My Year of Rest and Relaxation

by Ottessa Moshfegh

“At least I’m making an effort to change and go after what I want,” she said. “Besides sleeping, what do you want out of life?” I chose to ignore her sarcasm. “I wanted to be an artist, but I had no talent,” I told her. “Do you really need talent?” That might have been the smartest thing Reva ever said to me.

And Trevor had never wanted to “kneel at the altar.” I could count the number of times he’d gone down on me on one hand. When he’d tried, he had no idea what to do, but seemed overcome with his own generosity and passion, as though delaying getting his dick sucked was so obscene, so reckless, had required so much courage, he’d just blown his own mind.

“Don’t be that way,” Reva crooned drunkenly. “Soon we’ll be old and ugly. Life is short, you know? Die young and leave a beautiful corpse. Who said that?” “Someone who liked fucking corpses.”

Nothing seemed really real. Sleeping, waking, it all collided into one gray, monotonous plane ride through the clouds. I didn’t talk to myself in my head. There wasn’t much to say. This was how I knew the sleep was having an effect: I was growing less and less attached to life. If I kept going, I thought, I’d disappear completely, then reappear in some new form. This was my hope. This was the dream.

“This movie inspires me to try new things,” he said. “Like what?” I asked, amused by the thought that he might have the courage to do more in bed than reposition himself to get “better leverage.”

The trees were all bare and black against the pale snow. The East River was still and black. The sky was black and heavy over Queens, a blanket of blinking yellow lights spreading out into infinity. There were stars in the sky, I knew, but I couldn’t see them. The moon was more visible now, a white flame glowing high while red lights of planes sailing down to LaGuardia blipped by. In the distance, people were living lives, having fun, learning, making money, fighting and walking around and falling in and out of love. People were being born, growing up, dropping dead.

The letter was totally unoriginal. She felt she wasn’t equipped to handle life, she wrote, that she felt like an alien, a freak, that consciousness was intolerable and that she was scared of going crazy. “Good-bye,” she wrote, then gave a list of people she’d known. I was sixth on the list of twenty-five. I recognized some of the names—long abandoned girlfriends, her doctors, her hairdresser. I kept the letter and never showed it to anybody. Occasionally, over the years, when I’d felt abandoned and scared and heard a voice in my mind say, “I want my mommy,” I took the note out and read it as a reminder of what she’d actually been like and how little she cared about me. It helped. Rejection, I have found, can be the only antidote to delusion.

The art world had turned out to be like the stock market, a reflection of political trends and the persuasions of capitalism, fueled by greed and gossip and cocaine. I might as well have worked on Wall Street. Speculation and opinions drove not only the market but the products, sadly, the values of which were hinged not to the ineffable quality of art as a sacred human ritual—a value impossible to measure, anyway—but to what a bunch of rich assholes thought would “elevate” their portfolios and inspire jealousy and, delusional as they all were, respect. I was perfectly happy to wipe out all that garbage from my mind.

My mother used to say that if I couldn’t sleep I should count something that matters, anything but sheep. Count stars. Count Mercedes-Benzes. Count U.S. presidents. Count the years you have left to live. I might jump out the window, I thought, if I couldn’t sleep. I pulled the blanket up to my chest. I counted state capitals. I counted different kinds of flowers. I counted shades of blue. Cerulean. Cadet. Electric. Teal. Tiffany. Egyptian. Persian. Oxford. I didn’t sleep. I wouldn’t sleep. I couldn’t. I counted as many kinds of birds as I could think of. I counted TV shows from the eighties. I counted movies set in New York City. I counted famous people who committed suicide: Diane Arbus, the Hemingways, Marilyn Monroe, Sylvia Plath, van Gogh, Virginia Woolf. Poor Kurt Cobain. I counted the times I’d cried since my parents died. I counted the seconds passing. Time could go on forever like this, I thought again. Time would. Infinity loomed consistently and all at once, forever, with or without me. Amen.

My muscles ticked like a car that’s been driven a long distance and is left parked in the shade.

Someone once said that when you die of hypothermia, you get cold and sleepy, things slow down, and then you just drift away. You don’t feel a thing. That sounded nice. That was the best way to die—awake and dreaming, feeling nothing. I could take the train to Coney Island, I thought, walk along the beach in the freezing wind, and swim out into the ocean. Then I’d just float on my back looking up at the stars, go numb, get sleepy, drift, drift. Isn’t it only fair that I should get to choose how I’ll die? I wouldn’t die like my father did, passive and quiet while the cancer ate him alive. At least my mother did things her own way. I’d never thought to admire her before for that. At least she had guts. At least she took matters into her own hands.

I always thought it was pathetic that Reva had chosen to stay in the area after graduation, but passing through it in the cab, in my frenzied state of despair, I understood: there was stability in living in the past.

He struck me as a reptilian, small-hearted being, someone placed on the planet to strike a chord with similar people, people who distracted themselves with money and conversation rather than sink their hands and teeth into the world around them. Shallow, I guess. But there were worse people on this Earth.

Picasso was right to start painting the dreary and dejected. The blues. He looked out the window at his own misery. I could respect that. But these painters of fruit thought only of their own mortality, as though the beauty of their work would somehow soothe their fear of death. There they all were, hanging feckless and candid and meaningless, paintings of things, objects, the paintings themselves just things, objects, withering toward their own inevitable demise.