Michael Gruber - The Forgery of Venus

You’ll want to know why the fuck I came home.

Yeah, a long pause there; but basically, it was Suzanne. When I said good-bye to her at the station in Paris before she got on the airport bus, and right, it was rainy and gray, and we were hugging and kissing there and she was crying, she said I was the love of her life and she’d never forget me and she just knew she’d never see me again, it was too good for her. What I was thinking, I’m ashamed to say, was, Whew, I’m glad to have a break from this consuming girl, and so long, darlin’, see you around.

So she left, and there I was with plenty of time on my hands, and it turned out all the movies and the popular song lyrics were true. Whatever sensible-Chaz thought-that she was too much to take on at this stage of my life, that I didn’t need the aggravation and grand opera that were part of the Suzanne package, that I had work to do, you know, defining myself as a painter and all that crap-whatever, there was a part of me that just ached for her. I would pass a street corner where she used to sing sometimes with a group of scruffy French kids, American folk songs and standards, for tossed coins, and I’d see them singing with some other girl and I’d feel my heart clench up.

I kept her room, which was probably a mistake; I should’ve packed up and gone to Berlin or something, but I stayed on there, not doing much, while her smell gradually faded from the room. I found a miniature bottle of shampoo she’d left behind, with only a little smear of it left, and I kept it and opened it every night and sniffed it and remembered what her hair smelled like. Did I try other girls? Oh, yeah. It’s not hard to get laid on the Left Bank when you’re twenty-one and you can draw. Everyone wants to be immortal, and maybe I’ll be famous someday, I could practically hear them thinking.

But, God, you know? I couldn’t figure it out, why none of that was any good. I mean, I’m out with my pad, doing tourist sketches on the boul, just for something to do, and then the girl sits down and you make her look a little prettier than she is, and she’s blown away by it-these are not French girls, oh, no, they’re Americans, Brits, Danes-we’re speaking English here, and then some smooth talk, a date for a drink, and yeah, you have a terrific body, I can tell, and then up to the apartment where they take off their clothes and there you have it, a fling with a genuine Paris artist, and as far as I’m concerned I might as well be using someone else’s dick.

And then my work started to go downhill, I mean it was like there was a scrim over everything, my eye had no penetration, and the paint wouldn’t behave itself, it wanted to go to mud; it’s hard to describe, but there was no doubt about it. I’d rented a piece of a studio after Suzanne left, going to do some serious work now that I had more time, and I thought I’d try to work on the kind of psychological portraits that I’d seen in the Orangerie, with a little Eakins precision thrown in, but even though I worked like fury, everything I did was garbage. I got frenzied, I broke brushes, I threw fucking canvases against the wall, but nothing came. And after a couple of weeks of this, the word “muse” started to float up through my mind, something I always thought was complete bullshit, but now I thought, Well, there was Rembrandt and Saskia, and van Gogh and his whore with the earlobe, and Picasso always had a short stack of girls on hand, and I thought, Okay, I found Suzanne and she’s mine, however that works, I needed her. And as soon as I started thinking that way, I saw that the stuff I’d done while she was there was the best stuff I’d ever done, it was vital and passionate, and I remembered what I was like with her, my base temperature was ten degrees higher, and you could see that in the lines of the drawings, especially the drawings of her.

And there was the sex, too: boy oh boy, screwing tourist girls-thin wine after that hundred-proof brandy. I mean, there’s a kind of sex you have when you’re floating off somewhere, kind of watching yourself have it, and the girl is too, who knows what they’re thinking, and you know that you’ll have nothing to say to them after, and even if the girl is cool and pretty there’s a moment when you can’t wait to see the last of her and you have a sense that she feels that way too. But Suzanne demanded the full presence, she held on like it was the end of the world, like this was the last fuck before the bomb went off, the last fuck in history, talking through the whole thing, narrating it, and her body never stopping, clenching, and totally there .

So I came back and we met and it was the same in New York as it was in Paris, couldn’t get enough, and the first thing I did was rent a loft on Walker Street, a hundred bucks a month, five flights up, an old wire factory, full of scrap and filth, and that was where we stayed, on a big slab of foam I bought on Canal Street. We’d turn the lights off and light dozens of thick plumber’s candles and afterward wash up in the tiny workman’s toilet. I decided to turn it into a living loft; I would dump the scrap out the window into the air shaft or carry it down. I would paint it white and put in a sleeping platform and lighting and partitions and a kitchen, and we would live there and be happy.

In the meantime I stayed in Oyster Bay with Dad, keeping out of his way as much as I could. He had some idea that we were going to be a family again-were we ever that kind of family?-the pair of us and Melanie, the girlfriend. The stepgirlfriend? And he kept going on about this church fresco, how it’s going to be a gigantic revival of that great art, with Wilmot père and fils as the ringleaders.

When I happened to run into him I could barely stand it, those affectations, that straw sombrero he wore, and the walking stick, and the cape, strolling through the increasingly ragged garden. Maybe the gardener was not that delighted his daughter’d shacked up with a client thirty years older than her, or maybe it was just the lack of money. Mother’s entire income went to the luxurious madhouse she was in, and he was living on whatever commissions he could wrangle. Collier’s was long gone by then, and the Saturday Evening Post and the others. His main business had become fat cat portraits and selling originals of his old work, but this fresco was going to make everything okay again.

Just before I moved out I had a conversation with his girlfriend. I was sitting on the living room sofa watching a fire I’d just made and thinking about my sister and how that was one of our favorite things to do in the winter, make a big fire and watch it burn and throw in stuff we hated-bad photographs of us or toys we’d outgrown, anything that wouldn’t make an actual stink or explode, but occasionally that stuff too-and Melanie came in and plopped down in the leather armchair where my father usually sat. After a while I realized that she was staring at me. I stared back a little and then I said, “What?” and she started in on why was I being so cold and cruel to my father, who loved me so much and was so proud of me and all that. And I said, “You know, for someone who just walked in the door you have a lot of opinions about the nature of this family. For example, they just dragged my mother out of here with a crane. That might have something to do with how I feel about my father.”

“You think that was his fault?”

“I don’t know,” I said. “He’s been screwing nearly every woman and girl around this place since practically day one. That might have an effect on a woman’s self-esteem, might make her inclined to excessive eating and the use of drugs. Who knows, if you stay here long enough you might get to see what it’s like.”