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Coming out of the Met with all those gods on the brain—all those haloed faces seared into my own—it’s an adjustment to sense normally. That’s why the museum abuts the park, so that its patrons can walk in solitude—“walking in the garden in the cool of the day”—to get their glaze back.

Or—in the collecting heat of that Friday, a freak faineant warmth that unnerved me. I wasn’t myself because enriched, beyond the pecuniary. Distracted by the thought of a second self. Distracted by the thought of a second book.

I was so scattered, I’m still not sure what to write: About my back aching from where I’d slept? my head still gauzed, Pharaohnically wrapped, from when I’d been woken up? about the cut on my neck? the slit from chin’s caruncle to neck like an against the grain shaving mishap, just healing? Rach had responded to Moms’s thank you gratuitousness by throwing a bisque dish for our keys, which struck a sill and splintered all over me.

The window had broken. Rach was expecting me to replace it. I was expecting her to replace it. We both were aware of this, but only she might’ve been consciously waiting.

I was—instead—counting my bounty.

Writing mental checks, but not for windows, before I’d written a word.

I still haven’t written a word—just musings about museums, snarks about parks, observations to obelize: two frisbeeists freed from their cubicles—a professorial but perverted uncle emeritus—a Caribbean nanny strollering her employer along the reservoir. I was imposing topiary on trees, and rhymes between their branches and trunks.

I’d rather be procrastinating—I’d rather be doing anything—rather jog, rather run—than record that moment.

When I approached the bench.

When I recognized him.

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Now what I like about lit is that though you feel you know the characters involved, you don’t—you get all the benefits of having a relationship, with none of the mess. The fictional, the factually nonexistent, don’t leave msgs or txt. You’ll never have your own story about meeting Raskolnikov shuffling the aisles of Zabar’s, or about bumping into Werther or, more bizarrely, Bouvard and Pécuchet on line at Han’s Fruit & Vegetable—anyway, if you did bump into them, having been exiled from home yourself, like a fairytale knight errant sent out to seek not your fortune but tampons, how would you know? From their “teeth gnashing”? their “furrowed brows”? all those antique gestures? or just those antiquated translations? Forget the fictional characters—how many authors are being stopped on the street?

Another feature, but of the Victorian serial novel: They always doubled up, they repeated, reviewed, just in case the reader skipped an installment. Or was diverted by a major business decision.

I’d just made a major business decision, having contracted for a book for which I had absolutely no qualifications.

Or my only qualification was my name, the JC halfloops I stopped strolling—I stopped.

I’d just quit the presence of immemorial Basileis and marmoreal Caesares—the likenesses of infamous men who’d raped and plundered Europe and Asia as if only for my entertainment. Yet this—he—was what jarred me. This guy who’d always played the shrewn but happy hubby, the patient catchphrasey Pop. A minor B-celeb, a situational tragicomedian.

He was sensitive, but gave the impression of impersonating himself. His handsomeness was stilled, like the lines of his face were just distortion in his reception. In terms of painting: chiaroscuro cheeks, a worried craquelure mouth. In terms of sculpture: the nosetip curiously chipped, puttied cosmetically.

This cameo was atop a bench off the reservoir path, crowded by pigeons pecking at the matzah slivers he tossed. A proper picnic was spread in the grass.

I gathered myself and approached him, setting the flock to flying, a claque clapping its wings and wallaing west—like in film when directors seeking indistinct background chatter have their extras, forbidden by union rules from pronouncing anything scripted, repeat the same word at the same time but at different speeds and in different tones, walla supposedly being the most effective or just traditional choice, which happens to be an Amerindian word for “water,” as well as slang for “really?” in Hebrew and Arabic—really?

Because sitting next to him was Rach.

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I started fabricating immediately—as if I were Rach—began peddling their presence to myself: this was just a routine appointment enlivened with nature. A meeting negotiated into a harmless park outing. Their commercial was about to be shot, had been shot and was about to air. This was crunchtime, kinks had to be smoothed, geriatric touches retouched.

I remember thinking that their conversation—this situation—was itself a commercial, an infomercial, a public service announcement warning: you’re not as witty as you think.

The actor noticed me before she did, and he recognized too—two stars in rare midday conjunction. His face tanned a shade deeper, and went rumpled as if by a gust, like the dewed pollenstrewn picnic blanket—a bedsheet, one of ours.

Rach collapsed into her lap.

She’d been complaining about him since the fall. He’d been forced on her by a director, by an agency exec. She’d never been more harried on set, she’d never dealt with talent more demanding. So old, hard of hearing, glaucomic, goutish—just getting his travel arranged was an account in itself, a nightmare.

But the way Rach kept her head in her hands told me the truth: that he’d been her true campaign, or she his, all along, and that all her whining to me had just been a prompt or cue—to be something, to change something, perform my regret, make amends.

What’s my line? Did I have any lines?

Otherwise, his presence would’ve been nothing but scenery to me—he’d existed strictly in bitparts, never as a whole. Until then, I’d thought of him only as a supporter, a walking dead rerun, I’d known him only as a man who—a generation after appearing as the first teacher cannibalized by student zombies in the last installment of a horror franchise, as the smilingly wisenheimer outtaboro accent of an animated knishcart in a popular afterschool cartoon series—didn’t even work with my wife, but worked for her.

A face without a voice, a voice without a face, though even if both were retained, I couldn’t remember his name. I hadn’t expected him to feature in my marriage, and, moreover, even if I had, I could never have suspected that the character most natural for me to portray—Jewish Husband #1—would feel guilty about it.

“I’m sorry,” I said, “I’m interrupting.”

Rach raised her head, said, “You’re not,” but too formally, as if our next meeting would be with our lawyers.

“Decided to take the day off?”

“What about you—keeping tabs on me?”

“I had a meeting.”

“We’re having one too,” and she bowed to the actor, who was friendly, or who was trying to be, I’ll give him that—when he held my face with his and said, “You’re the husband.”

Rach, helplessly, laughed, “Take two.”

He repeated, but did so reluctantly, “You’re the husband.”

Rach, out of control, shrieked her teethbleach, “Isn’t that fantastic?”

“Isn’t what fantastic?”

She shrilled, clogstomped, applauded, “You never watched our spot?”

“My apologies,” I said to him, and to her, “I’m sure you never told me to watch it.”

“I did,” she said. “A couple’s like asleep in bed—does that ring a bell?”

My sneaks sunk in the soppy turf, grass engrossing, growing over the heels—“Ringing nothing.”

“Like a couple’s asleep in bed,” she said. “At least they’re presented like a couple in bed, in the suburbs—when suddenly an alarm sounds loud from downstairs, it wakes them up and the woman whispers it must be a burglar, like get up, like go downstairs and be a man—you’re positive I never showed you?”