The Vanishing Year(2)
“You are beautiful,” he whispers, and for a moment, his cheekbones soften, his eyes widen slightly, the tautness of his mouth, his chin, seems to loosen. His face opens up to me and I can read him. I wonder how many other women say this, that their husbands befuddle them? Most of the time, Henry is a closed book, his face a smooth plane, his bedroom face similar to his boardroom face, and I’m left to puzzle him out, to tease the meaning from carefully guarded responses. But right now, he looks at me expectantly.
“I was thinking about Carolyn.” I wince, knowing this isn’t the right time. I want to pull the words back. He gives me a small smile.
“We can talk later. Let’s just have a nice time, please?” He reaches into his pocket and pulls out his cell phone. He strides out of the room and my back is cold, missing the heat of him. My shoulders feel lighter, and when I glance back to the mirror, my mouth is open as if to call him back.
It’s not that he objects to my finding Carolyn necessarily, he’s just impatient with the recent obsession. He doesn’t think these things ever end well, and he is the kind of man who respects the current “state of affairs”—he may have used those words. He can’t understand the need. You have me, he says when I bring it up. You have us, our life, the way it is now. She rejected you.
I think he takes it personally.
We have been married nearly a year and have the rest of our lives to “complicate things.” I think about couples who giggle and share their pasts, their childhood memories and lost loves. Henry thinks all these conversations are unnecessary, trivial. He is the kind of person whose life travels a straight path, his head filled with to-do lists and goals. Meandering is for slackers and dreamers. And certainly, mulling over the what-has-been is a fruitless effort; you can’t change the past. I admitted once to having a journal in college, a place to keep scraps of poetry, quotes I’d picked up along the way, slices of life. Henry cocked his head, his eyebrows furrowed, the whole idea unfathomable.
And yet, here I am. This house. This man. This life. It’s mine, despite the insecurities that seem to follow me around like a stray cat. I stare at my reflection. A thin, pink scar zigzags horizontally across the top of my right wrist, as I touch the diamond at my throat, the setting big as a strawberry.
His sure footsteps beat against the teak floor of the apartment and his deep baritone echoes as he calls for the car. Time to leave.
? ? ?
I’ve always been attracted to elegance and I blame Evelyn’s fascination with money. It’s so easy to be consumed by it when you have none. But unlike Evelyn, I don’t look for the glossy, airbrushed facade of celebrity, the flash of comfortable entitlement. I prefer the tiny details: clean lines and sleek design. I care about whether California rolls are passé, or if the gift bags properly reflect a theme. I love when bright spiky dahlias are arranged with classic white lilies, a contrast of classic and fun, and the resulting graceful style elicits a quiet gasp of “You know, I rarely notice the centerpieces, but this is exquisite.” I muse over minutia, the table linen color—will it match the butter yellow stamen that shoots from the center of the lily?—the wine, the main course—lamb is such an acquired taste. Designing, whether it be a floral arrangement or decor for a benefit, is where I feel at home. It’s where I feel like me, whoever I am at the moment. It’s been the only constant.
The New York Public Library steps are lit with hundreds of flameless candles that flicker by design, with no regard to the wind. The white marble of Astor Hall is awash with deep blue lighting. Large light installations reminiscent of bare, budding trees are intermingled with six-foot-tall columns wound with bursting white and green lilies. White lights twinkle on almost every flat surface. The tables are spotlighted in soft blue and green lights. It’s an enchanted forest, complete with hanging crystal butterflies. Metamorphosis. How apt.
Henry places his hand on the small of my back and leans down to my ear.
“Zoe, this looks incredible.” His breath smells sweet like spun sugar.
“You were right, is that what you’re looking for?” I tease. Henry had suggested the NYPL for the venue in the first place.
The rotunda looks better than I could have imagined, better than my silly sketches. I turn in place, absorbing the details, the elegance I desire so much—the six-person tables, perfect for intimate conversation, the crystal centerpieces that mimic the trees, white reaching branches thrust toward the ceiling, balancing a smattering of glass-winged butterflies. Each table is adorned with greens, small woody bundles nestled inside frosted mason jars, and blooming baby lilies. The overall effect is of being thrust into an enchanted forest, minus the wood sprites. Everything glittery, white and green, glass sparkling.
I think to call Lydia, the flowers look amazing. La Fleur d’Elise did the event, as a favor to me, although my conversations with Lydia had been all business. A familiar pang of loss hits me.
The walls are tastefully hung with information on CARE, black-and-white photos of past events, less elegant but more real, as the wealthy often claim to want to be real, a concept that has always made me laugh. People claim to want authenticity, another word that is bandied about at these events, yet men like Norman Krable, on the short list of the richest men of New York, are never seen on the new playgrounds or at any orphan shelter, outside of the ribbon cutting. I try very hard not to let this bother me. But yet, the black and whites hang, real and authentic, with wide-open smiles of parentless children, black and white, Asian and Indian, Portuguese and Spanish. Children who don’t understand racism or hate, only the cool rejection of a foster family’s dismissal. Some of them I know by name, but not all, and at that juncture I have to wonder if I’m any better than the Norman Krables of the world.