When she had met him, she had asked for danger, yet she didn’t know it would come with pain as well. She would wait thousands of lives just to live again the moment they crossed paths for the first time. A sigh, thinking that she can’t isolate the thought of him from her brain, that abrasive stare. She would be casting a spell on him if he hadn’t already cast her in shadow. All her powers are gone with the rejection she had bowed to. If she can’t have him fully, he has to cease to exist, shut his eyelids so people can’t stare at that beauty she could adore up close, only when he would call her. The wretched has to dismember herself from him once and for all: that’s what a love-starved beauty like her deserves.
“We were made for each other. We were each made to suffer*” she whispers, while alcohol touches her lips like the most ardent of lovers. The only companion that has never betrayed her. Yet she would be willing to die waiting, though she knew damn well that some things never come back.
“Don’t confess your love if it’s true, because I wouldn’t believe you*” she said, while he was balancing himself at the edge of the steps. And then he left, once again. He always did that when the answer was “yes.”
Some structural notes
Divided into five chapters that document the descent into madness of the female character uniting the pens of Exene Cervenka and Lydia Lunch, Adulterers Anonymous is a continuous overlapping of these two voices. When all-minuscule Helvetica is used, Cervenka is shouting her thoughts; meanwhile, when all-caps Times New Roman is adopted, the gloomy tone of Lunch takes over. In this intersection of registers that seem to converge in an internal monologue, Cervenka speaks with the most irreverent tone, as if she were a little devilish spirit sitting on Lydia Lunch’s shoulder, spitting out the truth that Lunch seems to deny. Lunch, instead, appears immersed in a sombre world filled with gothic melancholy, to the extent that her detachment from reality creates moments of sarcasm throughout the reading.
Interesting is Lunch’s use, for example, of non-existent neologisms that might be mistaken for misspellings, yet hold a grim within them: weekends becomes weakends, or pretention becomes pretension, using such variations to ignite subtle wordplay that could allude to the emotional subjection to which she has surrendered. To make the writing even more personal, the poems have been constellated by a series of asterisks that highlight to the reader the real-life figures that inspired each of these poems, reporting directly the names of friends, lovers and extras.
*these quotations come directly from verses of the poems contained in Adulterers Anonymous (1982)