It might have been in Club Justine, or Jimbo's, or Sad Jack's, or the Rafters; Coretti could never be sure where he'd first seen her. At any time, she might have been in any one of those bars. She swam through the submarine half-life of bottles and glassware and the slow swirl of cigarette smoke . . . she moved through her natural element, one bar after another.
 Now, Coretti remembered their first meeting as if he saw it through the wrong end of a powerful telescope, small and clear and very far away. [analogy, simile]
 He had noticed her first in the Backdoor Lounge. It was called the Backdoor because you entered through a narrow back alley. The alley's walls crawled with graffiti, its caged lights ticked with moths. Flakes from its white-painted bricks crunched underfoot. And then you pushed through into a dim space inhabited by a faintly confusing sense of the half-dozen other bars that had tried and failed in the same room under different managements. Coretti sometimes went there because he liked the weary smile of the black bartender, and because the few customers rarely tried to get chummy.
 He wasn't very good at conversation with strangers, not at parties and not in bars. He was fine at the community college where he lectured in introductory linguistics; he could talk with the head of his department about sequencing and options in conversational openings. But he could never talk to strangers in bars or at parties. He didn't go to many parties. He went to a lot of bars.
 Coretti didn't know how to dress. Clothing was a language and Coretti a kind of sartorial stutterer, unable to make the kind of basic coherent fashion statement that would put strangers at their ease. His ex-wife told him he dressed like a Martian; that he didn't look as though he belonged anywhere in the city. He hadn't liked her saying that, because it was true. [compare to evolutionary creature failing to adapt to environment]
 He hadn't ever had a girl like the one who sat with her back arched slightly in the undersea light that splashed along the bar in the Backdoor. The same light was screwed into the lenses of the bartender's glasses, wound into the necks of the rows of bottles, splashed dully across the mirror. [<metaphors] In that light her dress was the green of young corn, like a husk half stripped away, showing back and cleavage and lots of thigh through the slits up the side. Her hair was coppery that night. And, that night, her eyes were green.
 He pushed resolutely between the empty chrome-and-Formica tables until he reached the bar, where he ordered a straight bourbon. He took off his duffle coat, and wound up holding it on his lap when he sat down one stool away from her. Great, he screamed to himself, she'll think you're hiding an erection. And he was startled to realize that he had one to hide.
 He studied himself in the mirror behind the bar, a thirtyish man with thinning dark hair and a pale, narrow face on a long neck, too long for the open collar of the nylon shirt printed with engravings of 1910 automobiles in three vivid colors. He wore a tie with broad maroon and black diagonals, too narrow, he supposed, for what he now saw as the grotesquely long points of his collar. Or it was the wrong color. Something.
Irma La Douce, 1963
 Beside him, in the dark clarity of the mirror, the green-eyed woman looked like Irma La Douce [French prostitute, 1963 film]. But looking closer, studying her face, he shivered. A face like an animal's. A beautiful face, but simple, cunning, two-dimensional. When she senses you're looking at her, Coretti thought, she'll give you the smile, disdainful amusement or whatever you'd expect.
 Coretti blurted, "May I, um, buy you a drink?"
 At moments like these, Coretti was possessed by an agonizingly stiff, schoolmasterish linguistic tic. Um. He winced. Um.
 "You would, um, like to buy me a drink? Why, how kind of you," she said, astonishing him. "That would be very nice." [mimetic or imitative behavior as adaptation]
 Distantly, he noticed that her reply was as stilted and insecure as his own. She added, "A Tom Collins, on this occasion, would be lovely."
 On this occasion? Lovely? Rattled, Coretti ordered two drinks and paid.
 A big woman in jeans and an embroidered cowboy shirt bellied up to the bar beside him and asked the bartender for change. "Well, hey," she said. Then she strutted to the jukebox and punched for Conway and Loretta's "You're the Reason Our Kids Are Ugly." [Conway Twitty & Loretta Lynn, classic country-western duet]
 Coretti turned to the woman in green, and murmured haltingly: "Do you enjoy country-and-western music?" Do you enjoy . . . ? He groaned secretly at his phrasing, and tried to smile.
 "Yes indeed," she answered, the faintest twang edging her voice, "I sure do."
 The cowgirl sat down beside him and asked her, winking, "This li'l terror here givin' you a hard time?"
 And the animal-eyed lady in green replied, "Oh, hell no, honey, I got my eye on `im." And laughed. Just the right amount of laugh. The part of Coretti that was dialectologist stirred uneasily; too perfect a shift in phrasing and inflection. An actress? A talented mimic? The word mimetic rose suddenly in his mind, but he pushed it aside to study her reflection in the mirror; the rows of bottles occluded [blocked the view of] her breasts like a gown of glass.
 "The name's Coretti," he said, his verbal poltergeist shifting abruptly to a totally unconvincing tough-guy mode, "Michael Coretti."
 "A pleasure," she said, too softly for the other woman to hear, and again she had slipped into the lame parody of Emily Post*. [*Emily Post (1872-1960), author of etiquette advice]
 "Conway and Loretta," said the cowgirl, to no one in particular. [Conway Twitty & Loretta Lynn, classic country-western duet]
 "Antoinette," said the woman in green, and inclined her head. She finished her drink, pretended to glance at a watch, said thank-you-for-the-drink too damn politely, and left.
 Ten minutes later Coretti was following her down Third Avenue. He had never followed anyone in his life and it both frightened and excited him. Forty feet seemed a discreet distance, but what should he do if she happened to glance over her shoulder?
 Third Avenue isn't a dark street, and it was there, in the light of a streetlamp, like a stage light, that she began to change. The street was deserted.
 She was crossing the street. She stepped off the curb and it began. It began with tints in her hair—at first he thought they were reflections. But there was no neon there to cast the blobs of color that appeared, color sliding and merging like oil slicks. Then the colors bled away and in three seconds she was white-blond. He was sure it was a trick of the light until her dress began to writhe, twisting across her body like shrink-wrap plastic. Part of it fell away entirely and lay in curling shreds on the pavement, shed like the skin of some fabulous animal. When Coretti passed, it was green foam, fizzing, dissolving, gone. He looked back up at her and the dress was another dress, green satin, shifting with reflections. Her shoes had changed too. Her shoulders were bare except for thin straps that crossed at the small of her back. Her hair had become short, spiky.
 He found that he was leaning against a jeweler's plate-glass window, his breath coming ragged and harsh with the damp of the autumn evening. He heard the disco's heartbeat from two blocks away. As she neared it, her movements began subtly to take on a new rhythm—a shift in emphasis in the sway of her hips, in the way she put her heels down on the sidewalk. The doorman let her pass with a vague nod. He stopped Coretti and stared at his driver's license and frowned at his duffle coat. Coretti anxiously scanned the wash of lights at the top of a milky plastic stairway beyond the doorman. She had vanished there, into robotic flashing and redundant thunder.
[27a] Grudgingly the man let him pass, and he pounded up the stairs, his haste disturbing the lights beneath the translucent plastic steps.
 Coretti had never been in a disco before; he found himself in an environment designed for complete satisfaction-in-distraction. He waded nervously through the motion and the fashions and the mechanical urban chants booming from the huge speakers. He sought her almost blindly on the pose-clotted dance floor, amid strobe lights.
 And found her at the bar, drinking a tall, lurid cooler and listening to a young man who wore a loose shirt of pale silk and very tight black pants. She nodded at what Coretti took to be appropriate intervals. Coretti ordered by pointing at a bottle of bourbon. She drank five of the tall drinks and then followed the young man to the dance floor.
 She moved in perfect accord with the music, striking a series of poses; she went through the entire prescribed sequence, gracefully but not artfully, fitting in perfectly. Always, always fitting in perfectly. Her companion danced mechanically, moving through the ritual with effort.
 When the dance ended, she turned abruptly and dived into the thick of the crowd. The shifting throng closed about her like something molten.
 Coretti plunged in after her, his eyes never leaving her—and he was the only one to follow her change. By the time she reached the stair, she was auburn-haired and wore a long blue dress. A white flower blossomed in her hair, behind her right ear; her hair was longer and straighter now. Her breasts had become slightly larger, and her hips a shade heavier. She took the stairs two at a time, and he was afraid for her then. All those drinks.
 But the alcohol seemed to have had no effect on her at all.
 Never taking his eyes from her, Coretti followed, his heartbeat outspeeding the disco-throb at his back, sure that at any moment she would turn, glare at him, call for help.
 Two blocks down Third she turned in at Lothario's. There was something different in her step now. Lothario's was a quiet complex of rooms hung with ferns and Art Deco mirrors. There were fake Tiffany lamps hanging from the ceiling, alternating with wooden-bladed fans that rotated too slowly to stir the wisps of smoke drifting through the consciously mellow drone of conversation. After the disco, Lothario's was familiar and comforting. A jazz pianist in pinstriped shirt sleeves and loosely knotted tie competed softly with talk and laughter from a dozen tables.
 She was at the bar; the stools were only half taken, but Coretti chose a wall table, in the shadow of a miniature palm, and ordered bourbon.
 He drank the bourbon and ordered another. He couldn't feel the alcohol much tonight.
 She sat beside a young man, yet another young man with the usual set of bland, regular features. He wore a yellow golf shirt and pressed jeans. Her hip was touching his, just a little. They didn't seem to be speaking, but Coretti felt they were somehow communing. They were leaning toward one another slightly, silent. Coretti felt odd. He went to the rest room and splashed his face with water. Coining back, he managed to pass within three feet of them. Their lips didn't move till he was within earshot.
 They took turns murmuring realistic palaver [chat]: "I saw his earlier films, but . . . "
 "But he's rather self-indulgent, don't you think?"
 "Sure, but in the sense that . . . ."
 And for the first time, Coretti knew what they were, what they must be. They were the kind you see in bars who seem to have grown there, who seem genuinely at home there. Not drunks, but human fixtures. Functions of the bar. The belonging kind.
 Something in him yearned for a confrontation. He reached his table, but found himself unable to sit down. He turned, took a deep breath, and walked woodenly toward the bar. He wanted to tap her on her smooth shoulder and ask who she was, and exactly what she was, and point out the cold irony of the fact that it was he, Coretti, the Martian dresser, the eavesdropper, the outsider, the one whose clothes and conversation never fit, who had at last guessed their secret.
 But his nerve broke and he merely took a seat beside her and ordered bourbon.
 "But don't you think," she asked her companion, "that it's all relative?"
 The two seats beyond her companion were quickly taken by a couple who were talking politics. Antoinette and Golf Shirt took up the political theme seamlessly. recycling, speaking just loudly enough to be overheard. Her face, as she spoke, was expressionless. A bird trilling on a limb.
 She sat so easily on her stool, as if it were a nest [extended metaphor]. Golf Shirt paid for the drinks. He always had the exact change, unless he wanted to leave a tip. Coretti watched them work their way methodically through six cocktails each, like insects feeding on nectar. But their voices never grew louder, their cheeks didn't redden, and when at last they stood, they moved without a trace of drunkenness—a weakness, thought Coretti, a gap in their camouflage.
They paid him absolutely no attention while he followed them through three
 She was plump in Waylon's, and there were dark hollows under her eyes. There were coffee stains on her polyester pantsuit. Her companion wore jeans, a T- shirt, and a red baseball cap with a red-and-white Peterbilt patch. Coretti risked losing them when he spent a frantic minute in "Pointers," blinking in confusion at a hand-lettered cardboard sign that said, We aim to please You aim too, please.
 Third Avenue lost itself near the waterfront in a petrified snarl of brickwork. In the last block, bright vomit marked the pavement at intervals, and old men dozed in front of black-and-white TVs, sealed forever behind the fogged plate glass of faded hotels.
 The bar they found there had no name. An ace of diamonds was gradually flaking away on the unwashed window, and the bartender had a face like a closed fist. An FM transistor in ivory plastic keened [wailed] easy-listening rock to the uneven ranks of deserted tables. They drank beer and shots. They were old now, two ciphers [zeroes, nobodies] who drank and smoked in the light of bare bulbs, coughing over a pack of crumpled Camels she produced from the pocket of a dirty tan raincoat.
 At 2:25 they were in the rooftop lounge of the new hotel complex that rose above the waterfront. She wore an evening dress and he wore a dark suit. They drank cognac and pretended to admire the city lights. They each had three cognacs while Coretti watched them over two ounces of Wild Turkey in a Waterford crystal highball glass.
[53a] They drank until last call. Coretti followed them into the elevator. They smiled politely but otherwise ignored him. There were two cabs in front of the hotel; they took one, Coretti the other.
 "Follow that cab," said Coretti huskily, thrusting his last twenty at the aging hippie driver.
 "Sure, man, sure. . . ." The driver dogged the other cab for six blocks, to another, more modest hotel. They got out and went in. Coretti slowly climbed out of his cab, breathing hard.
 He ached with jealousy: for the personification of conformity, this woman who was not a woman, this human wallpaper [<metaphor]. Coretti gazed at the hotel and lost his nerve. He turned away.
walked home. Sixteen blocks. At some point he realized that he wasn't drunk.
drunk at all.
In the afternoon he slept, and dreamed of sheep-faced people reflected in
mirrors behind rows of bottles.
 Sometimes he watched the hotel he'd seen her go into. He looked carefully at each of the couples who came and went. Not that he'd be able to spot her from her looks alone—but there should be a feeling, some kind of intuitive recognition. He watched the couples and he was never sure.
 In the following weeks he systematically visited every boozy watering hole in the city. Armed at first with a city map and five torn Yellow Pages, he gradually progressed to the more obscure establishments, places with unlisted numbers. Some had no phone at all. He joined dubious private clubs, discovered unlicensed after-hours retreats where you brought your own, and sat nervously in dark rooms devoted to areas of fringe sexuality he had not known existed.
 But he continued on what became his nightly circuit. He always began at the Backdoor. She was never there, or in the next place, or the next. The bartenders knew him and they liked to see him come in, because he brought drinks continuously, and never seemed to get drunk. So he stared at the other customers a bit so what?
[62a] Coretti lost his job.
 He'd missed classes too many times. He'd taken to watching the hotel when he could, even in the daytime. He'd been seen in too many bars. He never seemed to change his clothes. He refused night classes. He would let a lecture trail off in the middle as he turned to gaze vacantly out the window.
 He was secretly pleased at being fired. They had looked at him oddly at faculty lunches when he couldn't eat his food. And now he had more time for the search.
 Coretti found her at 2:15 on a Wednesday morning, in a gay bar called the Barn. Paneled in rough wood and hung with halters and rusting farm equipment, the place was shrill with perfume and laughter and beer. She was everyone's giggling sister, in a blue-sequined dress, a green feather in her coiffed brown hair. Through a sweeping sense of almost cellular relief, Coretti was aware of a kind of admiration, a strange pride he now felt in her and her kind. Here, too, she belonged. She was a representative type, a fag-hag who posed no threat to the queens or their butchboys. Her companion had become an ageless man with carefully silvered temples, an angora sweater, and a trench coat.
 They drank and drank, and went laughing—laughing just the right sort of laughter—out into the rain. A cab was waiting, its wipers duplicating the beat of Coretti's heart.
 Jockeying clumsily across the wet sidewalk, Coretti scurried into the cab, dreading their reaction.
[67a] Coretti was in the back seat, beside her.
 The man with silver temples spoke to the driver. The driver muttered into his hand mike, changed gears, and they flowed away into the rain and the darkened streets. The cityscape made no impression on Coretti, who, looking inwardly, was seeing the cab stop, the gray man and the laughing woman pushing him out and pointing, smiling, to the gate of a mental hospital. Or: the cab stopping, the couple turning, sadly shaking their heads. And a dozen times he seemed to see the cab stopping in an empty side street where they methodically throttled him. Coretti left dead in the rain. Because he was an outsider.
 But they arrived at Coretti's hotel.
 In the dim glow of the cab's dome light he watched closely as the man reached into his coat for the fare. Coretti could see the coat's lining clearly and it was one piece with the angora sweater. No wallet bulged there, and no pocket. But a kind of slit widened. It opened as the man's fingers poised over it, and it disgorged money. Three bills, folded, were extruded smoothly from the slit. The money was slightly damp. It dried, as the man unfolded it, like the wings of a moth just emerging from the chrysalis.
 "Keep the change," said the belonging man, climbing out of the cab. Antoinette slid out and Coretti followed, his mind seeing only the slit. The slit wet, edged with red, like a gill.
 The lobby was deserted and the desk clerk bent over a crossword. The couple drifted silently across the lobby and into the elevator, Coretti close behind. Once he tried to catch her eye, but she ignored him. And once, as the elevator rose seven floors above Coretti's own, she bent over and sniffed at the chrome wall ashtray, like a dog snuffling at the ground.
 Hotels, late at night, are never still. The corridors are never entirely silent. There are countless barely audible sighs, the rustling of sheets, and muffled voices speaking fragments out of sleep. But in the ninth-floor corridor, Coretti seemed to move through a perfect vacuum, soundless, his shoes making no sound at all on the colorless carpet and even the beating of his outsider's heart sucked away into the vague pattern that decorated the wallpaper.
 He tried to count the small plastic ovals screwed on the doors, each with its own three figures, but the corridor seemed to go on forever. At last the man halted before a door, a door veneered like all the rest with imitation rosewood, and put his hand over the lock, his palm flat against the metal. Something scraped softly and then the mechanism clicked and the door swung open. As the man withdrew his hand, Coretti saw a grayish-pink, key-shaped sliver of bone retract wetly into the pale flesh.
 No light burned in that room, but the city's dim neon aura filtered in through venetian blinds and allowed him to see the faces of the dozen or more people who sat perched on the bed and the couch and the armchairs and the stools in the kitchenette. At first he thought that their eyes were open, but then he realized that the dull pupils were sealed beneath nictitating membranes, third eyelids [as in reptiles or birds] that reflected the faint shades of neon from the window. They wore whatever the last bar had called for; shapeless Salvation Army overcoats sat beside bright suburban leisurewear, evening gowns beside dusty factory clothes, biker's leather by brushed Harris tweed. With sleep, all spurious humanity had vanished. They were roosting.
 His couple seated themselves on the edge of the Formica countertop in the kitchenette, and Coretti hesitated in the middle of the empty carpet. Light-years of that carpet seemed to separate him from the others, but something called to him across the distance, promising rest and peace and belonging. And still he hesitated, shaking with an indecision that seemed to rise from the genetic core of his body's every cell.
 Until they opened their eyes, all of them simultaneously, the membranes sliding sideways to reveal the alien calm of dwellers in the ocean's darkest trench.
 Coretti screamed, and ran away, and fled along corridors and down echoing concrete stairwells to cool rain and the nearly empty streets.
 Coretti never returned to his room on the third floor of that hotel. A bored house detective collected the linguistics texts, the single suitcase of clothing, and they were eventually sold at auction. Coretti took a room in a boardinghouse run by a grim Baptist teetotaler who led her roomers in prayer at the start of every overcooked evening meal. She didn't mind that Coretti never joined them for those meals; he explained that he was given free meals at work. He lied freely and skillfully. He never drank at the boardinghouse, and he never came home drunk. Mr. Coretti was a little odd, but always paid his rent on time. And he was very quiet.
 Coretti stopped looking for her. He stopped going to bars. He drank out of a paper bag while going to and from his job at a publisher's warehouse, in an area whose industrial zoning permitted few bars.
[80a] He worked nights.
 Sometimes, at dawn, perched on the edge of his unmade bed, drifting into sleep—he never slept lying down, now—he thought about her. Antoinette. And them. The belonging kind. Sometimes he speculated dreamily. . . . Perhaps they were like house mice, the sort of small animal evolved to live only in the walls of man-made structures.
 A kind of animal that lives only on alcoholic beverages. With peculiar metabolisms they convert the alcohol and the various proteins from mixed drinks and wine and beers into everything they need. And they can change outwardly, like a chameleon or a rockfish, for protection. So they can live among us. And maybe, Coretti thought, they grow in stages. In the early stages seeming like humans, eating the food humans eat, sensing their difference only in a vague disquiet of being an outsider.
 A kind of animal with its own cunning, its own special set of urban instincts. And the ability to know its own kind when they're near. Maybe.
 And maybe not.
 Coretti drifted into sleep.
 On a Wednesday three weeks into his new job, his landlady opened the door—she never knocked—and told him that he was wanted on the phone. Her voice was tight with habitual suspicion, and Coretti followed her along the dark hallway to the second-floor sitting room and the telephone.
 Lifting the old-fashioned black instrument to his ear, he heard only music at first, and then a wall of sound resolving into a fragmented amalgam of conversations. Laughter. No one spoke to him over the sound of the bar, but the song in the background was "You're the Reason Our Kids Are Ugly."
then the dial tone, when the caller hung up.
 A Christian workingman in the next room coughed in his sleep as Coretti got up and went down the hall to the telephone. Coretti told the evening-shift foreman that he was quitting his job. He hung up and went back to his room, locked the door behind him, and slowly removed his clothing until he stood naked before the garish framed lithograph of Jesus above the brown steel bureau.
 And then he counted out nine tens. He placed them carefully beside the praying-hands plaque decorating the bureau top.
was nice-looking money. It was perfectly good money. He made it himself.
 After the third margarita their hips were touching, and something was spreading through him in slow orgasmic waves. It was sticky where they were touching; an area the size of the heel of his thumb where the cloth had parted. He was two men: the one inside fusing with her in total cellular communion, and the shell who sat casually on a stool at the bar, elbows on either side of his drink, fingers toying with a swizzle stick. Smiling benignly into space. Calm in the cool dimness.
 And once, but only once, some distant worrisome part of him made Coretti glance down to where soft-ruby tubes pulsed, tendrils tipped with sharp lips worked in the shadows between them. Like the joining tentacles of two strange anemones [see below]. They were mating, and no one knew.
 And the bartender, when he brought the next drink, offered his tired smile and said, "Rainin' out now, innit? Just won't let up."
 "Been like that all goddamn week," Coretti answered. "Rainin' to beat the band."
 And he said it right. Like a real human being.
< sea anemones >