It is a cold night in Houston, with temperatures dropping below zero degree Celsius. My eyes hurt with the sting of the slow tears that have accompanied me throughout the day. Yes, I am in pain.
I was never drawn to drama, so I am not sure how I got myself into this. I am trapped in an icy prison, like that Dead Man Walking the Houston Grand Opera decided to revisit with Flicka Von Stade as the mother of the convict. I’m probably a dead heart walking, only that mine still beats, despite myself. I wish it did not. I wish it were free…to death or to a happier fate, if something like that exists.
I was recently watching the last movie version of Graham Greene’s The End of the Affair, with Julianne Moore and Ralph Fiennes starring as the lovers whose fate is doomed by a too likeable husband (somewhat like a Brief Encounter type, with more screen time) and by the mother of all fates and relationships: circumstance.
Timing is always an essential ingredient to relationships, and yet lovers take it for granted. Perhaps because I am behind these prison bars now, I can look at happy couples with a renewed eye, knowing without their sharing in that knowledge how lucky they are to have fallen for each other on a tabula rasa, with no past to pay dues to, or to feel they have to. I did not know how much circumstance shapes facts and options until I met you. Perhaps it was because of the extended suspension of disbelief that accompanies the anesthetized initial romance, or the pursuit of seduction as a game, as an option, that fleeting moment in which we think we know where things are going, and when “inevitable” seems like an infallible word.
Oh, well, I’ve learned that “inevitable” is a nice umbrella word to cover up for the fantasy of thinking that we know, when we really do not. We do not know the secrets, the hiding, and mostly the lying that accompanies each strategy of seduction, the moves behind the scenes to get what we want, not thinking of the future because it scares us, because it is too far to think about. Greene’s Maurice Bendrix is consumed by jealousy for what he cannot change and he cannot understand…for what he cannot see. In my version, there is only emptiness, as my side of the story becomes a tepid version of Amy Winehouse’s Back to Black.
And now add to the tragedy of a lover’s plight the fact that you may be ill, and then the terror of hearing the worst prognosis is superseded by the certainty that I will be external to you in any process, as you let circumstances take over the fragile texture of a life that a radiologist’s report can change forever. I know more than you do, despite your technical expertise and the medical degree that probably decorates some wall in an unreachable house. I know that rotting out is not paying homage to whatever is left of your time anywhere, be it long, fruitful years, or the sad and lonesome count of a calendar the family you think you are protecting imposes on you. Rotting out is another kind of prison, one that you build around yourself, one that is hard to resist without real love if real love has come to you. And I know it has, and I wish you could stop fighting it like a disease.
