Wit's End (2 page)

Rima recognized these things though she'd never seen them before; she had stepped into one of Addison's books. And even as she looked right at them—the yachts, the wharf, the boardwalk—they remained make-believe, the night too bright, the ocean too black, the lighthouse too small.

In fact, wasn't
everything
too small? A mocked-up, scaled-down representation of the real thing? Rima made a little mental list:

Addison's tiny dogs and their tiny teeth

Addison's tiny dollhouses and their tiny deaths

And Rima was fine with that, relieved—in fact, eager to be little herself, to do and have and feel little things. A little room of her own. A little job for Addison. Someone else's little life that she could just slide inside until all her emotions had shrunk enough to be manageable.

The night Rima arrived at Wit's End she was twenty-nine years old. The list of things she'd lost over those years was long and deep. Her father used to say that when they decided to get rid of Jimmy Hoffa they should just have handed him to her. Among the missing: countless watches, rings, sunglasses, socks, and pens. The keys to the house, the post office box, the car. The car. A book report on Wilkie Collins's
The Moonstone
plus the library's copy of the book plus her library card. Her mother's dangly turquoise earrings, the phone number of a guy she met playing pool and really, really did want to see again. One passport, one winter coat, four cell phones. One long-term boyfriend. One basically functional family.

The boyfriend left when a lump in Rima's breast turned out to be benign. “I just can't go through this,” he said, and when she repeated that there was nothing to go through, that she didn't have cancer or anything else, he said, “But when I thought you might, I saw that I just couldn't go through it.”

“You'll always have me,” Oliver used to say whenever a boyfriend went missing, but this time he wasn't there to say it. Rima still had her father then, but they both knew about the leukemia and no one was making any promises no one would have believed even if they had.

Rima pulled the quilt from the bed, wrapped herself in it, and sat in a chair at the window. A bright road of moonlight lay on the water. She imagined herself walking it, the warp and dazzle beneath her shoes. She began to dream. It wasn't a big dream, not like her father's last good-bye, but Maxwell Lane was in it and she'd never dreamt of him before. She supposed it made sense that he'd show up here; she supposed, in fact, it's just what you'd expect. Rima remembered that Addison had once called this The House That Maxwell Bought, before she learned that the original name, the name the Donner Party survivor had used, was Wit's End.

In Rima's dream, Maxwell Lane was walking beside her into Ice City. He put his arm around her shoulder. “Don't be so hard on yourself,” he said. “Everyone misplaces stuff,” which, of all the things someone could say to you, in or out of a dream, has got to be one of the nicest.

In Ice City, Maxwell Lane is Rima's father's archnemesis.

There is no Ice City. There is no Maxwell Lane. It was one of the peculiarities of Addison's profession that she, though quite famous in her own right, was considerably less famous than the detective she'd made up. She'd never been in a movie, for one thing, and he'd been in eight, plus three television series, none of which lasted more than a season, but still, there'd been three of them. And a television season was a lot longer back in those days; it lasted most of the year.

Rima had her own colorful history with fictional characters. Her father had been more fictional than you might guess. A character in Addison's seventh book was named after him—Edward Charles Wilson Lanisell—though the name he went by was Bim; even on Rima's birth certificate he was listed as Bim Lanisell. Addison had used every one of these names, and one of her father's verbal tics as well—a habit he had of starting a conversation with “Okay, then.” There could be no mistake about Addison's intentions.

Addison and Rima's father were old pals, unless they were something more. Rima's father was a writer too; for many years, he wrote a newspaper column that appeared in the Cleveland
Plain Dealer.
Once, when their finances had taken a tumble, he went on local TV, shilling for a tire company in a silly voice and a silly tie. He was famous enough. But nowhere near as famous as the made-up man of the same name who killed his wife with her own cat and almost got away with it.

In Rima's case, the character came first and she later. Rima was named after the heroine of
Green Mansions,
and she'd liked her name until some kids at school figured out that you could do dirty things with it if you worked phonetically. Her brother Oliver, who heard some of them, said she should have a name all of her own anyway, and offered her four choices he'd made simply by rearranging the letters she already had. She could be Irma, he said, or Mari or Mira or Rami, and he took it in turns to call her all four, each for a week, so she could test them out. Rima liked Rami best, but she couldn't get people to switch over. Oliver liked Irma—the Irm part made him laugh—and he called her Irma until the day he died, though no one else did, which was so Oliver, that intimacy of a private name. Of all the people who'd died, Oliver was the one she missed the most.

The
Green Mansions
Rima was the last survivor of a doomed people, a fact that, in retrospect, her parents might have paid more attention to.

Even Oliver was an orphan's name.

But the names were only the beginning, and arguably the least of it. Sometime when Rima wasn't watching, sometime after her mother died and she was kept busy being both motherless and adolescent, Rima's father's writing changed. Bim Lanisell had been a political journalist. When he became a columnist, his work turned personal. He was struggling to learn how to be a father and a mother both, he wrote, and he was sharing his struggle with the entire population of Cleveland, Ohio. And its environs. A few international subscribers.

Rima found this out one day after he'd been actively soliciting confidences. She remembered it later with outrage, how she'd offered up her biggest secret so that he could feel like a good parent. She'd told him about a boy she liked in her world history class; she told him that this boy didn't know she was alive. She asked her father how to get a boy to notice her, even though she knew this wasn't a problem he could help with. It was all about him, this generous pretending that it was all about her.

The whole conversation was the topic of his next column, a musing on how you didn't really grow up until you watched your children grow up. He stopped short of discussing the boy, but not his daughter's—he actually used these words—budding sexuality. The next day when Rima went to school, there was no one there who didn't know she was alive.

Rima was particularly incensed at how well her father had come off in his own column. Not stammering and useless, the way he had actually been, but awash in midwestern profundities. Every woman in Cleveland was in love with him—the number of women who wished to date him was directly inverse to the number of boys who wished to date Rima, if negative numbers could be applied, and Rima felt they could. And he wasn't even completely real. (But when has that ever stopped a woman in love?)

Rima herself loved the useless, real father so much more than the wise, revised one. “I was very fond of your father,” Addison said when she called to insist that Rima come stay with her, and of course it was Addison who'd added the third Bim Lanisell, the entirely fictional one.

And why, Rima's mother had asked Rima's father from time to time, make you a wife-killer? And, once or twice, why the sort of wife who would be (though wasn't) played by Kathy Bates in the movie version?

The entirely fictional Bim had actually killed three people, but the wife was the only one Rima's mother ever seemed to talk about. Granted it was the murder with the most panache, the murder Addison had clearly put her heart into. Surely this was the murder in the original dollhouse.

Rima had her own questions for Addison. If Addison thought it was fun going through the Shaker Heights public schools with a famous murderer for a father, she could think again. Addison might technically be Rima's godmother, but it was a decision long regretted, at least by the women in the family. Addison had never really risen to the role anyway.

None of Rima's friends had thought that going to Santa Cruz was a good idea. It seemed like a dangerous place, they'd told Rima, and they didn't know the half of it. They didn't know about sharks, or the undertow. They didn't know that at the same time the sea cliffs were eroding, the ocean was rising—at least two millimeters, maybe more, every year. They didn't know there was a disease you could catch from sea-lion urine that no doctor knew anything about, and if you were infected, you'd be sent to a veterinarian, who wouldn't know much about it either. They didn't know that the mountains were dotted with meth labs or that Highway 17, the route in from San Jose, was one of the deadliest stretches of road in the whole gigantic state, and was commonly referred to as Blood Alley, at least until the highway dividers went in. They didn't know that a clown stalked the downtown like something from a Fellini film.

What they knew was earthquakes and vampires. Some of them had been watching the World Series with their families all those years before, when the Loma Prieta quake hit. They remembered how the television went black, and then came on again briefly to show the stadium rocking, and then went black for good. They remembered that Santa Cruz had been near the epicenter, though what they really remembered was the collapsed freeway in Oak-land and the car that went off the Bay Bridge. Anyway, it was all California, wasn't it? California had earthquakes.

All of them had seen the movie
The Lost Boys.
When they pictured the boardwalk, they pictured it infested with vampires. Of course, they didn't suppose it was really infested with vampires; they thought that “Murder Capital of the World” stuff was just made up for the movie, not based on an actual, dreadful period in the seventies when Santa Cruz had been home to two serial killers and one mass murderer. They didn't know how hard (and unsuccessfully) the city had tried to be known as Surf City instead.

They just said that Santa Cruz seemed to have a sort of dark energy. And then they dropped the subject, having cleared their consciences by speaking up. Honestly, they were relieved to have Rima going. They loved her, and they hoped she'd come back, and it wasn't her fault that she was in a dark space, but she was kind of bringing everyone down.

So when I tell you that she woke up on that first morning at Wit's End with the sun floating over the house like a big, bright pie and a sense of peace in her heart just because of what Maxwell Lane had said in her dream, you will understand how unexpected, inappropriate, and downright miraculous that feeling was.

T
hat first morning Rima was slow to get up. Getting up would mean getting started, as company or hired help or goddaughter or whatever it was she was going to be here. Getting up would very likely involve chatting; her good mood was too baseless to survive a chat. Better to stay in bed, watch an odd medallion of light slide slowly down the wall, smell the cedar on the quilt, listen to the sound the ocean made, like a distant washing machine. Better to note, as if from that same distant place, that she had taken comfort from her father's archnemesis and shelter from her mother's. If her parents found that objectionable, then they should have stuck around to prevent it.

In fact Wit's End was empty, as Rima would have known if she'd gone down to the kitchen, read the note Addison had left on the counter for her.

It was an opportunity lost. Rima would have liked having the whole house to herself, would have explored a bit, maybe seen if she could find the dollhouse for
Ice City,
the book in which her murderous cat-wielding father starred. Sometime last night she'd wondered whether Addison would mind if she moved that one into her bedroom in place of
The Murder of Miss Time,
and then she'd wondered what was wrong with her that she would even think such a thing.

 

 

R
ima,” the unread note said. “The dogs are being walked, I'm working in the studio, and Tilda has gone out. Help yourself to breakfast. Eggs and tomatoes in the fridge. Bread in the breadbox. See you at lunch. A”

 

 

H
ere is the long version:

1. Berkeley and Stanford were down on the beach, ecstatic and leashless, chasing gulls the size of beach balls and getting sand on their bellies, between their toes, inside their ears. They would quarrel over a dead fish, have to be forcibly separated, and come home in disgrace. Addison referred to each and all of their frequent fights as The Big Game.

2. Addison was out in her studio, and no one knew what she was doing anymore. She hadn't finished a book in three years, and two had passed since anyone who knew her well had asked how the new one was coming.

The studio had been added after Addison bought the house. She called it her outback, though it was really to the side of the main building. You walked on a paved pathway to get there, through a Spanish courtyard, past a trellis of roses, a clay birdbath, and a sticky, sweet-smelling fig tree.

The studio was a modern room with wireless broadband. Addison had a Norwegian recliner for napping, a desk, and a craft table. The ocean-side wall was made of five glass doors, each of which slid inside the next like a telescope, so that in good weather the room could be opened to the sea. A mobile of murder weapons, made by a reader in New Hampshire, hung from the ceiling, and when the breeze came off the ocean, the dangling knives and blunt objects struck against one another with a soft sound like wind chimes.