Desire

Passages

Every passage tagged with this emotion in the Vela corpus. Search the body text, narrow by source or register, click through to a book’s profile to see how the passage sits with the rest of the work.

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• From Another Country (1962)

  And her mind was filled again with that bright, blue field. She shook with the memory of his weight, her desire, her terror, and her cunning. Not here. Where? Oh, Richard. The cruel sun, and the indifferent air, and the two of them burning on a burning field. She knew that, yes, she must now surrender, now that she had him; she knew that she could not let him go; and, oh, his hands, his hands. But she was frightened, she realized that she knew nothing: Can’t we wait? Wait. No. No. And his lips burned her neck and her breasts. Then let’s go to the woods. Let’s go to the woods. And he grinned. The memory of that grin rushed up from its hiding place and splintered her heart now. You’d have to carry me, or I’d have to crawl, can’t you feel it? Then, Let me in Cass, take me, take me, I swear I won’t betray you, you know I won’t! “I love you, Cass,” he said, his lips twitching and his eyes stunned with grief. “Tell me where you’ve been, tell me why you’ve gone so far away from me.” “Why I,” she said, helplessly, “have gone away from you?” The smell of crushed flowers rose to her nostrils. She began to cry. She did not look down. She looked straight up at the sun; then she closed her eyes, and the sun roared inside her head. One hand had left her—where his hand had been, she was cold. I won’t hurt you. Please. Maybe just a little. Just at first. Oh. Richard. Please. Tell me you love me. Say it. Say it now. Oh, yes. I love you. I love you. Tell me you’ll love me forever. Yes. Forever. Forever. He was looking at her, leaning on the bar, looking at her from far away. She dried her eyes with the handkerchief he had thrown in her lap. “Give me a cigarette, please.” He threw her the pack, threw her some matches. She lit a cigarette. “When was the last time you saw Ida and Vivaldo? Tell me the truth.” “Tonight.” “And you’ve been spending all this time—every time you come in here in the early morning—with Ida and Vivaldo?” She was frightened again, and she knew that her tone betrayed her. “Yes.” “You’re lying. Ida hasn’t been with Vivaldo. She’s been with Ellis. And it’s been going on a long time.” He paused. “The question is—where have you been? Who’s been with Vivaldo while Ida’s been away—till two o’clock in the morning?” She looked at him, too stunned for an instant, to calculate. “You mean, Ida’s been having an affair with Steve Ellis? For how long? And how do you know that?” “How do you—not know it?” “Why—everytime I saw them, they seemed perfectly natural and happy together——” “But many of the times you say you’ve been with them. you couldn’t have been with them because Ida’s been with Steve!”

• From The Fermata (1994)

  Rhody, however, didn’t view it that way. When I tried the idea out on her (on the plane home from our beach vacation), she was interested at first, and then later she turned against it, using awful and, in my opinion, off-base words like “necrophilia” to characterize it. Let me say that I am not a necrophile. The notion has no appeal. Liaisons among the undead are fashionable, but I don’t have a drop of vampiric blood in me. (I did, however, once put a pair of “nipple nooses” on the famous Anne Rice at Barnes & Noble some years ago, when I was at the height of my mechanical-pencil Fold-phase. I clicked time on for a minute or two so she would have a chance to feel them while she signed my copy of her book, which was going to be a birthday present for somebody. Then I removed them. If she noticed anything, she was extremely cool about it and didn’t let on.) The Fermata allows something to occur that is the exact opposite of the necrophilic ideal: it allows me enough time to take in a particular lived second of one woman’s life, the incremental outcome of so many decisions and misfortunes and delights and griefs, while she is in the very midst of fleetingly bringing it into being. The ability to investigate all aspects of her careless aliveness, where her clothes stretch, her body’s textures, her expression, her smells, the way she happens to be standing or moving, as they are fused in a single total instantaneous female delta-self, is the great lure of the Fold. The Fold allows me to do sexual justice to times when she is fully conscious, but not in the least self-conscious; “stalls,” Hopkins might have called them, in the daily fluidity of her life whose specific complex of qualities would have otherwise gone unseen by anyone—unphotographed, uncelebrated, unvalued, unloved. It is their randomness and, often, their very lack of overt sexiness that makes these instants so erotically precious. My sense of sight is infinitely and lovingly promiscuous, and each time I Drop I get another chance to love a chosen body as it really is: to see a woman’s ass, for example, when its owner-operator is talking at a pay-phone and thinking about other things than the fact that she has an ass, and her ass can therefore be completely itself.

• From The Fermata (1994)

  And—I wish I could whisper this for dramatic effect—she did get a little turned on—she did, she did. The first sign of it was when she glanced around to verify her dune-grassed isolation and then subtly lifted her upper body a little higher on her elbows so that her titshape elongated, and then when they, her two laggard cherubim, were hovering almost free of the earth, she moved her shoulders so that her nipple-tips grazed lightly over the open mesh-lined cups of her undone bikini top. I debated stopping time to hold them for a moment, but I decided that I wanted to see her reaction continuously, without interruption. A little later, on about the fourth page of my typescript, she scratched her leg for a long time, apparently forgetting that she was scratching. I took this as a good sign, a sign of absorption. Then she pulled her chin in suddenly, surprised by something, and shook her head. She looked around. She resumed reading. Then it began: the rhythmic antiphonal tightening of her butt-muscles began: first the left, then the right, left right, left right, so that her heart-shaped ass-curve systoled and diastoled before my eyes. I knew that these marching contractions were pushing her bush-bone hard into the towel and into the accommodating sand underneath, and the sight of this secret self-assertion got me so hot and frantic that to work off the energy I had to drop the binoculars and push up my glasses and sprint down the length of the beach, slaloming barefoot around the halted family groups and single shell-musers and grizzled voyeurs. On the way back, running more slowly, I hesitated before a tall girl of sixteen or seventeen in a blue maillot standing in an inch of water, recoiling from the cold, and I stopped for a second, panting, so that I could slide her tight shoulder straps off and regard her white, hippy, sexily imperfect body with her suit turned inside out on her legs. “You’ll do just great,” I said to her as I suited her back up. Then I resumed my binocular station near my assive-aggressive reader and let myself calm down. Strangely, I felt a little guilt that I had been unfaithful to her with the seventeen-year-old.

• From Tipping the Velvet (1998)

  My stays creaked; it felt all wrong, being gallant in a skirt, and I had a sudden fear that she might take me not for an impertinent voyeur, but for a fool. But when I raised my eyes to hers again her flush was fading, and her face showed neither contempt, nor discomfiture, but a kind of amusement. She tilted her head.A van passed between us, followed by a cart. In lifting my hat to her this time I had thought only, and vaguely, to correct the earlier misunderstanding; perhaps, to make her smile. But when the street was once again clear and she still stood there it seemed a kind of invitation. I crossed, and stood before her. I said, ‘I’m sorry if I frightened you the other night.’ She seemed embarassed at the memory, but laughed.‘You didn’t frighten me,’ she said, as if she were never frightened. ‘You just gave me a bit of a start. If I’d known you were a woman — well!’ She blushed again - or it may have been the same blush as before, I couldn’t tell. Then she glanced away; and we fell silent.‘Where’s your friend the musician?’ I said at last. I held an imaginary mandolin to my waist and gave it a couple of strums.‘Miss Derby,’ she said with a smile. ‘She is back at our office. I do a bit of work with a charity, finding houses for poor families that’ve lost their homes.’ She had a plain East End accent, more or less; but her voice was deep and slightly breathy. ‘We have been trying for ages to get our hands on some of the flats in this block here, and that night you saw me we had moved our first family in - a bit of a success for us, we are only a small affair - and Miss Derby thought we should make a party of it.’‘Oh yes? Well, she plays very nicely. You should tell her to come and busk round here more often.’‘You live there then, do you?’ she asked, nodding towards Mrs Milne’s.‘I do. I like to sit out on the balcony ...She raised her hand to tuck away a lock of hair beneath her bonnet. ‘And always in trousers?’ she asked me then, so that I blinked.‘Only sometimes in trousers.’‘But always, to gaze at the women and give them a start?’Now I blinked two or three times. ‘I never thought to do it,’ I answered, ‘before I saw you.’ It was the plain truth; but she laughed at it, as if to say, Oh yes. The laugh, and the exchange which had provoked it, was unsettling.

• From Wild (2012)

  I went to the health and beauty section and pumped free samples of lotion into my palms, rubbing several kinds all over my body, their discrete fragrances making me swoon—peach and coconut, lavender and tangerine. I pondered the sample tubes of lipstick and applied one called Plum Haze with one of the natural, organic, made-from-recycled-material Q-tip knockoffs that sat nearby in a medicinal-looking glass jar with a silver lid. I blotted with a natural, organic, made-from-recycled-material tissue and gazed at myself in a round mirror that stood on a pedestal near the lipstick display. I’d chosen Plum Haze because its shade was similar to the lipstick I wore in my regular, pre-PCT life, but now, with it on, I seemed to look like a clown, my mouth showy and manic against my weathered face. “Can I help you?” a woman with granny glasses and a nametag that said JEN G. asked me. “No, thanks,” I said. “I’m just looking.” “That shade is nice on you. It totally brings out the blue of your eyes.” “Do you think so?” I asked, feeling suddenly shy. I looked at myself in the little round mirror, as if I were genuinely contemplating whether to purchase Plum Haze. “I like your necklace too,” Jen G. said. “Starved. That’s funny.” I put my hand to it. “It says Strayed, actually. That’s my last name.” “Oh, yeah,” Jen G. said, stepping closer to see it. “I just looked at it wrong. It’s funny both ways.” “It’s an optical illusion,” I said. I walked down the aisles to the deli, where I pulled a coarse napkin from a dispenser and wiped the Plum Haze off my lips, and then perused the lemonade selection. They didn’t carry Snapple, much to my chagrin. I bought a natural, organic, fresh-squeezed, no-preservatives lemonade with the last money I had and returned with it to sit in front of the store. In my excitement to reach town, I hadn’t eaten lunch, so I got a protein bar and some stale nuts from my pack and ate them while forbidding myself to think about the meal I’d planned to have instead: a Caesar salad with a grilled chicken breast and a basket of crusty French bread that I’d dunk into olive oil and a Diet Coke to drink, with a banana split for dessert. I drank my lemonade and chatted with whoever approached: I spoke to a man from Michigan who’d moved to Ashland to attend the local college, and another who played the drums in a band; one woman who was a potter who specialized in goddess figures, and another who asked me in a European accent if I was going to the Jerry Garcia memorial celebration that night. She handed me a flyer that said Remembering Jerry across the top.

• From Wild (2012)

  “It’s beautiful,” I said, though I didn’t look at the sky. Instead, I scanned the dark land, punctuated by tiny dots of light, houses and farms spread out over the valley. I thought of Clyde, all alone under this same sky, reading good books in his truck. I wondered where the PCT was. It seemed far away. I realized that I hadn’t said anything to Jonathan about it other than the bit I’d shouted into his ear over the music the night before. He hadn’t asked. “I don’t know what it was,” Jonathan said. “The minute I saw you, I knew I had to come over and talk to you. I knew you’d be totally rad.” “You’re rad too,” I said, though I never used the word rad. He leaned forward and kissed me again and I kissed him back with more fervor than I had before, and we stood there kissing and kissing between his tent and his car with the corn and the flowers and the stars and the moon all around us, and it felt like the nicest thing in the world, my hands running slowly up into his curly hair and down over his thick shoulders and along his strong arms and around to his brawny back, holding his gorgeous male body against mine. There hasn’t ever been a time that I’ve done that that I haven’t remembered all over again how much I love men. “Do you want to go inside?” Jonathan asked. I nodded and he told me to wait so he could go in and turn on the lights and the heat, then he returned a moment later, holding the door flaps of the tent open for me, and I stepped inside. It wasn’t a tent like the sort of tent I’d spent any time in. It was a luxury suite. Warmed by a tiny heater and tall enough to stand up in, with room to walk around in the area that wasn’t consumed by the double bed that sat in the center. On either side of the bed there were little cardboard dressers on top of which sat two battery-operated lights that looked like candles. “Sweet,” I said, standing next to him in the small space between the door and the end of his bed, then he pulled me toward him and we kissed again. “I feel funny asking this,” he said after a while. “I don’t want to presume, because it’s fine with me if we just, you know, hang out—which would be totally rad—or if you want me to take you back to the hostel—right now, even, if that’s what you want to do, though I hope it isn’t what you want to do. But … before—I mean, not that we’re necessarily going to do this—but in case we … I mean, I don’t have anything, any diseases or anything, but if we … Do you happen to have a condom?” “You don’t have a condom?” I asked.

• From The Fermata (1994)

  I removed all the clothes from the tall wicker laundry hamper that stood under the bathroom window and piled them on her bed and got inside the hamper with a wrinkly dark-gray linen shirt of hers tied loosely over my face; though I was in something of a fetal position, and though I could not see all that well through the linen, I could at least get some notion of what was going on as she proceeded with her bath. I used my glasses to Unfold; at once her hand tightened on the red washcloth and lots of water fell along her arm. Then nothing much happened for a long time. She wiped beads of sweat off her forehead with the washcloth several times, and she sighed a total of three long sighs. There were splashes whose nature I couldn’t determine. She shaved her legs for a while. She ran some more hot water and stirred it around. Once or twice she whispered aloud, going over fragments of remembered conversation, as far as I could tell. She did what looked to be a set of leg lifts. When the pain in my knees became too acute I Dropped, climbed out, and took a break downstairs, finishing the article on the Canadian lakes. I sang the Beatles song “Here, There and Everywhere,” walking around in her living room. I left my clothes in a little mound on her coffee table and went back upstairs and stuffed myself back in her hamper with the linen shirt over my head; I knew good things were going to happen. After ten or fifteen minutes she stood, letting the water pour off her, and toweled herself. I was on alert to push up my glasses at any second if she decided to throw the towel into the hamper, but she didn’t. After she dried her hair, she put the towel around her shoulders, and then she planted her hands on the edge of the bathtub and knelt with one leg in the bathwater and one outside on the floor. “Ooh that’s so cold,” she said, when her vadge touched the rounded edge of the tub.

• From The Fermata (1994)

  The book-checkout line was not short, so I had plenty of time to think as many sexual thoughts as I wanted to while I looked at the blue shoulder strap and freckled skin of Ms. Henna in front of me. The title of her book was exerting ever more roentgenizing power over my state of mind; I was almost out of control. Naked, naked, naked, naked, naked. I wanted so very much to see her back and big soft buttcheeks. I imagined her face-down on a massage table, with her soft hair pinned out of the way, her eyes half closed, dreamy from the steam room, a white towel over her legs. I would walk in bearing a large white bowl with a green rim that was filled with quarts of semi-cool tropical oil and a dozen or so stone eggs of various marbled colors. I would set the bowl on a small rolling table very near her head and begin to stir and tumble the stone eggs slowly with my hands in the oil, like a sedated saladier, so that they clicked and clocked against one another and against the sides of the bowl, and then I would let my hands close around two of them, a reddish one and a black one with gray and violet markings, and I would press these into the muscles of her back, on either side of her spine, cupping them in my palms. I would work my hands alternately as a purring cat works its paws, so that the stone eggs would palpate themselves slowly down her back, carrying their own oil with them. When they threatened to go dry, I would drop them back in the bowl, and jostle their submerged forms again with my fingers, and I would select two others; these I would again hold against her, manipulating them with my hand muscles so that they turned end over end under my slippery palms. She would try to guess by feel alone what colors they were: “Hmm, I think the left one is gray and white stone shot with pink,” she would say. But no, it was a quartzy blue. I would help her turn over so that she was on her back and I would turn the slippery eggs on her high thigh muscles and on either side of her mound, and then I would have her choose which two she wanted inside her. She would pick two and I would palm the stone eggs in, so that I could hear the muffled clocking sounds as one hit the other, and as I pulled my hand away, she would bear down with her muscles and I would see the skin of her vadge stretch as she gave birth to one of them, like those wonderful midnight sea-tortoise egg-laying scenes on Nature, where you can see the tortoise’s vagina swell and stretch over the sand pit as another egg appears, and it would fall out all slick in my hand.

• From The Fermata (1994)

  Naturally I had no idea what she liked, whether she was a particularly sexual person, but she happened to be the person on the beach who was idly digging in the sand, and that was all I required from her. The rest was up to me. I wrote a story about vibrators and dildos. I worked for about seven hours (seven personal Strine-hours), perhaps longer. It was one thirty-eight the whole time. I didn’t worry about getting sunburned; you can’t tan or burn efficiently in the Fold. Whenever I thought that my glasses were starting to slip down the bridge of my nose, I hurriedly pushed them up in place, not wanting my perspiration to restart time by mistake. I only took a few breaks; one to press her breasts gently from the side to be sure she had no implants (the knowledge that a pair of breasts are fake unfortunately kills my lust); and one to go for a swim in the motionless surf. Swimming in the Fold was something I hadn’t done up to that point: the water’s viscosity varied, areas of paused turbulence in a crashing wave dissolving like lumps in batter as I swam through them. Shells and pebbles were suspended in the undertow like forest underbrush. I ran my finger along the quiet sharp crest of wave and flicked a hanging drop of seawater into vapor with my fingernail. It was very tiring breast-stroking my way up and down the stiff-peaked pectinaceous swells. But I found the “swim” refreshing (I wore my glasses this time as well, since I was in no danger of being thrown by any surf), and I further cleared my mind as I came ashore by pulling on the front of a bathing suit of a woman of fifty or so who was standing in an inch of water regarding her feet; I peered down it to see her fat low white breasts in the filtered light of her suit.

• From The Fermata (1994)

  I rose from the towel onto my knees and put on my glasses and my watch. I looked down at the shadow of my semi-stiff richard against the blue stripes. What else was there in the world beside masturbation? Nothing. I pushed up on the bridge of my glasses and verified that the wind and the clouds had stopped. In the Fold, singing “Back in the Saddle Again,” I got my Casio typewriter and went out to Storrow Drive and pulled a guy off his motorcycle and drove it out to the Cape, between the lanes of halted cars. The beaches were not crowded at all, which was just fine; I walked for about twenty minutes until I found a woman, fairly nice-looking, lying on her stomach on a towel in a two-piece bathing suit the gray-green color of the plant called dusty miller. She was in the process of blindly digging two diagonal down-ramps into the sand on either side of her towel, which was what I wanted. Her top was undone, the straps lying endearingly untautly with their inner surface visible; her back was not very tanned, and in her application of sunblock she had missed a triangular place near one of her very expressive, well-made shoulder blades, which was going to be painful in a few hours unless I put a little lotion on it for her, which I did. I sat cross-legged next to her in my bathing suit and turned on my typewriter and began to write a story that I hoped would interest her on some more or less debased level.

• From Wild (2012)

  I went back to the hostel and walked quietly past the beds where women unknown to me lay sleeping and into the little alcove under the eaves, where Dee and Stacy slept too, and I took off my clothes and got into the real actual bed that was astoundingly mine for the night. I lay awake for an hour, running my hands over my body, imagining what it would feel like to Jonathan if he touched it the next night: the mounds of my breasts and the plain of my abdomen, the muscles of my legs and the coarse hair on my pudenda—all of that seemed passably okay—but when I got to the palm-sized patches on my hips that felt like a cross between tree bark and a plucked dead chicken, I realized that under no circumstances while on my date tomorrow could I take off my pants. It was probably just as well. God knows I’d taken off my pants too many times to count, certainly more than was good for me. I spent the next day talking myself out of seeing Jonathan that night. All the time that I was doing my laundry, feasting at restaurants, and wandering the streets watching people, I asked myself, Who is this good-looking Wilco fan to me anyway? And yet all the while, my mind kept imagining the things we might do. With my pants still on. That evening I showered, dressed, and walked to the co-op to put on some Plum Haze lipstick and ylang-ylang oil from the free samples before strolling up to the woman who staffed the door at the club where Jonathan worked. “I might be on the list,” I said casually, and gave her my name, ready to be rebuffed. Without a word, she stamped my hand with red ink.

• From The Fermata (1994)

  “I’ll add some warm if it’s gotten cold,” Adele would say. Then: “It’s not that I hate those magazines, it’s just that they didn’t do anything for me.” “You know what I wish?” I would say. “I wish you would wash right here at the door.” “You do, do you,” Adele would say. She would think. “Let me see you for a second.” Up until then, I would have been leaning so that my body was out of her sight-line. I would shift so that one of my knees was against the door, and one was just outside the door-frame. I would be sitting on my feet. All I would have on would be a pair of venerable 1984 red Calvin Klein underpants that had gone loose around the leg. I would pull one leg-hole sideways over my dick-bundle so that I was free to shake my yokel a little for her as it stiffened. “Will you wash your breasts for me while I activate this?” I would ask. “You know that I’m not opening this door,” she would say firmly. “The chain stays on.” “I know,” I would say. She would relax then, because she would see that we were both content to play by the same rules. “You’d be interested in seeing me wash my breasts?” she would ask. She would run her tongue over her lips. I would see her eyes go down my chest to my handful of dick. The speed of my fist-shuttle would say yes. “Here’s a suggestion,” I would then offer, abandoning my cockwork to raise a finger. “Don’t waste the bath, since it’s already there. Sit in the bath for a minute or two, wash the lower part of your body or whatever, do half the job, not that it needs it. And then get something … do you have anything that can hold some water?” I would look around my room doubtfully and spot an ice bucket. “The ice bucket!” I would cry. “Perfect. You could get your ice bucket and fill it with some of that warm bathwater and bring it over here and wash your breasts for me. You could dunk the washcloth in the bucket and hang your breasts over it and squeeze that warm water all over them. I want to see that so much. Please? I’ll just wait here patiently stroking my cock.” I would give her a querying look. “Do you have an ice bucket?” She would crane her head momentarily. “Yes, oddly enough I happen to have an ice bucket. Tell you what. If I’m not back here in, oh, ten minutes, it means that I’m shy and I don’t want to wash my breasts for you, in which case you’ve got plenty of magazines to tide you over. That’s one thing I want to get clear, by the way. My body isn’t exactly like the ones in those magazines.”

• From The Fermata (1994)

  I was too crumpled in the hamper even to think of doing anything physical with my richard, but all I wanted in any event was the sight I was seeing; the sight of her leaning forward on her hands and rocking the weight of her hips down against the edge of the tub. “Where is that cock?” she said. “I want to see that cock.” She fished around in the water and pulled out the dildo and looked at it. She dipped it several times in the water and pulled it out, shaking it each time, evidently liking the way it glistened. Then she worked herself down the edge of the tub and suctioned the black dick onto the tiled shower wall at about her eye level. She moved her face over it, kissing it in the most wonderfully fetishistic way, and biting on it. “You like when I suck that big dick, don’t you?” she said. She put two fingers down on the edge of the tub and rocked forward on them, so that her clit was straddled. She let the head of the rubberdick pass over her closed eyelids, and then she stood up a little, one leg still in the bathtub and one out, and stroked her slit very fast while she circled the wall-mounted dick with her nipples. When she had straightened her legs completely, she was able to lean herself against the tile wall with the rubberdick between her legs and move its resilience over her clit-lump. Her forehead and nipples touched the cold green tile. She kissed the towel on her shoulders once. I was dying with visual happiness.

• From The Fermata (1994)

  I lay there in the Smith College woman’s back seat for quite a while, my head resting on her overnight bag, playing with a wavy sprig of her hair and trying to think of some way that I could possibly become a part of her life. Some of her hair was held with a large toothed clamp. I grew curious about what she was listening to and climbed back up beside her and popped the tape: it was a Suzanne Vega called Solitude Standing. She had gotten only halfway into the first cassette of the audio version of Gulliver’s Travels before abandoning it for some music. All at once I had conjured up a little plan. It would take time, but I wanted it to. She was worth it. This is what I did: I walked for almost an hour until I came to a mall with a discount store, where I bought a fairly high-quality tape recorder and some cassettes and batteries. (Bought: that is, left roughly the cash to pay for it in the appropriate cash register along with a note saying that this money was in payment for item number, etc., etc.) I also assembled a festive picnic lunch for myself at a deli and left money there. Several Arno-hours later, I got back to my car and pulled out my Tales of French Love and Passion and sat in the Smith woman’s passenger seat. The name I got from her wallet was Adele Junette Spacks. “Hello and excuse me,” I said into the tape recorder in a lower voice than I usually have, looking right at Miss Spacks. “With the help of my benevolent autokinetic powers, I have taken the liberty of popping the Suzanne Vega cassette in progress and placing it on the seat beside you. I have replaced it with a tape of my own, the very tape that you are listening to now. I would prefer to remain anonymous, but I will tell you that I too am currently driving west on the Mass Turnpike,and that you passed me a little while ago, and that, though you may not have been aware of it, during those few seconds when we were driving side by side, I developed one of the more intense car-to-car infatuations I have ever experienced. I’ve decided that this time I will act on my feelings for once by offering you this homemade tape for your diversion. Please feel free to listen to it or not as you wish. Feel free to press the eject button at any time if anything on it distresses you. It does contain nudity and sexual situations—in fact, it contains a great deal of nudity and sexual situations. But it’s only words. I only mean to divert you while you drive. If my tape offends, please feel free to toss it out the window and accept my apologies. Please feel free, please feel free.”

• From The Fermata (1994)

  I had planned to study a review of the new Mazda 929 in Road & Track during dinner, but obviously that was not possible now. I was tempted to walk to a bookstore in the Fold and pick up some other Virago to show off to her, but I thought better of it: too aggressive a manufactured coincidence. Instead I erased the Inequality to end the time-transplantation and, once back in the swing, pulled out a turn-of-the-century biography of Edward FitzGerald by A. C. Benson that I had been halfheartedly reading; I held it open with the edge of my plate. The waiter came. I ordered dinner in a fairly loud, friendly voice in order to draw Rhody’s attention. When I had handed over the menu, I dropped my eyes immediately to my book as if I were impatient to get back to it, and then absent-mindedly began moving my watch up and down on my wrist. I knew “Rhoda E. Levering” was watching me. I turned a page, lifting the plate so that it would clear, and went back to playing with my watch. Suddenly I looked up, caught Rhody’s eye, and gave her a friendly hello-look. I felt bad about doing this, because I know how hard it is to go back to a book, no matter how engrossed you were in it, when you are alone at a table in a restaurant and you become aware of someone else who may or may not be lonely, and may or may not be curious about you—suddenly, whether you welcome it or not, there is a fiery transversity connecting the two of you, where before there had only been a narrow rectilinear green-carpeted Thai restaurant that tolerated solo readers.

• From Tipping the Velvet (1998)

  We passed one doorway that led, I knew, to the stage itself: I caught a glimpse of ladders and ropes and trailing gas-pipes; of boys in caps and aprons, wheeling baskets, manœuvring lights. I had the sensation then - and I felt it again in the years that followed, every time I made a similar trip back stage - that I had stepped into the workings of a giant clock, stepped through the elegant casing to the dusty, greasy, restless machinery that lay, all hidden from the common eye, behind it.Tony led me down a passageway that stopped at a metal staircase, and here he paused to let three men go by. They wore hats and carried overcoats and bags; they were sallow-faced and poor-looking, with a patina of flashness - I thought they might be salesmen carrying sample-cases. Only when they had moved on, and I heard them sharing a joke with the stage door-keeper, did I realise that they were the trio of tumblers taking their leave for the night, and that their bags contained their spangles. I had a sudden fear that Kitty Butler might after all be just like them: plain, unremarkable, almost unrecognisable as the handsome girl I had seen swaggering in the glow of the footlights. I very nearly called to Tony to take me back; but he had descended the staircase, and when I caught up with him in the passageway below he was at a door, and had already turned its handle.The door was one of a row of others, indistinguishable from its neighbours but for a brass figure 7, very old and scratched, that was screwed at eye level upon its centre panel, and a hand-written card that had been tacked below. Miss Kitty Butler, it said.I found her seated at a little table before a looking-glass; she had half-turned - to reply, I suppose, to Tony’s knock - but at my approach she rose, and reached to shake my hand. She was a little shorter than me, even in her heels, and younger than I had imagined - perhaps my sister’s age, of one- or two-and-twenty.‘Aha,’ she said, when Tony had left us - there was a hint, still, of her footlight manner in her voice - ‘my mystery admirer! I was sure it must be Gully you came to see; then someone said you never stay beyond the interval. Is it really me you stay for? I never had a fan before!’ As she spoke she leaned quite comfortably against the table - it was cluttered, I now saw, with jars of cream and sticks of grease-paint, with playing cards and half-smoked cigarettes and filthy tea-cups - and crossed her legs at the ankle, and folded her arms.

• From The Fermata (1994)

  Why couldn’t I just relax and let her pass me without falling in total temp-love with her? And yet that was what was going on—and maybe it was going on for her, too: maybe she was listening to Terry Gross on National Public Radio and barely registering that some car (me) was off to her right, but maybe her hopes were rising and crashing addictively each time she passed a lone man at the wheel—maybe she was trying just as I had done to piece together a sense of the lovability and marriageability of each person based on the ludicrously inadequate information available—that is, on the driver’s head, on the state of origin of the license plate, on the general personality of the car (all cars are classifiable as cute/perky or elegante/mysterioso or Camaro/vulgaro), on whether one hand or two was visible on the steering wheel, and on the condition of the sheet metal. As her door-handle came in line with mine I tried to fight the desire to turn toward her but I couldn’t; I looked blankly at her just as she was turning to look blankly at me; then we both turned back and looked straight ahead at our lanes. At that moment, we were driving at almost exactly the same speed. We were close. It seemed miraculous to me that we could be in such states of seated repose, and yet could be separated by the surface of the highway, which was moving between us so fast that if I opened my door and tried to walk over to her and get in her car, my feet and shin-bones would be sanded down to nothing. With tormenting leisureliness she finally pulled ahead and put on her blinker and smoothed her blue car-butt over in front of me. (It turned out to be a Ford Escort, which always makes me think of escort services when I’m driving long distance.) Then I saw something riveting—a Smith College sticker on her rear window, with a University of Chicago sticker above it. I didn’t have to drive all the way to Northampton; Smith College was right here with me on the road! But I hesitated before I pushed up on my glasses, having never been through a full-blown chronvulsion in a moving car before. Would it be safe? Would my high rate of speed relative to the highway cause some unforeseen danger? Stopping the universe while driving at sixty miles an hour seemed an extremely rash and kinky thing to do. I kept staring at her taillights. I saw her look up at me briefly in her rear-view mirror. Then she fluffed her massive coarsely wavy hair so that some of it fell over the whiplash projection on the back of her seat.

• From The Spiral Staircase: My Climb Out of Darkness (2004)

  At the time, however, I simply grabbed at the idea as a pragmatic expedient. I was desperate to get to work on something— anything—to convince myself that I still had a future. I expected this new book to follow the somewhat skeptical line of its predecessors. God, of course, did not exist, but I would show that each generation of believers was driven to invent him anew. God was thus simply a projection of human need; “he” mirrored the fears and yearnings of society at each stage of its development. Jews, Christians, and Muslims had all produced the same kind of God because they had similar desires and insecurities, but increasingly, in the clear light of rational modernity, people were learning how to do without this divine prop. That was my idea at the outset, but even then I expected some surprises. By this time I had enough experience to know that the finished work was always different from my original proposal. And I was also determined not to fall into the trap of making the book merely a clever, shallow rebuttal of God’s existence. That would be not only boring and predictable, but also inappropriate. This could not be a wholly cerebral book, because images of God had, surely, much to tell us about the pathos of human aspiration. Nobody thought much of the idea, however, and it was a long time before my new agent found a publisher. “It can’t be done,” said one of the editors who saw my synopsis. “It’s impossible to condense such a huge idea into a single volume.” “Who’s going to read it?” asked another. “Religious people won’t want to hear that their God is on a par with the gods of other faiths, and unbelievers won’t be interested.” “It’s so religious!” sighed a friend who worked in one of the houses that had rejected the book. “Karen, don’t write this book now! You need to do something more mainstream.” More secular, she meant. “You read English at college. Perhaps you could do something literary? A new biography of Fanny Burney or George Eliot.” “What about a travel book?” Charlotte asked. “You enjoyed the travel you did with the Israelis, didn’t you? Why not go on a journey to somewhere important. Japan, for instance. What about a look at modern Japan?” Anything, it seemed, would be better than God.

• From The Fermata (1994)

  I climbed out of the hamper, very slowly because I was stiff. I studied her climax-face from every angle, trying to record its transient extremity in my memory. I held her perky little finger, which was still hooked in her ane. I rested my ear on the edge of the tub about three inches from her open boat and stared at the finger that was bestirring itself around her bright-pink pumped-up nerve; and beyond it at the very soft inner skin stretched tight around my fellow American, my fellow rubber hider-in-her-house. I loved what I saw. I licked her knuckles; I tapped my dick against her breasts to see how they quivered; I straddled the tub just as she was straddling it, facing her, and beat my richard savagely until I was almost there. When I was ready I stood and said, “Let me be there with you, honey, you’re so sexy, please let me come on your face,” in a strange almost singsong pleading voice, and without waiting for an answer from her I let all of my burning bechamel jump out onto her tightly closed eyes, unable to resist doing so even though I knew that I would probably regret it afterward—not least because it would be so much trouble to get all of it off her eyelashes and eyebrows. When I was done I sat down on the tub for a second to rest. “Thank you,” I said. I wasn’t crazy about the way my come looked on her closed eyes, but the beauty of her ecstatic expression survived it; in fact the existence of the outcome of my orgasm on her still-coming face seemed entirely irrelevant, as it should have. I turned time on for the tiniest fraction of a second, so that she would have a tactile flash of the sensation of liquid warmth, in case it would add a novel touch to her clasm, and then I spent a good ten minutes tamping and gently rinsing every sign of my sperm off of her. I put her dirty clothes back in her hamper. I took a last look around to be sure I had left everything in order. I stood behind her and flashed time on again for a second or two to be sure that, post-orgasm, she didn’t suspect that she had had company, and when I was convinced that she felt safe and unviolated I went downstairs and got dressed and let myself quietly out. It hadn’t really happened.

• From The Fermata (1994)

  Maybe every single woman I have stripped, if she knew me, if she could know now what my thoughts had been as I unzipped her dress and undid her bra, would want me to have stripped her and sucked her breasts and understood her body as it truly deserved to be understood. Rhody, however, didn’t view it that way. When I tried the idea out on her (on the plane home from our beach vacation), she was interested at first, and then later she turned against it, using awful and, in my opinion, off-base words like “necrophilia” to characterize it. Let me say that I am not a necrophile. The notion has no appeal. Liaisons among the undead are fashionable, but I don’t have a drop of vampiric blood in me. (I did, however, once put a pair of “nipple nooses” on the famous Anne Rice at Barnes & Noble some years ago, when I was at the height of my mechanical-pencil Fold-phase. I clicked time on for a minute or two so she would have a chance to feel them while she signed my copy of her book, which was going to be a birthday present for somebody. Then I removed them. If she noticed anything, she was extremely cool about it and didn’t let on.) The Fermata allows something to occur that is the exact opposite of the necrophilic ideal: it allows me enough time to take in a particular lived second of one woman’s life, the incremental outcome of so many decisions and misfortunes and delights and griefs, while she is in the very midst of fleetingly bringing it into being. The ability to investigate all aspects of her careless aliveness, where her clothes stretch, her body’s textures, her expression, her smells, the way she happens to be standing or moving, as they are fused in a single total instantaneous female delta-self, is the great lure of the Fold. The Fold allows me to do sexual justice to times when she is fully conscious, but not in the least self-conscious; “stalls,” Hopkins might have called them, in the daily fluidity of her life whose specific complex of qualities would have otherwise gone unseen by anyone—unphotographed, uncelebrated, unvalued, unloved.