the hall, on his way to the bathroom, Barrett passes Tyler and Beth’s door, which has yawned open during the night, as do all the doors and drawers and cabinets in this slanty apartment. Barrett pauses, doesn’t speak. Tyler is leaning out the window, naked, with his back to the open door, getting snowed upon.
Barrett has always been fascinated by his brother’s body. He and Tyler are not particularly similar, as brothers go. Barrett is a bigger guy, not fat (not yet) but ursine, crimson of eye and lip; ginger-furred, possessed (he likes to think) of an enchanted sensual slyness, the prince transformed into wolf or lion, all slumbering large-pawed docility, awaiting, with avid yellow eyes, love’s first kiss. Tyler is lithe and stringy, tensely muscled. He can look, even in repose, like an aerialist about to jump from a platform. Tyler’s is, somehow, a lean but decorative body, a performer’s body; for some reason the word “jaunty” comes to mind. Tyler is irreverent in his body. He exudes the minor devilishness of a circus performer.
He and Barrett are rarely recognized as brothers. And yet, some inscrutable genetic intention is apparent in them. Barrett knows it with certainty, though he couldn’t explain. They are similar in ways known only to them. They possess a certain feral knowledge of each other, excrescence and scat. They are never mysterious, one to another, even when they’re mysterious to everybody else. It’s not that they don’t argue or challenge; it’s just that nothing one of them does or says ever seems to actually baffle the other. They seem to have agreed, long ago, without ever speaking about it, to keep their affinities secret when they’re in company; to bicker at dinner parties, to vie for attention, to carelessly insult and dismiss; to act, in public, like ordinary brothers, and keep their chaste, ardent romance to themselves, as if they were a two-member sect, passing as regular citizens, waiting for their moment to act.
Tyler turns from the window. He could swear he felt eyes on the back of his head, and although there’s no one there he feels an essence, a dissolved form that the air in the doorway has not yet entirely forgotten.
And then, the sound of water running in the bathtub. Barrett is back from his run.
How is it that Barrett’s presence, whenever he returns from anywhere, still feels like an event to Tyler? The prodigal returned, every single time. It is, after all, just Barrett, the little brother, fat kid clutching a Brady Bunch lunch box, weeping as the bus pulled away; adolescent clown who somehow escaped the fate that was all but automatically doled out to the freckled and rotund; Barrett who held court in the high school cafeteria, the bard of Harrisburg, PA; Barrett with whom Tyler has done uncountable childhood battles over turf and tattlings, has vied for their mother’s fickle and queenly attentions; Barrett whose sheer creatureliness is more familiar than anyone’s, even Beth’s; Barrett whose capacious and quirky mind sailed him into Yale, and who, since then, has patiently explained to Tyler, and Tyler alone, the irrefutable logic of his various plans: the post-graduation years of driving around the country (he crossed twenty-seven state lines), picking up jobs (fry cook, motel receptionist, apprentice construction worker) because his mind had grown too full as his hands remained unskilled; then the hustling (because he was too much caught up in romance, too determined to be a latter-day Bryon, it was time for a crash course in the baseness and beastliness of love); the entering of the Ph.D. program (It’s been good for me, it has been, to know for myself that going out into the Mad American Night tends to involve sitting in a Burger King in Seattle because it’s the only place open after midnight) and the leaving of same (Just because I was wrong about life on the road doesn’t mean I wasn’t right about not wanting to spend my life arguing about the use of the parenthetical in late James); the failed Internet venture with his computer-geek boyfriend; the still-thriving café in Fort Green that Barrett abandoned along with his subsequent boyfriend, after the guy came at him with a boning knife; et cetera …
All of them seemed, at their times, either like good ideas or (Tyler’s preference) fabulously strange ideas, the sort of off-kilter illogic that a smattering of inspired citizens follow to greatness.
None of them, however, seems to have led anywhere in particular.
And now Barrett, the family’s tortured Candide, Barrett who seemed so clearly destined for vertiginous heights or true disaster, has committed the most prosaic of human acts—he’s lost his apartment and, having nothing like the money required to rent a new one, moved in with his older brother. Barrett has done what was least expected of him—he’s become another of New York’s just-barelies, a guy whose modest Hobbitty setup on Horatio Street worked fine as long as the building didn’t go co-op.
Still. It’s Barrett, and Tyler has not ceased marveling at him in some low-grade but ongoing way.
The current Barrett, the one running bathwater down the hall, is the same Barrett who’d seemed for so long to be the magical child, until it began to look as if that boy would have been the third, unborn son. The Meeks of Harrisburg appear to have stopped one son too soon. They produced Tyler, with his fierce concentration and his athletic ease and his singular gift for music (who knew, at the beginning, just how gifted you’ve got to be?), and then Barrett, who arrived with his array of languid capabilities (he can recite more than a hundred poems; he knows enough about Western philosophy to do a lecture series, should anyone ask him to; he picked up nearly fluent French after two months in Paris), but without the ability to choose, and persist.
Barrett, now, is about to take a bath.
Tyler will wait until he hears the water stop running. Even with Barrett, there are formalities. Tyler can hang around with his brother once he’s in the tub, but can’t, for some real but inexplicable reason, watch him enter the water.
Tyler pulls the vial back out of the nightstand drawer, draws himself two lines, perches on the edge of the mattress to Hoover them up. There’s nothing, really nothing, like the morning ones (though this morning is the last, it’s his farewell morning); the ones that slap you into beauty, that scour sloth away, that vaporize the vagaries, the residue of dreams; that blast you out of slumberland, the shadow realm in which you wonder, and ask yourself why, and think about going back to sleep, about how lovely and sweet it would be to just go on sleeping.
The water stops. Barrett must be immersed.
Tyler puts yesterday’s boxer shorts back on (black, emblazoned with tiny white skulls), treads down the hall, opens the bathroom door. The bathroom is in its way the least upsetting room in the apartment, being the only room that has not been changed and changed and changed over the last century-plus. The other rooms are haunted by innumerable attempts to erase some past or other with paint or fake wood paneling, with an acoustic ceiling (the apartment’s most horrific aspect: pockmarked, dingily white squares made of god-knows-what, Tyler thinks of them as blocks of freeze-dried sorrow), with carpet that covers linoleum that covers splintery pine-plank floors. Only the bathroom is essentially as it was, dingy white hexagonal tiles and a pedestal sink and a toilet that actually still dangles a pull-chain flush from its tank. The bathroom is a chamber of unmolested oldness, the only place in which to escape the on-the-cheap improvements wrought by renters who’d hoped to brighten things up a bit, who’d imagined that the hibiscus-patterned contact paper affixed to the kitchen counters, or the word “Suerte” inexpertly carved into the lintel, would help make them feel more at home, in this apartment and in the larger world; and who, all of them, have either moved on by now, or died.
Barrett is in the tub. There’s no denying his capacity for a certain comic grandeur; a pride of being he carries with him everywhere; something royal, something that can in all likelihood only be inherited, never constructed or feigned. Barrett doesn’t lie in the tub. He sits straight-backed, blank-faced, like a commuter going home on a train.
He asks Tyler, “What are you doing up?”
Tyler takes a cigarette from the pack he keeps
