Diary by Chuck Palahniuk (classic fiction .txt) 📗

the record, she drank his booze. What you learn in art school is there's an etiquette to drugs. You have to share.

Misty says, “Help yourself. Take one.”

And Angel pops the bottle open and shakes out two. He slips one in his pocket, saying, “For later.” He swallows the other with gin and makes a terrible gagging face, leaning forward with his red and white tongue stuck out. His eyes squeezed shut.

Immanuel Kant and his gout. Karen Blixen and her syphilis. Peter would tell Angel Delaporte that suffering is his key to inspiration.

Getting the sketches and watercolors spread out across the sofa, Misty says, “What do you think?”

Angel sets each picture down and lifts the next. Shaking his head no. Just a hair side to side, a kind of palsy. He says, “Simply unbelievable.” He lifts another picture and says, “What kind of software are you using?”

Her brush? “Sable,” Misty says. “Sometimes squirrel or oxtail.”

“No, silly,” he says, “on your computer, for the drafting. You can't be doing this with hand tools.” He taps his finger on the castle in one painting, then taps on the cottage in another.

Hand tools?

“You don't use just a straightedge and a compass, do you?” Angel says. “And a protractor? Your angles are identical, perfect. You're using a stencil or a template, right?”

Misty says, “What's a compass?”

“You know, like in geometry, in high school,” Angel says, spreading his thumb and forefinger to demonstrate. “It has a point on one leg, and you put a pencil in the other leg and use it to draw perfect curves and circles.”

He holds up a picture of a house on a hillside above the beach, the ocean and trees just different shades of blue and green. The only warm color is a dot of yellow, a light in one window. “I could look at this one forever,” he says.

Stendhal syndrome.

He says, “I'll give you five hundred dollars for it.”

And Misty says, “I can't.”

He takes another from the portfolio and says, “Then how about this one?”

She can't sell any of them.

“How about a thousand?” he says. “I'll give you a thousand just for this one.”

A thousand bucks. But still, Misty says, “No.”

Looking at her, Angel says, “Then I'll give you ten thousand for the whole batch. Ten thousand dollars. Cash.”

Misty starts to say no, but—

Angel says, “Twenty thousand.”

Misty sighs, and—

Angel says, “Fifty thousand dollars.”

Misty looks at the floor.

“Why,” Angel says, “do I get the feeling that you'd say no to a million dollars?”

Because the pictures aren't done. They're not perfect. People can't see them, not yet. There are more she hasn't even started. Misty can't sell them because she needs them as studies for something bigger. They're all parts of something she can't see yet. They're clues.

Who knows why we do what we do.

Misty says, “Why are you offering me so much money? Is this some kind of test?”

And Angel zippers open his camera bag and says, “I want you to see something.” He takes out some shiny tools made of metal. One is two sharp rods that join at one end to make a V. The other is a half circle of metal, shaped like a D and marked with inches along the straight side.

Angel holds the metal D against a sketch of a farmhouse and says, “All your straight lines are absolutely straight.” He sets the D flat against a watercolor of a cottage, and her lines are all perfect. “This is a protractor,” he says. “You use it to measure angles.”

Angel sets the protractor against picture after picture and says, “Your angles are all perfect. Perfect ninty-degree angles. Perfect forty-five-degree angles.” He says, “I noticed this on the chair painting.”

He picks up the V-shaped tool and says, “This is a compass. You use it to draw perfect curves and circles.” He stabs one pointed leg of the compass in the center of a charcoal sketch. He spins the other leg around the first leg and says, “Every circle is perfect. Every sunflower and birdbath. Every curve, perfect.”

Angel points at her pictures spread across the green sofa, and he says, “You're drafting perfect figures. It isn't possible.”

Just for the record, the weather today is getting really, really pissy right about now.

The only person who doesn't expect Misty to be a great painter, he's telling her it's impossible. When your only friend says no way can you be a great artist, a naturally talented, skilled artist, then take a pill.

Misty says, “Listen, my husband and I both went to art school.” She says, “We were trained to draw.”

And Angel asks, was she tracing a photograph? Was Misty using an opaque projector? A camera obscura?

The message from Constance Burton: “You can do this with your mind.”

And Angel takes a felt-tipped pen from his camera bag and gives it to her, saying, “Here.” He points at the wall and says, “Right there, draw me a circle with a four-inch diameter.”

With the pen, without even looking, Misty draws him a circle.

And Angel sets the straight edge of the protractor, the edge marked in inches, against the circle. And it's four inches. He says, “Draw me a thirty-seven-degree angle.”

Slash, slash, and Misty marks two intersecting lines on the wall.

He sets on the protractor and it's exactly thirty-seven degrees.

He asks for an eight-inch circle. A six-inch line. A seventy-degree angle. A perfect S curve. An equilateral triangle. A square. And Misty sketches them all in an instant.

According to the straightedge, the protractor, the compass, they're all perfect.

“Do you see what I mean?” he says. He pokes the point of his compass in her face and says, “Something's wrong. First it was wrong with Peter, and now it's wrong with you.”

Just for the record, it seems Angel Delaporte liked her loads better when she was just the fat fucking slob. A maid at the Waytansea Hotel. A sidekick he could lecture about Stanislavski or graphology. First she's Peter's student. Then Angel's.

Misty says, “The only thing I see is how you can't deal with my maybe having