Elizabeth sits on the grey sofa in the underwater light of her living room, hands folded in her lap sedately, as if waiting for a plane. The light here is never direct, since the room faces north; she finds this peaceful. The sofa is not really grey, not only grey; it has a soft mauve underfigure, a design like veining; a batik. She chose it because it didn’t hurt her eyes.
On the mushroom-colored rug, near her left foot, there’s a scrap of orange crêpe paper, a spillover from something the children are doing in their room. A scrap of flame, jarring. But she lets it lie. Ordinarily she would bend, pick it up, crumple it. She doesn’t like anyone disturbing this room, the children or Nate with his trails of sawdust and spots of linseed oil. They can make as much mess as they like in their own rooms, where she doesn’t have to cope with it. She once thought of having plants in this room as well as in her bedroom but decided against it. She doesn’t want anything else she will have to take care of.
She closes her eyes. Chris is in the room with her, a weight, heavy, breathless, like the air before a thunderstorm. Sultry. Sultan. Sullen. But it isn’t because he’s dead, he was always like that. Backing her against the door, his arms clamping around her, shoulders massive when she tried to push him off, face heavily down on hers, force of gravity. Leaning on her. I won’t let you go yet. She hates it when anyone has power over her. Nate doesn’t have that kind of power, he never had. She married him easily, like trying on a shoe.
• • •
She’s in the room on Parliament Street, drinking wine, the slopped glasses making mulberry rings on the linoleum of his rented table, she can see the design on the oilcloth, tasteless wreaths of flowers, lime-green on yellow, as if it’s been burnt into her eyes. They always whisper in that room, though there’s no need to. Nate is several miles away from them and he knows where she is anyway, she leaves the number in case of an emergency. Their whispers and his eyes with their flat hot surfaces, a glint like nailheads. Copperheads. Pennies on the eyes. Gripping her hand across the table as though, if he lets go, she will slide down past the edge of the table, the edge of some cliff or quicksand, and be lost forever. Or he will.
Listening, her eyes on the wrinkled surface of the table, the squat candle he bought from some street peddler, the deliberately tacky plastic flowers and the owl he’d stolen from work, not even mounted, eyeless, his macabre joke. The wreaths turning slowly on the surface of the table as on an oily sea, floating out; somewhere they did that as a blessing. Then rising, the violence in his hands held back, everything held back, falling, salt body stretching along her, dense as earth, on that bed she would never stay to sleep in, the sheets always a little damp, smoky, holding back until nothing could be held back. She has never seen that room by daylight. She refuses to imagine what it looks like now. The mattress bare. Someone would have come, cleaned the floor.
• • •
She opens her eyes. She must focus on something simple and clear. There are three bowls on the sideboard, pinkish mauve, porcelain, Kayo’s, he’s one of the best. She’s confident in her taste, she knows enough to have earned that confidence. The sideboard is pine, she bought it before pine became fashionable, had it stripped down before having things stripped down became fashionable. She couldn’t afford it now. It’s a good piece, the bowls are good pieces. She wouldn’t have anything in this room that was not a good piece. She lets her eyes slide over the bowls, over their subtle colors, their slightly asymmetrical curves, wonderful to have that sense, where to be off balance. There’s nothing in them. What could you possibly put into such bowls? Not flowers or letters. They were meant to hold something else, they were meant for offerings. Right now they hold their own space, their own beautifully shaped absence.
• • •
There was your room and there was everything else outside, and that barrier between the two. You carried that room around with you like a smell, it was a smell like formaldehyde and the insides of old cupboards, mousy, secretive, like musk, dusky and rich. Whenever I was with you I was in that room, even when we were outside, even when we were here. I’m in it now, only now you’ve locked the door, brown door with scaling paint, varnish, the brass-colored lock and the chain, two bullet holes through the wood where, you told me, they’d been shooting in the hallway the week before. It wasn’t a safe neighborhood. I always took taxis, asked the driver to wait until I’d pressed the buzzer and was safe in the foyer with its gap-toothed mosaic floor. Safe, always a joke. The door’s locked, not for the first time; you don’t want me ever to get out. You always knew I wanted to get out. But at the same time we were conspirators, we knew things about each other no one else will ever know. In some ways I trust you more than I’ve ever trusted anyone.
• • •
I have to go now, she says. He’s twisting a length of her hair, twisting and untwisting it. He runs his index finger between her lips, left-handed, across her teeth; she can taste wine and her own sweat, taste of herself, blood from a bitten lip, she no longer knows whose.
Why, he says.
I just have to. She doesn’t want to say the children because it will make him angry. But she doesn’t want them to wake up and not know where she is.
He doesn’t answer; he keeps twisting and untwisting her hair, his own hair brushing her neck like feathers, his fingers sliding now over her chin and throat, as if he’s deaf, as if he can no longer hear her.