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The Climax

January 2013

Marcus and Nora break up during the spring of her second year.

He wanted things to move much faster than they were, and Nora was far too comfortable with their normal—the normal in which Marcus lived a floor above her and they could wrap around each other in his tiny twin bed without worrying about things outside of their protective bubble. Because this normal was easy, it was simple, it was safe—and doing anything different, switching up their normal, would make it the complete opposite.

So when he tells her that he found a small studio apartment in the West Village one April afternoon underneath a budding black tupelo tree in Central Park, and he would love more than anything for Nora to move in, she immediately declines. She wasn't ready for that step— wasn't ready to not live with Ebony and switch up her normal and pop their bubble.

Breaking up wasn't in Nora's plan, but she knew that it was bound to happen. It was an amicable split, something that didn't shake her world or leave her feeling lost at sea without an anchor in the unforgiving rough waters. And two months later, when she's spending her final summer at home with her mother, Nora wonders if there's something wrong with her heart when it still feels intact and the still-beating flesh isn't ripping apart at the seams.

But life moves on, and so does Nora.

When she arrives back on campus at the start of her third year, Nora finds that she has room in her schedule for extracurriculars due to her influx of AP credits from Townbridge. On a whim, she decides to fill in the gaps with Film Study classes, and Nora finds that her heart is thumping in a way that it never has before—in a way that makes her feel that she's finally found purpose, finally found her passion, finally found something close to unadulterated happiness.

Her favorite film professor is an older woman named Suzanne Davies who insists she be called Sue, or more radically, Suzy. She's built of thin bones and worn skin, mahogany eyes that have seen almost everything that Nora wishes she could, with grey curly hair that twists at the nape of her neck and covers a brain that Nora wishes she could pry apart and indulge in every memory like a film projector reel on a thin hanging sheet.

She teaches Film Theory & Criticism, and when Nora listens to her thick British accent work through Apparatus theory and Structuralist theory, she can't help but think of London—a city that feels an entire world away, and how badly she wishes she could visit, if only for a short amount of time.

One dreary November afternoon when Nora is the last one to leave the lecture hall, Suzy stops her and asks her what she wants to do with her life. Nora is instantly brought back to a time in December three years ago, in a different state with a boy she thinks about every now and then, who asked her this very same question as the snow was falling outside and they were laying down on concrete steps, eyes facing the cracked ceiling above. She was honest then, not even hesitating when spilling the words freely from her lips, because for some odd reason, she trusted him entirely in that small moment in time.

She feels the same now, and suddenly, she's telling her professor about the pressure she feels of choosing a stable career, of how she needs her mother to be proud of her, of how she studies Communications but craves Film, of how she's never been happier than when she's watching old movies and dreaming up plots of her own. She tells Suzy how she's never left the country, of how she wishes to see places that aren't coastal Newport or rural Connecticut or bustling New York City.

When Nora sits in her usual seat in the middle row for her next class a week later, she finds an application for Columbia's exchange program with University College London on her desk. She skims through the pages, finding that Suzy has filled in most of the basic information, leaving the personal questions for Nora to finish. And when she looks up at her professor just as she's beginning the lecture, Suzy feels her gaze warm her wrinkled cheek and shoots her wink, going right back to discussing human nature as a fundamental theme in A Clockwork Orange.