Konstantin Levin in Tolstoy's Anna Karenina notes God's ultimate irony - having created Man a sentient, creative, intelligent, resourceful, and humorous being granted him but a few decades of life before consigning him for all eternity to the cold, hard ground of the steppes.
Israel Cohen reflected on that irony, glad that the modern era had given Man a few more years than the scanty three decades of 1812, but felt a worse irony. God had created men with a lifelong, ineradicable, persistent sexual desire, but gave him a desultory period of youth to perform.
Israel had just come from his doctor who had complimented him on his good health - for a man of his age, the physician added. 'Can't be expecting too much with the Grim Reaper in the rear view mirror', he added hoping to lift the serious depression of his patient.
'That's not funny', Israel replied.
The worst part of it all was that his affair with Monica Albert, a young woman from Accounting, had just ended, a delightful December-May affair that had lifted his spirits, given him new hope for his remaining years, and just possibly was the epiphanic, Lawrentian moment of his life.
He couldn't believe his luck, for why would this thirty-something, attractive, spirited woman want anything to to with him, a carcass of the man he once was, a wrinkled, scanty person with a good sense of humor about the only thing remaining from his youth?
The relationship was a classic. She, alone after many miserable affairs, still hoped for a husband, children, and a home ,saw her chances dwindling. More importantly she felt emotionally bereft - none of the men with whom she had lived understood her for who she was, took advantage of her, missed her essential nature, and left her on the curb.
Israel with his older, more mature wisdom, took her seriously. He loved her smile, her poise, and her special inner happiness, so long muffled and hidden from view. He explored her 'inner rooms' as she put it. He had the patience to roam there, to linger there, and to find out who she really was.
At first she thought he was just like most men - attentive, but for only one reason - but soon found out that he was seriously interested and displayed the patience, the slow, deliberate pace of exploration that a woman required.
As far as Israel was concerned, he felt as though he had received an early Christmas present under the tree - a young, nubile, sexually willing, and completely loving woman. How could an older man be so lucky? What men of his age, like his old, disassembling Yale classmates who had resigned themselves to a chaise lounge and adult learning, could possibly understand what they were missing? A gift from an ironic God who stayed the course for once, dropped a luscious fruit into the lap of a deserving man.
Coleman Silk, the main character in Phillip Roth's book The Human Stain is an older man who begins a relationship with a woman half his age. His longtime friend warns him of the consequences - Faunia is divorced from a dangerous, psychotic, stalking Vietnam veteran, she is uneducated, barely literate, makes her living as the school janitor, and lives with the guilt of having let her two children die in an avoidable fire.
'Granted', Silk says to his friend, 'she is not my first love, nor is she my best love; but she certainly is my last love. Doesn't that count for something?' and so it was with Israel, willing to take any risk, any chance, any opportunity to fulfill the persistent, permanent, and unholy desire to have sex with a beautiful young woman.
Israel was a man in a good marriage - one secured by two successful, prosperous children, three grandchildren, a second home on Nantucket, and a generous retirement account. Why would he jeopardize all this?
'It's the sex, isn't it', Silk's friend says to him after hearing his justification for a perilous adventure, and of course it was.
Coleman makes an effort to get beyond sex. He takes Faunia to a Brahms concert at Tanglewood, invites her to a three-star dinner at Chez Marguerite in Lenox, and buys her things - but she is unmoved. 'Leave it alone, Coleman. Leave it be' but he finds himself more and more involved in her life.
As threatening as it is, he is unafraid of what he sees, becomes her defender, her protector, and her advocate. Yet the real joy, the most meaningful, existential part of the romance is indeed the sex- to lie next to a woman whose skin is like velvet, whose legs are supple and long, whose lips are full and sensuous, whose passion is undiminished.
'And what of it?, he replies to his friend. 'Didn't you get my meaning?'.
His lawyer warns him. 'What if you get her pregnant, then what will you do? She will rob you blind...and what if she's HIV+, then what? And when the ex-husband shows up at your door with a loaded shotgun?'
Coleman listens patiently, then responds, 'You sanctimonious prick' and leaves. Another supposed well-wisher who understands nothing, whose life is a routine slog, a pedestrian pace, a spiritless, passionless, dutiful place.
It ends badly for Coleman, of course, but one expects that as his car rolls off the embankment, sent there by the jealous, mad ex-husband, he will look at death with equanimity, Faunia at his side; but Israel wanted no such denouement or demise. He would have to end the affair before it became untenable.
There were tears and regrets. The woman was disconsolate, the more so because she had just let herself believe that Israel would leave his wife and marry her; but she understood. The age difference was insurmountable and soon she would be taking care of him, not having sex with him.
Coleman knew that she was his last love, regardless of his lifelong desire or sexual ability. It was simply the end of an era, that short , happy space granted to men. He knew that the affair had to end, but the regret stayed with him. The memories of her next to him in bed were indelible, there before he went to sleep, and again there when he woke up.
It was an existential affair after all, a final validation of manhood, even of being. Lawrence was right. Sex in the right measure, in the right balance, and in complete harmony can mean something, can exist in another dimension.
Israel never forgot the young woman and never put her aside as should have. He regretted that the affair was over, but knew it had to end; but true to male form he looked with undying interest at the young things on the Florida beach where he retired.






















