"Want another coffee?" Joanne says. She nods to the waitress. Donny hasn't heard her.
"She was really nice to me," he is saying. "Ronette. You know, when Mr. B. turfed me out. That meant a lot to me at the time." He's feeling guilty, because he never wrote her. He didn't know where she lived, but he didn't take any steps to find out. Also, he couldn't keep himself from thinking: They're right. She's a slut. Part of him had been profoundly shocked by what she'd done. He hadn't been ready for it.
Joanne is looking at him with her mouth slightly open, as if he's a talking dog, a talking stone. He fingers his beard nervously, wondering what he's said wrong, or given away.
Joanne has just seen the end of the story, or one end of one story. Or at least a missing piece. So that's why Ronette wouldn't tell: it was Donny. She'd been protecting him; or maybe she'd been protecting herself. A fourteen-year-old boy. Ludicrous.
Ludicrous then, possible now. You can do anything now and it won't cause a shock. Just a shrug. Everything is cool. A line has been drawn and on the other side of it is the past, both darker and more brightly intense than the present.
She looks across the line and sees the nine waitresses in their bathing suits, in the clear blazing sunlight, laughing on the dock, herself among them; and off in the shadowy rustling bushes of the shoreline, sex lurking dangerously. It had been dangerous, then. It had been sin. Forbidden, secret, sullying. Sick with desire. Three dots had expressed it perfectly, because there had been no ordinary words for it.
On the other hand there had been marriage, which meant wifely checked aprons, play-pens, a sugary safety.
But nothing has turned out that way. Sex has been domesticated, stripped of the promised mystery, added to the category of the merely expected. It's just what is done, mundane as hockey. It's celibacy these days that would raise eyebrows.
And what has become of Ronette, after all, left behind in the past, dappled by its chiaroscuro, stained and haloed by it, stuck with other people's adjectives? What is she doing, now that everyone else is following in her footsteps? More practically: did she have the baby, or not? Keep it or not? Donny, sitting sweetly across the table from her, is in all probability the father of a ten-year-old child, and he knows nothing about it at all.
Should she tell him? The melodrama tempts her, the idea of a revelation, a sensation, a neat ending.
But it would not be an ending, it would only be the beginning of something else. In any case, the story itself seems to her outmoded. It's an archaic story, a folk-tale, a mosaic artefact. It's a story that would never happen now.
Hairball
On the thirteenth of November, day of unluck, month of the dead, Kat went into the Toronto General Hospital for an operation. It was for an ovarian cyst, a large one.
Many women had them, the doctor told her. Nobody knew why. There wasn't any way of finding out whether the thing was malignant, whether it contained, already, the spores of death. Not before they went in. He spoke of "going in" the way she'd heard old veterans in TV documentaries speak of assaults on enemy territory. There was the same tensing of the jaw, the same fierce gritting of the teeth, the same grim enjoyment. Except that what he would be going into was her body. Counting down, waiting for the anaesthetic, Kat too gritted her teeth fiercely. She was terrified, but also she was curious. Curiosity has got her through a lot.
She'd made the doctor promise to save the thing for her, whatever it was, so she could have a look. She was intensely interested in her own body, in anything it might choose to do or produce; although when flaky Dania, who did layout at the magazine, told her this growth was a message to her from her body and she ought to sleep with an amethyst under her pillow to calm her vibrations, Kat told her to stuff it.
The cyst turned out to be a benign tumour. Kat liked that use of benign, as if the thing had a soul and wished her well. It was big as a grapefruit, the doctor said. "Big as a coconut," said Kat. Other people had grapefruits. "Coconut" was better. It conveyed the hardness of it, and the hairiness, too.
The hair in it was red - long strands of it wound round and round inside, like a ball of wet wool gone berserk or like the guck you pulled out of a clogged bathroom-sink drain. There were little bones in it too, or fragments of bone; bird bones, the bones of a sparrow crushed by a car. There was a scattering of nails, toe or finger. There were five perfectly formed teeth.
"Is this abnormal?" Kat asked the doctor, who smiled. Now that he had gone in and come out again, unscathed, he was less clenched.
"Abnormal? No," he said carefully, as if breaking the news to a mother about a freakish accident to her newborn. "Let's just say it's fairly common." Kat was a little disappointed. She would have preferred uniqueness.
She asked for a bottle of formaldehyde, and put the cut-open tumour into it. It was hers, it was benign, it did not deserve to be thrown away. She took it back to her apartment and stuck it on the mantelpiece. She named it Hairball. It isn't that different from having a stuffed bear's head or a preserved ex-pet or anything else with fur and teeth looming over your fireplace; or she pretends it isn't. Anyway, it certainly makes an impression.
Ger doesn't like it. Despite his supposed yen for the new and outre, he is a squeamish man. The first time he comes around (sneaks around, creeps around) after the operation, he tells Kat to throw Hairball out. He calls it "disgusting." Kat refuses point-blank, and says she'd rather have Hairball in a bottle on her mantelpiece than the soppy dead flowers he's brought her, which will anyway rot a lot sooner than Hairball will. As a mantelpiece ornament, Hairball is far superior. Ger says Kat has a tendency to push things to extremes, to go over the edge, merely from a juvenile desire to shock, which is hardly a substitute for wit. One of these days, he says, she will go way too far. Too far for him, is what he means.
"That's why you hired me, isn't it?" she says. "Because I go way too far." But he's in one of his analyzing moods. He can see these tendencies of hers reflected in her work on the magazine, he says. All that leather and those grotesque and tortured-looking poses are heading down a track he and others are not at all sure they should continue to follow. Does she see what he means, does she take his point? It's a point that's been made before. She shakes her head slightly, says nothing. She knows how that translates: there have been complaints from the advertisers. Too bizarre, too kinky. Tough.
"Want to see my scar?" she says. "Don't make me laugh, though, you'll crack it open." Stuff like that makes him dizzy: anything with a hint of blood, anything gynecological. He almost threw up in the delivery room when his wife had a baby two years ago. He'd told her that with pride. Kat thinks about sticking a cigarette into the side of her mouth, as in a black-and-white movie of the forties. She thinks about blowing the smoke into his face.
Her insolence used to excite him, during their arguments. Then there would be a grab of her upper arms, a smouldering, violent kiss. He kisses her as if he thinks someone else is watching him, judging the image they make together. Kissing the latest thing, hard and shiny, purple-mouthed, crop-headed; kissing a girl, a woman, a girl, in a little crotch-hugger skirt and skin-tight leggings. He likes mirrors.
But he isn't excited now. And she can't decoy him into bed; she isn't ready for that yet, she isn't healed. He has a drink, which he doesn't finish, holds her hand as an afterthought, gives her a couple of avuncular pats on the off-white outsized alpaca shoulder, leaves too quickly.
"Goodbye, Gerald," she says. She pronounces the name with mockery. It's a negation of him, an abolishment of him, like ripping a medal off his chest. It's a warning.
He'd been Gerald when they first met. It was she who transformed him, first to Gerry, then to Ger. (Rhymed with flair, rhymed with dare.) She made him get rid of those sucky pursed-mouth ties, told him what shoes to wear, got him to buy a loose-cut Italian suit, redid his hair. A lot of his current tastes - in food, in drink, in recreational drugs, in women's entertainment underwear - were once hers. In his new phase, with his new, hard, stripped-d
own name ending on the sharpened note of r, he is her creation.
As she is her own. During her childhood she was a romanticized Katherine, dressed by her misty-eyed, fussy mother in dresses that looked like ruffled pillowcases. By high school she'd shed the frills and emerged as a bouncy, round-faced Kathy, with gleaming freshly washed hair and enviable teeth, eager to please and no more interesting than a health-food ad. At university she was Kath, blunt and no-bullshit in her Take-Back-the-Night jeans and checked shirt and her bricklayer-style striped-denim peaked hat. When she ran away to England, she sliced herself down to Kat. It was economical, street-feline, and pointed as a nail. It was also unusual. In England you had to do something to get their attention, especially if you weren't English. Safe in this incarnation, she Ramboed through the eighties.
It was the name, she still thinks, that got her the interview and then the job. The job with an avant-garde magazine, the kind that was printed on matte stock in black and white, with overexposed close-ups of women with hair blowing over their eyes, one nostril prominent: the razor's edge, it was called. Haircuts as art, some real art, film reviews, a little Stardust, wardrobes of ideas that were clothes and of clothes that were ideas - the metaphysical shoulder pad. She learned her trade well, hands-on. She learned what worked.
She made her way up the ladder, from layout to design, then to the supervision of whole spreads, and then whole issues. It wasn't easy, but it was worth it. She had become a creator; she created total looks. After a while she could walk down the street in Soho or stand in the lobby at openings and witness her handiwork incarnate, strolling around in outfits she'd put together, spouting her warmed-over pronouncements. It was like being God, only God had never got around to off-the-rack lines.
By that time her face had lost its roundness, though the teeth of course remained: there was something to be said for North American dentistry. She'd shaved off most of her hair, worked on the drop-dead stare, perfected a certain turn of the neck that conveyed an aloof inner authority. What you had to make them believe was that you knew something they didn't know yet. What you also had to make them believe was that they too could know this thing, this thing that would give them eminence and power and sexual allure, that would attract envy to them - but for a price. The price of the magazine. What they could never get through their heads was that it was done entirely with cameras. Frozen light, frozen time. Given the angle, she could make any woman look ugly. Any man as well. She could make anyone look beautiful, or at least interesting. It was all photography, it was all iconography. It was all in the choosing eye. This was the thing that could never be bought, no matter how much of your pitiful monthly wage you blew on snakeskin.
Despite the status, the razor's edge was fairly low-paying. Kat herself could not afford many of the things she contextualized so well. The grottiness and expense of London began to get to her; she got tired of gorging on the canapes at literary launches in order to scrimp on groceries, tired of the fuggy smell of cigarettes ground into the red-and-maroon carpeting of pubs, tired of the pipes bursting every time it froze in winter, and of the Clarissas and Melissas and Penelopes at the magazine rabbiting on about how they had been literally, absolutely, totally freezing all night, and how it literally, absolutely, totally, usually never got that cold. It always got that cold. The pipes always burst. Nobody thought of putting in real pipes, ones that would not burst next time. Burst pipes were an English tradition, like so many others.
Like, for instance, English men. Charm the knickers off you with their mellow vowels and frivolous verbiage, and then, once they'd got them off, panic and run. Or else stay and whinge. The English called it whinging instead of whining. It was better, really. Like a creaking hinge. It was a traditional compliment to be whinged at by an Englishman. It was his way of saying he trusted you, he was conferring upon you the privilege of getting to know the real him. The inner, whinging him. That was how they thought of women, secretly: whinge receptacles. Kat could play it, but that didn't mean she liked it.
She had an advantage over the English women, though: she was of no class. She had no class. She was in a class of her own. She could roll around among the English men, all different kinds of them, secure in the knowledge that she was not being measured against the class yardsticks and accent-detectors they carried around in their back pockets, was not subject to the petty snobberies and resentments that lent such richness to their inner lives. The flip side of this freedom was that she was beyond the pale. She was a colonial - how fresh, how vital, how anonymous, how finally of no consequence. Like a hole in the wall, she could be told all secrets and then be abandoned with no guilt.
She was too smart, of course. The English men were very competitive; they liked to win. Several times it hurt. Twice she had abortions, because the men in question were not up for the alternative. She learned to say that she didn't want children anyway, that if she longed for a rug-rat she would buy a gerbil. Her life began to seem long. Her adrenalin was running out. Soon she would be thirty, and all she could see ahead was more of the same.
This was how things were when Gerald turned up. "You're terrific," he said, and she was ready to hear it, even from him, even though terrific was a word that had probably gone out with fifties crew-cuts. She was ready for his voice by that time too: the flat, metallic nasal tone of the Great Lakes, with its clear hard r's and its absence of theatricality. Dull normal. The speech of her people. It came to her suddenly that she was an exile.
Gerald was scouting, Gerald was recruiting. He'd heard about her, looked at her work, sought her out. One of the big companies back in Toronto was launching a new fashion-oriented magazine, he said: upmarket, international in its coverage, of course, but with some Canadian fashion in it too, and with lists of stores where the items portrayed could actually be bought. In that respect they felt they'd have it all over the competition, those American magazines that assumed you could only get Gucci in New York or Los Angeles. Heck, times had changed, you could get it in Edmonton! You could get it in Winnipeg!
Kat had been away too long. There was Canadian fashion now? The English quip would be to say that "Canadian fashion" was an oxymoron. She refrained from making it, lit a cigarette with her cyanide-green Covent Garden-boutique leather-covered lighter (as featured in the May issue of the razor's edge), looked Gerald in the eye. "London is a lot to give up," she said levelly. She glanced around the see-me-here Mayfair restaurant where they were finishing lunch, a restaurant she'd chosen because she'd known he was paying. She'd never spend that kind of money on food otherwise. "Where would I eat?"
Gerald assured her that Toronto was now the restaurant capital of Canada. He himself would be happy to be her guide. There was a great Chinatown, there was world-class Italian. Then he paused, took a breath. "I've been meaning to ask you," he said. "About the name. Is that Kat as in Krazy?" He thought this was suggestive. She'd heard it before.
"No," she said. "It's Kat as in KitKat. That's a chocolate bar. Melts in your mouth." She gave him her stare, quirked her mouth, just a twitch.
Gerald became flustered, but he pushed on. They wanted her, they needed her, they loved her, he said in essence. Someone with her fresh, innovative approach and her experience would be worth a lot of money to them, relatively speaking. But there were rewards other than the money. She would be in on the initial concept, she would have a formative influence, she would have a free hand. He named a sum that made her gasp, inaudibly of course. By now she knew better than to betray desire.
So she made the journey back, did her three months of culture shock, tried the world-class Italian and the great Chinese, and seduced Gerald at the first opportunity, right in his junior vice-presidential office. It was the first time Gerald had been seduced in such a location, or perhaps ever. Even though it was after hours, the danger frenzied him. It was the idea of it. The daring. The image of Kat kneeling on the broadloom, in a legendary bra that until now he'd seen only in the lingerie ads of the Sunday New York Times,
unzipping him in full view of the silver-framed engagement portrait of his wife that complemented the impossible ball-point pen set on his desk. At that time he was so straight he felt compelled to take off his wedding ring and place it carefully in the ashtray first. The next day he brought her a box of David Wood Food Shop chocolate truffles. They were the best, he told her, anxious that she should recognize their quality. She found the gesture banal, but also sweet. The banality, the sweetness, the hunger to impress: that was Gerald.
Gerald was the kind of man she wouldn't have bothered with in London. He was not funny, he was not knowledgeable, he had little verbal charm. But he was eager, he was tractable, he was blank paper. Although he was eight years older than she was, he seemed much younger. She took pleasure from his furtive, boyish delight in his own wickedness. And he was so grateful. "I can hardly believe this is happening," he said, more frequently than was necessary and usually in bed.
His wife, whom Kat encountered (and still encounters) at many tedious company events, helped to explain his gratitude. The wife was a priss. Her name was Cheryl. Her hair looked as if she still used big rollers and embalm-your-hairdo spray; her mind was room-by-room Laura Ashley wallpaper: tiny, unopened pastel buds arranged in straight rows. She probably put on rubber gloves to make love, and checked it off on a list afterwards. One more messy household chore. She looked at Kat as if she'd like to spritz her with air deodorizer. Kat revenged herself by picturing Cheryl's bathrooms: hand towels embroidered with lilies, fuzzy covers on the toilet seats.
The magazine itself got off to a rocky start. Although Kat had lots of lovely money to play with, and although it was a challenge to be working in colour, she did not have the free hand Gerald had promised her. She had to contend with the company board of directors, who were all men, who were all accountants or indistinguishable from them, who were cautious and slow as moles.