more pleasant than the No types. But prone to lecturing.â He follows me out of the kitchenette, back to where we started. âThen youâve got the armies of Yes-ers: âYes, though I think the Yankees have maybe done better than people realize, but, yes, youâre right.ââ Stopping, I enunciate in my most professorial voice. âSycophants. So conflict-averse they feel compelled to sneak their opinions under the radar.â
Heâs smiling softly.
Trouble. Delight.
I crouch down on the carpet, then look at it dumbly. Thereâs nothing left to clear. âAdd the slight British lilt among the graduate students,â I say. âAnd the all-black wardrobes. And thatâs my department in a nutshell.â
He doesnât say anything.
âWhich makes us, I guess . . .â my voice drifting to a lame finish, âtypical.â
Beside me he surveys the carpet, no trace remaining of the reckless mess we made together.
âAnd you?â he says. I canât read his face.
âWhere do I fit in?â I echo.
A man with a heaped plate of hors dâoeuvres almost stumbles as he comes upon us. As he pivots he lets out a disapproving grunt that unaccountably emboldens me.
âInto the Look-Listener category, Iâm afraid. HenceââI conclude with a flourish of a paper towelââthis lecture.â
âIâm taking notes,â he says after a minute.
Quietly our eyes meet.
Â
Yolanda is furious. We are striding down Eighth Avenueâme in slacks and a cream-colored blouse, she in a purple leotard and translucent purple skirt, black leggings, and chunky heels. Ignoring most of the men who stare at her, nodding curt acknowledgment to a few, Yolanda races toward her verbal destination with fearsome momentum. Sheâs been going for at least ten blocks. Itâs obvious, though, that sheâs still ramping up to the worst bits.
The problem: Bill will not eat cauliflower.
âHeâs like a little boy who doesnât want his cauliflower, and you have to keep jollying him into it. And Tracy,
Iâm
the cauliflower.â Abruptly Yolanda stops and faces me. âThe man cannot commit to an adult relationship.â
âBut we know that.
He
knows that. He told you so the first day you met.â
âWell, youâre not going to believe
this.
â She starts walking again.
Given the romantic implosion thatâs already consumed Yolandaâs month, I find it hard to imagine anything Bill might have done that I wouldnât believe. Possibly heâs had a sex change operation; possibly heâs renounced gravity and is floating over Manhattan taunting physicists; probably nothing that interesting. Probably heâs been a jerk, which has lost its novelty for everyone except Yolanda, who is still astonished. But foreseeable though this may have been, I feel for Yolanda, who has been earnestly updating meon the details of this particular debacle from the start. The morning Yolanda first heard about the casting call she phoned me in a froth. She was auditioning to play a poet, she could really use this part, did I know anything about someone called H.D.? Five times that day Yolanda called me with questions about Hilda Doolittleâtacitly acknowledging, for the first time in our nineteen-year friendship and despite her long-expressed wish that I jettison my latest paper/grading/reading and join her for disco night at Hot Rocks, that I am indeed a professor. The play, the work of a recent Womenâs Literature M.A. from N.Y.U., was a dramatization of H.D.âs analysis with Freud. Yolanda showed me the script. It was a well-meant script; thatâs the best one could say for it. In fact, though I didnât let on to Yolanda, it seemed to me that the authorâs signature accomplishment was shaping such rich material into something so insipid and politically heavy-handed. But Yolanda took her audition