Willem was running his fingertip over his eyebrow, which for some reason he found a comforting gesture: it was affectionate without being in the least sexual. “I just feel like I’m going to be this series of nasty surprises for you,” he said at last, and Willem shook his head. “Surprises, maybe,” he said. “But not nasty ones.”
And so every night, he tries to remove his clothes. Sometimes he can do it; other times, he can’t. Sometimes he can allow Willem to touch him on his back and arms, and other times, he can’t. But he has been unable to be naked before Willem in the daytime, or even in light, or to do any of the things that he knows from movies and eavesdropping on other people that couples are supposed to do around each other: he cannot get dressed in front of Willem, or shower with him, which he’d had to do with Brother Luke, and which he had hated.
His own self-consciousness has not, however, proven contagious, and he is fascinated by how often, and how matter-of-factly, Willem is naked. In the morning, he pulls back Willem’s side of the blanket and studies Willem’s sleeping form with a clinical rigor, noting how perfect it is, and then remembers, with a strange queasy giddiness, that he is the one seeing it, that it is being bestowed upon him.
Sometimes, the improbability of what has happened wallops him, and he is stilled. His first relationship (can it be called a relationship?): Brother Luke. His second: Caleb Porter. And his third: Willem Ragnarsson, his dearest friend, the best person he knows, a person who could have virtually anyone he wanted, man or woman, and yet for some bizarre set of reasons—a warped curiosity? madness? pity? idiocy?—has settled on him. He has a dream one night of Willem and Harold sitting together at a table, their heads bent over a piece of paper, Harold adding up figures on a calculator, and he knows, without being told, that Harold is paying Willem to be with him. In the dream, he feels humiliation along with a kind of gratitude: that Harold should be so generous, that Willem should play along. When he wakes, he is about to say something to Willem when logic reasserts itself, and he has to remind himself that Willem certainly doesn’t need the money, that he has plenty of his own, that however perplexing and unknowable Willem’s reasons are for being with him, for choosing him, that he has not been coerced, that he has made the decision freely.
That night he reads in bed as he waits for Willem to come home, but falls asleep anyway and wakes to Willem’s hand on the side of his face.
“You’re home,” he says, and smiles at him, and Willem smiles back.
They lie awake in the dark talking about Willem’s dinner with the director, and the shoot, which begins in late January in Texas. The film, Duets, is based on a novel he likes, and follows a closeted lesbian and a closeted gay man, both music teachers at a small-town high school, through a twenty-five-year marriage that spans the nineteen-sixties through the nineteen-eighties. “I’m going to need your help,” Willem tells him. “I really, really have to brush up on my piano playing. And I am going to be singing in it, after all. They’re getting me a coach, but will you practice with me?”
“Of course,” he says. “And you don’t need to worry: you have a beautiful voice, Willem.”
“It’s thin.”
“It’s sweet.”
Willem laughs, and squeezes his hand. “Tell Kit that,” he says. “He’s already freaking out.” He sighs. “How was your day?” he asks.
“Fine,” he says.
They begin to kiss, which he still has to do with his eyes open, to remind himself that it is Willem he is kissing, not Brother Luke, and he is doing well until he remembers the first night he had come back to the apartment with Caleb, and Caleb’s pressing him against the wall, and everything that followed, and he pulls himself abruptly away from Willem, turning his face from him. “I’m sorry,” he says. “I’m sorry.” He has not taken off his clothes tonight, and now he pulls his sleeves down over his hands. Beside him, Willem waits, and into the silence, he hears himself saying, “Someone I know died yesterday.”
“Oh, Jude,” says Willem. “I’m so sorry. Who was it?”
He is silent for a long time, trying to speak the words. “Someone I was in a relationship with,” he says at last, and his tongue feels clumsy in his mouth. He can feel Willem’s focus intensify, can feel him move an inch or two closer to him.
“I didn’t know you were in a relationship,” says Willem, quietly. He clears his throat. “When?”
“When you were shooting The Odyssey,” he says, just as quietly, and again, he feels the air change. Something happened while I was away, he remembers Willem saying. Something’s wrong. He knows Willem is remembering the same conversation.
“Well,” says Willem, after a long pause. “Tell me. Who was the lucky person?”
He can barely breathe now, but he keeps going. “It was a man,” he begins, and although he’s not looking at Willem—he’s concentrating on the chandelier—he can feel him nod, encouragingly, willing him to continue. But he can’t; Willem will have to prompt him, and he does.
“Tell me about him,” Willem says. “How long did you go out for?”
“Four months,” he says.
“And why did it end?”
He thinks of how to answer this. “He didn’t like me very much,” he says at last.
He can feel Willem’s anger before he hears it. “So he was a moron,” Willem says, his voice tight.
“No,” he says. “He was a very smart guy.” He opens his mouth to say something else—what, he doesn’t know—but he can’t continue, and he shuts it, and the two of them lie there in silence.
Finally, Willem prompts him again. “Then what happened?” he asks.
He waits, and Willem waits with him. He can hear them breathing in tandem, and it is as if they are bringing all the air from the room, from the apartment, from the world, into their lungs and then releasing it, just the two of them, all by themselves. He counts their breaths: five, ten, fifteen. At twenty, he says, “If I tell you, Willem, do you promise you won’t get mad?” and he feels Willem shift again.
“I promise,” Willem says, his voice low.