He was working on his eighteenth canvas, blues and browns in sharp rows blurring in the middle, making a confrontation with black, when God entered his studio, this time holding a dagger.
Cut the painting too, said God. No words, no images. Or — He made a slicing motion near his stringy throat.
Why? cried the painter, already missing the sharp smell of the oils, how the colors mixed to become brand new again, an exotic blush of yellow, a bluish gray, a new way to show trees, with white! He missed the slow time he took washing his hands with turpentine, the way his wife praised the new rugged scent of him.
God lifted the dagger to the lightbulb of the garage and it glinted, unpolished silver, speckled with brown. Do not question God, said God.
So the painter packed away his paints, inside that hall closet, next to the typewriter and reams of white paper. He felt a deep pang, but within a week signed up for a drama class, held in a church where the ceilings were high, the air cool, and every scene took on particular gravity with those stained-glass windows acting as set. He played a few roles, and he wasn’t very good at first but was enjoying it anyway, shy man that he was, liking the way he would feel his feeling and then use it and look around at the other people in the class, faces split into red-and-yellow triangles from the windows, and see they were feeling the same feeling with him, how contagious it all was. He needed a lot of reassurance as an actor but he was starting to understand its ultimate camaraderie and loneliness, the connection which is tight as laces then broken quick as the curtain’s fall.
So of course one afternoon, walking out of the church, spanking a new script against his knee, he found God in the backseat of his car, gripping a bayonnet.
No more, God said. In my house no less, said God.
The actor started to cry. I love acting, he said. I’m just getting it right, he said. My wife thinks I’m coming out of my shell.
God shook his head.
Mime? the man pleaded.
God poked the actor’s side with the sweet triangular tip of the bayonnet.
The actor sat in the car, gripping the steering wheel, already missing the applause, the sight of the woman in the front row with tears in her eyes that were from the same pool of tears he’d visited to do the scene, the entire town fetching water from the same well.
The actor was depressed for a while which his wife didn’t like much, but finally he slogged himself out of it and took up cooking. He studied the basics in the cookbook and told himself that patience was a virtue and would be put to good use here. Sure enough, in three months, he’d made his first soup from scratch-potato leek nutmeg-and it was very good. His wife loved it. You’re amazing, she told him in bed, his hands smelling of chicken guts; I married the most amazingly artistic man, she said.
He kissed her. He’d made a dessert too and brought it into bed-a chocolate torte with peanut butter frosting. He kissed her again. After two bites the torte fell, unnoticed, to the floor.
God was apparently busy, he took longer this time, but showed up after a big dinner party where the chef served leg of lamb with rosemary on a bed of wild rice with lemongrass chutney. It was a huge hit, and everyone left, drunk, gorgeous with flush, blessed. The chef’s wife went to the bathroom and guess who sauntered through the screen door, swinging a noose.
No! moaned the chef, washing a dish. No!
This is it, said God. Stop making beautiful food. What is with you?
The chef hung his head. Then hung up his spoons in the cupboard with the typewriter, paints, playbooks and wigs. With the pens, turpentine, and volumes of Shakespeare. The shelf was getting crowded so he had to shove some towels aside to make room. He spent the week eating food raw from the refrigerator, and somehow found the will to dial up a piano teacher. But right when he glimpsed the way a chord works, how it fits inside itself, the most intricate and simple puzzle, when he heard how a fourth made him weep and a fifth made him soar, the cheerleading of C major, the birch trees of D minor, God returned with a baseball bat tucked into his belt.
Don’t even think about it, barked God.
Dance? Rifle.
Architecture? Grenade.
The man took a year off of life. He learned accounting. He was certain this would be no problem, but after a few weeks the way the numbers made truths about people’s lives was interesting to him; he tried law but kept beginning a duet with the jury; chemistry was one wonder after another; even the stock market reminded him of a wriggling animal, and so of course, the usuaclass="underline" pins near the eyes, the closing of the job doors, the removal of the name plaque, the repeated signing of the quitting papers.
So the man sat in a chair. God had ordered him to stop talking, so he went to a park and just looked at people. A young woman was writing in a blank book under a tree; she was writing and writing, and he caught her eye and sent her waves of company and she kept his gaze and wrote more, looked up again, wrote more, circled his bench and sat down and when she asked him questions he said nothing but just looked at her more, and she stood and went away, got a drink at the water fountain, circled back. After an hour of this, she nodded to him, said Thank You, and left. The pathway of her feet looped to the bench and back and away and back, in swirls and lines.
Shut your eyes! yelled God.
The man’s wife was unhappy. She was doing all the cooking now and her husband didn’t move or speak anymore. She missed their discussions, his paintings, his stories, his pliés. She missed talking to him about her job with the troubled people, and how at certain moments there was an understanding held between her and the person, sitting there, crying or not crying, mad or not mad, happy or unhappy, bland or lively, and it was like, at that moment, she said, they were stepping all over a canvas together. It’s like, she said, the room is full of invisible beetles. Or faucets. Or pillows. Or concrete. She told him all about it and his eyes were closed but she could feel, from his skin, that he was listening. She went to him and undressed him slowly and they made love there on the sofa, and he hardly moved but just pressed his warmth to her, his body into hers, and she held him close and the man gave her all he could without speaking, without barely shifting, lips and hips, and she started to cry.
Afterward she pressed her head to his chest and told him all the things she had thought about, the particular flower he made her feel, the blade, the chocolate torte.
They slept on the sofa together.
God put the man in a box with no doors or windows. He tied his hands behind his back and knotted a blindfold over his eyes. He stuck duct tape over his lips. God said: Not a peep out of you. Don’t you interact with anybody. The man sat with his head full of dreams. He thought of flying fish and the smell of his wife’s skin: white powder and clear sweat. He thought of basil breaking open and the drawing of a tomato with red and black paint and the word tomato, consonant vowel, consonant vowel, consonant vowel, and the perfect taste of tomato with basil, and the rounded curve of a man’s back, buttons of spine visible. He wondered where the girl with the half-blank book was right then. He thought of his wife making bridges of air over air. He listened to the sound of wind outside the box, loud and steady as his breath.
Dearth
The next thing in the morning was the cast-iron pot full of potatoes. She had not ordered them and did not remember buying potatoes at the grocery store. She was not one to bake a potato. Someone must have come in and delivered them by accident. Once she’d woken to meadows full of sunflower bouquets all over her house in glass vases and they turned out to be for the woman next door. Perhaps the woman next door had a new suitor now, one who found something romantic in root vegetables.