Lily

“Oh, good lord, Jeff. Don't go getting all emotional on me. I've been getting it from my mom, my dad, my sister, the freaking MAILMAN--I don't need it from you, too. All I ask is that you promise me one thing.'
'What?'
'Just water the plants while I'm gone, all right?'
'You don't have plants, Tad.'
'I know. I just always wanted to say that.”
― Jordan Sonnenblick, After Ever After

“GET ON THE TREADMILL!”
― Jordan Sonnenblick, After Ever After

“My memories of them had rubbed thin with overuse, worn to frail color transparencies flickering on the walls of my mind”
― Tana French, In the Woods

“I say is someone in there?’ The voice is the young post-New formalist from
Pittsburgh who affects Continental and wears an ascot that won’t stay tight, with that
hesitant knocking of when you know perfectly well someone’s in there, the
bathroom door composed of thirty-six that’s three times a lengthwise twelve
recessed two-bevelled squares in a warped rectangle of steam-softened wood, not
quite white, the bottom outside corner right here raw wood and mangled from
hitting the cabinets’ bottom drawer’s wicked metal knob, through the door and
offset ‘Red’ and glowering actors and calendar and very crowded scene and pubic
spirals of pale blue smoke from the elephant-colored rubble of ash and little
blackened chunks in the foil funnel’s cone, the smoke’s baby-blanket blue that’s sent
her sliding down along the wall past knotted washcloth, towel rack, blood-flower
wallpaper and intricately grimed electrical outlet, the light sharp bitter tint of a heated
sky’s blue that’s left her uprightly fetal with chin on knees in yet another North
American bathroom, deveiled, too pretty for words, maybe the Prettiest Girl Of All
Time (Prettiest G.O.A.T.), knees to chest, slew-footed by the radiant chill of the
claw-footed tub’s porcelain, Molly’s had somebody lacquer the tub in blue, lacquer,
she’s holding the bottle, recalling vividly its slogan for the past generation was The
Choice of a Nude Generation, when she was of back-pocket height and prettier by
far than any of the peach-colored titans they’d gazed up at, his hand in her lap her
hand in the box and rooting down past candy for the Prize, more fun way too much
fun inside her veil on the counter above her, the stuff in the funnel exhausted though
it’s still smoking thinly, its graph reaching its highest spiked prick, peak, the arrow’s
best descent, so good she can’t stand it and reaches out for the cold tub’s rim’s cold
edge to pull herself up as the white- party-noise reaches, for her, the sort of
stereophonic precipice of volume to teeter on just before the speaker’s blow, people
barely twitching and conversations strettoing against a ghastly old pre-Carter thing
saying ‘We’ve Only Just Begun,’ Joelle’s limbs have been removed to a distance
where their acknowledgement of her commands seems like magic, both clogs simply
gone, nowhere in sight, and socks oddly wet, pulls her face up to face the unclean
medicine-cabinet mirror, twin roses of flame still hanging in the glass’s corner, hair
of the flame she’s eaten now trailing like the legs of wasps through the air of the
glass she uses to locate the de-faced veil and what’s inside it, loading up the cone
again, the ashes from the last load make the world's best filter: this is a fact. Breathes
in and out like a savvy diver…
–and is knelt vomiting over the lip of the cool blue tub, gouges on the tub’s
lip revealing sandy white gritty stuff below the lacquer and porcelain, vomiting
muddy juice and blue smoke and dots of mercuric red into the claw-footed trough,
and can hear again and seems to see, against the fire of her closed lids’ blood, bladed
vessels aloft in the night to monitor flow, searchlit helicopters, fat fingers of blue
light from one sky, searching.”
― David Foster Wallace, Infinite Jest