How Should a Person Be? Read online

  HOW SHOULD A PERSON BE?

  Sheila Heti

  Copyright © 2012 Sheila Heti

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  This edition published in 2012 by

  House of Anansi Press Inc.

  110 Spadina Avenue, Suite 801

  Toronto, ON, M5V 2K4

  Tel. 416-363-4343

  Fax 416-363-1017

  www.houseofanansi.com

  LIBRARY AND ARCHIVES CANADA CATALOGUING IN PUBLICATION

  Heti, Sheila, 1976– How should a person be? / Sheila Heti.

  eISBN 978-0-88784-279-5

  1. Heti, Sheila, 1976– —Fiction. 2. Williamson, Margaux— Fiction. I. Title.

  PS8565.E853H68 2012 C813’.6 C2012-902878-9

  Library of Congress Control Number: 2010924089

  Cover design and illustration: Rebecca Seltzer

  We acknowledge for their financial support of our publishing program the Canada Council for the Arts, the Ontario Arts Council, and the Government of Canada through the Canada Book Fund.

  ALSO BY SHEILA HETI

  The Middle Stories

  Ticknor

  FOR CHILDREN

  We Need a ­Horse

  WITH MISHA GLOUBERMAN

  The Chairs Are Where the People Go

  for Margaux

  PROLOGUE

  How should a person be?

  For years and years I asked it of everyone I met. I was always watching to see what they ­were going to do in any situation, so I could do it too. I was always listening to their answers, so if I liked them, I could make them my answers too. I noticed the way people dressed, the way they treated their lovers—­in everyone, there was something to envy. You can admire anyone for being themselves. It’s hard not to, when everyone’s so good at it. But when you think of them all together like that, how can you choose? How can you say, I’d rather be responsible like Misha than irresponsible like Margaux? Responsibility looks so good on Misha, and irresponsibility looks so good on Margaux. How could I know which would look best on me?

  I admired all the great personalities down through time, like Andy Warhol and Oscar Wilde. They seemed to be so perfectly themselves in every way. I didn’t think, Those are great souls, but I did think, Those are some great personalities for our age. Charles Darwin, Albert Einstein—­they did things, but they ­were things.

  I know that personality is just an invention of the news media. I know that character exists from the outside alone. I know that inside the body there’s just temperature. So how do you build your soul? At a certain point, I know, you have to forget about your soul and just do the work you’re required to do. To go on and on about your soul is to miss the ­whole point of life. I could say that with more certainty if I knew the ­whole point of life. To worry too much about Oscar Wilde and Andy Warhol is just a lot of vanity.

  How should a person be? I sometimes wonder about it, and I ­can’t help answering like this: a celebrity. But for all that I love celebrities, I would never move somewhere that celebrities actually exist. My hope is to live a simple life, in a simple place, where there’s only one example of everything.

  By a simple life, I mean a life of undying fame that I don’t have to participate in. I don’t want anything to change, except to be as famous as one can be, but without that changing anything. Everyone would know in their hearts that I am the most famous person alive—­but not talk about it too much. And for no one to be too interested in taking my picture, for they’d all carry around in their heads an image of me that was unchanging, startling, and magnetic. No one has to know what I think, for I don’t really think anything at all, and no one has to know the details of my life, for there are no good details to know. It is the quality of fame one is after ­here, without any of its qualities.

  In an hour Margaux’s going to come over and ­we’re going to have our usual conversation. Before I was twenty-­five, I never had any friends, but the friends I have now interest me nonstop. Margaux complements me in interesting ways. She paints my picture, and I record what she is saying. We do what­ever we can to make the other one feel famous.

  In this way, I should be satisfied with being famous to three or four of my friends. And yet it’s an illusion. They like me for who I am, and I would rather be liked for who I appear to be, and for who I appear to be, to be who I am.

  We are all specks of dirt, all on this earth at the same time. I look at all the people who are alive today and think, These are my contemporaries. These are my fucking contemporaries! We live in an age of some really great blow-­job artists. Every era has its art form. The nineteenth century, I know, was tops for the novel.

  I just do what I can not to gag too much. I know boyfriends get really excited when they can touch the soft flesh at the back of your throat. At these times, I just try to breathe through my nose and not throw up on their cock. I did vomit a little the other day, but I kept right on sucking. Soon, the vomit was gone, and then my boyfriend pulled me up to kiss me.

  Aside from blow jobs, though, I’m through with being the perfect girlfriend, just through with it. Then if he’s sore with me, let him dump my ass. That will just give me more time to be a genius.

  One good thing about being a woman is we ­haven’t too many examples yet of what a genius looks like. It could be me. There is no ideal model for how my mind should be. For the men, it’s pretty clear. That’s the reason you see them trying to talk themselves up all the time. I laugh when they won’t say what they mean so the academies will study them forever. I’m thinking of you, Mark Z., and you, Christian B. You just keep peddling your phony-­baloney genius crap, while I’m up giving blow jobs in heaven.

  My ancestors took what they had, which was nothing, and left their routines as slaves in Egypt to follow Moses into the desert in search of the promised land. For forty years they wandered through sand. At nights they rested where they could, against the dunes that had been built up by the winds. Waking the next morning, they took the flour from their sacks and moistened it with their spit and beat together a smooth dough, then set off, stooped, across the sand, the dough spread across their backs. It mingled with the salt of their sweat and hardened in the sun, and this is what they had for lunch. Some people spread the dough flat, and that dough became matzo. Others rolled tubes and fastened the ends, and those people ate bagels.

  For so many years I have written soul like this: sould. I make no other consistent typo. A girl I met in France once said, Cheer up! Maybe it ­doesn’t actually mean you’ve sold your soul—I was staring unhappily into my beer—but rather that you never had a soul to sell.

  We ­were having Indian food. The man next to us was an En­glishman, and he brightened up. He said, It’s so nice to hear En­glish being spoken ­here! I ­haven’t heard any En­glish in weeks. We tried not to smile, for smiling only encourages men to bore you and waste your time.

  I thought about what that girl had said for a week. I was determined to start the task I had long been putting off, having for too long imagined it would take care of itself in the course of things, without my payin
g attention to it, all the while knowing in my heart that I was avoiding it, trying to patch myself together with my admiration for the traits I saw so clearly in everyone ­else. I said to myself sternly, It’s time to stop asking questions of other people. It is time to just go into a cocoon and spin your soul. But when I got back to the city, I neglected this plan in favor of hanging out with my friends every night of the week, just as I had been doing before I’d left for the Continent.

  The girl who had given me her condolences was in her midthirties, an American in Paris named Jen. She was a friend of a friend and had, in a friendly way, accepted my request to be put up for the nights I would be there. Her job was doing focus groups for large corporations, including the United States Army, which wanted help with its recruitment advertising. She had some ethical qualms about this but was more concerned with her boyfriend, who had suddenly started ignoring her. This was the central pre­occupation of her life when I arrived, because it was the more emotional.

  There are certain people who do not feel like they ­were raised by wolves, and they are the ones who make the world tick. They are the ones who keep everything functioning so the rest of us can worry about what sort of person we should be. I have read all the books, and I know what they say: You—­but better in every way! And yet there are so many ways of being better, and these ways can contradict each other!

  Yesterday Margaux told me a story that her mother often tells about when she was a baby. It took Margaux a long time to talk, and everyone thought she was a little dumb. Margaux’s mother had a friend who was a bit messed up and really into self-­help books and all sorts of self-­improvement tapes. One day, she had been telling Margaux’s mother about a technique in which, what­ever problem you came across in your life, you ­were just supposed to throw up your hands and say, Who cares? That night, as Margaux’s parents and her slightly older sister ­were sitting around the dinner table and Margaux was in her high chair, her sister spilled her milk and the glass broke all across the table. Her mother started yelling, and her sister started crying. Then, from over in the high chair, they heard little Margaux going, Who cares?

  I’m sorry, but I’m really glad she’s my best friend. If I had known, when I was a baby, that in America there was a baby who was throwing up her hands and saying, first words out of her mouth, Who cares? and that one day she’d be my best friend, I would have relaxed for the next twenty-­three years, not a single care in the world.

  ACT

  1

  • chapter 1 •

  SHOLEM PAINTS

  We ­were having brunch together. It was Sunday. I got there first, then Misha and Margaux arrived, then Sholem and his boyfriend, Jon.

  A few weeks earlier, the own­ers had repainted the diner walls from a grease-­splattered beige to a thicky pastel blue and had spray-­painted giant pictures of scrambled eggs and strips of bacon and pancakes with syrup. It ruined the place somewhat, but the food was cheap, it was never crowded, and they always had a place for us.

  I shared a breakfast special and a grilled cheese with Margaux. Jon asked for our fries. I don’t remember what we started off talking about, or who was the funniest that day. I remember none of the details of our conversation until the subject turned to ugliness. I said that a few years ago I had looked around at my life and realized that all the ugly people had been weeded out. Sholem said he ­couldn’t enjoy a friendship with someone he ­wasn’t attracted to. Margaux said it was impossible for her to picture an ugly person, and Misha remarked that ugly people tend to stay at home.

  These are a few of the sordid fruits that led to the Ugly Painting Competition.

  When Sholem was a teenager, he had dreamed of being a theater actor, but his parents didn’t want him to go to theater school. They didn’t think it was practical, and encouraged him to go to art school instead. So he went, and his first year there, up late one night painting, as the sun began rising with the morning, a sudden and strong feeling came up inside him that said, I must be an artist. I must paint for the rest of my life. I will not settle for anything ­else. No other future is acceptable to me.

  It was an epiphany and a decision both, from which there would be no turning back—­the first and most serious vow of his life. So this past spring, he completed his M.F.A. thesis and graduated.

  Who came up with the idea for the Ugly Painting Competition? I don’t remember, but once I got enthusiastic, suddenly we all ­were. The idea was that Margaux and Sholem would compete to see who could make the uglier painting. I really hoped it would happen. I was curious to see what the results would be, and secretly I envied them. I wanted to be a paint­er suddenly. I wanted to make an ugly painting—­pit mine against theirs and see whose would win. What would my painting look like? How would I proceed? I thought it would be a simple, interesting thing to do. I had spent so much time trying to make the play I was writing—­and my life, and my self—­into an object of beauty. It was exhausting and all that I knew.

  Margaux agreed to the competition right away, but Sholem was reluctant. He didn’t see the point. The premise turned him off so much—­that one should intentionally make something ugly. Why? But I egged him on, pleading, and finally he gave in.

  As soon as Sholem returned home after brunch, he set about making his entry—­so he ­wouldn’t have to think about it anymore, he explained to me later, or have looming before him the prospect of having to make something ugly.

  He went straight into his studio, having already decided what he would do. He imagined it would be like this intellectual exercise that he could sort of approach in a cold fashion. He would just do everything he hated when his students did it. He started the composition smack-­dab in the middle of a piece of paper, since paper is uglier than canvas. Then he painted a weird, cartoonish man in profile with fried-­egg eyes, and he outlined things instead of shading them, delineating each individual eyelash. Instead of making a nostril, he sort of drew a hole. In the background he painted fluffy white clouds over orange triangular mountains. He made the background a gross pinkish-­brownish gray, using mineral sediment dug up from the bottom of the jar in which he washed his brushes. For skin tone he just mixed red and white, and for the shadows he used blue. Though he thought in the end there would be some salvageable qualities to the painting, it just kept getting more and more disgusting until finally he began to feel so awful that he finished it off quickly. Dipping a thick brush in black paint, he wrote at the bottom, really carelessly, The sun will come out tomorrow. Then he stepped back and looked at the result, and found it so revolting that he had to get it out of his studio, and left it on the kitchen table to dry.

  Sholem went out to get some groceries for dinner, but the entire time he was gone he felt nauseous. Returning home and setting the bags on the counter, he saw the painting lying there and thought, I cannot see that thing every time I walk into the kitchen. So he took it to the basement and left it near the washer and dryer.

  From there, the day just got worse. Making the painting had set off a train of really depressing and terrible thoughts, so that by the time eve­ning came, he was fully plunged in despair. Jon returned home, and Sholem started following him around the apartment, whining and complaining about everything. Even after Jon had gone into the bathroom and shut the door behind him, Sholem still stood on the other side, moaning about what a failure he was, saying that nothing good would ever happen to him, indeed that nothing good ever had; his life had been a waste. It’s like you work so hard to train a dog to be good! he called through the door. And the dog is your hand! Then one day you’re forced to beat all the goodness out of that dog in order to make it cruel. That day was today!

  Jon grunted.

  Then Sholem plodded into the living room and sent an email to the group of us, saying, This project fills me with shame and self-­loathing. I just did my ugly painting, and I feel like I raped myself. How’s yours, Margaux?

  Marga
ux, the better artist, wrote back: i spent all day on my bed island reading the new york times.

  Fifteen years ago, there lived a paint­er in our town named Eli Langer. When he was twenty-­six, an artist-­run center presented his first show. The paintings ­were gorgeous and troubled, very masterful, all done in rich browns and reds. They ­were moody and shadowy with old men, girls, and plush chairs, windows, and naked laps. A sadness clouded the few faces, which ­were obscured by darkness and lit only by faint moonlight. The canvases ­were very large, and they seemed like the work of someone with great assurance and freedom.

  After the show had been up for only a week, it was shut down by the police. People claimed that the pictures ­were child pornography. The canvases ­were confiscated, and they ­were sentenced to be destroyed by the court.

  The story was reported in newspapers all across the country, and the trial played on TV for an entire year. Prominent artists and intellectuals became involved and spoke publicly and wrote editorials about artistic freedom. In the end, the judge ruled in Eli’s favor, partly; the paintings ­were returned to him, but on the condition that no one ever see them again. He left them in a corner of his mother’s attic, where they remain, covered in soot and mold, today.

  After the trial was done, Eli felt exhausted and shaken. Now when he stepped before a canvas, brush in hand, he found that the spirit lay dead in him. He left Toronto for L.A., where he thought he might be able to feel more free, but the images still did not come as they had before.

  Crushed with a new insecurity and inhibition, he applied to his now-­tiny canvases only hesitant whites, or whites muddled with pink, or a bit of yellow, or the most apologetic blue—­so that even if you stepped really close to the paintings, you could barely make out a thing. For the few solo shows he managed to complete in the years following the trial, he created only deeply abstract work, not anything even remotely figurative.