The Mare (2 page)

I met her when I was forty-seven, but I felt still young. I looked young too. This is probably because I had not done many of the things most people that age have done; I'd had no children and no successful career. I married late after stumbling through a series of crappy relationships and an intense half-life as an artist visible only in Lower Manhattan, the other half of my life being sloppily given over to alcohol and drugs.

I met my husband, Paul, in AA. I only went for about a year because I couldn't stand the meetings, couldn't stand the language, the dogma. They tried to make it sound like something else, but that's finally what it was. Still, it helped me quit, no question. And I met Paul. It was six months before we even had coffee, but I immediately noticed his deep eyes, the animal eloquence of his hairy hands. He was fifty then, nearly ten years older than me, and still married, but living in the city separately from his wife. It made him nervous that I stopped coming to meetings, and though he'd never admit it, I think that tension gave our slow courtship a stronger charge. We eventually moved to a small town upstate, the same town he'd moved from, where he made a good living as a tenured professor at a small college. A lot of his income went to support his wife and daughter, and we lived in an old faculty housing unit long on charm and short on function. Not owning didn't bother us though. We were comfortable, and for a long time we were happy with each other; we went out to eat a lot, and traveled in the summer.

When people asked me what I did I sometimes said, “I'm transitioning,” and very occasionally, “I'm a painter.” I was embarrassed to say the second thing even though it was true: I still painted, and it seemed like I was better than I was when I showed at a downtown gallery twenty years before. But I was embarrassed anyway because I knew I sounded foolish to people who had kids and jobs too, and who wouldn't understand my life before I came here. There were a few—women who also painted at home—whom I was able to talk about it with, describe what art used to be to me, and what I wanted to make it be again: a place more real than anything in “real” life. A place I remember now just dimly, a place of deep joy where, when I could get to it, it was like tuning in to a radio frequency that was sacred to me. Regardless of anything else, nothing was more important than carrying that frequency on the dial of myself.

The problem was, other people created interference. It was hard for me to be close with them and to hear the signal at the same time. I realize that makes me sound strange. I
am
strange, more than the bare facts of my life would suggest. But I have slowly come to realize that so many people are strange, maybe the word is nearly meaningless when applied to human beings. Still, people interfered. And so I created ways to keep them at a distance, including my increasingly expensive habit. What I didn't see, or allow myself to see, was that drugs created even more interference than people; they were a sinister signal all their own, one that enhanced and blended with, then finally blotted out, the original one. When that happened I got completely lost, and for many years I didn't even know it.

By the time I got to AA, art had all but gone dead for me, and I credit my time in those stunned, bright-lit rooms for waking it up again.

When we finally moved out of the city, I began to feel the signal again, but differently. I felt it even when I was with Paul, which did not surprise me—he was not “other people.” But I began to feel it with other people too, or rather
through
them, in the density of families living in homes, going back for generations in this town. I would see women with babies in strollers or with their little children in the grocery store, and I would feel their rootedness in the place around us and beyond—in the grass and earth, trees and sky.

To feel so much through something I was not part of was of course lonely. I began to wonder if it had been a mistake not to have children, to wonder what would've happened if I'd met Paul when I was younger. The third time we had sex, he said, “I want to make you pregnant.” I must've had sex hundreds of times before, and men had said all kinds of things to me—but no one had ever said that. I never
wanted
anyone to say it; girlfriends would tell me a guy had said that and I would think, How obnoxious! But when Paul said it, I heard
I love you.
I felt the same; we made love and I pictured my belly swelling.

But I didn't get pregnant. Instead my sister Melinda died. I know the two things don't go together. But in my mind they do. My sister lived in Cleveland, Ohio. She had been sick a long time; she had so many things wrong with her that nobody wanted to think about her, including me. She was drunk and mean and crazy and would call saying fucked-up things in the middle of the night. When she was younger, she'd hung around with a sad-sack small-time biker gang, and now that she was falling off a cliff—my guess is they were too—they didn't want to talk to her. I didn't want to talk to her either, but I would, closing my eyes and forcing myself to listen. I would listen until I could remember the feeling of her and me as little girls, drawing pictures together, cuddled on the couch together, eating ice cream out of teacups. Sometimes I couldn't listen, couldn't remember; she'd talk and I'd check my e-mail and wait for her to go away. And then she did.

She had a stroke while she was taking a shower. The water was still running on her when they found her a few days later. It was summer and her body was waterlogged and swollen. Still, I could identify her, even with her thin, tiny mouth nearly lost in her cheeks and chin and her brows pulled into an inhuman expression.

Paul went with me to clear out her apartment. I hadn't been to visit her for at least a decade—she always preferred to visit me or my mother, and I could see why. Her apartment was filthy, full of old take-out containers, used paper plates and plastic utensils, boxes and bags crammed with the junk she'd been meaning to take out for years. Months' worth of unopened mail lay on every surface. There was black mold on the walls. Paul and I stood there in the middle of it and thought, Why didn't we help her? The obvious answer was, we
had
helped her. We had sent her money; we had flown her out to visit on Christmas. I
had
talked to her, even when I didn't want to. But standing in her apartment, I knew it hadn't been enough. She'd known when I hadn't wanted to talk, which was most of the time. Given that, what good was the money?

“You did what you could,” said my mother. “We all did.” I wanted to say,
You did what you could to destroy her,
but she was crying already. I was glad I didn't say anything; my mother died of a heart attack a month later. When my sister and I were teenagers, my mother had acted like Melinda was nothing but an aggravation who had contributed to the end of her marriage. But then she would play cards and clown around in the kitchen with her like she never did with me. Toward the end of her life, Melinda was always on the phone with our mom; she'd even pull over and call my mom on her cell if she was lost on her way to wherever she was going, which was often.

When the shock was still wearing off, I would go for long walks through the small center of town, out onto country roads, then back into town again. I'd look at the women with their children; I'd look into the small, beautiful faces and think of Melinda when she was like that. I'd imagine my mother's warm arms, her unthinking, uncritical limbs that lifted and held us. Shortly after Melinda died our washing machine broke and I had to go to the Laundromat; I was there by myself and this song came on the radio station that the management had on. It's a song that was popular in the '70s about a girl and a horse who both die. I was folding clothes when I recognized it. The singer's voice is thin and fake, but it's pretty, and somewhere in the fakery is the true sadness of smallness and failure and believing in beautiful things that aren't real because that's the only way to get through. Tears came to my eyes. When Melinda was little, she loved horses. For a while, she even rode them. We couldn't afford lessons, so she worked in a stable to earn them. Once I went with my mother to pick Melinda up from there, and I saw her riding in the fenced area beside the stable. She looked so confident and happy I didn't recognize her; I wondered who that beautiful girl was. So did our mother. She said, “Look at her!” and then stopped short.
They say she died one winter / When there came a killin' frost / And the pony she named Wildfire busted down its stall / In the blizzard he was lost.
It was a crap song. It didn't matter. It made me picture my sister before she was ruined, coming toward me on a beautiful golden horse.
She's coming for me I know / And on Wildfire we're both gonna go.
I cried quietly, still folding the clothes. No one was there to see me.

It was a year later that I started talking about adoption. At first Paul said, “We can't.” Although he didn't say it, I think he was hurt that I hadn't really tried to have
his
child, but now I wanted some random one. Also, his daughter from his first marriage, Edie, didn't want to go to school where he teaches and he'd promised to pay her tuition at Brown after his ex-wife had thrown a fit about it. Even if money weren't an issue, he didn't think we would have the physical energy for a baby. “What about an older child?” I asked. “Like a seven-year-old?” But we wouldn't know anything about the kid, he said. They would come fully formed in ways that would be problematic and invisible to us until it was too late.

We went back and forth on the subject, not intensely, but persistently, in bed at night and at breakfast. Months went by; spring came and the dry, frigid winter air went raw and wet, then grew full and soft. Paul's eyes began to be soft when we talked too. One of his friends told him about an organization that brought poor inner-city kids up to stay with country families for a few weeks. The friend suggested it as a way to “test the waters,” to see what it might be like to have somebody else's fully formed kid around.

We called the organization and they sent us information, including a brochure of white kids and black kids holding flowers and smiling, of white adults hugging black kids and a slender black girl touching a woolly white sheep. It was sentimental and flattering to white vanity and manipulative as hell. It was also irresistible. It made you think the beautiful sentiments you pretend to believe in really
might
be true. “Yes,” I said. “Let's do it. It's only two weeks. We could find out what it's like. We could give a kid a nice summer, anyway.”

Dante wasn't on the same bus as me—his was supposed to go at seven thirty and then me at nine. Outside the Port Authority were dirty homeless sleeping against the walls; inside, mostly closed stores, hardly anyone but police, and ugly music playing. We went where they said to meet them and nobody was there. My mom told me to ask a police if this was where the Fresh Air Fund was supposed to be and he said he didn't know anything about that, which made my mom look worried and Dante glad because maybe we would just go home. I thought we were just there too early as usual, and I was right: While we were standing there, these people wearing green T-shirts came smiling at us, carrying yellow metal fences like they use to keep people back at parades. They said, “Great, you're early, that's great,” and then they made a big square place with the fences and put a sign on it. They laughed and smiled with each other and then over at us. They put up tables and got out their computers and said they were ready. But then they wouldn't let us all the way in behind the fence, just Dante; he had to be inside the fence by himself. They told us he would get used to it, but that we could stand right by the fence until he left. They put a information card around his neck and gave him a coloring book, but he dropped it and ran to the fence to grab my mom, crying, “I'm hungry, I'm hungry!”

If it was me, my mom would've told me to shut up and gone to work. But Dante, she put her hands through the fence and talked to him like a baby, like “my little mother-nature boy!” But he wouldn't be quiet, so she gave me money and told me to go get him a cookie and her a coffee at this place that just opened, we saw this sad-faced man opening it.

She always pays attention to Dante when he cries, so he cries a lot. Or pretends to. Especially since he got poisoned by the babysitter. That was before Crown Heights or even Williamsburg; we lived in Queens then, all of us in one room that smelled like the garbage under the sink no matter how many times we took it out. I was eight, Dante was three. The babysitter was a girl named Rose who lived down the block, the daughter of the lady who did my mom's hair. She wanted to watch a TV show that wasn't what Dante wanted and he wouldn't shut up about it. He started crying that something hurt, so she gave him aspirin. He kept crying, probably because they were the orange chewy kind and he wanted more. She gave him the whole bottle and he went to sleep.

When I got back with the cookie and coffee, he was still sort of pretend-crying; he even kept doing it while he ate the cookie. Other kids were inside the fence by then, and they were coloring in books with the Fresh Air Fund people. I wished I could go in there, just to sit down away from Dante and my mom. I even asked if I could, but they said no, I couldn't go in until my group came.

I walked around in a circle behind my mom, dragging my suitcase until this girl in a green T-shirt said I could leave it inside the yellow fence; then I walked around without it. More people were in the station, their faces looking like they were already someplace else. More kids were coming too—the fenced-in Fresh Air space was filling up. Kids were sitting on the floor coloring in books or playing cards while the people in green shirts watched. Other moms were standing along the fence, with their children close to them. This boy came up to Dante and said, “Don't be scared. You'll like it. Where I'm going, they have a swimming pool.” I felt like I could walk away and nobody would see me.

After Dante ate all the aspirin we couldn't get him to wake up. Rose called her mom to come, and then my mom came home. We were all crying, and pretty soon my mom was screaming at Rose that she would kill her if Dante died. Rose's mom defended her daughter: She screamed back that if my mom was going to talk like that, Dante
would
die as punishment. The police came, an ambulance came. They put my little brother on the stretcher; my mom cried and threw herself on his body, they had to pull her off to take him down the stairs. When they drove away in the ambulance, our neighbor Mrs. Gutierrez hugged my mom and told her Dante would be all right, that she would be praying for us. My mom thanked her and smiled at her as she walked away. Then she turned to me and said, “How could you let this happen?”

Finally the bus came and they made Dante get on it. My mom walked me up to the table inside the fenced area and they put a card on me that said “Red Hook.” “Be good,” she said. “Don't give them any trouble.” And she kissed me, then left because she was late for work. I went in and sat down and this lady smiled and said hi and asked if it was my first time and I said yes. She asked if I wanted a coloring book and I said no. Other kids came in who were mostly younger than me; they sat on the floor and colored. A girl my age sat down and took out her phone. I didn't have a phone, so I just sat down. More and more kids came—at least I wasn't the only one whose mom wasn't there. But it did seem like I was the only one who didn't have something to look at. And the ugly music was still playing.

You're no good,
said some words in my head.
It's your blood that's bad.
These are words I hear a lot. I don't really hear a voice saying them. It's more like I feel them in my brain. Over and over. When that happens, I try to listen to the people around me to drown them out. Which is how I heard the white lady standing behind us talking to this other white lady. She was saying, “They got us to bend over backward to get this kid on this bus and now they
don't even show up
?”

“They don't understand,” said the other lady. “Families arrange their
whole summers
around this and then they don't even show.”

“It's their culture,” said the first one. “They don't understand time the way we do.”

I wanted to say,
Excuse me, but we were here early?
But then they changed the subject to themselves and how they were making a difference.

“…they come up and they see this big house and all these nice things, and they want to know, How do you get all this?” The same lady was still talking like no one could hear her. “And I say to them, We get it with
hard work.
Do you see how Jeff gets up every morning at four a.m. and goes to
work
? And then comes home and relates to his kids?”

“At least they have an example,” said her friend. “We're showing them another way. What they do with that is another thing, but—”

I tried to remember the little voice of the lady I talked to on the phone
.
I tried to put my mind on all the things she said we would do, the fair and swimming and horses. But it seemed like there was nothing but the bus station and that it would go on forever, my brain talking shit to me and these women talking basically the same thing.

Right then a black man with dreads said, “Okay, let's go!” And he picked up some bags and walked to the door Dante had gone through. Kids finally said good-bye to their moms and we all got on the bus, which distracted my brain from talking. This bus was a dark and rumbling cave, with deep seats full of close smells and tiny jewelly lights on the arm-parts. You had to step on a platform to get into the seats and all of them had TV screens in front of them. Even the shy little kids threw themselves into these seats so they could bounce. The woman who said that thing about a “example” got on last, smiling and talking about how we were going to watch
Harry Potter.
My brain started again:
You're no good.
I told it,
Oh, shut up.

“Hey,” said a black lady in a green T-shirt. “Can I sit next to you?”

I told her yes and I was glad; she was nice. She said, “Hi, Velveteen. My name is Roxanne. Have you ever been to Friendly Town before?”

I said, “No,” and the bus rumbled for real.

“You're gonna like it,” she said. “I went when I was little. It's a lot of fun.”

The bus backed up and turned into a tunnel. Roxanne said she wished we were watching
Freaky Friday
with Lindsay Lohan instead. “It's about a girl who switches bodies with her mom. It's funny.”

I didn't know what to say, so I smiled and looked out the window. We were coming out onto the street. The Example lady was standing up and talking about the rules of the bus and the bathroom in the back. I wondered if Roxanne thought the same things she did.

The night that Dante got poisoned my mother didn't talk to me, not even when they said he was okay. I helped her make dinner and we ate it. She hardly looked at me. I cried and my tears ran into my mouth with my food. But when we got in bed, she didn't turn away from me. She lay on her back with her eyes open and said, “It's not your fault. You have bad blood from your father.” I said, “Bendición, Mami.” She didn't answer. “Mami?” I whispered. She sighed and blessed me, then turned her back and let me curl against her.

“Velveteen?” said Roxanne. “Are you a little bit nervous?”

“Yeah.”

“Don't be, sweetheart. Because your host family? They are gonna be so happy to see you. Trust me.”