HIM

Moments ago she was on her stomach distractedly rubbing herself against the mattress. When she masturbates the face she usually conjures up first is her own. In her fantasies she is beautiful, more beautiful than what youth naturally lends her. But not only is she beautiful, in her fantasies she is beautiful through another’s eyes. Her fantasies are of being witnessed, of being watched. By HIM, the one she must banish from her thoughts but that she allows to star in these fairytales. She can feel his gaze upon her. But today she tries not to think about HIM, she thinks about Olly, with HIS face, or maybe the reverse, trying not to think about HIM so making HIM look like Olly….It wasn’t working. The only way she could get off, could ride herself to ecstasy dry humping herself on her bed was to resurrect the past starring HIM her episodic Lazarus, peeling off the Olly mask, yes it was HIM, HIM, HIM, gazing at her face like it was composed of stained glass, she allowed herself to remember his face, just one last time, but she was having trouble recalling it exactly. And if she remembered his face, if she could only remember his face…

She groans and rolls onto her back and picks up the magazine, lying underneath her.

Knock on the door. Insistent.

Come in. Feebly. It is Agnes, with her red lips still on, wanting to hang out.

They are in Agnes’ room. They sit on Agnes’ bed. Agnes’ walls are plastered with posters of actresses. Monica Vitti. Hanna Schygulla. Corinne Marchand. Anouk Aimée. Rita Hayworth. Agnes’ makeup kit is strewn across the bed. Ruth is trying on a dark blood stain which she thinks with her pale hair lends her a definitive Greta Garbo appeal. She admires her strange red lips in Agnes’ large mirror propped up against the bed, pursing them, pivoting her pale chin from side to side.

What do you think?

A demonstrative head shake from Agnes. Not you.

Ruth sighs, wipes with the back of her hand, and against her better judgment begins to confide in Agnes about the scene with the terrible girls in the toilet.

Kate Zambreno, Green Girl.

Why the narrator is masturbating

I masturbate throughout the day, so much that I pull a muscle in my writing hand, which makes me feel like Robert Walser. The herbs I’ve started taking to try to shrink the cyst make me unbelievably horny. I know, I masturbated five times this morning, Anna writes me. The summer recreation of the middle-aged woman novelist. I jump on John when he gets home from work, even though Genet protests with yelps when we are affectionate. Perhaps I think this will take the edge off my loneliness, which is severe in the summer. Or maybe my loneliness somehow is what makes me horny.

My editor later reads this above passage, and wants to inquire exactly why the narrator is masturbating. Is it to relieve excess creative energy, or because she has the time, or . . . ? I don’t really know what to say. She masturbates because she masturbates.

Kate Zambreno, Drifts.

The images were the sort of pornography that seemed designed for men who hate women

The year before, in that same office, I had repeatedly found pornography on the desktop of the shared computer. Seeing the pop-ups of naked women in various postures, I initially wondered whether they were left there by the other instructor I shared the space with when I was not on campus. Perhaps it was her research, as she was a sociologist, one of the other adjunct faculty who everyone assumes is more permanent than we are. The images were the sort of pornography that seemed designed for men who hate women. I imagined in turn that she was also suspicious, or curious, about me. I wonder if, as a resident of this city—and a partial resident of the city that is the internet—I have become almost numb to absurd or hostile encounters. I did wonder later whether the joke was on me specifically, if this pornography was left there for me, but that would take some awareness of me, or what I had written about. I never figured out if it was a form of targeted or general harassment, or what—masturbatory carelessness?

I finally said something to the woman who worked in the office downstairs, an awkward conversation I tried to laugh my way through. We were asked to lock the office afterward, and the password to the desktop was reset. When the French sociologist (she was French) was told, she apparently just made a face of distaste, I imagine in a very French way, and asked if there were antibacterial wipes we could use to wipe down the computer and the desk, since we both ate our lunches there. Which, upon hearing this, I felt was the right reaction—and wondered why I hadn’t thought of that.

Kate Zambreno, Drifts.

Paul Auster: Life was precarious

To be a part of things and yet not a part of things. To be accepted by most and yet eyed with suspicion by others. After embracing the triumphal narrative of American exceptionalism as a little boy, you began to exclude yourself from the story, to understand that you belonged to another world besides the one you lived in, that your past was anchored in a somewhere else of remote settlements in Eastern Europe, and that if your grandparents on your father’s side and your great-grandparents on your mother’s side had not had the intelligence to leave that part of the world when they did, almost none of you would have survived, nearly every one of you would have been murdered during the war. Life was precarious.

Paul Auster, Report from the Interior, Henry Holt and Co., 2013