“About the only thing I’m positive about.”

I was honestly ignorant, yet I loathed her describing ads to me, her scolding me for having to describe them.

“So the guy steps out like with a baseball bat on tiptoe, only to meet like a stranger prowling around the den and shouting who are you and the guy’s screaming who are you and like he’s got the bat cocked and is about to take a swing but like hesitates just perfectly because the stranger, the alleged burglar who’s all balled in the corner, he whimpers?”

“I’m the husband,” the actor gave an imitation whimper.

“That’s who you are?” I said. “You’re the husband?”

“The other guy,” Rach said. “It’s our spot for Skilling Security.”

\

I’ve since rectified, viewed it online:

After that line the camera pans disinterest across the cozy den, taking in a row of photos of the wife from upstairs alongside the second man, the supposed burglar, plowing the ski slopes, hippie fab at their wedding, babyboomed flabby on an anniversary cruise.

After a cut to the logo of Skilling Security like a coat of arms with a Yield sign, the ad cuts again to EMTs, fire, two burly cops cuffing the adulterer.

A final tense shot of husband and wife, confronted by infidelity, cozened by den and moon.

The commercial’s wife, the actress, appears to be younger than Adam but older than Rach, who cast her, I’m sure, so as not to attract him or be threatened herself. Or just so the relationship would test appropriate agewise. As for the husband, he’s not my type, but not Rach’s either. She had the egalitarian audacity to cast a Vietnamese, who’s ageless.

But it’s Adam who has the last word, in custody overdub, police cruiser voiceover, though now I can’t recall what it was, rather I can’t differentiate it from the last words of his other commercials I clicked on (for razors, deodorants, cholesterol meds), nor can I recall him, for that matter, in any of the made for TV dramedies, or the direct to video aliens vs. robots action thrillers I torrented (always portraying the reliable neighbor in the former, and a rabbi in the latter), as having been wardrobed or madeup at all differently than he was just then, a gentle goof in suede, an endearing streak of sunblock down the nose stump.

“I’m Adam,” he said, finally rolling the credits.

His sitting height was my standing height. His hand was damp, but the body behind it was muscle.

“No doubt,” I said, “Rach’s told me everything about you.”

“You might as well join us.”

“Already?” Rach said.

I said, “Since the weather’s so nice.”

“It is,” Adam patted a slat.

Rach said, “Already?”

Adam said, “A pleasure.”

“I’d love to,” I said, “but I have writing to do.”

Rach said, “No doubt”—like she was flinging a crust, as I hurried off for Ridgewood.

Cut.

One last repeat, one last syndication:

Another man’s career is revived, only because of his relationship with my wife, and I’m supposed to take that as material. A suggestion for Adam’s next vehicle: an adaptation of Rach’s life, in which I play him and he plays me.

How am I, a writer, supposed to feel about having lost you to a reader? Not even—a memorizer?

What to say, Rach? Will you tell me what to say?

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May through to June I spent my time deciding how to spend my time, which is the first, second, and third through nine thousand seven hundred and griftyfifth items on the agenda of every writer, or neurotic. I was getting ahead of myself, fretting whether the book would have to have notes or sources cited, fretting whether I’d be allowed to decide anything at all.

Meanwhile, the sweater layers came off and then the women put on shorts and then the men put on shorts and everyone became a child. The applianceries threw up bunting declaring preseason priceslashes on BBQs and ACs, and all the children were out on Atlantic Avenue slurping challenging snowcones in flavors like tripe.

I, no surprise, was camped inside, grilling windowless. Heinekens, pinching the filters out of Camels.

The desk had to be cleared, but then what—go clear out any unmatched gloves I’d left uptown? pack out Ridgewood’s Rach clutter and return it? Spring cleaning—my neighbors, my floor of nine thousand seven hundred and griftyfive units, were into that too.

The unit to one side, the trove of an Albanian who peddled arts recordings mailorder and in person, DVD, VHS, Regions 1 and 2, even rarees on reels, 10mm, 8mm, of concerts and operas, tours of the Hermitage, the Louvre, Gemäldegalerien, both samizdat shaky cameraworks he produced himself from the back rows of Lincoln Center, and classier documentaries duped from public broadcasting, all for homebound infirm or dying oldsters who couldn’t be bothered with or couldn’t afford a system upgrade. The unit to the other side, the vault of a dire Sri Lankan trying to become the exclusive stateside distributor of only the worst products of his island: floppy slabs of irregularly cut rubber reclaimed from sparetires, coir, peat, microwaveable pouches of a prespiced rice—Sprice.

I wasted a lot of that stretch with them, out in the hall in plastiwicker patio chairs from a patio furnisher, and a homeshopping supplier’s rotating fans.

“You can have shot the actor for $10,000,” according to the Albanian, “or for that you can have also two new womens and not the Tirana bitches but the healthy country girls from Kukës.”

The plaintive Sri Lankan, “You will write for the CNN about my rice?”

I didn’t know what I wanted, Rachwise, and I was as angry at her as I was, I’ll admit, turned on—by the thought of her wanting that actor. After my hallmates left for their own domestic disturbances I got onto wifi and clicked past Adam’s ads, trafficked into his filmography, his televisionography, his large and small screen oeuvre or at least his performances not expressly endorsing rugged yet sensitive colognes, refreshing, switching among the networks—Proven Nexports, WinsumGypsum, AY86MNO22, Readyornotherei1111 (in order of reliability), some from businesses whose proprietors had given me their wpas or wpa2s in order to facilitate my redaction of debt consolidation/collection correspondence, others I’d just guessed (either the names of the networks themselves, or abcdefgh, or that CAPPED, or 12345678, or a combo), but none of his films or shows I found had any sex scenes, rather he, or his characters—because a writer has to be careful about confusing a person with his characters—weren’t involved in any of them: always it was his son fucking someone, or his daughter fucking someone, after which he, Adam, might have a benignly erotic talk with her about it, or a stern but supportive discussion with her partner. Revenge of the Nasteroids I liked. Also the complete Season 2 of Fare Friends, except for the episodes “The Bantling Commission” and “Dolly Dispatch.”

In Daaaabbb! and its sequel Daaaaaaaabbbbbb! he was animated again—busy, active, but also a cartoon—some type of anguimorph in length trailing a long scorpion’s tail without a stinger. He was, I realized, some variety of lizard, and then a franchise fansite’s posting clarified, he was a mastigure, of the genus Uromastyx, and another posting debated which species. The head, because I’m not sure whether lizards have faces, had Adam’s dry/wet features, his slitherine expressions and gestures, and, of course, his voice, conventionally rugged, with fugettaboutit dabs. But that must’ve been relatively easy—for the rest, it was just a matter of having him strip and slapping nodes on his tits, letting a computer model his motions.

I clicked through the clips and, in the midst of loading part 3 of 21, I must’ve fallen asleep and the signal must’ve too, because waking up it was frozen, and I was in a sweat.