myself.
Hereâs the short of it: A handful of people survived Unckâs Venus expedition, and Iâm one of them. I donât remember everything, and not everything I remember is important. My life, my life proper, began when a woman with short black hair and a leather aviatorâs cap and coat crouched down in front of me and asked my name. The lost boy, the turning boy. I came back, and she didnât.
Donât think Iâve forgiven myself for that.
Now I watch. Iâve watched everything. I canât stop watching. Waiting for the docs to show me just a little of her face; show her laughing; show her when she was a child, her arms stretched up, asking her father to lift her onto his shoulders, away from the chaos of adult feet and canes and slippers dancing to Mickey Hullâs latest âdustrial-Charleston rag. Show me anything of hers. Iâm as bad as any of them, begging to stare at her corpse for just one more momentâor, if not her corpse, the places where she once stood and stands no more. Tell me, invisible voice-over, voice of god and memory, tell me everything I already know. Tell me my life.
But her face was a slow poison to me. I knew it, I knew it, and I tucked in anyway, starving for her narrow, monkish, poreless cheeks, her eyes huge and sly and as black as her hair.
I canât even say her name. She doesnât have a name. She is she . She is her . She possesses the pronoun so completely that no one else can touch it. There is only one her in the great stinking gas giant of my heart, fifty feet high. She is a giantess. I am no one. Well, not âno one.â I am Anchises St. John. But I am no oneâs him .
Do you know what she does first in Self-Portrait ? She smiles. She fucking smiles . And then she laughs. A sweet, wry little self-deprecating laugh. Like sheâs embarrassed to be taking up so much space in the shot. Like she has stage fright. But she wasnât. She didnât. Nothing embarrassed her. Maybe she had stage fright when her ma first put a tit in her mouth, but never a day since. Off stage fright, maybe. She never knew what to do with herself if the camera wasnât running. But the laugh says sheâs embarrassed. The smile tells us she has butterflies. Oh, isnât it a funny damn racket, to be in the flickies? Who, me ? This old thing? Iâm so nervous! Who needs a drink?
I havenât earned anything yet.
Come find me in two years.
Her smile yawns up over me, black and white and enormousâand I knew, as only a man whoâs stared at it until he ralphed into his own lap can knowâentirely fake. Itâs a good one, though. One of my favourites of hers. Full of the feral thrill that surrounded All Things Venus back then. People couldnât get enough of that shitty little burgâthe one world that made all the others possible. But itâs their smile, not hers. Look at her, look at her, donât you see? Sheâs going to Venus. She smiles like people smile when theyâre obsessed with Venus. Itâs a smile like a trailer for the real thing.
But no, itâs too soon for that. I was drunk. I hadnât slept in three days. When I think of her I see all her movies, all her faces, at the same time. Stacked up into orbit. But you canât see what I see. I see the Venus smile, but itâs not there yet. This oneâs a baby version of that nine-thousand-watt grin. Itâs Face #212: Intrepid Girl Reporter. She hadnât been to Venus yet. Venus always felt so obvious , she told me under the hot, wet stars of Adonis, when she didnât think I could hear her. In Self-Portrait with Saturn , Venus was four movies and nine years away. Up there, sheâs just a kid. Twenty-one. Sleeps like a dragonfly so she never misses a thing. Lovers like a revolving door. Drinks like sheâs allergic to water. Sheâs barely a person yet. The girl in that decrepit print with a cigarette burn in