The oblivious body by qisasukhra
A second excerpt from Youssef Rakha’s التماسيح (Dar Al Saqi, 2012) [The Crocodiles].
194. “You know you’re a coward?” she said, for the first time staring into his eyes without confusion or uncertainty. She hadn’t completely finished tying the ponytail when she looked at him and he couldn’t believe it. “I’m the first to tell you?” Not a flicker; just the first signs of a smile upon her lips. “You really are a son of a dog’s religion of a coward.” And before he could give expression to his astonishment he found his arm in motion, as if of its own accord. “A coward,” she was saying, “because you’re not prepared to exchange your position for another, even in your imagination. You’re scared to put yourself in a woman’s place because you’re scared to ask yourself whether, in those circumstances, you would marry. This isn’t a fear like the human sentiment with which to varying degrees we’re all familiar: it carries a moral presumption and a glib satisfaction with your own circumstances. That’s why I’m telling you you’re a son of a dog’s religion of a coward…”
195. And this, as I see it, was precisely Moon’s genius. When she came out with abrupt and sudden declarations of this sort it was with a tremendous energy, an intentness that summoned thoughts of the weak standing up to the strong, the revolutionary to his oppressor, and she would make the man before her feel, in consequence, that her words came forth from a deep place: that she’d thought hard about it and that it pained her. Her subtlety in inferring views, which her inner cogency or indifference would not permit her to air more comprehensively, was what gleamed in her eyes as her lips quivered. Meanwhile the truth was that she said things by way of experiment and cared deeply only about their immediate impact; things that sprang from an absolute lack of cogency. Moon would lie, tentatively, without believing herself, and the things she said were clichés even though our admiration of the speaker might mask the fact. This was the genius Nayf fell for, despite his shrewdness, because it was—as I see it—a genius of cliché, while Paulo and I, with the less brains or the greater weakness, hooked the Joke and the Slogan.
196. She was saying, “That’s why I’m telling you,” when Nayf’s palm settled on her cheek. And when the palm slid down to her neck she went on: “You’re a son of a dog’s religion of a coward. Am I right or what? When you said that it makes no difference…”
197. It wasn’t a slap precisely, though the arm was raised, the palm stretched rigid and the shoulders a straight line through a circle’s centre. It was like the threat of a slap, which Moon would have returned immediately had she not lost her balance beneath the weight of the slapper, now standing over her head. As he turned to face her she tottered and swayed, until she came to rest cross-legged on the couch, her long summer dress hitched up off a brown and slender thigh. At which point she looked him in his eyes again. She herself did not know if something in her gaze was different but it no longer fazed him that she looked.
198. A thigh, brown and slender, but aglow and suffused, and her long thick hair, numberless streaked chestnut strands gathered in a ponytail, and her, looking at him. Did Nayf recall the lion? Did the recollection affect an energy pulsing in his body, that was like desire and was not desire? A rosy thigh and thick hair and breath of basil with a pulsing energy and her hair and a brown and slender thigh.
199. Moon did not flinch as the palm encircled her nape, the thumb settling on the Adam’s apple, and it did not seem that she was immediately aware of Nayf’s other hand tugging the ponytail down as he returned to his seat beside her, chest-out this time; only, with the thumb’s pressure and her head’s canting back, her voice became strangled till she stopped speaking, then a faint whine was heard followed by panting—her lips clamped tight—as though it did not come from her. And though she did not laugh when he hissed in her ear, “This son of a dog’s religion is your mother’s dad,” it came as no surprise to him that she didn’t resist. “Your mother’s dad… daughter of a whore.” He was bringing his face up to hers so that his forehead settled on her nose, as if to crush it. And she was pressing her lips together ever more violently, her breath was drawing closer while her knees parted little by little, further and further.
200. Recalling a gathering of the Crocodiles which took place weeks before that night I can almost hear Nayf, cackling derisively at a scene of a masked man flogging two pale buttocks, all that showed of a woman straitjacketed in steel and black leather, on the Internet. How, then, was his thumb now on the verge of sinking an Adam’s apple into the throat of a girl kneeling on phosphorescent plush? Later, Moon will tell him that the marks left by his hands and teeth, if she had seen or heard of them on any other girl just a day before that night, would have filled her with disgust.
201. “And yet,” she will go on, with that sour grin of hers which scattered the beauty from her face “it seems I like abuse and caveman stuff. With you, baby, I’ve found what I deserve.”
202. In 2001, and up till now perhaps, in our conception of civilization—Nargis and Saba’s conception, Moon’s conception, of civilization—the sweetness of sex was incompatible with physical violence. Especially when the violence came from a man and was directed towards a woman, we viewed it as nothing more than an unnuanced machismo exercising its unreconstructed masculinity; it never occurred to one of us that it might be probing psychological depths quite unrelated to any worldview blowing in from behind the buffalo. Power, possession and absolute loyalty—unlike “self-development”—were things we distanced ourselves from with all our might. A man beating a woman to arouse himself or her would mean he raped her, subjugated her body, something that repelled us to the utmost degree. Yet we needed violence more than anything. Perhaps this need for violence—our need to feel the power of possession and a desire for an absolute loyalty to justify our lives, for the temptation to recreate some person in the world other than ourselves—perhaps this was what set Nayf in motion and set loose in his body an energy that resembled desire, yet was not, or not just.
203. So it was, that when she did not part her lips as they made contact with his mouth, which had suddenly grown wet, he did not hesitate to lick them then bite them harder and harder until he was barely stopping himself from drawing blood. And after her hands came to rest beneath his shoulders on the pretext of pushing him away—she wasn’t pushing him but pulling him in, planting her fingers through the back of the T-shirt and into his ribs—Nayf was astonished at himself for the savagery with which he bit Moon, cheek and neck, after lowering the dress from her shoulders and, pulling off her bra, likewise on her breast.
204. Her breast, in size and shape: a lemon; but the nipple is black and very large, a charcoal knuckle, and when his teeth encircle it at the root as though to nip it off—I mean the nipple—it’s owner will open wide her lips for the first time and her basil scent will blend with something between pepper and smoke and she will not make a sound. As though the whine that came from her before signified a resistance now broken in the face of a more profound and authentic pain; precisely as though the pain was (and leaving aside what we’d repeat among ourselves, Paulo, Nayf and I, that a person who’d lost pleasure or despaired of it must cling to pain as the only way to feel alive… As I write, in this moment, about myself, I believe that what keeps me alive, confronted by reports of parliamentary elections ongoing since November, is the pain of those twitching on the asphalt after inhaling gas, of those struck by bullets in their eyes, of those stampeding from the scourge of billyclubs and electric cables… The pain, that biting light in whose absence no one perceives a thing); as though the pain was, for Moon, the key to a locked door behind which lay her truth, which she would never confess except in jest or without conviction—all her lies were in the mirror—and which, consequently, she could not express with any sound whatever.
205. I see him slapping her seriously this time then, while circling her until he stands behind her as she kneels, twisting her arms behind her with one hand and with the other pulling off her underwear then lowering his clothes to enter her as though ramming a plank of wood into a wall cavity—all this in a single movement, like lightning—and he finds her wet and easy—as I was not to find her, at first—and leans over her back all overlain with gleaming chestnut hair to breathe in the smoke and pepper and search for a trace of basil, which draws further and further away amidst a throbbing pressure, only to return damply with her panting.
206. Then, as Nayf leans over Moon’s back, he will sink his hands into the curve of her flesh and yank her bunched hair, scour it, then insert his whole thumb into her anus to lift her sex towards him and will reach out his hand to mash her nipple between two fingers then fall to smacking her rump again. And with the resolve of a saint tortured by Romans on the shore of the Red Sea, she will keep holding back from crying out—not a sound except her faint pants broken, despite herself, by eruptions of a lowing or braying she struggles to cut off—until the moment that her small brown body quakes, spasm after spasm, having pulled her arms from his grasp and settled on all fours, writhing in what resembles a fit, a freshly-slaughtered panther, biting the green plush as he looms upright then kneels upon the sofa’s edge, his feet still on the living room floor.
207. The oblivious body. Which solicits a violence it did not know it wanted. Which offers up a sacrifice to something other than what constitutes living in Egyptian society. Far from ideas of sin and transgression, but far, too, from holding to any principle, no matter how straightforward and true the principle might be. The body, which I, Gear Knob, knew as boisterous, tyrannical for all its triviality, and in which I got to know The Crocodiles’ full stink, in one go; maybe Nayf intuited from her silence beneath this pain the truth of its moans. And forgot the lion. As he withdrew from Moon and left her bundled on the couch, still erect himself, yet to come—as he hurried to his bedroom to fetch two scarves and a fat candle in the shape of an apple—perhaps he forgot that a flesh and blood lion had been tormenting him for weeks.