towel for his secrets.
During the period this book was written, he tripped up a flight of stairs three different times, incorporating three different flights of stairs, striking his chin on a step a total of one time, scuffing either his right or left wrist a total of one time, but feigning injury all three times, behaving as though the stumble were intentional and part of his natural boundless energy, to bounce off stairs and even slap his face against one of them and find it all part of the bustly navigation everybody signs up for when leaving the house for the adventure, the disaster, of the daytime trajectory. All three times, this man looked back after stumbling, to see who might have seen him slip, noting their faces and names, if available to his sight, promising himself to hate them as fully as he could at the soonest possible occasion (an occasion he tried to design by aiming his body in their direction), through either indifference or direct aggression, or some yet-to-be-devised strategy, which he was eager to invent and deploy at these witnesses for having seen him in pain, seen him stumble, watched him fail at being himself, as though it were even possible that anything involving motion could ever be said to succeed, or that a person, especially a man, could actually ever be anything, not to mention something so directly impossible as being himself.
He fell, sometimes on purpose, a total of nineteen times during the period this book was written, and he told a story once after intercourse, to the person who had just politely and patiently hosted him while he hyperventilated in their shared space until his error had been registered as a small dollop of fluid he extruded from his mistake zone, of falling as a child and suffering a terrible blow to his leg, a story he then later came to associate with having intercourse itself. Any kind of leg pain thereafter made him desire sex, though the fall and injury depicted by the story occurred more than ten years before he had ever had intercourse; he was only a child when he fell, but the story became a dirty story, an erotic one full of promise, and it came to depict what he called his first sexual encounter, a run-in with the hard earth that damaged his leg, a story with secret pornographic implications that he often imagined represented in a full-color pictorial with children and a cool, suburban palette. He also told a story, just before intercourse, of falling from his motorcycle, and thus a motorcycle crash was for him the ideal depiction of intercourse, which was one of his first justifications for introducing a helmet into the bedroom.
Most of his experiences of intercourse were free of speech, or, more specifically, free of consonants, since vowels indicate pleasure and consonants indicate pain and confusion, and he pursued an Ohio Lovemaking Stratagem that focused mainly on his own pleasure, a sensation that was found to dilate if certain all-vowel exclamations were launched; his lovemaking was once endorsed by a mayor, which was also once his sexual nickname, âthe Mayor,â though it was admittedly a name he bestowed upon himself and never actually uttered aloud, except within the cavern of his terrible head. Yet because the people orbiting his mostly failed person proved entirely reticent to assign him nicknames or pet names or any kind of slogans or monikers or handles or endearments that veered even one letter from his actual nameâeven though in one sense all he ever wanted was to be someone with many nicknames; it seemed so exciting to be known variously, cutely, wronglyâhe was obliged to take up the task alone and refer to himself quietly as âChamp,â âRip,â âDaddy,â and âthe Mayor.â
This author was called to perform bodily attention on six different women during the period this book was written. Of those six women, four of them unknowingly used a nearly similar vocabulary to describe the defects of
Erin Nicholas
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