a Valentine post...

Written on the body
by Jeanette Winterson

Why is the measure of love loss?

I am thinking of a certain September: Wood pigeon Red Admiral Yellow Harvest Orange Night. You said, "I love you." Why is it that the most unoriginal thing we can say to one another is still the thing we long to hear? "I love you" is always a quotation. You did not say it first and neither did I, yet when you say it and when I say it we speak like savages who have found three words and worship them. I did worship them but now I am alone on a rock hewn out of my own body.


CALIBAN
You taught me language and my profit on't is I know how to curse. The red plague rid you For learning me your language.
Love demands expression. It will not stay still, stay silent, be good, be modest, be seen and not heard, no. It will break out in tongues of praise, the high note that smashes the glass and spills the liquid. It is no conservationist love. It is a big game hunter and you are the game. A curse on this game. How can you stick at a game when the rules keep changing? I shall call myself Alice and play crocket with the flamingoes. In Wonderland everyone cheats and love is Wonderland isn't it? Love makes the world go round. Love is blind. All you need is love. Nobody ever died of a broken heart. You'll get over it. It'll be different when we're married. Think of the children. Time's a great healer. Still waiting for Mr. Right? Miss Right? and maybe all the little Rights?

It's the clichés that cause the trouble. A precise emotion seeks a precise expression. If what I feel is not precise then would I call it love? It is so terrifying, love, that all I can do is shove it under a dump bin of pink cuddly toys and send myself a greetings card saying `Congratulations on your Engagement'. But I am not engaged I am deeply distracted. I am desperately looking the other way so that love won't see me. I want the diluted version, the sloppy language, the insignificant gestures. The saggy armchair of clichés. It's all right, millions of bottoms have sat here before me. The springs are well worn, the fabric smelly and familiar. I don't have to be frightened, look, my grandma and grandad did it, he in stiff collar and club tie, she in white muslin straining a little at the life beneath. They did it, my parents did it, now I will do it won't I, arms outstretched, not to hold you, just to keep my balance, sleepwalking to that armchair. How happy we will be. How happy everyone will be. And they all lived happily ever after.

We lay on our bed in the rented room and I fed you plums the color of bruises. Nature is fecund but fickle. One year, she leaves you to starve, the next year, she kills you with love. That year the branches were torn beneath the weight, this year they sing in the wind. There are no ripe plums in August. Have I got it wrong, this hesitant chronology? Perhaps I should call it Emma Bovary's eyes or Jane Eyre's dress. I don't know. I'm in another rented room now trying to find the place to go back to where things went wrong. Where I went wrong. You were driving but I was lost in my own navigation.

Nevertheless I will push on. There were plums and I broke them over you.
You said,'Why do I frighten you?'
Frighten me? Yes you do frighten me. You act as though there is infinite pleasure and time without end. How can I know that? My experience has been that time always ends. In theory you are right, the quantum physicists are right. Time without end. In practice we both wear a watch. If I rush at this relationship it's because I fear for it. I fear you have a door I cannot see and that any minute now the door will open and you'll be gone. Then what? Then what as I bang the walls like the Inquisition searching for a saint? Where will I find the secret passage? For me it'll just be the same four walls.