Amanda, Epilouge - Sheinberg's edit, "Love Conquers All"

When I told you about moving to Texas, you told me you wanted to see me one last time before it happened. We make plans quietly - another day or short weekend in New Haven. No presumptions, no plans, just idle wandering. It gets compared to the movie Before Sunrise, where those two people just wander around a strange city and ignore everything but each other.

The Saturday morning rolls around and I'm standing in the train station again, my flat-cap in one shaking hand and the other in my pocket. And as you step up, you're wearing a purple scarf, or a purple beret, a purple something. You smile out of the corner of your mouth and we walk out into the street, holding hands. New Haven is busy and loud and we don't notice any of it. The pull of you has nothing to do with how you're leading me.

You talk about your life and your job and your marriage and your dog and how broken your car is and where you got your boots and how tired you are of your mother; with every new subject you creep closer and grip my hand harder until your fingers are pressing white between my knuckles. You coo quietly and say to tell me about my life instead. My job, my apartment (I want to see it! she says with enthusiasm), my cat Greta, my car that is always falling apart, movies, music, close-calls that somehow never turn into girlfriends. An existence of near-misses that somehow culminate into the misery of lost chances, bodies of dreams strewn about.

We duck into alleys and corners and the windows of book stores.You go to kiss me and miss my mouth and get me right under the eye. I ask how long I have with you and you pull away to an arms length before saying "Tomorrow, noon." The last word curves up to the corners of your voice, almost like a question, easily confused with hope.

I take you home and put on the television and we get to cooking. I'm a terrible in front of a stove but between the two of us we make something passable before deciding on throwing it out for Chinese take-out. Between the phone call and picking up the order, we become a mess of limbs on the living room floor, grinding like machines. I can hear the fabric stretch along your back, under your hair. You guide me once or twice - a hand here, no, move your knee - before we start laughing.

I stand up to get my keys - the Chinese is surely ready and probably cold by now - and you hold me before we walk out. My hands find your elbows and I wonder aloud how small they are in my hands. Weird detail.

The takeout is bland, the movie we watch is half ignored. The lights stay off after the plates are in the sink and the DVD player is still. Your glasses come off, the hair is down, we both know this is the one last time we have in a relationship of one last times. Your legs meet around my back and so it goes, on and on, for an hour and then two. You shake so hard that it might actually be me shaking. You curse loudly. It sounds weird coming from you.

===

Now - none of this happened. This epilogue just above. Its what I thought should happen and likely never will. Because, as life is always ready to prove, love does not conquer all. Love is a building block of life, like water, like carbon. It is a thing that is necessary to exist but it is also an inert element when left to its own devices. It is a thing that does not move on its own, does not change without outside forces, does not have any greater meaning without more placed on it.

And thats the cusp of our relationship I guess. And its inert because of you.

I'll allow myself a little bit of anger and a whole lot of self-loathing over that anger because, well, this is all unresolved. What I wrote above was what I would need to end or continue everything we had instead of the basic building block you and I started so long ago. We never finished what we barely even started.

What drives me nuts isn't that I lost to the lesser man. Its that I lost to you. I never tried harder with anyone in my life, never wrote more, never expressed more, never more more'd - and here I am writing fantasy-fiction as I hold a glass of vodka in the other hand. I am drunk enough to know I am right and sober enough to know I still love you; tomorrow morning, I will be sober enough to know its your own decision to make and I'll still be drunk on my affections. (Ah the curse of the Irish holds strong in my genes.)

I don't like letting go. Ive never abandoned a friend in my life and have gladly welcomed back any who have wandered away. That is just who I am. And maybe you need to wander away for a bit too. And like the rest, you're always welcomed back - but I also have the gnawing feeling you never will. That you shut the door so quietly as you left, neither of us heard it click.

So, you are now a song from a summer too far away. A vibe from a passed era, the watermark from a flood forgotten. I loved you like all men would want to love a woman and you found it best served to be cast aside.

Maybe one day you'll find this blog, this entry, read it in full. Maybe you'll take my old suggestion and look up "When You Are Old" by W.B. Yates and know that that is where we've been shoehorned: part my fault, part your decision. And part of me will be waiting for that reply; though instinctively that part of me waits knowing that the reply will never come, or even if it did, it would be much colder than desired.

So this is it then. This is us in our thirties. The bond you and I had under so many dark nights, awake hundreds of miles away and wondering about the other is now tethered to a still lake, all life and living gone from it now.

My God, how I loved you like no one else in my life.

And how I wish that part of me would stop holding on.

This Revolution Will Not Be Televised - Gillian Anderson Photo Op, 2013

As with all people now in their 30s and full of themselves, I loved loved loved The X-Files. Usual nerd reasons, I won't bore you with them. So when Ally offered me a day pass to New York ComiCon this year, I *had* to go after finding out Gillian Anderson was going to attend that day. Photo ops were a touch expensive but I figured it was worth the cash for a determinedly awkward photo proving, well, absolutely nothing. Lets face it: these are cattle calls. I'd heard iffy things about the company that was doing them but I sent them a Paypal payment anyway. You only live once.

I got in line very early because the queue system wasn't handled well. The staff running the floor were generally very nice but totally out of their element past "don't cross this line" schtick. I had three giggling German girls ahead of me, all of which were super nice, and somewhere to my right and back (the queue went up and down and up and down several aisles) a very nice guy from Australia dressed as Mulder who was charming to talk to and gave really great insight on his experiences in America (all of them positive).

But what was suppose to be a thirty minute wait turned into ninety as Gillian Anderon's plane was late or stuck in customs or something. We got different stories. I didn't care. I was fourth in line and the first guy - my heterosexuality was proven that day, I'll tell you what. The MC working the line eventually said "She's here folks, get your tickets out, stand at the black curtain entrance until staff calls you in to take your ticket" blah blah blah. He was generally a very nice person but anyone who works at NYCC had to be burned out by four in the afternoon. His face was etched with the wrinkles you get from smelling neck sweat and acne topical medicine all day.

The first two girls go in, swallowed up by the velvet entrance. I give my bookbag to the staff to hold. The next girl is called in. Then me. The next few details happened within the span of 2 to 5 seconds.

After walking through the black velvet fabric, the room was a lot to take in. The size of a classroom, something like ten people running around, the light guy adjusting for height, the photographer, two people on computers, the printing guy, the ticket person. Aside from the girl who was just leaving and the girl whos having her picture taking next, I'm alone in the room, in the corner like a truant.

Gillian is 45 pushing 22. Shes wearing a black dress that, when she picks up her water or to turn to talk to someone, proves its actually a matching two-piece. Shes extremely polite and smiles broadly. She's trying to make small talk the people shes taking photos with and its upsetting the cameraman. He continually screams NEXT with the nuance of a drunk cattle baron.

My turn is next. She half-follows the last of the german girls out of the room and then turns to me. We held eye contact as I walked to the mark on the floor for the picture - all of FIFTEEN FEET, which is a lot longer than it seems. She smiled broadly as I approached. I tried to turn on some of the old Sean Connery style charm I use to get phone numbers while at bars. I'd like to think I was successful but ... well, the outcome isn't proof of that.

Me: "Good morning"

Her: "Hey! Good morning! How are you?"

Me: "Pretty good, yourself?"

Her: "I'm good, thanks."

Click. "NEXT!" The end.

(Note to reader: It was 3 in the afternoon and I said "Good morning". Yes, I am dumb sometimes.)

So why aren't I posting the photo here? Right as I replied to "how are you", I had just walked up to her expecting to take a picture like the girl before me - side to side, crooked smile like you're saying "Hi Mom!" on the nightly news - when she stops the cameraman. She holds up her hand and says "Wait, let's do this..." then grabs my wrist and puts my arm around her waist and my hand on her hip, with all the subtlety of a dancing instructor with a new student. As if to say "No, honey - that goes HERE." Much to my credit, I gave the gentlest of squeezes as she put her hand on the small of my back. Between the surreal aspect of the situation, the unexpected physical contact and the fact that we were basically talking as it was taken, well, my face comes off as a half-hearted attempt at Jared Lee Loughner's mug shot - a bit too intense, though I've gotten use to the picture a bit since then.

I'm not disappointed by the photo per se but I am sort of deflated. I've rarely photographed well - I sort of have a brow that makes my eyes seem strained so I end up looking extremely serious when all I'm doing is thinking about what I want for dinner - and this was no exception. A badly timed no exception, actually.

But she did put my hand on her and you better believe I gently got a palm of that. It ain't Abelard and Eloise by any means but, well, fuck you, I'm sticking to the totally grand delusion she thought I was cute if she got that close on her own. Until then, I'm hiding that photo behind something else and taking it out as a great (visual) anecdote for when I'm (drunk) with friends.