As he did this, combining the mirror's confirmation of forty with a sense of feeling no different than he had at twenty so that a nice conciliatory countenance of thirty stared back at him, he remembered another fragment of that earlier dream in a sleep that had been filled with such episodic starts and stops.
As the restless shifting of dreams like those he had experienced in the 'tenebrous tomb' were the chaotic composite of what the true self really was, they were also his idée fixe, for as an artist he knew that the true self was the only subject worthy of his delineation, his imagining, and that being awake was merely the desperate garnering of the true self's scatterings. In some sense being awake was a liberation from sleep, that anarchy of fleeting images, fears, and anxieties about the unalterable past which the subconscious lived over again and again in new arrangements like a news reel seen in various colored filters and in reverse of a young French and English teacher jumping from her balcony. It was a means by which, if not to erase or delete memory, to splice it, to fictionalize it, and to some degree begin again; and yet he judged consciousness to be even less real. Married one moment, separated the next, the boy was always growing out of his clothes or being stripped of them. And as the door of the fitting room by which people came in to wear him and be worn by him never seemed to shut well, allowing all whom he loved to briefly use him and be used by him to get a variant feel of themselves before going toward new entries, it seemed to him that the door might as well keep revolving. One might even stifle human growth if one were to try. This had been his supposition in maimed youth after his parents were jettisoned from their windshield by a Fate seemingly eager to part with superfluous human baggage, these burdensome nuisances, and he was too old to part from such inveterate conclusions now.
Being awake was a concoction of pasting together the fragments of subconscious thought. Whereas a biographer was a historian of superficial events, the artist was a cartographer; and it had always been his hope that collectively all artists (himself included if he were not retired) would in time be able to chart an accurate aerial view of the splendid, volcanic thrusts of the subconscious. He took a comb out of the pocket of his wrinkled pants and began to straighten his disheveled hair lovingly. Then in consort with his debonair image, his Siamese twin in the mirror, he put his palm on his forehead for it was aching numbly, and more numbly was his heart. And thinking of his own restlessness, he knew it would not end with ended sleep. He could tell this from the hammering taps of his present headache that were born of the travail of truly chaotic dreams.