Read Online The Year of Yes by Maria Dahvana Headley - Free Book Online

coffee, sometimes a drink in a bar. I went out with a couple of PhD-holding taxi drivers (one was an Indian surgeon, the other an Egyptian psychoanalyst); a Metropolitan Museum security guard who offered to take me home to meet his family in Sicily; a couple of construction workers; a Vietnam vet who was missing three fingers (alas, he had plenty to say about what he could do with the remaining digits); a Long Island City carpet salesman who asked if I wanted to “shag,” and then laughed for a long, long time, pointing hysterically at a section of fluffy carpets. I had a glass of Rioja with a Spanish-accented painter who, in an ill-conceived effort to impress me, told me that the only medium worth painting in was your own viscera. He then gave a long diatribe about people who held down day jobs instead of “doing their art.” The next day, I happened to go into Pearl Paint to buy latex for my living room, and there he was, working behind the counter, holding a bottle of glitter glue, and sounding very much like he was from New Jersey. I went out with a goatee-wearing psychic, who told me I was from Nebraska (no), aCapricorn (no), and about to find Big Love (hopefully). Then he spent forty-five minutes reading my palm, and found a line on it that clearly said I was going to sleep with him (hell no). I went out with one of the annoying New York guys who runs up to girls on the street, telling them they have great hair, and then tries to sell them salon gift certificates. I went out with a matchstick-skinny photographer, who came up to me in a café and told me he was looking for models to pose for his “tasteful and artistic nude series.” Much to his sorrow, I didn’t take my clothes off, but I regret to say that there’s a picture out there somewhere in which there is not only far too much leg, there’s a dyed-pink lapdog and a maraschino cherry.
    Despite all these dates, I still hadn’t gone out with anyone from my program at NYU. And I was glad. Dating in the Dramatic Writing Program was incestuous, on a Greek tragedy level. One mistake made at a party could find you putting out your eyes during your next playwriting workshop. Anything you did was destined to trail humiliatingly behind you, like toilet paper attached to your shoe, for the next four years. Even if you didn’t remember it, everyone else was writing it down. It’d appear in the classroom the next week, translated into a scene in someone else’s play. You’d end up sitting around the workshop table, impotently explaining why it was not good dramatic logic to include the scene in which the character based on you made out with the character based on the most flamingly gay boy in the program. Why were you making out? You were a girl. Yes, okay, he was a boy, but a boy who, if not for the joint influence of controlled substances and pure desperation, would’ve had no interest in girls. Not that you could evencomment directly. All the people in my program were repression made flesh. We sublimated all our vitriol into pages, becoming not just backbiters, but backwriters. I’d dated a bunch of other NYU students, both during the months of my yes policy, and prior, but thus far I’d evaded any of the messes in my daily classes.
    However, if someone from my program asked me out now, I couldn’t say no. When I’d put my yes policy into effect, I’d neglected to think about that. Post-Handyman, I’d felt somewhat virtuous. A foray into the nonintellectually bound male. Hadn’t turned out terribly well, but that wasn’t really his fault. I felt comfortable taking the blame for that particular failure, whereas, if I was going to date a classmate, I felt that he should take equal responsibility for any tragedy. He, after all, would have the same frames of reference I did. A Doll’s House and The Three Sisters, The Misanthrope and Long Day’s Journey into Night. A shared vocabulary of this kind of material seemed to me to be a recipe for