Chapters (20)
- by
- Preface
- Ladders to Fire
- Main Characters
- Publishing History
- Prologue
- This Hunger
- Bread and the Wafer
- Children of the Albatross
- Main Characters
- Introduction
- The Sealed Room
- The Café
- The Four-Chambered Heart
- Beginning
- A Spy in the House of Love
- Publishing History
- Seduction of the Minotaur
- About the Author
- More Titles from Sky Blue Press
She stood before the paintings and she now could see the very minute fragments of her acts, which she had believed unimportant, causing minute incisions, erosions of the personality. A small act, a kiss given at a party to a young man who benefited from his resemblance to a lost John, a hand abandoned in a taxi to a man not desired but because the other woman's hand had been claimed and Sabina could not bear to have her hand lie unclaimed on her lap: it seemed an affront to her powers of seduction. A word of praise about a painting she had not liked but uttered out of fear that the painter would say: "Oh, Sabina... Sabina doesn't understand painting."
All the small insincerities had seeped like invisible rivulets of acid and caused profound damages. The erosions had sent each fragment of Sabina rotating like separate pieces of colliding planets into other spheres, yet not powerful enough to fly into space like a bird, not organic enough to become another life, to rotate on its own core.
Jay's painting was a dance of fragments to the rhythm of debris. It was also a portrait of the present Sabina.
And all her seeking of fire to weld these fragments together, seeking in the furnace of delight a welding of fragments into one total love, one total woman, had failed!
When she turned away from the paintings she saw Jay sitting at one of the tables, his face more than ever before resembling Lao Tze. His half-bald head rimmed now with frosty white hair, his half-closed, narrow, small eyes laughing.
Someone standing between Sabina and Jay leaned over to compliment him on his Fifth Avenue windows. Jay laughed merrily and said: "I have the power to stun them, and while they are stunned by modern art the advertisers can do their poisonous jobs."
He waved at Sabina to sit down with him.
"You've been watching my atomic pile in which men and women are bombarded to find the mysterious source of power in them, a new source of strength." He talked to her as if no years had intervened between their last meeting at a café in Paris. He was always continuing the same conversation begun no one knew when, perhaps in Brooklyn where he had been born, everywhere and anywhere until he had reached the country of cafés where he found an audience, so that he could paint and talk perpetually in one long chain of dissertations.
"Have you found your power, your new strength?" asked Sabina. "I haven't."