Sex Drugged

Man does not live by words alone, despite the fact that some­times he has to eat them.

—Adlai E. Stevenson Jr.

It’s after din­ner, and while her par­ents are putting the dishes away down­stairs, she’s going down on me, lying on her pink sheets, pants pulled down to my knees. Her brother’s in his room next door, and I’m pressed up against the wall that sep­a­rates us. In my quick­ened breath she hears that I’m on the verge of moan­ing, and keeps me in check with an embar­rased shush.

Without a means to express my plea­sure, all I can say is that I love her.

It wasn’t true. I was just lost in the moment, addicted to the heat of her tongue.

A week later, we broke up.

This is why they have the insan­ity plea. When you catch your wife in bed with another man. When you tell some­one that you love them, because you’re intox­i­cated, get­ting the best head you’ve ever had in your life.

And to this day what I regret the most wasn’t the con­flict I caused in her fam­ily with my even­tual absence, or the tak­ing of her vir­gin­ity, or dat­ing some­one else the day after we broke up.

It was that I couldn’t con­trol my words for those ten lit­tle minutes.

Show Me Which Constellations You Know, A Denouement

Eternal Sunshine 1

Eternal Sunshine 2

Eternal Sunshine 3

People always say that this song or that book or some movie is a story about them­selves in some way. One of my friends is truly deter­mined that his life has been proph­e­sied in the eight and a half minute rock-opera Paradise By The Dashboard Lights. My story was told in Eternal Sunshine Of The Spotless Mind, but it wasn’t any­thing with as much grandeur, it was sim­ply about a girl.

Interestingly enough, it’s not the sto­ries them­selves, but the details of each story that give them such relat­able con­vic­tion. In Paradise By The Dashboard Lights, Meatloaf sings about a coerced com­mit­ment lead­ing to an even­tual eter­nity spent with the wrong per­son because of a stub­born, but more impor­tantly moral, refusal to break a promise. The prog­nos­ti­ca­tion of these par­tic­u­lars sends my friend sweat­ing when­ever he hears the song.

For me, it took the form of pangs, from the details of Clementine’s char­ac­ter. The fucked up girl look­ing for her own peace of mind, who applies her per­son­al­ity in a paste. A per­son who keeps you off bal­ance, always guess­ing, and con­stantly frus­trated. A girl who sends off sirens in your brain telling you to run as far as you can before you get burned, but you stay any­way, against all logic, resigned to the even­tual fate.

And here I was, wait­ing to be saved, think­ing she’s a con­cept, or she’ll com­plete me, or she’s going to make me feel alive. When it didn’t work out, I used to say that it was for the best, that I was in it to have no regrets, but it was really because I couldn’t leave. I was drawn mag­net­i­cally, inex­plic­a­bly, to the last per­son to deserve even the effort of all the torn up thoughts.

To the one that got away.

On the week­end, I dis­cov­ered that I could finally watch Eternal Sunshine with­out those pangs when I had felt them for so long, even when I already knew how impor­tant it is not to for­get these expe­ri­ences, as Joel fig­ures out while hid­ing Clementine in his sub­con­scious. All the resid­ual emo­tions have passed, and now I can talk, and laugh, and think, and share the expe­ri­ence like an embar­rass­ing ado­les­cent mem­ory. It only took two years.

Everybody’s gotta learn sometime.

Show Me Which Constellations You Know

Forget what went wrong. The tiffs, the tantrums, the tears.

Remember every­thing we had. The com­fort of cradling under sheets in the sum­mer, the quin­tes­sen­tial excite­ment of the unknown, the rush of being saved from a pro­saic life.

Show me which con­stel­la­tions you know.

And we’ll walk along the beach forever.

Christie Had A Speech Impediment

Her unwit­ting nick­name in high school was Fudd (as in Elmer), because her “r“s came out as baby­ish “w“s.

This was par­tially due to the fact that she would imi­tate her older brother in admi­ra­tion dur­ing child­hood, after he devel­oped his own imped­i­ment from an oro­fa­cial sports injury. The other, and much more severe, aspect of her imped­i­ment was a ran­dom and sud­den inabil­ity to speak. No stut­ter, no slur.

As her speech ther­a­pist explained, it was a short-circuit in the brain, caus­ing her to believe that a sen­tence was fin­ished when she was only half-way through say­ing it. The only prob­lem was that she would get stuck on a word. On good days she sim­ply couldn’t repeat it, on bad days she couldn’t speak at all. Most peo­ple thought it was brought on by a rather trau­matic series of events brought on by her sup­posed friends in high school. The was­cals.

I always found it endear­ing, but she never cared for it. One of the tricks she used to get by was to take her time in say­ing a word. E-nun-ci-ate. It was like mas­sag­ing the ten­sion from a mus­cle, and slowly, she would be able to speak again. Another trick was to imag­ine being in a com­fort zone, which was her room, to relax when she was flustered.

I’ve always found that girls share some intrin­sic bond with their rooms. It’s almost as if they’re fol­low­ing an evo­lu­tion­ary nest­ing instinct, and their rooms become their homes. A place to grow and be safe. Along with the care­fully lined-up books and the ran­dom pieces of jew­ellery, the hid­den cache of pho­tos and the pur­pose­fully placed can­dles (some of which must never be lit), are the char­ac­ter­is­tic quirks.

Christie could never fall asleep if one of her dozen stuffed ani­mals were fac­ing her. Her bed­time rit­ual was to make sure that each one was turned away.

In time, Christie’s com­fort zone became the walk-in-closet of my room. She was old enough to make love, but simul­ta­ne­ously too young to stay overnight, so we would spend most of our time in there, the place where we could reach out and feel the walls around us, con­fined to the inti­macy of the enclo­sure. We spread out the blan­ket, lit the can­dles, and closed the door.

After a while, the humid­ity would build up, and this was no more appar­ent than in the win­ter when we would crack open the door and tan­gi­bly feel the chill on our skin. Opening the sun she called it, as the day­light sharply spilled on the blan­ket that cov­ered us. It was the only place where we could shut out the world, the only place that felt like night.

In a rela­tion­ship, shar­ing the night is more impor­tant than shar­ing flu­ids. Falling asleep with some­one is an accep­tance of trust, a way of say­ing that we’re com­fort­able enough to drift into our sub­con­scious minds. Perhaps it was the unavail­abil­ity of such a rit­ual that’s given the night so much significance.

Having no night of our own, we had to make due. I cov­ered one side of a card­board panel with glow-in-the-dark stars and sus­pended it from the top of the room. The panel was large enough to fill the vision, and in the dark­ness the closet became a micro­cosm of the starry sky. Even in the mid­dle of day it was near black­ness, and we’d lose track of time, hud­dled under the blan­kets with her sleep­ing at my chest, or lying there face-to-face, talk­ing while I ran my fin­gers through her hair. Sometimes, all we would do was get together and nap.

And even­tu­ally, Christie didn’t have much trou­ble speak­ing anymore.