Lux Lisbon Character Analysis

The paneled walls gleamed, and for the first few seconds the Lisbon girls were only a patch of glare like a congregation of angels. Then, however, our eyes got used to the light and informed us of something we had never realized: the Lisbon girls were all different people. Instead of five replicas with the same blond hair and puffy cheeks we saw that they were distinct beings, their personalities beginning to transform their faces and reroute their expressions.

Years later, when we lost our own virginities, we resorted in our panic to pantomiming Lux’s gyrations on the roof so long ago; and even now, if we were to be honest with ourselves, we would have to admit that it is always that pale wraith we make love to, always her feet snagged in the gutter, always her single blooming hand steadying itself against the chimney, no matter what our present lovers’ feet and hands are doing.

It was crazy to make love on the roof at any time, but to make love on the roof in winter suggested derangement, desperation, self-destructiveness far in excess of any pleasure snatched beneath the dripping trees. Though some of us saw Lux as a force of nature, impervious to chill, an ice goddess generated by the season itself, the majority knew she was only a girl in danger, or in pursuit, of catching her death of cold.

It was from Ms. Angelica Turnette, a hospital clerical worker, that we later received the documents that we hold among our most prized possessions (her nonunion pay hardly made ends meet). The doctor’s report, in a series of titillating numbers, presents Lux in a stiff paper gown stepping on the scale (99), opening her. mouth for the thermometer (98.7), and urinating into a plastic cup (WBC 6-8 occ. Clump; mucus heavy; leukocytes 2+). The simple appraisal “mild abrasions” reports the condition of her uterine walls, and in an advancement that has since been discontinued, a photograph was taken of her rosy cervix, which looks like a camera shutter set on an extremely low exposure. (It stares at us now like an inflamed eye, fixing us with its silent accusation.)

As it circulated in the next few months, this theory convinced many people because it simplified things. Already Cecilia’s suicide had assumed in retrospect the stature of a long-prophesied event. Nobody thought it shocking anymore, and accepting it as First Cause removed any need for further explanation. […] Her suicide, from this perspective, was seen as a kind of disease infecting those close at hand.

Thinking back, we decided the girls had been trying to talk to us all along, to elicit our help, but we’d been too infatuated to listen. Our surveillance had been so focused we missed nothing but a simple returned gaze. Who else did they have to turn to? Not their parents. Nor the neighborhood. Inside their house they were prisoners; outside, lepers. And so they hid from the world, waiting for someone—for us—to save them.

We climbed up to the tree house the way we always had, stepping in the knothole, then on the nailed board, then on two bent nails, before grasping the frayed rope and pulling ourselves through the trapdoor. We were so much bigger now we could barely squeeze through, and once we were inside, the plywood floor sagged under our weight. The oblong window we’d cut with a handsaw years ago still looked onto the front of the Lisbon house. Next to it were rusty tacks. We didn’t remember putting them up, but there they were, dim from time and weather so that all we could make out were the phosphorescent outlines of the girls’ bodies, each a different glowing letter of an unknown alphabet.

It took a minute to sink in. We gazed up at Bonnie, at her spindly legs in their white confirmation stockings, and the shame that has never gone away took over. The doctors we later consulted attributed our response to shock. But the mood felt more like guilt, like coming to attention at the last moment and too late, as though Bonnie were murmuring the secret not only of her death but of her life itself, of all the girls’ lives.

The paneled walls gleamed, and for the first few seconds the Lisbon girls were only a patch of glare like a congregation of angels. Then, however, our eyes got used to the light and informed us of something we had never realized: the Lisbon girls were all different people. Instead of five replicas with the same blond hair and puffy cheeks we saw that they were distinct beings, their personalities beginning to transform their faces and reroute their expressions.

Years later, when we lost our own virginities, we resorted in our panic to pantomiming Lux’s gyrations on the roof so long ago; and even now, if we were to be honest with ourselves, we would have to admit that it is always that pale wraith we make love to, always her feet snagged in the gutter, always her single blooming hand steadying itself against the chimney, no matter what our present lovers’ feet and hands are doing.

It was crazy to make love on the roof at any time, but to make love on the roof in winter suggested derangement, desperation, self-destructiveness far in excess of any pleasure snatched beneath the dripping trees. Though some of us saw Lux as a force of nature, impervious to chill, an ice goddess generated by the season itself, the majority knew she was only a girl in danger, or in pursuit, of catching her death of cold.

It was from Ms. Angelica Turnette, a hospital clerical worker, that we later received the documents that we hold among our most prized possessions (her nonunion pay hardly made ends meet). The doctor’s report, in a series of titillating numbers, presents Lux in a stiff paper gown stepping on the scale (99), opening her. mouth for the thermometer (98.7), and urinating into a plastic cup (WBC 6-8 occ. Clump; mucus heavy; leukocytes 2+). The simple appraisal “mild abrasions” reports the condition of her uterine walls, and in an advancement that has since been discontinued, a photograph was taken of her rosy cervix, which looks like a camera shutter set on an extremely low exposure. (It stares at us now like an inflamed eye, fixing us with its silent accusation.)

As it circulated in the next few months, this theory convinced many people because it simplified things. Already Cecilia’s suicide had assumed in retrospect the stature of a long-prophesied event. Nobody thought it shocking anymore, and accepting it as First Cause removed any need for further explanation. […] Her suicide, from this perspective, was seen as a kind of disease infecting those close at hand.

Thinking back, we decided the girls had been trying to talk to us all along, to elicit our help, but we’d been too infatuated to listen. Our surveillance had been so focused we missed nothing but a simple returned gaze. Who else did they have to turn to? Not their parents. Nor the neighborhood. Inside their house they were prisoners; outside, lepers. And so they hid from the world, waiting for someone—for us—to save them.

We climbed up to the tree house the way we always had, stepping in the knothole, then on the nailed board, then on two bent nails, before grasping the frayed rope and pulling ourselves through the trapdoor. We were so much bigger now we could barely squeeze through, and once we were inside, the plywood floor sagged under our weight. The oblong window we’d cut with a handsaw years ago still looked onto the front of the Lisbon house. Next to it were rusty tacks. We didn’t remember putting them up, but there they were, dim from time and weather so that all we could make out were the phosphorescent outlines of the girls’ bodies, each a different glowing letter of an unknown alphabet.

It took a minute to sink in. We gazed up at Bonnie, at her spindly legs in their white confirmation stockings, and the shame that has never gone away took over. The doctors we later consulted attributed our response to shock. But the mood felt more like guilt, like coming to attention at the last moment and too late, as though Bonnie were murmuring the secret not only of her death but of her life itself, of all the girls’ lives.