William Wharton - Last Lovers

I stay with the quai even when I have to go up steps and down the other side. I take the steps quickly and two at a time. I want to make my blood really bubble. I run till I get to the Pont Alexandre III and cross it. Now the light is coming on stronger and traffic is picking up. I don’t like to run when there’s too much automobile smell.

I run along the street above the Right Bank quai. Sometimes I need to run up here along where the bouquiniste stands are, because of the road they’ve built along the quai. I cut in through the Marais to the Bastille. Traffic is picking up seriously. I go down the rue de la Roquette, the way I came home yesterday, and up rue Keller and home. It’s only about an hour’s run but it wakes me up. There’s no trouble getting through the gate, the concierge sleeps until seven-thirty or so. I’m dripping as I quietly run up the stairs, my usual two at a time, to my hideout.

I take off my sweat suit and hang it on a hook behind the door. I spread my soaking shorts and T-shirt on a piece of string along the back wall behind some long pieces of wood. I stretch out on the floor until I stop sweating. I have a little piece of rug I found in the trash by the rug store at the corner of rue de Charonne and avenue Ledru-Rollin. I’m flat out on it, getting my breath back and trying to relax.

After about five minutes, I start my one hundred, deep-breathing, sit-ups and then do a few yoga exercises. I finish with fifty slow push-ups, hands lifted off the floor each time.

I don’t think I’ve been in as good a shape in my life, not since high school. I’d better stay in condition, I have no backup, no social security from the French, no health plan, no MBI. I’ve got to stay healthy. The best part is it’s such fun staying in shape.

When I first started living in the streets, almost a year ago now, I was slowly going downhill. I didn’t eat right, I didn’t keep myself clean, I’d put down a bottle of red wine every night so I’d sleep, and then it’d be noon before I could shake my head without hurting. I was well on my way to becoming a real clochard. It’s hard to believe how quickly one can go down when one just doesn’t care enough.

I splurge this morning and give myself my usual Sunday treat, even though it’s only Thursday. At least, I think it’s Thursday. I still have the end of my baguette saved from yesterday and dunk it into a cup of coffee I brew on my stove. Real luxury. I sit against my bedroll and look across at the painting. I’m anxious to get into it again. From the look of the sky as I was running, that old, blind lady was right, we’re going to have another great day, another painting day.

I hide everything, tuck away my running clothes where they can’t be seen but will have room to dry, wash myself off quickly with the water I pack up in wine bottles. I don’t have any soap. I tuck my key and flashlight in place and quietly go down the staircase. Nobody really gets to work before eight, so I’m okay. The concierge’s door is still closed, too.

Out on the street, the sun is up, long slanting light making everything clear and shining. There are the usual morning Paris sounds of garbage trucks, water running in the gutters, pigeons gurgling and splashing in the dirty water as they’re just waking up. Then I watch as they glide against the sky. I guess the flock around here lives in the tower at Sainte-Marguerite’s. I think about the blind old lady and what she said about pigeons. What a nutty idea. I’ve got to admit, though, they look great against a sky, and I’m going to start using them to hold things together, tie the sky to the earth.

I decide to walk straight down Henri IV the way the bus goes, so I can get the long view of Notre-Dame from the back. It’s a special view from the bridge, with the little garden tucked on the end of the island.

I get to my painting spot at about eight-thirty. I put down my box and sit on the bench just soaking up what I’m going to be painting, trying my damnedest to let it happen to me. Letting it really come into me is something I’m trying to learn. I’m too aggressive, keep forcing the subject matter too much, not changing it but trying to make it mine instead of letting me become it. I breathe deeply, trying to relax, have confidence in things. I’ve had too many years where if you were caught relaxing, ‘goofing off,’ it was held against you. Every day it was a race to see who’d be first in the office and last to leave. I never even realized it was happening, either. And it wasn’t happening just to me, it was all of us.

When the bells ring nine, I’m into it. I’ve set up slightly to the left of where I was painting yesterday. There’s no chance anybody will be crashing into me and I can use the bench to store my varnish and turpentine bottles.

I start with that sky, working from the top, buttering it between the trees, around the tops of buildings. I like having the sky established before I start lighting the rest of the painting. I’ll let the other parts of the painting happen to the sky, later. Also, the sky’s up where it doesn’t get in the way, doesn’t get smeared as I work.

I’m lighting the top of the tower when she sneaks up behind me. I actually jump. I didn’t hear or feel her near me at all.

‘Ah, Monsieur le Peintre, you are here. That is good. Are you happy with your painting this beautiful day?’

She’s holding out her hand to shake. My hands are relatively clean but with some dabs of blue and yellow ocher. I quickly wipe them on my paint rag and shake with her.

‘Oh, it does not matter if you get paint on my hands from yours, monsieur. I could feel it and wipe it off with a tissue.’

She smiles. I try to think how she knew. Of course, it was the slight delay before I shook hands with her, she knew I was painting. She’s a regular Sherlock Holmes.

‘Yes, madame, so far the painting is going well. I am just now painting the tower of the church against the sky.’

‘It must make you feel like a pigeon flying up there. Sometimes, as I am falling asleep, I try to imagine myself as a pigeon in the open air, close to the bells, the sky, above the trees, the streets. It is lovely.’

She pauses.

‘Do you know, often I dream of it. In my dreams I can see. I see all of Paris below me, glowing, glistening in magic light. I am never blind in my dreams. Is that not interesting?’

It tells me something. It tells me she hasn’t always been blind. The company-trained psychologist strikes. Or else it tells me she likes to lie, also interesting. I start painting again. She stays beside me.

‘Monsieur le Peintre, is it possible that I could make an arrangement with you?’

Oh boy, what’s coming next. I step back from the painting but I keep my brush in hand. I’m ready to take the en garde position. I can just see it spread on the front page of Le Soir :

American artist arrested

for attacking old, blind woman

with paintbrush

This would be in French, of course.

‘You see, I know each of the birds in my flock, all forty-six of them, but only by feel; I should like very much to know how they look: what color they are, how they are marked, striped, checked. Since you are an artist, trained to see, truly, clearly, you could describe them to me.’

She pauses. I wait. What’s next? She said something about an arrangement. Is she going to offer money?

‘If you will do this for me, monsieur, I shall prepare for you a very good meal today at midday. I assure you I am an excellent cook. I like to eat. As I said, when we lose one gift, other senses become stronger. My senses of taste and smell are very strong. I think you would like my food.’