Little Fires Everywhere(42)

Mrs. Richardson tipped her head to one side and studied her tenant. Hair, as always, unkempt atop her head. A loose white button-down untucked over jeans. A smudge of paint on the back of one wrist. Mia stood there with one hand on the doorway, a half smile on her face, waiting for Mrs. Richardson to respond. A sweet face. A young face, but not an innocent face. She didn’t care, Mrs. Richardson realized, what people thought of her. In a way, that made her dangerous. She thought suddenly of the photograph she’d seen at Mia’s house that first day, when she’d invited Mia into her home. The woman turned arachnid, all silent, stealthy arms. What kind of person, she thought, would transform a woman into a spider? What kind of person, for that matter, saw a woman and even thought spider?

“I’m just leaving,” she said, and lifted her bag from the counter.

Even years later, Mrs. Richardson would insist that that digging into Mia’s past was nothing more than justified retribution for the trouble Mia had stirred up. It was purely for Linda’s sake, she would insist—her oldest and dearest friend, a woman who’d only been trying to do right by this baby and now, because of Mia, was having her heart broken. Linda did not deserve that. How could she, Elena, stand by and let someone ruin her best friend’s happiness? She would never admit even to herself that it hadn’t been about the baby at all: it had been some complicated thing about Mia herself, the dark discomfort this woman stirred up that Mrs. Richardson would have much preferred to have kept in its box. For now, the newspaper still in her hand, she told herself that it was for Linda. She would make a few calls. She would see what she could find out.





11



Mrs. Richardson’s first step was to read up on Pauline Hawthorne. She’d heard of Pauline Hawthorne before, of course. When she’d taken her art electives in college, Pauline Hawthorne had been the hot new thing, much talked about, much imitated by the photography students who wandered the campus with cameras strung around their necks like badges. Now that she saw the photographs again she remembered them. A woman seen in the mirror of a beauty parlor, half her hair wound neatly in curlers, the other half streaming loose in a tousled swirl. A woman touching up her makeup in the side mirror of a Chrysler, cigarette dangling from her lacquered lips. A woman in an emerald-green housecoat and heels, vacuuming her goldenrod carpet, the colors so saturated they seemed to bleed. Striking enough that even all these years later, she remembered seeing them flashed up on the projector screen in the darkened lecture hall, catching her breath as for a moment she was plunged into that vibrant Technicolor world.

Pauline, she learned now, had been born in rural Maine and moved to Manhattan at the age of eighteen, living for several years in Greenwich Village before bursting onto the art scene in the early 1970s. Every art book Mrs. Richardson consulted described her in glowing terms: a self-taught genius, a feminist photographic pioneer, a dynamic and generous intellect.

About her personal life Mrs. Richardson could find very little, only a brief mention that she had maintained an apartment on the Upper East Side. She did find one interesting tidbit, however: Pauline Hawthorne had taught at the New York School of Fine Arts—though apparently not out of need for money. A few years into Pauline Hawthorne’s career, her photographs had been selling for tens of thousands—quite a lot for a photographer of that time, let alone a woman. After her death in 1982, their value skyrocketed, with MoMA paying nearly two million to add one to its permanent collection.

On a hunch, Mrs. Richardson looked up the number for the registrar at the New York School of Fine Arts. The registrar, when presented with Mrs. Richardson’s credentials and told she was verifying some facts for a story, proved to be extremely helpful. Pauline Hawthorne had taught the advanced photography class at the school for many years, right up until the year she had died. No, there was no Mia Warren in any of Professor Hawthorne’s classes in those last few years. But there had been a Mia Wright in the fall of 1980; might that be who Mrs. Richardson was looking for?

Mia Wright, it turned out, had enrolled that term in the School of Fine Arts as a freshman, but in the spring of 1981 had requested, and been granted, a leave of absence for the following academic year. She had never returned. Mrs. Richardson, doing some quick mental math, calculated that Mia—if this was even the same Mia—would not yet have been pregnant with Pearl that spring. So why would Mia have taken a leave from school, if not because she was pregnant?

The registrar balked at giving out student addresses, even fifteen-year-old ones. But Mrs. Richardson managed to learn, through some artful questioning, that the address on file for Mia Wright had been a local one, with no parents listed.

She would have to work the problem from the other end, then. And soon an opportunity presented itself, in the form of a much-anticipated letter. Since Thanksgiving, Lexie had checked the mail first thing when she came home, and at last, in mid-December, a fat envelope bearing the Yale logo in the corner finally landed in their mailbox. Mrs. Richardson had called all their relatives to share the good news; Mr. Richardson arrived home with a cake.

“Lexie, I’m taking you out for a fancy brunch this weekend to celebrate,” Mrs. Richardson said at dinner. “After all, it’s not every day you get into Yale. We’ll have some fun girl time.”

“What about me?” Moody said. “I just get to stay home and eat cereal?”

“She said fun girl time.” Trip laughed, and Moody scowled. “You want in on fun girl time?”