Gwendolyn, George Eliot's heroine, was a competitive archer, albeit still constrained in her corset.
Emancipation-- male, female, gay, or trans-- takes courage, and time.
My own sex, I hope, will excuse me, if I treat them like rational creatures, instead of flattering their fascinating graces, and viewing them as if they were in a state of perpetual childhood, unable to stand alone.
― Mary Wollstonecraft, A Vindication of the Rights of Woman, 1792
Desire has trimmed the sails, and Circumstance brings but the breeze to fill them.
-George Eliot, Daniel Deronda, 1876
In the end, the courage of women can't be stamped out. And stories - the big ones, the true ones - can be caught but never killed.
― Ronan Farrow, Catch and Kill: Lies, Spies, and a Conspiracy to Protect Predators, 2019
He holds her hand, which she reads as fraternal. Or, as taking her to the edge again, usually at the moment he announces departures. In that way, the seduction remains imminent, and she feels safe.
They are in a neighborhood very close to her home. This, in itself, makes her hopeful. But he decides to take a cab. Too lazy, he says. Working hard all day, so I'll walk you eastward, then I will leave you.
And then, Let's go to the next uptown street. We'll catch a cab there.
She is not going home tonight, she realizes, noting the shift of pronoun to "we."
Block after endless block in the mellow summer night and he is still holding her hand. She says, uncomfortably: You are holding my hand. He says, earnestly: Yes, I am.
That's so sweet, she says, pretending instead of feeling. As though it made any difference. She drops his hand and shifts from his left side to his right. She considers running away, fast.
Why did you do that? he asks.
I don't want to knock you with my bag, she says, frightened.
She hopes he will forget he was holding her hand. But he doesn't. She has shifted sides and now he takes it again.
His arm is strong and tanned.
The skin on his hand is rough.
He is wearing a white linen short-sleeved shirt.
He is holding her hand very tightly.
***
Less than an hour ago, he had scooted close to her on the banquette and kissed her cheek tenderly. She couldn't read it, at first. He had been to a picnic before meeting her, he said. All the participants, save one, were gay. The insouciant, seductive mood of these gay men was still with him. I escaped quickly, he said. Their conversation was shallow and didn't interest me.
And the food?
The food was good. They're in the business, wine and food. They meet in the park once a week during the summer and outdo each other.
And who invited you?
The former girlfriend of a friend. I couldn't say no. I earned some points by attending, but I didn't want to be there. I wanted to be here with you.
When he arrived at the restaurant he was breathless, and demanding. Where is the waiter, he asked. I need a drink.
The waiter had an ersatz Anglo name on his tag.
What's your real name? he asked.
His tone was derisive, even cruel.
She knew at once that the scorn was sleight of hand, nothing more. But the waiter blanched and left quickly. He had a sculpted Roman face, and he looked kind. She wondered if he could rescue her.
Then, when the incident faded, and the drink arrived, she allowed herself to breathe, to move on. She had to conserve her strength for the denouement.
2.
Back out on the street in the mellow summer night, his arm is around her waist. He hails a cab and says: You must come over now.
He is wandering around the apartment like a lost dog. She imagines puppies shadowing him, nipping at his toes. The television and the stereo are covered with white towels. A document is open on the computer. She remains a schoolgirl in schoolgirl clothes, unable to escape, paralyzed. Her life, her ambition, has been interrupted, but only momentarily.
Dedicated to the survivors.