He looked at the neat, printed address—Ralph Gilmore, 559 West 38th Street, New York City—and an angry flush mounted to his cheekbones. Not typewritten—printed—as if some incredible new machine had been used to add insult to injury.
He tore the envelope open and hesitated for an instant before removing its contents. What if he had been jumping to an unjust conclusion? He had no absolute assurance that the envelope contained a rejection slip. Quite possibly the editor had written him a long and sympathetic letter, expressing sincere regrets.
No ... that would have been worse. A hundred times worse. The manuscript had been returned to him, so obviously it had been rejected. What the hell did he care about how sorry the editor might feel about it?
Nora was staring at him with a look of bewildered concern on her face, as if she didn't quite know what it was all about, but could tell from the way he was glaring at the envelope that he had no intention of tossing it on the typewriter table, crossing to the bed and putting an arm about her waist. Not immediately, anyway, and she'd hoped it might happen this time, that he might turn to her for comfort at least. Three bulky envelopes in a week, and she knew how much rejections upset him. Writers were different from other people and probably most of them were a little crazy.
She'd dreamed about it and hoped for it, but how could she make it happen when he was so strange, so different, from anyone she'd ever known. The men she'd known had made it plain just what they'd expected from her in return for taking her out, making her feel important, a somebody. If she hadn't liked them she wouldn't have given them anything in return—she could be a real little bitch at times, why deny it—but she had liked them, she had, she had! All except that Duncan worm she could have killed and that piece of—
She didn't say the word, even to herself. He didn't like that kind of coarseness, got upset whenever she came right out and said what she knew to be true. Not in a woman anyway. He could use worse language himself, could go way beyond anything you'd hear in a bar unless you were standing close to someone who mistook you for a hustler and was too drunk to tell the difference even when you moved quickly away from him.
She wanted to please him—God help her, she did want to. She couldn't explain it, because there was nothing so wonderful about him, even if he was a writer. But if he really wanted her, if he did or said something to make her sure, she'd go all the way with him. She'd have to be sure, because she had to like a man terribly, to worry about him and think about him and want to buy him things—a new scarf, a necktie, no matter how many neckties he had or how much money he spent on her—and be jealous of him and swear she'd kill any other woman who looked at him twice ... she had to love him that much and that terribly to go to bed with him.
All right, he wasn't the first one. There had been ... four others. But she'd never ... cared for ... anyone quite so much and if he was too blind to see it, or thought the stories he was always writing and getting returned were more important than a woman in bed with him, a woman who knew how to make him forget everything but the warm, clinging sweetness of....
All right, those were his words. Words from one of his crazy manuscripts. She'd copied them down and read them more than once, because they'd excited her. But that didn't mean she didn't feel that way herself. She couldn't use fancy words, maybe, but she knew what it meant to a man to hold a woman close, and pass his hands up and down over the smooth flesh of her shoulders and fondle her breasts.... And she knew what it meant to a woman.
Poetry too. He wrote poetry. "There's nothing in it," he'd said. "A great poet can starve to death, even quicker than an important novelist can. I won't be victimized to that extent. Read these if you want to—I don't give a damn about them. I probably won't write another poem in the next twenty years."