BORROWERS
Roger Gathman
1.
The
idea that there is some directing
homunculus in
your brain
has always struck me as the
most poetically
accurate image of the mind. Sherlock Holmes' gray matter,
which competes
with it, doesn't really capture the image
of
how the
mental is a personality, a style. Gray
matter is
sponge, really,
fog, obscurity, dirt on the windshield,
the
mop's residue
in a bucket of water. When
we couple gray
with life
we imagine something tentacled and
viscous and
probably viscious, a squid gliding stealthily through
sex
and metaphysics,
or perhaps through the
obscure London
streets, stalking victims. Does it matter that the victim
be a barmaid or the butcher of one? No, it is gray matter
engaged with
gray matter, squid against
squid at some
unutterable
depth, some breathless and amoral depth, and
we
can only see the
dejecta of the loser as so much pollution,
fit for the
crematorium. But not intended for
any glorious
resurrection,
surely. No, Christ never died for
squids.
2.
Dita tells you about borrowers. Dita is seventeen, and
uapproachably distant
sometimes, a hostile
tower on a
darkling plain
bristling with archers.
You will say
something and
zap, the shaft is unloosed and there you
are.
Hey, and
you are only a kid, you are
ten years almost
younger. For
instance, when she goes to her room
and
listens to her records, all you can do is sit outside
her
door. It is shut.
You listen to the music. Even though she
is supposedly babysitting you. Even though you know
that
that means
she is supposed to be there, like what
if you
decided to
plug in the toaster and put down
the little
handle thing
and stick a fork in one of the
slots. What
then. Why, you'd
be electrocuted right in the kitchen and it
would be
Dita's fault, since she was
listening to her
records, right?
Mom would come home and you'd be there,
her
son, looking like
toast, black all over. Toast in the middle
of the
floor! Mom would say my son
is toast. And
then
she'd have to kick Dita out of the house for
murdering her
brother.
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