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“What do I want you to do? You really want to know? I’ll tell you. Just look me in the eye and tell me one thing. Just do it. Tell me whether you and Cynthia have made love. Tell me. Go on.”

“The answer is no.”

“You swear?”

“I swear.”

“I believe you,” she said quietly, and for a moment Richard thought it was over until she turned around and screamed at him, “THEN WHY DON’T YOU MAKE LOVE WITH ME?”

The experience of reading Sex and Race is one of embrace and recoil as Rogers indiscriminately loads us down with the provable and the forever dodgy, the serious and the frivolous. Sometimes his footnotes, not always adequate or acceptable, tell when he was at work on a given aspect of his subject, in the way that an itemized credit card bill is a diary, a record of movement. The references go in clusters: in the 1920s, he was reading about Syria, Palestine, Arabia, and Persia; in the 1930s, he was reading the memoirs of English travelers in Africa. Sometimes, he clearly couldn’t go back to a particular library or text to check his facts again. And sometimes Sex and Race reads as though it had threatened to consume him, because the first-person voice breaks through in the book at times of what could be called narrative stress.

I’m good enough to get the once-over in the bar at The Restaurant, I see them thinking my

smallness is appealing, my ass and face are cute enough, I see them thinking that short haircut

might be sexy. I’m always in a backless cocktail dress and heels, I’m flat chested and a tad

muscular so they ask me if I’m a dancer and say Call me sometime, let’s have a drink. It took

me a while to understand you’re supposed to work that for your money but you can let the

willingness fall right off your face when you turn around. It took me a while to understand that of

course men fling their entreaties out in swarms, like schools of sperm, hoping one will stick.

“The American girl will judge the leg contest!” they announced. I was still hoping that I had misunderstood them, even as German techno music was turned on and all the boys in the camp, ages eight to fourteen, were paraded out behind a screen that hid their bodies from the waist up; identifying numbers had been pinned to their shorts. I was given a clipboard with a form on which to rate their legs on a scale from one to ten. Gripped by panic, I stared at the clipboard. Nothing in either my life experience or my studies had prepared me to judge an adolescent boys’ leg contest. Finally the English teacher, who appeared to understand my predicament, whispered to me some scores of her own devising, and I wrote them on the form as if I had thought of them myself.

Several times a day Granny Lin bathes Old Tang: in the morning and before bedtime, and whenever he wets or dirties himself. The private bathroom is what Granny Lin likes best about her marriage. For all her life, she has used public bathrooms, fighting with other slippery bodies for the lukewarm water drizzling from the rusty showers. Now that she has a bathroom all to herself, she never misses any chance to use it.

When I say my wives are cages, I don’t mean I’m a bird.

Collapsible shelves, they hide their usefulness when not

in use. All my wives contain terrariums: terrible and fetid

atmospheres in which their salamander selves linger atop

damp rocks. Their hands are damp as the tissues they ball

in their hands, though none of my wives could make a fist,

not even if I asked, no, not even if I commanded them to,

an amusing idea I must someday revisit. My wives are like

the Small Mammal House at the zoo, their rooms kept dark

so visitors may view their nocturnal truths, that anonymous

wakefulness we sleepers do not care to know. None of my

wives are like lanterns, nor do their ribs sing with canaries...