Garth Greenwell - What Belongs to You

Look, Mitko said, pointing as he rattled off the brands of what seemed to me fairly nondescript items of clothing: jeans, a jacket, a button-down shirt; also a belt; also a pair of sunglasses. He even remembered the shoes he was wearing that day, though they weren’t visible on the screen; maybe they were special shoes, or maybe it was a special day. Hubavi , he said, a word that means lovely or nice, and then, fingering his collar, mrusen , and he pulled the offensive shirt off and turned back bare-chested to the screen. I leaned forward (I had sat down next to him) and kissed his shoulder, a chaste kiss, an expression of the sadness I felt for him, perhaps, though it wasn’t only sadness that I felt, with his torso now exposed beside me. He looked at me, smiling broadly, the same smile as in the photograph or almost the same, though they looked nothing alike, one transformed — it was astonishing how thoroughly — by the broken tooth, its evidence of something undergone. He bent his head toward mine, but not to engage in the kiss I expected; instead, in a quick surprise, playfully and without any hint of seduction he licked the tip of my nose, then turned back to his task. There were many more photographs, the young man featured in shifting scenes: here at the seaside, here in the mountains, always in the casual clothes of which he was so proud, the generic uniform of affluent young Americans, the stuff of endless racks in endless suburban malls.

Then there were photographs in which he wore nothing at all, angling himself in postures of erotic display that were difficult to reconcile with the sweetly innocent gesture he had just made. In one of these photos Mitko was lying on a bed, leaning on one side so that he faced the camera, fully extending the length of his long body. He was hard, and one of his hands angled his cock, too, toward the lens, the focus and centerpiece of the photograph. He wasn’t smiling now, his expression was serious, as is almost always true of the photographs on such sites; I’ve spent whole nights scrolling through them, feeling an odd mixture of anticipation and dullness, each click a promise of novelty that’s never kept. Even without his smile, there was an intensity to Mitko’s gaze that convinced me this camera, too, was held by someone significant, someone who elicited his look; and the effectiveness of the photograph (were I scrolling through images I would have lingered, I would have been caught by him) was precisely this gaze, which, though it wasn’t meant for any of the men who might be scanning through these pages, still we could claim for ourselves. I tried to claim it now, I turned to Mitko and placed my hand on the inside of his thigh and again leaned in to kiss his neck; the photos had excited me, I wanted to pull him away from the computer. Chakai , he said, imame vreme , we have time, I want to show you something else. He clicked on another photo, and I saw that I was right, there had been someone behind the camera: a young man of Mitko’s height and build, with the same style of hair and dress. They were fully clothed, which only made their embrace more erotic, and their attention was focused wholly on each other; there was no one behind the camera now, it was held by Mitko, one of whose arms extended weirdly toward us, toward me and that other Mitko as we gazed at him together. His other arm was wrapped around the boy, both of whose arms in turn gripped him; they seemed balanced in desire, in their urgency and their hunger for each other. It was tempting to think there was nothing theatrical about this kiss, that it was wholly sincere; and yet the very lens that allowed me access to it made their embrace a pose, so that even if their audience was only hypothetical, even it was only a later version of themselves, later by a year or an hour, still it made their grappling, however passionate, a performance.

Here Mitko, the Mitko who sat next to me, taking long drafts from the tumbler he had refilled, put his finger on the screen, a finger stained with cigarettes ( mrusen ) and flattened with labor, broad and inelegant, the new wounds still fresh at the knuckle. Julien, he said, the man’s name, and told me that he was his first priyatel , using the word now in a way that was clear, his first boyfriend and, he went on to tell me, his first love. There were more pictures, always the two of them alone, one or the other awkwardly angling the camera. They were so young, these boys in the frame, children really, and yet despite their eagerness for each other it was as though they were documenting something they knew could not last. Of course there were no witnesses in their small town to what they were together, neither their families nor their friends, not even strangers passed on the street, since none of the photos was taken outside. Except for these photographs, these digital memories he scrolled through now, nothing would have survived of those embraces that for all their heat had come to an end. Where is he now, I asked Mitko, flooded with tenderness and wanting access to some greater intimacy with him. He didn’t look at me as he answered, still clicking from image to image, his hand moving absently across his chest. He was a schoolteacher, Mitko told me, he left to study abroad and lived in France now, having fled his country along with (I thought) nearly everyone with the talent or means to do so. Of these two men locked together on the screen, then, one left, buoyed by talent or means or both, and the other stayed and was transformed somehow from a prosperous-looking boy to the more or less homeless man I had invited into my home.

As if he sensed my sadness and shared it and wanted to give it voice, Mitko opened a new page, a Bulgarian site for video clips, where one can find almost anything, copyright laws have little meaning here. Music, Mitko said, I want you to hear something, and he typed the name of a French singer, someone I had never heard of and whose name escapes me now, into a search engine that dredged up a remarkable number of files. Mitko scanned through several pages, searching for the clip of a song he had shared with Julien, something they had listened to and loved together. Each of the thumbnail images showed a frail woman softly lit, holding a microphone prayerfully in both of her hands. Maybe all of these clips were from the same concert, or maybe the simple, floor-length white gown she wore in each of them was a sort of signature. Mitko found the video he wanted, and as it began I was moved by the thought that he was granting me access to a private history and so to the intimacy I longed for with him, and that this music, so connected to his past, might allow that intimacy passage across our two languages. And yet, as I watched this woman, who was beautiful with a hollow sort of beauty, I was increasingly repelled by what seemed to me a transparent and entirely artless manipulation. She sang in a choked whisper, affecting an extremity of dignified, photogenic devastation, and at the end of a particularly tragic passage she broke into what seemed to me obviously rehearsed tears, lowering the microphone in a posture of defeat. From time to time, the camera (it was a professional film, an elaborate concert video) positioned itself at the singer’s shoulder, forcing us into greater sympathy with her as we shared her vantage on the thousands of fans stretching out into the darkness. They burst into a kind of ecstasy at the sight of her tears, producing collectively a sound of mingled dismay and joy. Ah, said that sound, here at last is the life of significance, the real life that frees us from ourselves.

These thoughts took me away from the moment I shared with Mitko, and made me feel that I too had been played, lured into a sentimentality entirely inappropriate to what was, after all, a transaction. As Mitko continued looking tenderly at the screen, a look that now I suspected was artificial, calculated and sly, I stood up, I put my hands on his shoulders and bent my face once again to his neck. Haide , I said, come on, tasting him and tugging at his shoulders. He tried at first to put me off again, he said we could take our time, the night was long; he was counting on a place to spend that night, and no doubt had experienced hospitality withdrawn by men whose desire dissolved immediately to disgust. But I insisted, wanting to assert something, to set the terms of the evening, to claim, finally, the goods for which I had contracted, to put it as brutally as that; it was something brutal that I wanted. When he saw I wouldn’t be put off, Mitko became compliant, even eager; he rose from the chair and put his arms around my neck, then hopped and wrapped his legs around me. I had never felt his weight before, he had always been standing when we had sex, and I was surprised by how light he was as I carried him from the kitchen to the bed. I set him down and he stretched out, extending his arms to either side, as if in welcome, and the new sternness I had assumed fell away; I was the compliant one now, this compliance being, finally, what I had purchased. The room was dark, but I could still see him in the light from the hallway and the window, the glow of neon signs and streetlamps, and I gazed at him without moving, as if now that he had given me permission I was hesitant to touch him. He smiled at me, or at what he saw on my face, and then he reached up and pulled me to his mouth, which was sweet with soda. He kept his hand at my neck, and after we kissed he pulled my face away and then pushed my head down; he was already hard, he had responded to our kiss as much as I. But I wasn’t so compliant after all, I shook my head to free it, and then I took his hands in mine, as I had imagined doing, his wounded hands, and brought them to my lips. He smiled at me again, tilting his head a little in confusion at the delay, but I didn’t delay for long, and he shifted his legs apart as I lowered my mouth to his cock, clasping his hips with both my hands like the brim of a cup from which I drank.