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Edward Hopper’s Nighthawks, 1942 by Joyce Carol Oates The three men are fully clothed, long sleeves, 1 even hats, though it’s indoors, and brightly lit, and there’s a woman. The woman is wearing a short-sleeved red dress cut to expose her arms, a curve of her creamy chest; she’s contemplating 5 a cigarette in her right hand, thinking that her companion has finally left his wife but can she trust him? Her heavy-lidded eyes, pouty lipsticked mouth, she has the redhead’s true pallor like skim milk, damned good-looking 10 and she guesses she knows it but what exactly has it gotten her so far, and where?—he’ll start to feel guilty in a few days, she knows the signs, and actual smell, sweaty, rancid, like dirty socks; he’ll slip away to make telephone calls 15 and she swears she isn’t going to go through that again, isn’t going to break down crying or begging nor is she going to scream at him, she’s finished with all that. And he’s silent beside her, not the kind to talk much but he’s thinking 20 thank God he made the right move at last, he’s a little dazed like a man in a dream— is this a dream?—so much that’s wide, still, mute, horizontal, and the counterman in white, stooped as he is and unmoving except to sip 25 his coffee; but he’s feeling pretty good, it’s primarily relief, this time he’s sure as hell going to make it work, he owes it to her and to himself, Christ’s sake. And she’s thinking the light in this place is too bright, probably 30 not very flattering, she hates it when her lipstick wears off and her makeup gets caked, she’d like to use a ladies’ room but there isn’t one here and Jesus how long before a gas station opens?— it’s the middle of the night and she has a feeling 35 time is never going to budge. This time though she isn’t going to demean herself— he starts in about his wife, his kids, how he let them down, they trusted him and he let them down, she’ll slam out of the goddamned room 40 and if he calls her Sugar or Baby in that voice, running his hands over her like he has the right, she’ll slap his face hard, You know I hate that: Stop! And he’ll stop. He’d better. The angrier she gets the stiller she is, hasn’t said a word 45 for the past ten minutes, not a strand of her hair stirs, and it smells a little like ashes or like the henna she uses to brighten it, but the smell is faint or anyway, crazy for her like he is, he doesn’t notice, or mind— 50 burying his hot face in her neck, between her cool breasts, or her legs—wherever she’ll have him, and whenever. She’s still contemplating the cigarette burning in her hand, the counterman is still stooped gaping 55 at her, and he doesn’t mind that, why not, as long as she doesn’t look back, in fact he’s thinking he’s the luckiest man in the world so why isn’t he happier? Nighthawks, Edward Hopper, 1942. Art Institute of Chicago

Edward Hopper’s Nighthawks, 1942

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Page 1: Edward Hopper’s Nighthawks, 1942

Edward Hopper’s Nighthawks, 1942 by Joyce Carol Oates

The th ree men are fu l ly c lothed, long s leeves, 1 even hats , though i t ’s indoors, and br ight ly l i t , and there’s a woman. The woman is wear ing a short -s leeved red dress cut to expose her arms, a curve o f her creamy chest ; she’s contemplat ing 5 a c igaret te in her r ight hand, th ink ing tha t her companion has f inal l y le f t h is wi fe but can she t rust h im? Her heavy- l idded eyes, pouty l ips t icked mouth, she has the redhead’s t rue pal lor l ike sk im mi lk , damned good- look ing 10 and she guesses she knows i t but what exact ly has i t got ten her so far , and where?—he’ l l s tar t to feel gui l ty in a few days, she knows the s igns, and actual smel l , sweaty, ranc id, l ike d i r ty socks; he’ l l s l ip away to make te lephone ca l ls 15 and she swears she isn ’ t going to go through tha t again, isn ’ t going to b reak down cry ing or begging nor is she going to scream at h im, she’s f in ished wi th a l l that . And he’s s i lent bes ide her, not the k ind to ta lk much but he’s th ink ing 20 thank God he made the r ight move a t last , he’s a l i t t l e dazed l ike a man in a d ream— i s th is a d ream?—so much that ’s wide, s t i l l , mute, hor izonta l , and the counterman in whi te, s tooped as he is and unmoving except to s ip 25 h is cof fee; but he’s feel ing pret ty good, i t ’s pr imar i ly re l ie f , th is t ime he’s sure as hel l going to make i t work, he owes i t to her and to h imse l f , Chr is t ’s sake. And she’s th ink ing the l ight in th is p lace is too br ight , p robably 30 not very f la t te r ing, she hates i t when her l i ps t ick wears of f and her makeup gets caked, she’d l ike to use a ladies ’ room but there isn ’ t one here and Jesus how long before a gas s tat ion opens?— i t ’s the middle of the n ight and she has a feel ing 35 t ime is never going to budge. This t ime though she isn ’ t going to demean hersel f— he s tar ts in about h is wi fe, h is k ids, how he let them down, they t rusted h im and he let

them down, she’ l l s lam out of the goddamned room 40 and i f he cal ls her Sugar or Baby in that voice , running h is hands over her l ike he has the r ight , she’ l l s lap h is face hard, You know I hate that : Stop! And he’ l l s top. He’d bet ter . The angr ie r she gets the s t i l le r she i s , hasn’ t sa id a word 45 for the past ten minutes, not a s t rand of her hai r s t i rs , and i t smel ls a l i t t le l ike ashes or l ike the henna she uses to br ighten i t , but the smel l is fa int o r anyway, crazy for her l ike he is , he doesn’ t not ice, or mind— 50 bury ing h is hot face in her neck, between her cool breasts , or her legs—wherever she’ l l have h im, and whenever. She’s s t i l l contemplat ing the c igaret te burning in her hand, the counterman is s t i l l s tooped gaping 55 at her , and he doesn’ t m ind that , why not , as long as she doesn’ t l ook back, in fact he’s th ink ing he’s the luck iest man in the wor ld so why isn ’ t he happier?

Nighthawks, Edward Hopper, 1942. Art Institute of Chicago