In the Time of Butterflies (2 page)

In the garden, Dedé is surprised to hear the radio in the outdoor kitchen announce that it is only three o‘clock. She has been waiting expectantly since after lunch, tidying up the patch of garden this American woman will be able to see from the
galería.
This is certainly one reason why Dedé shies from these interviews. Before she knows it, she is setting up her life as if it were an exhibit labeled neatly for those who can read: THE SISTER WHO SURVIVED.

Usually if she works it right—a lemonade with lemons from the tree Patria planted, a quick tour of the house the girls grew up in—usually they leave, satisfied, without asking the prickly questions that have left Dedé lost in her memories for weeks at a time, searching for the answer. Why, they inevitably ask in one form or another, why are you the one who survived?

She bends to her special beauty, the butterfly orchid she smuggled back from Hawaii two years ago. For three years in a row Dedé has won a trip, the prize for making the most sales of anyone in her company. Her niece Minou has noted more than once the irony of Dedé’s “new” profession, actually embarked upon a decade ago, after her divorce. She is the company’s top life insurance salesperson. Everyone wants to buy a policy from the woman who just missed being killed along with her three sisters. Can she help it?

The slamming of a car door startles Dedé. When she calms herself she finds she has snipped her prize butterfly orchid. She picks up the fallen blossom and trims the stem, wincing. Perhaps this is the only way to grieve the big things—in snippets, pinches, little sips of sadness.

But really, this woman should shut car doors with less violence. Spare an aging woman’s nerves. And I’m not the only one, Dedé thinks. Any Dominican of a certain generation would have jumped at that gunshot sound.

She walks the woman quickly through the house,
Mamá’s bedroom, mine and Patria‘s, but mostly mine since Patria married so young, Minerva and María Teresa’s.
The other bedroom she does not say was her father’s after he and Mamá stopped sleeping together. There are the three pictures of the girls, old favorites that are now emblazoned on the posters every November, making these once intimate snapshots seem too famous to be the sisters she knew.

Dedé has placed a silk orchid in a vase on the little table below them. She still feels guilty about not continuing Mamá’s tribute of a fresh blossom for the girls every day. But the truth is, she doesn’t have the time anymore, with a job, the museum, a household to run. You can’t be a modem woman and insist on the old sentimentalities. And who was the fresh orchid for, anyway? Dedé looks up at those young faces, and she knows it is herself at that age she misses the most.

The interview woman stops before the portraits, and Dede waits for her to ask which one was which or how old they were when these were taken, facts Dedé has at the ready, having delivered them so many times. But instead the thin waif of a woman asks, “And where are you?”

Dedé laughs uneasily. It’s as if the woman has read her mind. “I have this hallway just for the girls,” she says. Over the woman’s shoulder, she sees she has left the door to her room ajar, her nightgown flung with distressing abandon on her bed. She wishes she had gone through the house and shut the doors to the bedrooms.

“No, I mean, where are you in the sequence, the youngest, the oldest?”

So the woman has not read any of the articles or biographies around. Dedé is relieved. This means that they can spend the time talking about the simple facts that give Dedé the illusion that hers was just an ordinary family, too—birthdays and weddings and new babies, the peaks in that graph of normalcy.

Dedé goes through the sequence.

“So fast in age,” the woman notes, using an awkward phrase.

Dedé nods. “The first three of us were born close, but in other ways, you see, we were so different.”

“Oh?” the woman asks.

“Yes, so different. Minerva was always into her wrongs and rights.” Dedé realizes she is speaking to the picture of Minerva, as if she were assigning her a part, pinning her down with a handful of adjectives, the beautiful, intelligent, high-minded Minerva. “And Maria Teresa,
ay, Dios,”
Dedé sighs, emotion in her voice in spite of herself. “Still a girl when she died,
pobrecita,
just turned twenty-five.” Dedé moves on to the last picture and rights the frame. “Sweet Patria, always her religion was so important.”

“Always?” the woman says, just the slightest challenge in her voice.

“Always,” Dedé affirms, used to this fixed, monolithic language around interviewers and mythologizers of her sisters. “Well, almost always.”

She walks the woman out of the house into the
galería
where the rocking chairs wait. A kitten lies recklessly under the runners, and she shoos it away. “What is it you want to know?” Dedé asks bluntly. And then because the question does seem to rudely call the woman to account for herself, she adds, “Because there is so much to tell.”

The woman laughs as she says, “Tell me all of it.”

Dedé looks at her watch as a polite reminder to the woman that the visit is circumscribed. “There are books and articles. I could have Tono at the museum show you the letters and diaries.”

“That would be great,” the woman says, staring at the orchid Dedé is still holding in her hand. Obviously, she wants more. She looks up, shyly. “I just have to say, it’s really so easy to talk to you. I mean, you’re so open and cheerful. How do you keep such a tragedy from taking you under? I’m not sure I am explaining myself?”

Dedé sighs. Yes, the woman is making perfect sense. She thinks of an article she read at the beauty salon, by a Jewish lady who survived a concentration camp. “There were many many happy years. I remember those. I try anyhow. I tell myself, Dedé, concentrate on the positive! My niece Minou tells me I am doing some transcending meditation, something like that. She took the course in the capital.

“I’ll tell myself, Dedé, in your memory it is such and such a day, and I start over, playing the happy moment in my head. This is my movies—I have no television here.”

“It works?”

“Of course,” Dedé says, almost fiercely. And when it doesn’t work, she thinks, I get stuck playing the same bad moment. But why speak of that.

“Tell me about one of those moments,” the woman asks, her face naked with curiosity. She looks down quickly as if to hide it.

Dedé hesitates, but her mind is already racing backwards, year by year by year, to the moment she has fixed in her memory as zero.

She remembers a clear moonlit night before the future began. They are sitting in the cool darkness under the anacahuita tree in the front yard, in the rockers, telling stories, drinking guanábana juice. Good for the nerves, Mama always says.

They’re all there, Mamá, Papá, Patria-Minerva-Dedé. Bang-bang-bang, their father likes to joke, aiming a finger pistol at each one, as if he were shooting them, not boasting about having sired them. Three girls, each born within a year of the other! And then, nine years later, Maria Teresa, his final desperate attempt at a boy misfiring.

Their father has his slippers on, one foot hooked behind the other. Every once in a while Dedé hears the clink of the rum bottle against the rim of his glass.

Many a night, and this night is no different, a shy voice calls out of the darkness, begging their pardon. Could they spare a calmante for a sick child out of their stock of kindness? Would they have some tobacco for a tired old man who spent the day grating yucca?

Their father gets up, swaying a little with drink and tiredness, and opens up the store. The campesino goes off with his medicine, a couple of cigars, a few mints for the godchildren. Dedé tells her father that she doesn’t know how they do as well as they do, the way he gives everything away. But her father just puts his arm around her, and says, “Ay, Dedé, that’s why I have you. Every soft foot needs a hard shoe.

“She’ll bury us all,” her father adds, laughing, “in silk and pearls.” Dedé hears again the clink of the rum bottle. “Yes, for sure, our Dedé here is going to be the millionaire in the family.”

“And me, Papá, and me?” Maria Teresa pipes up in her little girl’s voice, not wanting to be left out of the future.

“You,
mi ñapita,
you’ll be our little coquette. You’ll make a lot of men‘s—”

Their mother coughs her correcting-your-manners cough.

“—a lot of men’s mouths water,” their father concludes.

María Teresa groans. At eight years old, in her long braids and checkered blouse, the only future the baby wants is one that will make her own mouth water, sweets and gifts in big boxes that clatter with something fun inside when she shakes them.

“What of me, Papá?” Patria asks more quietly. It is difficult to imagine Patria unmarried without a baby on her lap, but Dedé’s memory is playing dolls with the past. She has sat them down that clear, cool night before the future begins, Mamá and Papá and their four pretty girls, no one added, no one taken away. Papá calls on Mamá to help him out with his fortune-telling. Especially—though he doesn’t say this—if she’s going to censor the clairvoyance of his several glasses of rum. “What would you say, Mamá, about our Patria?”

“You know, Enrique, that I don’t believe in fortunes,” Mamá says evenly. “Padre Ignacio says fortunes are for those without faith.” In her mother’s tone, Dedé can already hear the distance that will come between her parents. Looking back, she thinks, Ay Mamá, ease up a little on those commandments. Work out the Christian math of how you give a little and you get it back a hundredfold. But thinking about her own divorce, Dedé admits the math doesn’t always work out. If you multiply by zero, you still get zero, and a thousand heartaches.

“I don’t believe in fortunes either,” Patria says quickly. She’s as religious as Mamá, that one. “But Papá isn’t really telling fortunes.”

Minerva agrees. “Papá’s just
confessing
what he thinks are our strengths.” She stresses the verb
confessing
as if their father were actually being pious in looking ahead for his daughters. “Isn’t that so, Papá?”