LITMIR.BIZ

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doing it straight on. I dig in with the underpainting; mostly dark browns and yellows, with some blue for inside. I’m concentrating and flying; this will be a good one. This whole series is going to be wonderful: interesting people, real places, trapped space, good twisting light.

      CUTTING LIGHT DOWN AND STILL STAYING TRANSPARENT:

      ANOTHER FACE OF REALITY, FUTILE FANTASY. I DRIFT

      ON TRANSITIONS TILL WE TOUCH EARTH

      IN DARK STILLNESS.

      Another old lady comes up. Skinny hag; hair all whichway. No teeth; bottom lip almost touches her nose. The toes are cut out of her shoes; big bunions bulging out. She pushes me away from the box, good strong push.

      ‘You got permission to paint my store?’

      Face right up to me.

      ‘No, lady, didn’t know I needed permission. May I paint your store?’

      ‘No!’

      I look down at her, trying to figure if she’s only crazy.

      ‘I’m going to paint your store anyway, lady. Don’t need permission; street’s a public place. Artist’s got some rights.’

      She stomps her bunioned foot.

      ‘I do not give permission!’

      She stares at me wetly. Her eyes have Velásquez lower lids, red, watery. She stomps again and goes away.

      I get to work; probably isn’t crazy, we’re just not communicating.

      Five minutes later she’s back. She looks at the painting for a while. I smile at her, hoping for a convert.

      ‘I’ll let you paint my store for twenty francs.’

      ‘I’m sorry, lady; I’m not going to pay. Artist has rights.’

      She watches me for a while. She’s not acting mad or pushing now, just watching.

      ‘There should be chickens in the window.’

      ‘Don’t need any chickens.’

      ‘For ten francs, I’ll put chickens in the window.’

      ‘Don’t need any chickens.’

      I prove this by painting a few quick chicken strokes into the window. She still stands there watching me. I try to keep working. There’s a long pause; then she pushes between me and the painting.

      ‘Why are you painting my store? Why don’t you go paint Notre Dame or some church for the tourists?’

      She’s beginning to bug me. I stare down at her. I can see her scalp through thin gray hair. She’d make a fine painting. When I’m mad or drunk, I speak my best French.

      ‘Look, lady! I’m a world-famous collector of ugliness. I have a terrible passion for ugly things. I paint pictures of ugly things I can’t buy and move to my castle in Texas. I have a whole museum filled with paintings of the most ugly places in the world. They’re from China, Timbuktu and Cucamonga.’

      She’s paying attention now.

      ‘This chicken-shit place of yours is my greatest discovery. I’ve never, in twenty years’ searching, found anything more ugly than your store. I’m going to paint it and put this painting at the top of my collection!’

      Her mouth is open. I can see bumpy, hardened ridge where her bottom teeth used to be. She’s staring at me through the whole speech. One eye is slowly dropping to half-mast, like a dead woman’s wink; her eyes are runny cataractal blue. I smile at her. She looks across the street at her store. It’s probably the first time in thirty years she’s actually looked at it. Practically nobody ever looks at anything.

      Her place is truly beautiful, beautiful for a painter. It all runs together; the dirt makes everything fit. The old lady stares at me.

      ‘Maybe it’s dirty, sir; but it’s not ugly.’

      She backs off, turns and walks up the street. You never know when and where you’ll meet a kindred soul.

      WE TOUCH IN A CAULDRON, TWISTING

      MISSES OF CONCURRENT THOUGHT IN A

      MORASS, A BOILING SOUP. WE’RE ALL

      BETROTHED IN THE SAME BROTH-BREATH.

      Two men in black hats and beards are standing behind me. I’ve been listening with one corner of my mind and they’ve been discussing the painting like connoisseurs. They’re into a long discourse on my use of warm and cool colors to penetrate the plane and establish an illusion of space. They’ve got all the baloney together, very impressive. They both have rosy cheeks, bright eyes and a very healthy look. They look like grown-up altar boys. I reach down to get some more medium. One of these guys speaks in perfect English.

      ‘Pay no attention to her. She is a dir-ty woman.’

      I look back at him. He has long curly sideburns and a fine fat-cat look.

      ‘She’s a dir-ty woman and her shop is not kosher. We tell our people never to buy here.’

      ‘Not kosher?’

      I take a cloth and wipe the word ‘CASHER’ off the window in the painting. They laugh. I get to working again.

      The other guy leans closer; maybe I’ll give him a quick dab.

      ‘Why do you paint pictures, sir? Do you paint them for money?’

      ‘It’s the way I try to feed my family.’

      ‘Yes, but do you get joy from it?’

      What the hell, nobody ever asked me that. I do. I certainly do; boy, do I ever get joy out of it.

      ‘Yes, much joy!’

      ‘But, what is the joy in painting buildings?’

      This creep’s right there.

      ‘Nothing much. Only the joy of making them mine, of having things pass through me; the joy of playing God, screwing some details and chewing up, spitting out others. I enjoy the joy in the great delusion of being alive.’

      I’m into it. I go on and on, painting away, slashing and picking at the color, wet-in-wet. The world is forming under my hands. I’m taking things from out there, bringing them in and pushing them out again, like breathing, panting.

      ‘Painting’s the joy of kissing, sleeping, sunlight, breathing; and it’s all in this work. I get inside, the outside-inness of an exploding wish. It’s more than joy, more than ecstasy; it’s a soft gliding and turning in midair with complete control.’

      Holy bloomers, I go on and on. I’m making a total ass of myself, bleeding emotion all over the street. I keep thinking they’ll get embarrassed and go away, or laugh, or maybe call the police. I’m not trying to put them on, just turned on myself. What a great question: ‘Is painting joy?’

      Finally I run down, lean further into the painting. Maybe they’ve already gone; I don’t look back. Then one of them puts his hand on my shoulder.

      ‘You might well be a religious man, Monsieur le peintre.’

      The two of them walk away up the street. What a wild thing to say; probably means I’m some kind of maniac. That’s for sure. I guess being a maniac and liking it has to be the greatest insult going for all the sane people in the world.

      A WHITE CRY TO THE BRIGHT, SILVER-LINED

      CAPE OF MEANING. A BLACK EDGING TO MAKE

      IT VISIBLE. BUT IT’S BUTTONED TIGHT,

      SMOTHERED BY BONE BUTTONS AGAINST COLD.

      I work on. I want to get the impasto finished. It’s a perfect surface for dragging now. I drag to peel paint off the wood horizontally, then wipe it down with dirt, black, vertically. It’s the battle

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