Delicate Edible Birds (20 page)

Still, he drove me wild, that man. As my girlfriends and I sat and chatted over drinks, I reinvented him as a different lover, my imaginary first, an Argentine with a suave smile who led me in a tango on a cobbled street long ago. I described him as he'd been, with the sleek black hair, the thin
nose, the face with those ironic lights dancing under it, the sudden, ready tears in his eyes. I described his body as I imagined it, white and carved like ivory. I told those stories again and again until I almost believed them, and every time the aging face of Ancel de Chair showed up again at another event, I saw the man I'd invented superimposed atop the man he actually was. It was a mixture so heady that in the seconds between when we'd spotted each other and when, having sailed across the room, we kissed, I was overwhelmed by nostalgia, deep and heavy as a flood.

He was the only person I had ever met who was always so elegant, so right. When my husband died ten years ago, we received such a mass of flowers that my son spread them out on other graves in the cemetery. Among the heaps of lilies and roses, there came to the house a miniature bouquet of tea roses in an antique silver vase with no note, the echo of its mate so long ago in Buenos Aires. I put it by my bed. It was a great comfort to see when I opened my eyes in the morning.

In the past six years or so, though, I haven't once seen the man: at this age, it is not unusual to have dear friends one hardly ever sees. I had heard he'd retired to a place in the British Virgin Islands, was living a quieter life, blessed with sand and sea. Still, it was odd that only a very few days after I had shown my granddaughter the photograph in Buenos Aires, Ancel de Chair called me on the telephone. “My darling
bergère,”
he said, “it has been far too long. I am in town this week and would simply love to meet you, if you have a free moment.” Of course I said that I would be delighted. But I
didn't want him to think that I wasn't as busy as he, and so I suggested a time one week later. Out of vanity, or pride, I don't know, I invited him to the apartment. I'm not sure what I expected, only that I am still fine-looking, that I have money now, the right apartment, wonderful pictures on the walls that my last husband collected so carefully. I am, at last,
comme il faut
, and maybe I only wanted him to know that. Maybe I wanted something more. I'm not sure.

In any case, the morning of the visit, just yesterday, I worked hard to gather the right cakes and tea, and Rosa flew about, trying to rub the surfaces spotless. I felt foolish, young again. I hadn't been so nervous about a man visiting since the day I sat in the women's dorm in Madison, shivering with excitement, my hair in curlers, waiting for the time when I would walk downstairs for my inaugural date with my first husband.

At last, the intercom murmured, the elevator whirred open, and my old friend stepped into the apartment. I had always remembered him tall, and had worn heels for the occasion, but he seemed shrunken, and when he kissed my cheek with his dry lips, he had to crane upward. His eyes were sunbursts of wrinkles, his hair, once so sleek and so black, had thinned and whitened and was combed over his bald spots. But when Rosa took his overcoat and scarf, his suit was as beautifully tailored as ever, and he wore the old, enormous yellow diamond tiepin. His canny eyes had seen my first distress, and he laughed.

“Old age humbles even the great, my dear,” he said. He
stepped back, holding my arms, and said, “Well, not you, don't you look lovely.
You
look half your age.”

“You old charmer,” I said and felt myself warming, and led him into the sitting room, where he sat and admired the view, the wind in the bare winter branches, the flurries of snow kicked up from the treetops. He took a neat bite of his cake, and spoke of various things, the biography someone was writing of his life, an interview on public radio, how he'd invested rather stupidly in a business run by his son, only to see the company disintegrate as if composed of ashes. “Oh, well,” he'd sighed, “isn't that life,” and I agreed that it was, and talked of the boards I sat on, my granddaughter's wedding coming up, my third husband's death ten years earlier and how lonely it sometimes was in the great apartment all by myself.

Like this, we chatted amiably for an hour or so, until Rosa took the teapot away to refresh it. Then, when the kitchen door swung shut and we were alone, he leaned toward me with a curious smile. “As I am sure you have already suspected, this is not, unfortunately, only a social visit, my dear. I came to you,” he said, “because we are very old friends, and I know you're a woman of tremendous delicacy.”

“Oh,” I said, putting my teacup down, very carefully. I studied the park, a crow bobbing on a branch, and looked back at him. “Please,” I said. “Go on.”

He sighed, ran his elegant hand down the length of his thigh. His voice purred on, telling me that, as I suspected, he was in straitened circumstances, a life lived rather too well, poor investments, et cetera. He had heard, from who knows
where, that my granddaughter was getting married. He thought that perhaps I might want to offer the child a gift that would outshine any other gift. An only grandchild, the apple of my eye, deserves something invaluable. Something she could fall back on in a time of need, God forbid she'd ever have one. But, and he shrugged, one never knows, does one?

He lifted my hand from my knee, and placed very gently into it the large yellow tiepin that he'd detached during his speech. He said, “Maybe have it reset into a necklace. My great-great-grandmother, Henriette Ancel de Chair, wore it in a necklace,” he said. “A lovely choker at her throat.” He pressed my hand closed and nodded.

I stood and walked to the window, my back to him. I held the diamond before me, and it glowed, a living creature in the dim winter light, the brightest thing in the city. I had tears in my eyes like a foolish girl. Of the millions of things I had to offer now, it was a wound to find he'd ask for this. My throat hurt, and when I could speak, the words came out in a rasp. “How much?” I said.

He quoted a number. I looked at the diamond, blinking. A price like that was more than double what the diamond was worth: a price like that, it was plain, and he was asking me to give not one, but two gifts. He counted on my having learned enough subtlety in this life to know he was asking for charity and to understand that he had too much refinement to call it what it was. For a moment, I felt lost, a bumpkin again, stuck in a tight space with a dizzying ladies' man a hair away.
I considered owning this thing, his pride. I thought of reducing those many years to a transaction, one scribbled check. I thought of my kind last husband, of how hard he'd worked for his money, and with that thought, I grew a bit heated. Ancel de Chair was asking for repayment for what: graciousness to a country yokel back when he hadn't had to be gracious to me? Flirtation? Friendship? I never knew I'd have to pay for that.

My head was beginning to pound. I was not yet old, and I hoped my life was still long before me. I was not yet old and had given already to so many charities.

I turned around, holding the tiepin like a buttercup, and pinned it gently back into his tie. “I'm sorry,” I said, softly. “I have already bought my granddaughter an entire set of china.”

Ancel de Chair brushed crumbs off his trousers and stood, a small smile playing on his lips. “Of course, of course,” he said. “I understand. One must think practically, and I shouldn't expect frivolity from you, my dear Iowa shepherdess.”

“Wisconsin,” I said. “Actually.”

“Well,” he said, “well. I'm flying to London tomorrow, and have a great deal to pack. Thank you ever so much for the tea. Very tasty, indeed.”

He moved toward the door and took his overcoat from the closet. “Wait,” I said, “just a moment. Wait,” I said, but he was flushed now, and tucking his scarf around his throat.

“Oh, darling, don't worry about me, it is quite all right. I really must go.” He leaned toward me to kiss me on both cheeks, but came close to my ear, and said a curious thing.

“By the by,” he said, “your milk has gone sour. I thought you should know.”

He entered the elevator and threw me a kiss as the doors closed. I stood, burning with shame, then hurried back to the tea things. I lifted the cream pot to my nose and sniffed it, took a small swallow from a spoon. It tasted fine to me. “Rosa,” I called, and she came hurrying out with the teapot in her hand, confused that my guest had left so quickly. I made her take a taste as well, but Rosa also thought the cream was fine, and we shrugged at each other, and I retired to my room to let my headache hatch into the beast it would become.

It was only late last night when I awoke again to the night-glimmering apartment that I understood, at last, what my old friend had meant. That night in the elevator in Buenos Aires, the sniff of my neck, what he had smelled so many years ago. Milk. I lay awake all night, burning. My granddaughter came by this morning and took one look at my face and was gentle with me. Later, my son called and invited me to go with him and his wife to Tortola in a few weeks, and it's very possible that I will accept. I should like sun and beach and daiquiris, and a sky with some blue in it, some freedom from the inevitable winter.

Still, at moments since the odd last encounter with Ancel de Chair, I have found myself watching the bare trees move on my glistening walls, thinking of Buenos Aires. Many times in my life I longed to return to that city, and though I could have gone a dozen times, a hundred, for some reason I never did. I probably never will. I find myself wondering
now, in the shining, expensive desert of my apartment during this endless winter, if that city I loved so dearly could have stayed the same, after all this time. If the tiny old woman still sits in the park on her bench, silently weeping into her hands. If that old man still presses his wizened cheek to the bosoms of plump brides, humming tangos in the gaslit streets. If the jungle-smelling wind carries great flights of butterflies into the streets. If, in the restaurants, the waiters are still elegant and the steaks still glisten thick as tongues; if there are those great rivers, those oceans of wine to dizzy us, to wash our bodies sweet again.

THE WOMAN DOESN'T KNOW HOW LONG SHE'S
been here, or where she was before. It doesn't matter: all that does is this hotel window with its sulfurous draft and the quiet street beyond. The trees scrape forklike against the sky, the mud is matte on the ground. This village rests in a hollow so deep the sun cannot reach into it. Up the street the abandoned hotels hunch in perpetual dim, awaiting the end of winter.

The only variation is the girl who makes the bed, cleans the bathroom, carries up meals. A strange one, all safety pins and pink hair, a new type, a punk. But gentle: the girl sometimes brings with her small gifts, evidence of the world's quickening. A crocus bulb with a tender flag unfurling. An abandoned nest with a speckled green egg. When the woman holds those tiny things, she feels something rising in her that she is careful to chase away before it can catch and seize her.

This morning, the girl cleans, then stands beside the woman until she grabs one of her hands in its constant flight. Ma'am? she says. You a musician or something? Because your hands. They always look like they're playing music.

In the girl's bitten fingers, the woman's hand is elegant, the type that probably played music well. I believe so, the woman says; she doesn't know for sure. The girl nods and leaves, her footsteps echoing in the empty hotel.

Alone now, the woman recalls her own body. The filthy skirt, the cashmere sweater, the mud-caked calves. Unpleasant: she has begun to stink. She goes into the bathroom, dropping her clothes on the way. Under the hot hiss of the shower she notices what has been burning all along: the long, swollen cut in her thigh, the blood black at its edges. The water turns pink. The wound is deep.

Only when it is stanched with great handfuls of toilet paper can the woman sit again at the window, look out into the town, listen to the roar of the wind corkscrewing down into the hollow. Only then can she recapture all that stillness, all that peace.

 

I BELIEVE, BETTINA SAYS
as she cuts the gizzard from the turkey, that she's a ghost. A sad old ghost, yearning to go home.

Jason cracks pecans and winks at Jaime behind Bettina's back; he seems to believe that Jaime and he are in some confederacy against his wife. Jason is handsome in a military,
washed-out way, with features that blur into one another and buzzed, rust-colored hair. His fingers are long and delicate and can craft woodwork that seems a marvel of sensitivity, but he tells the raunchiest jokes Jaime has ever heard. He keeps her off balance.

Bettina turns toward them, her violet eyes, overstuffed lips, a beauty mark in a sickle shape across her cheek. She reminds Jaime of an iced cake, all fondant and sugar pansies. She is plump and British, too refined for this dark place, the falling-apart hotel in its sulfur-stinking valley. Jaime, she says, what do you think about our guest?

Bettina has only begun asking Jaime her opinions, though Jaime has been with them for almost nine months. Jaime's family had come to Sharon Springs every year since her own grandparents were children, her Orthodox Jewish kin climbing the hill from the springs, their dark clothes damp. Bettina and Jason aren't Jewish, but are fixing up the village's grandest hotel, and Jaime's mother loves them for it. One morning last summer, over blueberry pie, Jaime's mother had confided to Bettina that her sweet girl had turned sullen, strange. Dressed in rags, wore makeup, refused her religion. Only the day before she came home in a police cruiser; she'd tried to buy cocaine from a boy at the Stewart's up the hill.

We don't know what we did, Jaime's mother had wept in Bettina's kitchen, her wig sliding slowly over one ear. How could a good girl become bad so fast? How could our little Jamina become so different? It is our fault, her father's and
mine. We gave her too much, now she wants none of it. The eighties! Jaime's mother said savagely. Nowadays people think they can do whatever they want.

Bettina patted her lips and said, Why don't you leave her with us for the winter? What trouble will she get into in Sharon Springs? Give her a few months with us in this old barn in the wintertime, nothing to do. She'll run back to you.

That was that: at the end of the summer Jaime's parents drove off, and Jaime stood staring at their exhaust. All fall and winter Jaime has been at this closed-up hotel. School had been her choice—she was sixteen—and she'd said, No thanks, thinking of the cloddish boys and passive-aggressive farm girls she'd find there. Without school her days stretched long. She learned to cook, to love the town in winter, empty of people. She'd go for long hikes in the mountains, wander in the huge, abandoned hotels, finding the postcards in odd corners, the cellulose dolls left by forgotten children.

The night the woman showed up, Bettina and Jason and Jaime had been in the parlor watching the show they all liked with the wily Texas rich folk: the main character, a raven-haired beauty, had begun to act strangely, an evil new glint in her eye. Then came a knock on the hotel's dark window, and there was the woman, bedraggled in the rain, like a zombie from a horror film. She'd insisted on a room though the hotel was officially closed until May. She signed her name in an indecipherable scrawl, something like Danielle or Diane or Donna, then closed her door and has not emerged since.

Jaime wants to tell Bettina and Jason about this morning, when she'd plucked one of the woman's hands from its graceful scrabble in the air, and felt her flesh, and knew she was real. But she only says, blushing, I just think she's a really sad person. She told me she plays music.

Bettina massages butter and herbs under the turkey's skin, her imagination afire. She speaks of a cellist she once knew who had been in a coma, who had dreamed of her soul wandering, desperate to find its body again. Jaime has stopped listening. Jason is watching her, his face impassive. He puts down the nutcracker. Jaime flushes. Bettina natters, back turned. A quiet lunge, and Jason pins Jaime's hand on the cutting board, slides his own up her holey tee-shirt, cups her breast, squeezes it.

It is over: Jason is back to cracking nuts, and there is only the ghost-warmth of his hand on her chest. Bettina is still singing her little tale, tucking the turkey fat over the herbed flesh as if it were a coverlet. Jaime picks up a celery stalk and dices it.

This is a game, Jaime knows, but only Jason understands the rules. She believes the goal is to see how far he can go before Jaime squeals. For a month or so he has been catching her, squeezing her hips, letting his hand brush her ass in passing. A few nights ago, he caught her in the corridor on her way to the bathroom and pressed his body against hers hard and when his voice hissed in her ears for hours afterward, she didn't know if she felt pleasure or alarm. She dices,
she does not look at Bettina or Jason. She waits to know what she wants.

 

LILY WATCHES HER
grandmother from under the silken fringe of the table. The old woman is crumpled into a wheelchair against the window; behind her the winter sun sets over the city. She has a cigarette in one hand, a martini in the other; once in a while she puts down the martini to gasp into her oxygen mask. She never, Lily notices, puts down the cigarette.

She's like an old witch in your mom's stories, says Sammy in Lily's ear. Sammy is spiteful and bad, and Lily often has to discipline her because no one else can.

Shut up, Sammy, she says. The grandmother turns her head and sees Lily.

Come out of there, child, she snaps. Who's that you're talking to?

Lily worms out slowly, her hands floured with dust. Just Sammy, she says. Nobody. She can see herself now reflected in the glass beyond her grandmother's head: pale and plump, her hair stringy, her red-framed glasses enormous on her face. At least she's not like Sammy, who's fat and moist and googly-eyed, like a frog.

The grandmother sighs, rattling, and says, You with your everlasting imaginary friend. And seeing Lily's hand digging at her nostril, more sharply: Don't pick your nose.

Maria moves out in the hallway, humming. She went all the way to the West Side to pick Lily up at school that after
noon. The girl had been sitting in the principal's office for hours. Lily's chest had grown tighter and tighter until at last her bladder exploded and she wet herself. Lily often does. She has severe anxiety issues, Dr. Kramer says. Her mother calls her Our Lily of the Furrowed Brow, and at school, the kids are mean and call her Lily-Wet-Butt. But today Maria only smiled at Lily with her potato-plain face, and helped wash the girl off. Maria is like that. She puts out two plates when it's snacktime and always asks about Sammy's health. Even Sammy likes Maria and Sammy likes
nobody.

She's real, says Lily to her grandmother now. Sammy's real. She considers for a minute and says, But she's ugly and dumb so you probably don't want to see her anyways.

Stop clutching yourself, says the grandmother sharply. Do you have to urinate?

No, lies Lily, and then, feeling the old tightness in her chest, she stretches the neck of her shirt above her nose and down three times. All her shirts are floppy at the neck because of it. Dr. Kramer says she should do whatever helps. Sammy unfurls her long tongue into the grandmother's martini, and Lily frowns: she's going to have to punish Sammy for that later.

A dense wave passes over her, and Lily is suddenly tired. All she wants is home. To finish her homework, to see her dad, who scoops her up when he comes home and reads or talks to her until she sleeps. Routine. She feels a sharp stab of sorrow in her gut. When am I going home? she asks.

The grandmother says, I don't know.

Lily blinks, makes a little squeak. Where are my parents? she says. She feels the pressure descending on her, fast. It's bad, and Sammy draws near to watch, breathing her moist breath in Lily's face.

We're still trying to figure that one out, the grandmother says.

But seeing the way Lily's face changes, seeing her slow collapse, she hurriedly croaks out, Maria, Maria, Maria as loudly as she can until, at last, Maria comes running.

 

KEY WEST, HYMN OF JOY:
from the dark shadows of the room the girl emerges, a pale fish rising from the deep. Howie watches from the bed, heart throbbing in his throat, his own body struck to water. Hers is slim, smooth, a length of muslin, a sheet of music. Knees in-turned, gap in her teeth, the green moth tattoo on her buttock, turned away just now so he can only imagine it. Knowing it is there gives him such a pang, the last trace of her origins, the sad rundown farmhouse smelling of cat piss and mushrooms that he has imagined in full, though she has said nothing at all about where she is from. There is a part of him who longs for just this dirt in her. She is unlike anybody he's ever known.

Her white body moves, and moves him. She's just past adolescence, just a girl, young enough to be his daughter. Briefly there flashes in his mind his daughter's face, such a fierce, lost thing, tiny. He has to focus on the lovely girl before him to regain his desire.

Outside, the lime-flavored sunlight tries to peer at them through the plantation shutters: in the sky, the birds rill the world alive. Above, the sun beats down on the island and urges the sea to singing.

Now that sweet face nearing, now those bitten lips, now the eye clear and blue as mint, that tender hollow in her collar. The girl, so young, smiles down at him. Howie reaches for her. At last, he forgets himself.

 

THE WOMAN IS IN
the shower when the punk girl arrives in the morning. As she comes back into the cold room, bringing a cloud of steam with her, she finds the girl furiously pulling up the bedspread, her eyes red-rimmed. The woman cannot help herself: she touches the girl's face and feels the soft childish skin, her warmth. There is something familiar about the loose mouth, the way it leaps and stretches wormlike with the girl's emotions.
Vulnerable
is the word: and she doesn't realize she's said it aloud until the girl turns and flees, the laundry bunched in her arms.

The tray has no gifts on it this morning, which disturbs the woman most of all.

By the window later, as the sun sizzles out in the wet treetops, she falls asleep. When she wakes, there is the last fog of a story in her head—she'd seen it somewhere, or heard it. Television, book, movie, she doesn't know where it came from. There was a woman, tall and beautiful: this she knows, though she couldn't see the woman clearly. A letter plucked
from a heap of mail, without return address or signature, a photograph falling from it, a menace of flesh. And, somehow connected, a night, a pond rimmed by dark trees, headlights spinning the fog, a car sunk to its bumper in the water.

She considers this for a minute, but there is danger there, and she pushes it safely away.

Now, as she awaits the knock on the door, the hot early supper on the tray, a voice in her mind rises up, sly and dark, an old woman's voice. It says: Tabitha. It says: Sudden Pond.

The woman shivers: the radiator clucks out its warmth. Although she presses her hands against it, although she paces, counting her steps so she won't think, she can't get warm.

 

IT IS LATE.
Bettina is in the kitchen popping popcorn over the stove; Jason is out, somewhere; Jaime's hair is still wet from her second shower of the day and she is waiting for
Roman Holiday
on television. There is something tragic about Hepburn even when she's happy. As if the princess knows that the one measly day in which she gets to eat gelato and smash a guitar over a secret policeman's head and swoon into Peck's arms will never be enough to compensate for her lonely life as a royal.

This makes Jaime think of the woman upstairs at her window. She pictures what she found when she was cleaning that morning and pushes her out of her mind again.

Bettina comes in with the popcorn as the credits roll. She
settles into the couch beside Jaime, puts her arm around the girl's shoulders. She smells of lemon balm and the camphor cow-udder medicine she rubs on her hands to keep them soft. Like this, leaning against Bettina's bulk, feeling a wash of love come over her, Jaime wants to confess everything. How, this morning, in the shower, she looked up to see Jason's head tucked behind the curtain and watching her, a grin on his handsome face. She'd clasped her arms over her breasts, her crotch. He didn't touch her. He went whistling away. Despite herself, she grew warm. She sat on the floor until the water turned cold, not knowing what she'd wanted from him, whether just to leave her alone, or to intensify this game, teach her the rules. Jason was not an unkind man (she'd seen him put out kibble for the feral cats; he'd been the one to hold her when her parents abandoned her in Sharon Springs and she'd wept with fury). She was sure he would obey whatever she asked of him. Ex-soldier, married to Bettina, he was used to obeying. Jaime studied a handful of her hair. After two weeks the dye had lost its hold, the magenta turning into strawberry blond. Considering her hair brought her back to herself, made her stand, turn off the water.