The Corrections

On the October morning when these mysteries impressed themselves on her en masse, Sylvia took the stairs to her studio after breakfast at a run. On a sheet of ivory Canson paper, and using a mirror so that it appeared to be her right hand, she drew her left hand with its thumb raised and fingers curled, sixty degrees behind full profile, a nearly full rear view. This hand she then filled with a snub-nose .38 revolver, expertly foreshortened, whose barrel penetrated a pair of smirking lips above which she penciled accurately, from memory, the taunting eyes of Khellye Withers, over the recent exhaustion of whose legal appeals few tears had been shed. And at that—a pair of lips, a pair of eyes—Sylvia had set down her pencil.

“It was time to move on,” Sylvia said to Enid. “I saw it all of a sudden. That whether I liked it or not, the survivor and the artist was me, not her. We’re all conditioned to think of our children as more important than us, you know, and to live vicariously through them. All of a sudden I was sick of that kind of thinking. I may be dead tomorrow, I said to myself, but I’m alive now. And I can live deliberately. I’ve paid the price, I’ve done the work, and I have nothing to be ashamed of.

“And when the event, the big change in your life, is simply an insight—isn’t that a strange thing? That absolutely nothing changes except that you see things differently and you’re less fearful and less anxious and generally stronger as a result: isn’t it amazing that a completely invisible thing in your head can feel realer than anything you’ve experienced before? You see things more clearly and you know that you’re seeing them more clearly. And it comes to you that this is what it means to love life, this is all anybody who talks seriously about God is ever talking about. Moments like this.”

“Maybe one more?” Enid said to the dwarf, raising her glass. She was almost wholly not listening to Sylvia, but shaking her head and murmuring “Uh!” and “Oh!” while her consciousness stumbled through clouds of alcohol into such absurd realms of speculation as how the dwarf might feel against her hips and belly, embracing her. Sylvia turned out to be very intellectual, and Enid felt befriended under somewhat false pretenses, but while not listening she also had to listen, because she was missing certain key facts, such as whether Khellye Withers was black and whether Jordan had been brutally raped.

From her studio Sylvia had gone straight to a Wawa Food Market and bought one of every dirty magazine it had in stock. Nothing she found in the magazines was sufficiently hardcore, however. She needed to see the actual plumbing, the literal act. She returned to Chadds Ford and switched on the computer that her younger son had given her to foster closeness in their time of loss. Her e-mailbox contained a month’s backlog of filial greetings that she ignored. In less than five minutes she located the goods she wanted—all it took was a credit card—and she moused through thumbnail views until she found the necessary angle on the necessary act with the necessary actors: black man performing oral sex on white man, camera shooting over left hip sixty degrees behind full profile, crescent of high values curving over buttock, knuckles of black fingers duskily visible in their probing on the dark side of this moon. She downloaded the image and viewed it at high resolution.

She was sixty-five years old and she’d never seen a scene like this. She’d fashioned images all her life and she’d never appreciated their mystery. Now here it was. All this commerce in bits and bytes, these ones and zeros streaming through servers at some midwestern university. So much evident trafficking in so much evident nothing. A population glued to screens and magazines.

She wondered: How could people respond to these images if images didn’t secretly enjoy the same status as real things? Not that images were so powerful, but that the world was so weak. It could be vivid, certainly, in its weakness, as on days when the sun baked fallen apples in orchards and the valley smelled like cider, and cold nights when Jordan had driven to Chadds Ford for dinner and the tires of her Cabriolet had crunched on the gravel driveway; but the world was fungible only as images. Nothing got inside the head without becoming pictures.

And yet Sylvia was struck by the contrast between the online porn and her unfinished drawing of Withers. Unlike ordinary lust, which could be appeased by pictures or by pure imagination, the lust for revenge could not be tricked. The most graphic image couldn’t satisfy it. This lust required the death of a specific individual, the termination of a specific history. As the menus said: NO SUBSTITUTIONS. She could draw her desire but not its fulfillment. And so she finally told herself the truth: she wanted Khellye Withers dead.