Written on the Body (13 page)

In bereavement books they tell you to sleep with a pillow pulled down beside you. Not quite a Dutch wife, that is a bolster held between the legs in the tropics to soak up the sweat, not quite a Dutch wife. ‘The pillow will comfort you in the long unbroken hours. If you sleep you will unconsciously benefit from its presence. If you wake the bed will seem less large and lonely.’ Who writes these books? Do they really think, those quiet concerned counsellors, that two feet of linen-bound stuffing will assuage a broken heart? I don’t want a pillow I want your moving breathing flesh. I want you to hold my hand in the dark, I want to roll on to you and push myself into you. When
I turn in the night the bed is continent-broad. There is endless white space where you won’t be. I travel it inch by inch but you’re not there. It’s not a game, you’re not going to leap out and surprise me. The bed is empty. I’m in it but the bed is empty.

I named the cat Hopeful because on the first day he brought me a rabbit and we ate it with lentils. I was able to do some translating work that day and when I got back from the wine bar Hopeful was waiting by the door with an ear cocked and such a look of anticipation that for a moment, a single clear moment, I forgot what I had done. The next day I cycled to the library but instead of going to the Russian section as I had intended I went to the medical books. I became obsessed with anatomy. If I could not put Louise out of my mind I would drown myself in her. Within the clinical language, through the dispassionate view of the sucking, sweating, greedy, defecating self, I found a love-poem to Louise. I would go on knowing her, more intimately than the skin, hair and voice that I craved. I would have her plasma, her spleen, her synovial fluid. I would recognise her even when her body had long since fallen away.

T
HE MULTIPLICATION OF CELLS BY MITOSIS OCCURS THROUGHOUT THE LIFE OF THE INDIVIDUAL
. I
T OCCURS AT A MORE RAPID RATE UNTIL GROWTH IS COMPLETE
. T
HEREAFTER NEW CELLS ARE FORMED TO REPLACE THOSE WHICH HAVE DIED
. N
ERVE CELLS ARE A NOTABLE EXCEPTION
. W
HEN THEY DIE THEY ARE NOT REPLACED
.

In the secret places of her thymus gland Louise is making too much of herself. Her faithful biology depends on regulation but the white T-cells have turned bandit. They don’t obey the rules. They are swarming into the bloodstream, overturning the quiet order of spleen and intestine. In the lymph nodes they are swelling with pride. It used to be their job to keep her body safe from enemies on the outside. They were her immunity, her certainty against infection. Now they are the enemies on the inside. The security forces have rebelled. Louise is the victim of a coup.

Will you let me crawl inside you, stand guard over you, trap them as they come at you? Why can’t I dam their blind tide that filthies your blood? Why are there no lock gates on the portal vein? The inside of your body is innocent, nothing has taught it fear. Your artery canals trust their cargo, they don’t check the shipments in the blood. You are full to overflowing but the keeper is asleep and there’s murder going on inside. Who comes here? Let me hold up my lantern. It’s only the blood; red cells carrying oxygen to the heart, thrombocytes making
sure of proper clotting. The white cells, Β and T types, just a few of them as always whistling as they go.

The faithful body has made a mistake. This is no time to stamp the passports and look at the sky. Coming up behind are hundreds of them. Hundreds too many, armed to the teeth for a job that doesn’t need doing. Not needed? With all that weaponry?

Here they come, hurtling through the bloodstream trying to pick a fight. There’s no-one to fight but you Louise. You’re the foreign body now.

T
ISSUES
,
SUCH AS THE LINING OF THE MOUTH
,
CAN BE SEEN WITH THE NAKED EYE
,
BUT THE MILLIONS OF CELLS WHICH MAKE UP THE TISSUES ARE SO SMALL THAT THEY CAN ONLY BE SEEN WITH THE AID OF A MICROSCOPE
.

The naked eye. How many times have I enjoyed you with my lascivious naked eye. I have seen you unclothed, bent to wash, the curve of your back, the concurve of your belly. I have had you beneath me for examination, seen the scars between your thighs where you fell on barbed wire. You look as if an animal has clawed you, run its steel nails through your skin, leaving harsh marks of ownership.

My eyes are brown, they have fluttered across your body like butterflies. I have flown the distance of your body from side to side of your ivory coast. I know the forests where I can rest and feed. I have mapped you with my naked eye and stored you out of sight. The millions of cells that make up your tissues are plotted on my retina. Night flying I know exactly where I am. Your body is my landing strip.

The lining of your mouth I know through tongue and spit. Its ridges, valleys, the corrugated roof, the fortress of teeth. The glossy smoothness of the inside of your upper lip is interrupted by a rough swirl where you were hurt once. The tissues of the mouth and anus heal faster than any others but they leave signs for those who care to look. I care to look. There’s a story trapped inside your mouth. A crashed car and a smashed windscreen. The only witness
is the scar, jagged like a duelling scar where the skin still shows the stitches.

My naked eye counts your teeth including the fillings. The incisors, canines, the molars and premolars. Thirty-two in all. Thirty-one in your case. After sex you tiger-tear your food, let your mouth run over with grease. Sometimes it’s me you bite, leaving shallow wounds in my shoulders. Do you want to stripe me to match your own? I wear the wounds as a badge of honour. The moulds of your teeth are easy to see under my shirt but the L that tattoos me on the inside is not visible to the naked eye.

F
OR DESCRIPTIVE PURPOSES THE HUMAN BODY IS SEPARATED INTO CAVITIES
. T
HE CRANIAL CAVITY CONTAINS THE BRAIN
. I
TS BOUNDARIES ARE FORMED BY THE BONES OF THE SKULL
.

Let me penetrate you. I am the archaeologist of tombs. I would devote my life to marking your passageways, the entrances and exits of that impressive mausoleum, your body. How tight and secret are the funnels and wells of youth and health. A wriggling finger can hardly detect the start of an ante-chamber, much less push through to the wide aqueous halls that hide womb, gut and brain.

In the old or ill, the nostrils flare, the eye sockets make deep pools of request. The mouth slackens, the teeth fall from their first line of defence. Even the ears enlarge like trumpets. The body is making way for worms.

As I embalm you in my memory, the first thing I shall do is to hook out your brain through your accommodating orifices. Now that I have lost you I cannot allow you to develop, you must be a photograph not a poem. You must be rid of life as I am rid of life. We shall sink together you and I, down, down into the dark voids where once the vital organs were.

I have always admired your head. The strong front of your forehead and the long crown. Your skull is slightly bulbous at the back, giving way to a deep drop at the nape of the neck. I have abseiled your head without fear. I have held your head in my hands, taken it, soothed the resistance, and held back my desire to probe under the skin
to the seat of you. In that hollow is where you exist. There the world is made and identified according to your omnivorous taxonomy. It’s a strange combination of mortality and swank, the all-seeing, all-knowing brain, mistress of so much, capable of tricks and feats. Spoon-bending and higher mathematics. The hard-bounded space hides the vulnerable self.

I can’t enter you in clothes that won’t show the stains, my hands full of tools to record and analyse. If I come to you with a torch and a notebook, a medical diagram and a cloth to mop up the mess, I’ll have you bagged neat and tidy. I’ll store you in plastic like chicken livers. Womb, gut, brain, neatly labelled and returned. Is that how to know another human being?

I know how your hair tumbles from its chignon and washes your shoulders in light. I know the calcium of your cheekbones. I know the weapon of your jaw. I have held your head in my hands but I have never held you. Not you in your spaces, spirit, electrons of life.

‘Explore me,’ you said and I collected my ropes, flasks and maps, expecting to be back home soon. I dropped into the mass of you and I cannot find the way out. Sometimes I think I’m free, coughed up like Jonah from the whale, but then I turn a corner and recognise myself again. Myself in your skin, myself lodged in your bones, myself floating in the cavities that decorate every surgeon’s wall. That is how I know you. You are what I know.

T
HE SKIN IS COMPOSED OF TWO MAIN PARTS
:
THE DERMIS AND THE EPIDERMIS
.

Odd to think that the piece of you I know best is already dead. The cells on the surface of your skin are thin and flat without blood vessels or nerve endings. Dead cells, thickest on the palms of your hands and the soles of your feet. Your sepulchral body, offered to me in the past tense, protects your soft centre from the intrusions of the outside world. I am one such intrusion, stroking you with necrophiliac obsession, loving the shell laid out before me.

The dead you is constantly being rubbed away by the dead me. Your cells fall and flake away, fodder to dust mites and bed bugs. Your droppings support colonies of life that graze on skin and hair no longer wanted. You don’t feel a thing. How could you? All your sensation comes from deeper down, the live places where the dermis is renewing itself, making another armadillo layer. You are a knight in shining armour.

Rescue me. Swing me up beside you, let me hold on to you, arms around your waist, head nodding against your back. Your smell soothes me to sleep, I can bury myself in the warm goosedown of your body. Your skin tastes salty and slightly citrus. When I run my tongue in a long wet line across your breasts I can feel the tiny hairs, the puckering of the aureole, the cone of your nipple. Your breasts are beehives pouring honey.

I am a creature who feeds at your hand. I would be the squire rendering excellent service. Rest now, let me unlace your boots, massage your feet where the skin is calloused and sore. There is nothing distasteful about you to me; not sweat nor grime, not disease and its dull markings. Put your foot in my lap and I will cut your nails and ease the tightness of a long day. It has been a long day for you to find me. You are bruised all over. Burst figs are the livid purple of your skin.

The leukaemic body hurts easily. I could not be rough with you now, making you cry out with pleasure close to pain. We’ve bruised each other, broken the capillaries shot with blood. Tubes hair-thin intervening between arteries and veins, those ramified blood vessels that write the body’s longing. You used to flush with desire. That was when we were in control, our bodies conspirators in our pleasure.

My nerve endings became sensitive to minute changes in your skin temperature. No longer the crude lever of Hot or Cold, I tried to find the second when your skin thickened. The beginning of passion, heat coming through, heartbeat deepening, quickening. I knew your blood vessels were swelling and your pores expanding. The physiological effects of lust are easy to read. Sometimes you sneezed four or five times like a cat. It’s such an ordinary thing, happening millions of times a day all over the world. An ordinary miracle, your body changing under my hands. And yet, how to believe in the obvious surprise? Extraordinary, unlikely that you should want me.

I’m living on my memories like a cheap has-been. I’ve been sitting in this chair by the fire, my hand on the cat, talking aloud, fool-ramblings. There’s a doctor’s
text-book fallen open on the floor. To me it’s a book of spells. Skin, it says. Skin.

You were milk-white and fresh to drink. Will your skin discolour, its brightness blurring? Will your neck and spleen distend? Will the rigorous contours of your stomach swell under an infertile load? It may be so and the private drawing I keep of you will be a poor reproduction then. It may be so but if you are broken then so am I.

T
HE CLAVICLE OR COLLAR BONE
:
THE CLAVICLE IS A LONG BONE WHICH HAS A DOUBLE CURVE
. T
HE SHAFT OF THE BONE IS ROUGHENED FOR THE ATTACHMENT OF THE MUSCLES
. T
HE CLAVICLE PROVIDES THE ONLY BONY LINK BETWEEN THE UPPER EXTREMITY AND THE AXIAL SKELETON
.

I cannot think of the double curve lithe and flowing with movement as a bony ridge, I think of it as the musical instrument that bears the same root. Clavis. Key. Clavichord. The first stringed instrument with a keyboard. Your clavicle is both keyboard and key. If I push my fingers into the recesses behind the bone I find you like a soft shell crab. I find the openings between the springs of muscle where I can press myself into the chords of your neck. The bone runs in perfect scale from sternum to scapula. It feels lathe-turned. Why should a bone be balletic?

You have a dress with a décolletage to emphasise your breasts. I suppose the cleavage is the proper focus but what I wanted to do was to fasten my index finger and thumb at the bolts of your collar bone, push out, spreading the web of my hand until it caught against your throat. You asked me if I wanted to strangle you. No, I wanted to fit you, not just in the obvious ways but in so many indentations.

It was a game, fitting bone on bone. I thought difference was rated to be the largest part of sexual attraction but there are so many things about us that are the same.

Bone of my bone. Flesh of my flesh. To remember
you it’s my own body I touch. Thus she was, here and here. The physical memory blunders through the doors the mind has tried to seal. A skeleton key to Bluebeard’s chamber. The bloody key that unlocks pain. Wisdom says forget, the body howls. The bolts of your collar bone undo me. Thus she was, here and here.

T
HE SCAPULA OR SHOULDER BLADE
:
THE SCAPULA IS A FLAT TRIANGULAR SHAPED BONE WHICH LIES ON THE POSTERIOR WALL SUPERFICIAL TO THE RIBS AND SEPARATED FROM THEM BY MUSCLE
.