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of antibiotics, cross-infection from other lung patients, genetic stuff I didn’t understand, and then something about a transmembrane conductance regulator . These conversations always ended with someone asking whether I had been tested for the certain recessive gene myself, the gene that caused Tara’s difficulties. Which was another way of asking if I knew of or accepted the barrenness, the non-productivity of our marriage, to which I replied only with silence, because that was my way.
The expectations the doctors had for my wife were optimistic, after a fashion, until they remembered to ask about her age. My wife, at thirty-eight, was sicker than most people with her illness. Younger people didn’t have trouble with ischemia or reperfusion injuries subsequent to their surgery. They bounced back quicker from the infections. Whatever the cause, my wife long remained unconscious. Or, more exactly, she was in a way station between delirium and unconsciousness. During this stretch, when I was either sitting next to her bed or eating nougat-and-peanut snack items, Tara was having incredibly vivid nightmares, all of which involved persecution. She dreamed that I personally was a member of the FBI’s domestic fraud task force and was coming to cut parts of her body off bit by bit so that they could be blown up in garish desert explosions. Or I was a serial killer and was trying to administer lethal drugs to her. Or else I was eating bits of her. Or I was forcing her to have sex with me, even though she was missing limbs. Or I was using my amputation stumps to penetrate her. Or she was trying to flee from me and other persecutors, even though she had only 20 percent of lung function.
It was a good thing, therefore, that I had secured an upcoming reading at Arachnids, Inc. This was a welcome distraction. The only problem, as regarded my reading, was that I had a grand total of six or seven sentences to read to the audience. Despite the fact that I admitted to absolutely little doubt as an artist, some of these sentences were clearly better than others . Either I was going to read the sentences over and over again, so that they would transport by virtue of a canny repetition, or it was going to be a very short reading. Well, there was a third alternative, namely that I would produce some new material. I have heard of, and have never exactly approved of, people attempting to write new works just so that they’d have something to read. Here was my chance. Blood and guts. The heartbreak of mortality. The last bit of air squeezed out of a diseased lung. The love, or at least the considerable devotion, cut short by fate. Out of great adversity comes great art, and so I came up with my celebrated lung transplant sequence. (See The Collected Works of Montese Crandall , presently under construction, p. 4.)
Future readers of my works will realize that the surgery sequence, at the time, represented a huge advance in the amount of work I had at my disposal for the reading, in that it contained several sentences . It seemed to be what I was able to come up with in those weeks of drama and anxiety. I knew my wife’s illness was genetic, and that it was unlikely that I had caught it from her, and yet I found myself having to remember, almost manually, to breathe, breathe, breathe, while I was in the waiting room or in her hospital room. When I fell asleep, in fact, I began experiencing episodes of apnea, in which I would shake myself awake, chest heaving, unable to catch my own breath, just as I had so often attempted to catch my wife’s breath for her . The same was true on the nights I tried to sleep at home in the large queen-size bed that never felt right without Tara’s skeletal frame alongside me. She was one of those sleepers who move ever closer, until they have commandeered a good three-quarters of the square footage, while you are balanced precariously on the remainder. Without her, it seemed there was nothing to keep me from