LITMIR.BIZ

       FOR DOROTHY WALLACE

      Each thing is merely the limit of the flame to which it owes its existence.

      —MAX SCHELER,

       Nature et forme de la sympathie

      Contents

Acknowledgments

The Chess Set of Ivory

Wormwood

Roseveine

       Das Wunderbuch

       Vertige Doré

       The Many Tenses of Wanting

       The Student from Algiers

       The Foxed Mirror

       The Neurosis of Containment

       Fortuné

       Opium

       The Word “Desire”

       Praise for Rikki Ducornet

Acknowledgments

      The author wishes to express her thanks to Sandra Dijkstra, Tracy Brown, Greg Robbins, and Catherine Kasper for showing up at precisely the right moment.

The Chess Set of Ivory

      Chess appealed to my father’s delight in quietude, his repressed rage, his trust in institutions, models, and measured behavior. Chess justified what Father liked best: thinking about thinking. He called it: battling mind.

      Father dwelled in a space of such disembodied quietness his Egyptian students called him His Airship, I believe with affection. Chess allowed Father to make decisions that would in no way influence the greater world—beyond his grasp anyway—and to engage in conflict without doing violence to others or to himself. (Father’s fear of thuggery suggested clairvoyance when in a later decade he would find himself undone by a handful of classroom Maoists who called him Gasbag to his face. If clearly they intended to hurt him, they were, admittedly, responding to that disembodied quality of his already evident in Egypt, and his pedantry—a quality rooted in timidity.)

      Father was a closet warrior, a mild man and an intellectual, a dreamer of reason in a world he feared was chronically, terminally unreasonable. And he was a parsimonious conversationalist. His favorite quote was from Wittgenstein: “What we cannot speak of we must be silent about.” When Father did speak, he spoke so softly that even those who knew him well had to ask him to repeat himself. Once, during his Fulbright year in Egypt, when several of his students had discovered a crate of brass hearing trumpets for sale in the bazaar, they had carried these to class to—at a prearranged signal—lift them simultaneously to their ears. (Yet, in sleep, Father ground his teeth so loudly my mother nightly dreamed of industry: gravel pits, cement factories, brickworks.)

      I could add that Father was fastidious, sometimes changing his clothes two or three times a day. He ate little and dressed soberly—if with a specific, outdated flair: on formal occasions he wore a cummerbund. I took after him, played quietly by myself behind closed doors. And if Mother—and she was a big, beautiful Icelander—was a noisemaker, she made her noise out in the world—the Officers Club, for example.

      Father once admitted to me that chess saved him from losing his mind—and this was said after he had lost his heart. When he played he became disembodied—a mind on a stalk in a chair, invisible—and if he could keep ahead of his adversary, impalpable, too. In life as in chess, Father did not want to be touched, to be moved, to be seized; he was unwilling to be pinned down or cornered. He jumped from one discourse to another, embracing peculiar and obscure concepts and ideologies about which no one else knew anything; meaningful conversation with him proved an impossibility. In those years chess became the sole vehicle by which he could be reached, or rather, engaged—for he could never be reached—the navigable airspace in which he functioned was invariably at the absolute altitude of his choosing. When he embraced the cryptic vocabulary of Coptic gnosticism, he lost his few remaining friends because it was impossible to follow the direction of his thoughts, and that was exactly what he wanted.

      In Cairo Father played chess blindfolded and invariably he won. The positions of the pieces on the board were sharper in his mind’s eye than the furniture of his own living room (where he was constantly scraping his shins and knocking over chairs).

      But I keep digressing. What I wish to write about is a brief period of time in Egypt, one year that seems to stretch to infinity, a year in limbo, a time of disquiet and loneliness. That year was a paradox—both intensely felt and numbing. The world passed before my eyes like an animated stage—distant, colorful, unattainable—and I, in my own little chair, looked on, watchful and amazed, frightened, enchanted, and disembodied, too.

      In Egypt, Father had taken to wearing a fez to wander as unobtrusively as possible. He looked Egyptian—we both did—so that Cairo embraced us unquestioningly, my father’s limited but convincing Arabic sufficing during brief encounters with beggars and merchants and dragomen; and he spoke French.

      One winter’s day on an excursion to the Mouski, we passed the window of an ivory carver’s shop, which contained any number of charming miniatures: gazelles, tigers, monkeys, elephants, and the like. As he gazed at the animals—and I supposed that he might elect to buy me one—Father began to cough and hum in a familiar way that meant he was about to make a brilliant move, or was excited by an idea. At that instant a small boy invited us into the shop and offered us two little chairs on which to sit. The carver appeared then, beaming, and sent the boy off to fetch coffee. The tray set before us, the mystery of Father’s excitement was revealed: If Father provided the drawings, could the carver make for him a chess set in which the goddesses and gods of the Egyptians and the Romans met face-to-face? Isis and Osiris, Horus and Amon Ra battling Jupiter and Juno and Neptune and Mars? Might sacred bulls confront elephants? He imagined the Egyptian pawns as ibises and the Roman pawns as archers.

      This conversation took place in a boil of English, Arabic, and French; already the coffee tray was cluttered with sketches and ivory elephants—examples of sizes and styles. As the ivory carver and my father discussed the set’s

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