for rest, Brian dreaded closing his eyes. He had the crazy idea that Death waited to take him in his sleep. In dreams, a winged presence would descend on him, cover his mouth with hers, and suck the breath of life from him.
Chapter
22
A fter more than five hours of sleep, Harrow wakes past noon, not in the windowless room where they have sex, but in the main bedroom of the yellow-brick house.
The draperies are shut, but he can tell that Moongirl is already gone. Her presence would have imparted an unmistakable quality to the darkness because her mood, that of a perpetually pending storm, adds significant millibars to the natural atmospheric pressure.
In the kitchen, he brews strong coffee. Through a window, he sees her in the pocket yard, that small pool of grass so green in a sea of rock.
Carrying his mug of steaming brew, he steps outside. The day is warm for late September.
The yellow-brick house is anchored in a landscape of beige granite. Rounded forms of stone, like the knuckles of giant fists, press up against the perimeter of the sun-washed brick patio.
Harrow crosses fissured slabs of weather-smoothed rock to the yard. Over the ages, wind had blown soil into a deep oval declivity in the granite, and later had seeded it.
From the center of the grassy oval rises an eighty-foot Montezuma pine, its great spreading branches filtering the midday sun through tufts of gracefully drooping, ten-inch-long needles.
In feathery shadows and plumes of sunshine, Moongirl sits upon a blanket, aware that she is a vision. Even in this dramatic landscape, she is the focus and lodestar. She draws his gaze as irresistibly as gravity pulls a dropped stone down a well, into the drowning dark.
She is wearing only black panties and a simple but expensive diamond necklace that Harrow gave her. She is ripe but lithe, with sun-bronzed skin and the self-possessed air of a cat. Dappled with shadows and golden light, she reminds him of a leopard at leisure, fresh from a killing, fed and content.
Men have given her so much for so long that she expects gifts in the same way she expects to receive air every time she inhales: as a natural right. She accepts every offering, no matter how extravagant, with no more thanks than she expresses when she turns a spigot and receives water from a tap.
Beside her is a black-lacquered box lined with red velvet, in which she keeps an array of polishes, scissors, files, emery boards, and other instruments for the care of her nails.
Although she never visits a manicurist, her fingernails are exquisitely shaped, though shorter and more pointed than is the fashion these days. She is content to spend hours at this task.
Her fear of boredom turns her inward. To Moongirl, other people seem as flat as actors on a TV screen, and she is unable to imagine that they possess her dimension. The outer world is gray and empty, but her inner world is rich.
Harrow sits on the grass, a few feet from her blanket, as she does not encourage closeness in moments like this. He drinks coffee, watches her as she paints her toenails, and wonders what occupies her mind when she is in such a reverie.
He would not be surprised to learn that no conscious thoughts whatsoever trouble her right now, that she is in a trance.
In an effort to understand her, he discovered a condition called automatism. This is a state during which behavior is not controlled by the conscious mind, and it may or may not apply to her.
Usually, automatisms last a few minutes. But as with all things, there are atypical events, and Moongirl is nothing if not atypical.
In the grip of automatism, perhaps she can spend hours on her toenails without being aware that she is grooming herself. Later, she would have no recollection of trimming, filing, and polishing.
Conceivably, she could kill a man during such a spell, never be conscious of committing violence, and have no memory of murder.
He would like to watch her in an act of automatismic homicide. How
Chapter
22
A fter more than five hours of sleep, Harrow wakes past noon, not in the windowless room where they have sex, but in the main bedroom of the yellow-brick house.
The draperies are shut, but he can tell that Moongirl is already gone. Her presence would have imparted an unmistakable quality to the darkness because her mood, that of a perpetually pending storm, adds significant millibars to the natural atmospheric pressure.
In the kitchen, he brews strong coffee. Through a window, he sees her in the pocket yard, that small pool of grass so green in a sea of rock.
Carrying his mug of steaming brew, he steps outside. The day is warm for late September.
The yellow-brick house is anchored in a landscape of beige granite. Rounded forms of stone, like the knuckles of giant fists, press up against the perimeter of the sun-washed brick patio.
Harrow crosses fissured slabs of weather-smoothed rock to the yard. Over the ages, wind had blown soil into a deep oval declivity in the granite, and later had seeded it.
From the center of the grassy oval rises an eighty-foot Montezuma pine, its great spreading branches filtering the midday sun through tufts of gracefully drooping, ten-inch-long needles.
In feathery shadows and plumes of sunshine, Moongirl sits upon a blanket, aware that she is a vision. Even in this dramatic landscape, she is the focus and lodestar. She draws his gaze as irresistibly as gravity pulls a dropped stone down a well, into the drowning dark.
She is wearing only black panties and a simple but expensive diamond necklace that Harrow gave her. She is ripe but lithe, with sun-bronzed skin and the self-possessed air of a cat. Dappled with shadows and golden light, she reminds him of a leopard at leisure, fresh from a killing, fed and content.
Men have given her so much for so long that she expects gifts in the same way she expects to receive air every time she inhales: as a natural right. She accepts every offering, no matter how extravagant, with no more thanks than she expresses when she turns a spigot and receives water from a tap.
Beside her is a black-lacquered box lined with red velvet, in which she keeps an array of polishes, scissors, files, emery boards, and other instruments for the care of her nails.
Although she never visits a manicurist, her fingernails are exquisitely shaped, though shorter and more pointed than is the fashion these days. She is content to spend hours at this task.
Her fear of boredom turns her inward. To Moongirl, other people seem as flat as actors on a TV screen, and she is unable to imagine that they possess her dimension. The outer world is gray and empty, but her inner world is rich.
Harrow sits on the grass, a few feet from her blanket, as she does not encourage closeness in moments like this. He drinks coffee, watches her as she paints her toenails, and wonders what occupies her mind when she is in such a reverie.
He would not be surprised to learn that no conscious thoughts whatsoever trouble her right now, that she is in a trance.
In an effort to understand her, he discovered a condition called automatism. This is a state during which behavior is not controlled by the conscious mind, and it may or may not apply to her.
Usually, automatisms last a few minutes. But as with all things, there are atypical events, and Moongirl is nothing if not atypical.
In the grip of automatism, perhaps she can spend hours on her toenails without being aware that she is grooming herself. Later, she would have no recollection of trimming, filing, and polishing.
Conceivably, she could kill a man during such a spell, never be conscious of committing violence, and have no memory of murder.
He would like to watch her in an act of automatismic homicide. How
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