That had been four months ago, and he now had almost eleven paintings completed—an astonishing output for him—all of scenes from his friends’ lives. There was Willem waiting to audition, studying the script a final time, the sole of one boot pressed against the sticky red wall behind him; and Jude at a play, his face half shadowed, at the very second he smiled (getting that shot had almost gotten JB thrown out of the theater); Malcolm sitting stiffly on a sofa a few feet away from his father, his back straight and his hands clenching his knees, the two of them watching a Buñuel film on a television just out of frame. After some experimentation, he had settled on canvases the size of a standard C-print, twenty by twenty-four inches, all horizontally oriented, and which he imagined might someday be displayed in a long snaking single layer, one that would wrap itself around a gallery’s walls, each image following the next as fluidly as cells in a film strip. The renderings were realistic, but photo-realistic; he had never replaced Ali’s camera with a better one, and he tried to make each painting capture that gently fuzzed quality the camera gave everything, as if someone had patted away the top layer of clarity and left behind something kinder than the eye alone would see.

In his insecure moments, he sometimes worried the project was too fey, too inward—this was where having representation really helped, if only to remind you that someone liked your work, thought it important or at the very least beautiful—but he couldn’t deny the pleasure he got from it, the sense of ownership and contentment. At times he missed being part of the pictures himself; here was a whole narrative of his friends’ lives, his absence an enormous missing part, but he also enjoyed the godlike role he played. He got to see his friends differently, not as just appendages to his life but as distinct characters inhabiting their own stories; he felt sometimes that he was seeing them for the first time, even after so many years of knowing them.

About a month into the project, once he knew that this was what he was going to concentrate on, he’d of course had to explain to them why he kept following them around with a camera, shooting the mundane moments of their lives, and why it was crucial that they let him keep doing so and provide him with as much access as possible. They had been at dinner at a Vietnamese noodle shop on Orchard Street that they hoped might be a Pho Viet Huong successor, and after he’d made his speech—uncharacteristically nervous as he did so—they all found themselves looking toward Jude, who he’d known in advance would be the problem. The other two would agree, but that didn’t help him. They all needed to say yes or it wouldn’t work, and Jude was by far the most self-conscious among them; in college, he turned his head or blocked his face whenever anyone tried to take his picture, and whenever he had smiled or laughed, he had reflexively covered his mouth with his hand, a tic that the rest of them had found upsetting, and which he had only learned to stop doing in the past few years.

As he’d feared, Jude was suspicious. “What would this involve?” he kept asking, and JB, summoning all his patience, had to reassure him numerous times that of course his goal wasn’t to humiliate or exploit him but only to chronicle in pictures the drip of all of their lives. The others said nothing, letting him do the work, and Jude finally consented, although he didn’t sound too happy about it.

“How long is this going to go on for?” Jude asked.

“Forever, I hope.” And he did. His one regret was that he hadn’t begun earlier, back when they were all young.

On the way out, he walked with Jude. “Jude,” he said quietly, so that the others couldn’t hear him. “Anything that involves you—I’ll let you see in advance. You veto it, and I’ll never show it.”

Jude looked at him. “Promise?”

“Swear to god.”

He regretted his offer the instant he made it, for the truth was that Jude was his favorite of the three of them to paint: He was the most beautiful of them, with the most interesting face and the most unusual coloring, and he was the shyest, and so pictures of him always felt more precious than ones of the others.

The following Sunday when he was back at his mother’s, he went through some of his boxes from college that he’d stored in his old bedroom, looking for a photograph he knew he had. Finally he found it: a picture of Jude from their first year that someone had taken and printed and which had somehow ended up in his possession. In it, Jude was standing in the living room of their suite, turned partway to the camera. His left arm was wrapped around his chest, so you could see the satiny starburst-shaped scar on the back of his hand, and in his right he was unconvincingly holding an unlit cigarette. He was wearing a blue-and-white-striped long-sleeved T-shirt that must not have been his, it was so big (although maybe it really was his; in those days, all of Jude’s clothes were too big because, as it later emerged, he intentionally bought them oversized so he could wear them for the next few years, as he grew), and his hair, which he wore longish back then so he could hide behind it, fizzled off at his jawline. But the thing that JB had always remembered most about this photograph was the expression on Jude’s face: a wariness that in those days he was never without. He hadn’t looked at this picture in years, but doing so made him feel empty, for reasons he wasn’t quite able to articulate.

This was the painting he was working on now, and for it he had broken form and changed to a forty-inch-square canvas. He had experimented for days to get right that precise shade of tricky, serpenty green for Jude’s irises, and had redone the colors of his hair again and again before he was satisfied. It was a great painting, and he knew it, knew it absolutely the way you sometimes did, and he had no intention of ever showing it to Jude until it was hanging on a gallery wall somewhere and Jude would be powerless to do anything about it. He knew Jude would hate how fragile, how feminine, how vulnerable, how young it made him look, and knew too he would find lots of other imaginary things to hate about it as well, things JB couldn’t even begin to anticipate because he wasn’t a self-loathing nut job like Jude. But to him, it expressed everything about what he hoped this series would be: it was a love letter, it was a documentation, it was a saga, it was his. When he worked on this painting, he felt sometimes as if he were flying, as if the world of galleries and parties and other artists and ambitions had shrunk to a pinpoint beneath him, something so small he could kick it away from himself like a soccer ball, watch it spin off into some distant orbit that had nothing to do with him.

It was almost six. The light would change soon. For now, the space was still quiet around him, although distantly, he could hear the train rumbling by on its tracks. Before him, his canvas waited. And so he picked up his brush and began.

There was poetry on the subway. Above the rows of scooped-plastic seats, filling the empty display space between ads for dermatologists and companies that promised college degrees by mail, were long laminated sheets printed with poems: second-rate Stevens and third-rate Roethke and fourth-rate Lowell, verse meant to agitate no one, anger and beauty reduced to empty aphorisms.

Or so JB always said. He was against the poems. They had appeared when he was in junior high, and for the past fifteen years he had been complaining about them. “Instead of funding real art and real artists, they’re giving money to a bunch of spinster librarians and cardigan fags to pick out this shit,” he shouted at Willem over the screech of the F train’s brakes. “And it’s all this Edna St. Vincent Millay–type shit. Or it’s actually good people they’ve neutered. And they’re all white, have you noticed that? What the fuck is up with that?”