to her that the memory of his lack of basic decency and of her tight offended face would
be a further disincentive ever, in the future, to risk calling her and repeating the course of action he had now committed
himself to.
He had never been so anxious for the arrival of a woman he did not want to see. He remembered clearly the last woman he’d
involved in his trying just one more vacation with dope and drawn blinds. The last woman had been something called an appropriation
artist, which seemed to mean that she copied and embellished other art and then sold it through a prestigious Marlborough
Street gallery. She had an artistic manifesto that involved radical feminist themes. He’d let her give him one of her smaller
paintings, which covered half the wall over his bed and was of a famous film actress whose name he always had a hard time
recalling and a less famous film actor, the two of them entwined in a scene from a well-known old film, a romantic scene,
an embrace, copied from a film history textbook and much enlarged and made stilted, and with obscenities scrawled all over
it in bright red letters. The last woman had been sexy but not pretty, as the woman he now didn’t want to see but was waiting
anxiously for was pretty in a faded withered Cambridge way that made her seem pretty but not sexy. The appropriation artist
had been led to believe that he was a former speed addict, intravenous addiction to methamphetamine hydrochloride 1 is what he remembered telling that one, he had even described the awful taste of hydro-chloride in the addict’s mouth immediately
after injection, he had researched the subject carefully. She had been further led to believe that marijuana kept him from
using the drug with which he really had a problem, and so that if he seemed anxious to get some once she’d offered to get
him some it was only because he was heroically holding out against much darker deeper more addictive urges and he needed her
to help him. He couldn’t quite remember when or how she’d been given all these impressions. He had not sat down and outright
bold-faced lied to her, it had been more of an impression he’d conveyed and nurtured and allowed to gather its own life and
force. The insect was now entirely visible. It was on the shelf that held his digital equalizer. The insect might never actually
have retreated all the way back into the hole in the shelf’s girder. What looked like its reemergence might just have been
a change in his attention or the two windows’ light or the visual context of his surroundings. The girder protruded from the
wall and was a triangle of dull steel with holes for shelves to fit into. The metal shelves that held his audio equipment
were painted a dark industrial green and were originally made for holding canned goods. They were designed to be extra kitchen
shelves. The insect sat inside its dark shiny case with an immobility that seemed like the gathering of a force, it sat like
the hull of a vehicle from which the engine had been for the moment removed. It was dark and had a shiny case and antennae
that protruded but did not move. He had to use the bathroom. His last piece of contact from the appropriation artist, with
whom he had had intercourse, and who during intercourse had sprayed some sort of perfume up into the air from a mister she
held in her left hand as she lay beneath him making a wide variety of sounds and spraying perfume up into the air, so that
he felt the cold mist of it settling on his back and shoulders and was chilled and repelled, his last piece of contact after
he’d gone into hiding with the marijuana she’d gotten for him had been a card she’d mailed that was a pastiche photo of a
door-mat of coarse green plastic grass with
WELCOME
on it and next to it a flattering publicity photo of the appropriation artist from her Back Bay gallery, and between them
an unequal sign, which was an equal sign