It's the beginning of the story but I feel like I'm serving up plain, non-fat yoghurt. With as much consistency. I think I'm going to dump what I have and start over, completely.
I mean, it sort of starts out okay. But so very A-B-C...
-----
Simon did not want to go.
He had been asked to catalogue a small book collection, which he had done many times in the past for dealers and clients, but on this occasion something inside him said, Refuse the job. Do not do it. Stay home and deal with the myriad other things you have to do. So many...things. List of things. To do. Make a list to...to prove you have a list of things to do. On top of that, do not forget that every time you’ve ignored this feeling, you’ve regretted it. So do not go.
But reality has this cold manner of dragging you, kicking and screaming, into a simple understanding...the money was needed. Simon was living on his Social Security check, and he had just repaired the brakes on his Honda CRV. That had depleted his savings below a level he was comfortable with. Of top of it, when one reaches an age where you’re considered elderly, decent employment is not easy to come by. Payment for this job would provide enough to ease his concerns.
So he shrugged that voice off...and by the time he realized he should have listened to it, he was way past too late.
His phone rang as he was working on a new painting...a commission for a client who'd bought two of his works. Both stark black and white acrylics on canvas, of single male figures partially dressed. The man had sent him a photograph of himself and his lover, and wanted this piece to make to join with the others in a triptych. Which Sion did...and it had turned out well enough.
Two men in an embrace, from the hips up, front three-quarter angle. One with his back to the wall. Left arm dropped to his side. His shirt open to reveal a full chest with hair. His face turned away from the other...
Whose shirt was buttoned and who was trying to kiss him. His right hand was around the man’s waist with his face lost in darkness. The shadows were sharp against the white of their shirts and bodies.
To Simon, the pose offered up an interesting tension. Want on the part of the one kissing; rejection on the part of the other. Lovely and only awaiting his signature...a dash of blood red. Like on all of his paintings.
But nowhere seemed right for it.
If he put it on the man who was looking away, at the base of his jawline, it could look like the kissing man’s nose was bleeding. Not what he wanted.
If he put it along his lip, it would seem as if they’d had a fight and were trying to make up. Also not his preference.
The man against the wall had his eyes focused away from the other...and they were sad. The dash of red there would offer the same impression. Which Simon didn't think was really wanted or needed or demanded by the work.
So on his chest? No. That would be seen as a stabbing wound, and he did not want it to be linked solely to violence.
So the call was a welcome distraction. Didn’t hurt it was Olivier Deskin, an antiquarian book dealer in London he’d known since his first year in this aspect of the book business. He had done jobs for Olivier before so it seemed an opportune way to cushion his financial situation.
But still that voice was howling, No, no, no...







