romantic rivalry. He's read every line of fiction I have written since then, and I've benefited immeasurably from his advice, even if some of his criticism has reminded me of his right jab.
It's Six A.M.
Do You Know Where You Are?
You are not the kind of guy who would be at a place like this at this time of the morning. But here you are, and you cannot say that the terrain is entirely unfamiliar, although the details are a little fuzzy. You are at a nightclub talking to a girl with a shaved head. The club is either the Bimbo Box or the Lizard Lounge. It might all come a little clearer if you could slip into the bathroom and do a little more Bolivian Marching Powder. Then again, it might not. There is a small voice inside of you insisting that this epidemic lack of clarity is the result of too much of that already, but you are not yet willing to listen to that voice. The night has already turned on that imperceptible pivot where two a.m. changes to six a.m. You know that moment has come and gone, though you are not yet willing to concede that you have crossed the line beyond which all is gratuitous damage and the palsy of unraveled nerve endings. Somewhere back there it was possible to cut your losses, but you rode past that moment on a comet trail of white powder and now are trying to hang on to the rush. Your brain at present is composed of brigades of tiny Bolivian soldiers. They are tired and muddy from their long march through the night. There are holes in their boots and they are hungry. They need to be fed. They need the Bolivian Marching Powder.
Something vaguely tribal about this scene—pendulous jewelry, face paint, ceremonial headgear and hairstyles. You feel that there is also a certain Latin theme, which is more than the fading buzz of marimbas in your brain.
You are leaning back against a post which may or may not be structural with regard to the building but nonetheless feels essential for the maintenance of an upright position. The bald girl is saying this used to be a good place to come before the assholes discovered it. You do not want to be talking to this bald girl, or even listening to her, which is all you're doing, but you don't have your barge pole handy, and just at the moment you don't want to test the powers of speech or locomotion.
How did you get here? It was your friend Tad Allagash who powered you in here, and now he has disappeared. Tad is the kind of guy who certainly would be at a place like this at this time of the morning. He is either your best self or your worst self, you're not sure which. Earlier in the evening it seemed clear that he was your best self. You started on the Upper East Side with Champagne and unlimited prospects, strictly observing the Allagash rule of perpetual motion: one drink per stop. Tad's mission in life is to have more fun than anyone else in New York City, and this involves a lot of moving around, since there is always the likelihood that you are missing something, that where you aren't is more fun than where you are. You are awed by this strict refusal to acknowledge any goal higher than the pursuit of pleasure. You want to be like that. You also think that he is shallow and dangerous. His friends are all rich and spoiled, like the cousin from Memphis you met earlier in the evening who refused to accompany you below Fourteenth Street because he said he didn't have a lowlife visa. This cousin had a girlfriend with cheekbones to break your heart, and you knew she was the real thing when she never once acknowledged your presence. She possessed secrets—about islands, about horses—that you would never know.
You have traveled from the meticulous to the slime. The girl with the shaved head has a scar tattooed on her scalp that looks like a long, sutured gash. You tell her it is very realistic. She takes this as a compliment and thanks you. You meant as opposed to romantic. “I could use one of those right over my heart,” you say.
“You want I can give you the name of the guy did it. You'd be surprised how cheap.” You don't tell her that nothing would