, it's okay that she has done it, I know how to accept her in a way I never would have had I not been me, had I been someone else, a normal person like all of the people who criticize her lifestyle, not understanding.
She justifies her sexual activities and fantasies via journal entries which she weaves into quasi-fictive pastiches, wanting to make them count for something, i.e., to be productive in her idiosyncratic behavior, to use her life, of sex and fantasy, as the basis for her art. In this way, whiling away her time in fantasy is not a waste, but a work activity, a necessary prerequisite to her journal art.
She would be more direct, she is, in her raw journals, before she has had time or inclination to rework them, before she has had the audacity to make them public, but she cannot, as such, incorporate her fantasies into them in that direct a way. It would be, too much, for people, to see.
She uses long sections of quoted material for the same reason that she uses names or initials at the beginning of a section to attribute to a character what would otherwise be her own ideas/monologue, to disguise them as those of a character. (I stole this technique from her.)