Jonathan Franzen - Purity

“Anabel, please,” I said. It was the first time I’d spoken her name. “I want to see you again.”

I saw her again, but not before going to Lucy’s house for weak coffee and some sort of brown Betty with oatmeal in it. Lucy’s house was overwarm and reeked, to me, of fucking like bunnies. “You shouldn’t feel bad about the article,” she told me. “I only called you to warn you a righteous tornado was heading your way. Anabel needs to read Nietzsche and get over her thing about good and evil. The only philosopher she ever talks about is Kierkegaard. Can you imagine going to bed with Kierkegaard? He’d never stop asking, ‘Can I do this to you? Is this OK?’”

“I still feel bad,” I said.

“She called me yesterday to talk about you. Apparently you had some sort of marathon conversation?” Lucy helped herself to more brown Betty. She wasn’t fat, but she was getting a little Moosewoody in the face and thighs. “She asked me if you’re Good, capital G, which I took to mean she might want you in her pants. You certainly need to be in someone’s pants, but I’m not sure that hers are the right ones. I know what I’m talking about. I was head over heels for her myself, our senior year at Choate. All the teachers were in awe of her, and she always had funds and got these crazy-strong buds they’ve started growing hydroponically. She had trouble relating to people, but not when she was stoned. She’d get massively stoned at parties, sort of dangerously stoned, and then have sex with somebody, and then get up at six in the morning and write college-level papers. I wanted to sleep with her myself, but she’d sworn off sex by the time we roomed together. Now she’s given up pot, too. She’s become Saint Anabel. I still love her, and I felt bad about the article, but it was really her fault for talking to your reporter. She sets herself up for these things.”

“Does she have a boyfriend?”

“Not for the longest time,” Lucy said. “I asked her how often she masturbates, and she acted all appalled with me for asking. As if she hadn’t been one of the wildest girls in the history of Choate. But I think she’s sort of messed up sexually from that. She was too young and she also got VD. It’s unfortunate, but the upshot is I don’t think she’s a great candidate for you.”

I was still processing this information when Lucy took my hand and led me out of the kitchen, away from its towers of crusty cookware, and up to the room she shared with her boyfriend, Bob. The bed was unmade, the floor strewn with clothes. “I have a new plan,” she said. She pressed her forehead into mine and propelled me backward onto the bed. “We can start slowly and see how this goes. What do you think?”

“What about Bob?”

“That’s my problem, not yours.”

Just a week earlier, I might have been down with the plan. But now that Anabel was in the picture, I felt disappointed by the idea that sex, which had assumed such fearsome proportions in my mind, was supposed to be as natural and homey as eating brown Betty. There was also no escaping the conclusion that Lucy was trying to keep me away from Anabel. She was all but saying so. We necked on her paisley sheets for no more than ten minutes before I excused myself.

“This is fun, though, don’t you think?” Lucy said. “We should have thought of this months ago.”

“Definitely fun,” I said. To be polite, I added that I looked forward to the next time.

How different my Sunday afternoon with Anabel was. We met at the art museum under a cold gray sky. Anabel came clad in a black-trimmed crimson cashmere coat and strong opinions. I’d asked for instruction in art, and she swept through the galleries impatiently, issuing blanket dismissals—“snore,” “wrong idea,” “religion blah blah blah,” “meat and more meat”—until we came to Thomas Eakins. Here she stopped and visibly relaxed.

“This is the guy,” she said. “This is the only male painter I trust. I guess I also don’t mind Corot and his cows. He gets the sadness of being a cow. And Modigliani, too, but that’s only because I used to have a crush on his work and wished he could have painted me. All the rest of them, I swear to you, are telling lies about women. Even when they’re not painting women, even when they’re painting a landscape: it’s lies about women. Even Modigliani, I don’t know why I forgive him, I shouldn’t. I guess because he’s Modigliani. It’s probably good I never met him. Later on, I can show you all the women painters in this collection — oh, wait.” She snorted. “There are no women painters. This entire collection is an illustration of what happens without women on the scene to keep men honest. Except for this guy here. God, he’s honest.”

I took it as a heartening sign that she liked at least one male painter; that she could make an exception. She was a terrible art-history instructor, but if you were going to look at only one artist in that museum, Eakins wasn’t a bad choice. She pointed out the geometry of rower and oar and scull and wake, and how honest Eakins was about the atmospherics of the lower Delaware valley. But the main thing for her was Eakins’s bodies. “People have been depicting the human body for thousands of years,” she said. “You’d think we would have gotten really good at it by now. But it turns out to be the hardest thing in the world to do right. To see it the way it really is. This guy not only saw it, he got it down in paint. Somehow, with everybody else, even photographers, or actually especially with photographers, some idea gets in the way. But not with Eakins.” She turned to me. “You’re a Thomas also, or just plain Tom?”

“Thomas.”

“Am I allowed to say I’m glad I don’t have your last name?”

“Anabel Aberant.”

She thought about this. “Actually, Anabel Ab err ant might not be so bad. Kind of my entire story in two words.”

“You’re allowed to pronounce it any way you want.”

As if to dispel any coded allusion to future marriage, she said, “You really are bizarrely young-looking. You know that, don’t you?”

“Sadly, yes.”

“I think it was a character thing with Eakins. I think to paint this honestly, you have to have a good character. He may have had sexual issues, but his heart was pure. People are always saying Vincent had a pure heart, but I don’t believe it. His brain was full of spiders.”

I was beginning to feel like the flavorless kid brother of someone Anabel was doing a favor by seeing me. That she’d called Lucy to ask about me, or that she might be trying to impress me, was hard to credit. As we made our way back outside, I remarked that she and Lucy were very different.

“She has a really fine mind,” Anabel said. “She was the only person at Choate whose ambition I could recognize. She was going to make documentaries and change the face of American cinema. And now her ambition is to make babies with Handyman Bob. I’d be surprised if he has a single good chromosome left after all the psychedelics he’s done.”

“I think she and Bob may be having trouble.”

“Well, I hope they hurry up with that.”

Snowflakes, the first of the season, were slanting across the museum steps. In Denver a day like this would have delivered six to twelve inches, but in Philadelphia I’d learned to expect a turn to rain. As we proceeded down the Benjamin Franklin Parkway, the most desolate of Philly’s many soul-oppressing avenues, I asked Anabel why she didn’t have a car.

“You mean, where’s my Porsche?” she said. “That’s what you mean, isn’t it. Nobody ever taught me how to drive. And I might as well tell you, in case you have the wrong idea about me, that I’m in the process of weaning myself from the family teat. My father’s paying for my last semester, but that’ll be the end of it.”