the end of the afternoon I started having doubts. This morning I left a message with the President of your school thanking him for a pleasant evening. Imagine the scene: the President mentioning to you that I might join the faculty next year, Chris arriving on your doorstep just when you thought the devilish couple had flown away. What would you do? Say âHiâ or reach for your airgun? Maybe itâs not such a good idea. Letâs try another:
Chris arrives in Antelope Valley around sundown and settles in your favorite bar. She leans against the door sipping a long-necked beer and waiting for your car to drive by. Should she call your house? But she knows youâre screening calls.
Hereâs another: you drive past the bar and notice that her truck is parked outside. You pull up by the bar, take your hat off and go inside. She looks up modestly across the long empty table of this cantina and sees your frame hovering in the door. The rest is history.
Scene Number Three: Chris books a room at a motel in a nearby town. She considers phoning you, decides against it, then on impulse drives to Antelope Valley and installs herself at your favorite bar. After a while she strikes up a conversation with the barman. Does he happen to know anything about this gringo living by himself on the edge of town? A nice guy, but somewhat strange? Chris fires questions at the soft Chicano cowboys who make a living keeping the undocumented Guatemalan orange pickers in line. Do they know your girlfriend? Do you have a girlfriend? Do you come here often? Do you go home alone? Do you talk? What do you say? âWhatsamatter?â the leathery-white American barkeep asks. âAre you a cop? Has he done something wrong?â âYes,â Chris says. âHe wonât return my calls.â
You see? Itâs no use hiding.
So long for now,
Chris & Sylvère
Tuesday, December 13, 1994
Crestline, California
Dear Dick,
None of these ideas are right. The closest I can come to touching you (and I still want to) is to take a photo of the bar in your town. Itâd be a wideshot, kind of Hopper-esque, daylight tungsten clashing with the dusky sky, a desert sunset wrapped around the stucco building, a single lightbulb hung insideâ¦
Have you ever read The Blue of Noon by Georges Bataille? He keeps talking about chasing, missing, the Bluebird of Happiness⦠Oh Dick, Iâm so saaaad.
Chris
Dear Dick,
I may be leaving the scene of the crime, but I canât let it fade out into nothingness.
Sylvère
Tuesday, December 13, 1994
Crestline, California
Dear Dick,
Iâm not sure I still want to fuck you. At least, not in the same way. Sylvère keeps talking about us disturbing your âfragilityâ but Iâm not sure I agree. Thereâs nothing so remarkable in one more woman adoring you. Itâs a âproblemâ youâre confronting all the time. Iâm just a particularly annoying one, one who refuses to behave. That makes the picture less appealing, and I just canât desire you anymore in that straight-up, Saturday night Some Girls kind of way. And yet I feel this tenderness towards you, after all weâve been through. All I wantâs a photo of your favorite bar. Today I phoned your colleague Marvin Dietrichson, to find out what you did today. What you said in seminar. What you were wearing. Iâm finding new ways to be close to you. Itâs okay, Dick, we can do the relationship your way.
Chris
Tuesday, December 13, 1994
Crestline, California
Dear Dick,
Call me persistent if you want but if youâre an artist you canât rely on other people to do the work for you. Tomorrow night Chris is coming out to Antelope Valley.
Sylvère
And now itâs nearly 10 oâclock at night and Chris is heartbroken and Dick still hasnât called. She knows she really wonât drive out to Dickâs house, sheâll just drive away, and she hates Sylvère
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