It was not at all as one may’ve expected: if arriving not by invitation the scene would be misread, misunderstood. As happened many times, by my imagination, at least, some loose, shoeless Man was drawn by the comfort of the form of that unexpected structure, half-hidden by thicket scrub, believing it to be a house, a really real house, a small home and not some plastic faux plasterboard. They would try the handle, turning easy (I used to make myself believe that they all had to force the lock (having spent so long staring at that splintered jamb, not knowing where or how to start), but I lie to myself less now, I hope) and, upon the breach, tentatively stepping in, unwittingly drowning any hope of being whole again. (I do feel lucky, mind, to have escaped with my life (for all that’s worth), although I was not, by means, left whole. They used to write on skin, you know) The Man would find, in this one room that looked like a real room that made this nothouse, a doll – functionally lifesized (by a child’s eye) and deathly accurate. Its eyes, burn’d umber behind stove-glass, would follow Him in all His movements, this programmed action misconstrued as praise, until He was lulled to the faint that this was not, for fact, a dollhouse, and that familiar shape (not yet notchild) lying naked over the bedquilt was, for fact, not hollow and twine but unmade and solid and flesh and safe and, if not honest, read-able and wanted. I hate that Man. I used to hate than Man, those Men. I would plan their deaths, hear the whisper hiss of canvas against skin, blade against rib, thinking of how the door must shut itself silently behind them, knowing the hunger on approach to the notyou, a doll so delicately detailed, carved to one end. You told me it was mine. The key to that bruised door you delivered to my pocket, you told me it was the only one; the pins and wafers would accept knowingly and with grace and never was I to doubt. Silly, silly me. Still I couldn’t help but half glance at the corners for Man or Men or Brother or eyeshine in the dark before telling myself that I was alone, alone with doll, with notyou; a masterpiece of clockwork that some one or thing crept in to update (for the lip I split, that slit in which I dropped a stitch, still looked yours) even though you never showed, and now I know or think I know. And my escape was final, for most of me, still kinder than the cut delivered to the Man, the Men. They left missing something more, some certain internal structure, some humour-producing gland that, missing, ruined them – while I, having distrusted that self-same, yankee organ of my own, had hidden it away in a knothole, surrounded by fermented damp, and escaped you by losing only an arm. (Yet) This loss has changed me. I see it in the faces of others and my own, when I dare; the stranger stares longer; the children laugh at my passing. I cannot feel it as a loss, as such, when remembering what it was when I was whole, attached: it is as if I am remembering a past life, a story read and reread in childhood, that now I have been changed by such degrees that I am no longer the same animal, no longer a man nor man missing an arm but now a onearmedman.