I’m going to a funeral, and for the occasion, I’ve chosen a knee-length black Donna Karan dress (Flashy Trash, $15), black lace bra and panties, garter belt, sheer black stockings and brown snow boots with my “For Funerals Only” black pumps stuffed in a Hello Kitty backpack. If I didn’t care at all what people think, I would have added purple elbow-length gloves and a hat with a dotted veil. I would’ve used brown eyeliner to paint a mole on one cheekbone like Marie Antoinette. I wear the garter belt in memoriam of the guy who died. He would have appreciated the effort. I also like the shiver that comes when the wind whips under my dress and tickles my bare thighs. It makes me want to squeal and bend my leg at the knee.
It’s not often I can dress this way. The people at Mitch, Saunders, Mitch and Saunders are Republican lawyers whose idea of a fashion risk is a Wile E. Coyote tie.
At the first bus stop, raincoat-wearing passengers line up at the door. I sit in the front row of seats thinking, don’t you dare sit next to me. No, not you either—when this guy steps on who looks just like the man in the Levi’s commercial. I beam thought rays at him. Fuck me. Fuck me now. The fat guy in front of him heaves into the seat next to mine. My man passes by, leaving a whiff of lemony cologne.
For the rest of the ride, I try out scenarios for how it could happen. The bus stalls, no—the bus driver has a diabetic fit and my Levi man takes control, yelling, I’ll drive! Everyone (except me) shrieks. His manly hands grip the steering wheel. I must finish this route! I run to the front of the bus, pushing people out of my way, Excuse me, excuse me, the skirt of my dress riding up my thighs. I must help him because he’s injured his left hand (it’s been sprained somehow by the fat guy), and I have to steer for him, and the only way to do that is to sit on his lap.
It’s too close to the premise of Speed, and anyway, I’d no doubt block his view and we’d crash and my mom would have to identify the body and she would be mortified to see me wearing a black lace thong.
I exit the bus at Michigan Avenue, casting one last meaningful glance at my almost-lover. He doesn’t even turn his head to look at me while I stand at the crosswalk, wishing a breeze would come along and blow my hair across my cheek.
I have a minor panic attack as I enter the church foyer, because I have forgotten how to genuflect.
Then I see the guy from Divorce Law in the last pew. I usually don’t find him attractive because his face is dented with pockmarks and he walks on the balls of his feet with his hands in his pockets, but when he turns, his gaze skimming over me, I notice he has the bluest, bluest eyes and you can’t help but wonder what he looks like naked. Maybe underneath his starched button-up oxford he’s hiding a chest rippled with muscles. Maybe he has excellent technique, very adept fingers that would make me arch my back and lose complete control, and, at our wedding, our guests would line up to congratulate us, dying to ask me what I saw in him. I would look over at his long thin, talented fingers, one now circled with a gold band, smile and say, Oh, yes, thank you for coming.
The service begins with the horn-like opening bars of “Morning Has Broken.” I squeeze in next to my friend, Jennifer Sanantini, who works as a receptionist for Fred Cornell who smokes cigars and chews gum at the same time. The casket sits in the front of the church, and all you can see of the body is the tip of the nose, sticking into the air like it’s testing the smell of the white orchids in large baskets on the floor.
The organ music falls silent when the priest approaches the pulpit. He is not your typical, sixty-eight-year-old holy man with a shaky voice and bald head. He’s about Jesus’ age when he died and he appears heterosexual. His hair springs around his head in neat whorls and he has the chiseled features like a religious figure from a stained glass window. Strong jaw, defined cheekbones, sensuous wide mouth, and sweet hands now making the sign of the Father, Son, and Holy Ghost. Holy Mary, mother of God pray for us sinners now and at the hour of our death. I want to crawl under the podium and slip between his legs while he says, Blessed art thou among women and blessed is the fruit of thy womb, Jesus. While everyone prays, he would look down at me, there, prone on my knees. He’d push my head away, his face white. For the love of God, what are you doing? I would bow my head and say, Forgive me, Father, for I am about to sin and then I would take him in my mouth and his hands would tighten on the podium and he’d whisper, No, no, you must cease and desist, but I wouldn’t, and he would respond against his will.
Jennifer Sanantini is frowning at me and I realize I’m wiggling and I stop.
Sometimes, I worry that God listens to my thoughts and will answer stray fragments of them one day, causing me to be gang-raped in an alleyway by a pack of eighteen-year-old construction workers with Irish accents who resemble J. Crew models. I try to keep my prayers very explicit. Please let Jonathan Pervival Simmons from Accounting whom I know only to say hi to through Brenda Lesley in P.R. show up at my apartment one night, banging his fists on the door and shouting, Katie! Open up! I can’t go another minute without touching you! This, God, must happen on a night I’m wearing my red short nightgown instead of a yellow-pitted white T-shirt and my kitty-cat flannel pajama bottom and glasses. And I have definitely not picked my face and my eyes are not puffy from crying over long distance phone commercials and my bed is actually made, and he’s wearing—but, you know, sometimes I never make it beyond the door-knocking. The details are exhausting and the struggle to make it real is too tedious and so the rest of the story doesn’t seem worth the effort.
After the ceremony ends, we must file past the body and pay our last respects. I follow Jennifer Sanantini whose slip peeks under the hem of her dress. This is my first dead person in a while. I can’t stop chewing my fingernails. When I finally see him, it’s not that bad. He’s wearing a suit I don’t recognize from work. He looks the same, more or less, except it’s as though his face is made of wax, like if you took a wet washcloth and rubbed a little circle on his cheek, it’d turn shiny.
A bunch of us meet up at a semi-professional bar in Lincoln Park to drink a beer in his memory.
We’re there for about fifteen minutes when I spot this man at the end of the bar who reminds me of a boy I was in love with in college. Jon Preston. You had to say his full name, in whispered tones. He sewed patches on his jeans before it was even cool and I thought, Damnit! Why didn’t I think of that? Now I can’t wear patches because it’ll seem like I’m copying him.
I stood in awe, every moment with him was unreal, like this gift from heaven. I’d think he didn’t even know my name and then catch him staring hard at me while I was doing something stupid like trying to open the door without using my hands.
The most lucid memory I have of that time is lying on his mattress covered with dinosaur sheets. I was wearing a heavy metal square my friend gave me from Afghanistan. It hung on a leather strap around my neck. I said, Do you want me to take it off? He said, No, leave it on, and the cool gray metal thumped between us while I rocked on top of him. He looked at me with clear blue eyes, his pupils large and black with a dot of gold in the center. I wish I could draw them to show you how perfect they were and how much I wanted inside those eyes to switch places with him and know what he was seeing in me.
Three Heinekens later, this look-alike Jon Preston stands next to me. His eyes are closer together than I first thought. He says, It’s loud in here. It’s hard to talk.
I yell, What? As a joke. He repeats, It’s loud in here. That’s ten points off for not knowing how funny I am.
Then I discover he loves Annie Hall and he quotes the line about the raccoons and I believe we could fall in love and raise adorable children without pretentious names and move to the country and buy a golden retriever and name it Janet and in the winter he’d wear soft flannel shirts and heavy boots and he’d chop wood and also cook oatmeal and when he’d come in from the snow carrying an armload of wood, his cheeks would be so rosy I’d want to bite them. I ask him who his favorite artist is. Norman Rockwell. What music does he listen to? Phish. What toy did he like best when he was growing up? Huh?
I say I have to go find my friend now.
Jennifer Sanantini is listening to one of the junior lawyers tell about a messy divorce case involving a box of Penthouse Forum letters that the wife found to be harmful to their children. Jennifer laughs and nods and shakes her head and, when she sees I’m watching her and the guy is not, she wrinkles her nose and sticks out her tongue a little.
Our group has suddenly grown alcohol-maudlin, in part because someone put “Seasons in the Sun” on the jukebox and also because, after all, we did just come from a funeral. The junior lawyer starts telling another story, this one about the deceased and how he used to crack everyone up because he’d always forget to zip up his pants and once he walked around at a convention with his shirt tail hanging out of his crotch. Gary, the guy who’s always loitering by the water cooler, throws his head back and laughs and tries to put his arms around me but I see it coming and duck to inspect a non-existent run in my stocking.
I wonder what the dead man’s family remembers about him, or maybe he lived alone in an apartment overlooking Lake Michigan. Maybe he played old Frank Sinatra records over and over and only ate Swanson pot pies. Maybe he wore checkered grandpa-pajamas and thick mule slippers and maybe he looked out the window and thought, Is this everything?
I count six baseball hats and three men in Cubs T-shirts. I search for one guy I would take home with me, just one; I have to pick one or else God will kill my entire family. There is no one. This makes me want to go home, turn off the lights, lie on the floor and listen to Counting Crows’ “Omaha,” even though it makes me sad because it reminds me of my grandma, whom I miss but never call.
Jennifer acts overly concerned when I tell her I’m leaving. Are you sure you’ll be okay? Are you sure? Out of the corner of her eye, she’s looking to see if Brad, the married guy in Damage Control, notices how good of a friend she is. Brad is not; he is guzzling a beer and involved in a serious conversation about the Bulls. I admire his leather suspenders, but only because I really, really hate them.
While hailing a taxi, I pretend I’m “That Girl.” A cab zips to the curb and stops without a screech. I give the driver my address, squirming in the seat to see his dashboard ID photograph and name without him becoming suspicious.
The cabby’s neck is smooth, vulnerable, and his ears stick out. Please don’t talk to me, I pray. He says, It’s starting to snow, huh? The wiper blades squeak across the windshield.
Yes, it is.
He says, You are coming from a party?
I press my legs together. The skin sticks. I feel like he can tell what kind of underwear I’m wearing. Maybe he can even smell me. Yeah, I say. Somebody died.
We drive the rest of the way in silence. When he pulls up to my apartment, I tip him extra for not being better company.
The snow is falling in huge white flakes, God sifting great puffs of flour from the sky. The cabbie waits to see if I make it inside okay. I want to run over to his window and say, Would you like to come up for a cup of hot chocolate? Instead, I hold out my hand and catch a snowflake on my mitten, turn, and spin for him so that my skirt flares out a little.
I look back, and he is still watching me, almost smiling. He waves and starts to drive off. I say, Thank you, and run down the sidewalk to the warmth of my building.
*Licensed from The University of North Texas Press. Copyright 2018 by Aimee LaBrie from Wonderful Girl
Photo: averie woodard
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