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After some time my husband reached over to hold my hand, which reminded me that at least there was this, at least we still had hands that remembered how to love each other, two bone-and-flesh flaps that hadn't complicated their simple love by speaking or thinking or being disappointed or having memories. They just held and were held and that is all. Oh, to be a hand.

The address books Englehart’s stocked were second-rate. Their covers were simulated leather, their bindings indifferently glued. Mary stood frowning over one of the books, bound in oxblood plastic, emblazoned with the golden word Addresses, the final s of which had already begun to chip. It was such a flimsy thing, so beneath her, that she felt foolish even looking at it. She glanced around, saw that no one was watching, and almost before she knew she would do it she slipped the address book into her bag. Her forehead burned. Calmly, walking as herself, in heels and pearl earrings, she left the store with the tacky little address book hidden in her bag, its price tag still attached. The tag, when she looked at it, said that the book had cost ninety-nine cents.

LATISHA: The cops ain’t looking for no girl so we don’t get caught. (Pause.) Until now. Now, we kinda worried. Kinda in trouble.

YVONNE: (To Latisha.) Why?

LATISHA: Yo! You can’t tell nobody. And I mean nobody.

YVONNE: (To Latisha.) No, no, I won’t.

LATISHA: I’m telling you I’ll jack you up for real.

YVONNE: (To Latisha.) I won’t tell.

LATISHA: (Pause.) We capped that teacher.

CHOTON

I’m just saying like taxonomically, does it even make sense to categorize my genitalia and your genitalia as the same thing, like…

He indicates RAHEEM’s penis.

…if that’s a penis then…

He pulls his boxers down to show his own penis.

I mean what is this? It’s a polyp.

RAHEEM

Okay.

CHOTON

It’s a little nunu.

RAHEEM

Well I like your little nunu…

RAHEEM examines CHOTON’s penis. He pulls back his foreskin just a bit. CHOTON winces.

CHOTON

Ow. Careful.

RAHEEM

What?

CHOTON

No it’s— it’s just sensitive.

VANESSA: Have you ever met a black woman…you know…in like, real life that talks like that?

GUS: I’m sure I have.

VANESSA: I see.

GUS: That’s why I think this matters so much. My work is really interrogating my own interiority. But having you present my work, I’m being more true to myself by exposing my inner self through you. Creating a real life version of …the black woman inside me. To be enjoyed by all. I want her voice to be heard. I want to create her with you.

VANESSA: Oh my god. I just read an article about this in The Atlantic. What did they call it? Uhph—Racial Tourism! That’s it!

GUS: That’s a new one.

VANESSA: No it’s like…“Let me play double-dutch with the black girls on the playground cause they make me feel all empowered and fierce. They can teach me fun comebacks and how to wag my finger and I can be just as fierce and fabulous as them, but without the burden of actually being a black girl.” I got that right?

GUS: Whoa…You don’t know me.

VANESSA: I don’t.

GUS: I’m not a racist.

VANESSA: This is really awkward for you.