ones!â
Charles looks at his watch. âDinner, Lainie?â
âYes, we have an eight-thirty. With Jane and Robert.â
âDonât go.â Claire grabs my arm. âMommy, please donât go. You have to finish the story. Where is the prettiest one, the selkie mother?â
Charles turns to us and then he leaves without another word, moving down the wooden hallway with his methodical step.
âAh, the prettiest one.â I straighten up.
âHey, Mom? Do you think youâll have to wear nail polish once we move to this place?â
âIâm sorry, Matilde?â I examine my short fingernails with their residue of charcoal.
âYou know, be like the other mothers. Dad said heâs going to have a big job.â
âMommy!â Claire shouts. âThe selkie mother?â
âShe has children and she loves them very much, Claire. For years she tends to them and is a good mother and a good wife. There are days when she almost forgets her sealy skin and she seems resolved to life on land. Other days she visits the rocks and remembers her selkie roots: a distant memory for her until one morning there is a rainstorm and the ceiling starts leaking. The mother climbs up to the rafters to plug the leak and she finds her sealy skin that her husband has hidden away. She cries over her old coat that has stiffened and is withered and dry. Her sad salt tears moisten the coat so it looks more like a seal coat.â
I stop speaking and the room gets cold.
âThen what?â asks Claire. âMommy, what?â
âLater, Claire,â Matilde says. âClaire. Câmon, Candy has dinner on the table and the boys will eat up the good stuff. Mommy and Daddy are going out with friends. Mommy has to get ready.â
âThe prettiest one jumps into the ocean!â says Claire. âI know she does, Mommy. I know already! But she has to come back, right, Mommy, back to her children!â
Matilde scoops Claire into her arms. Claire is struggling, pounding on Matildeâs shoulders. Matilde looks at me and I give in.
âShe does come back, my darling girl.â
Claire cries anyway; her face is blotchy. Then Matilde cries and so do I.
*Â Â Â *Â Â Â *
âNo, Charles, not tonight.â I am as far away from him as possible in our queen-size bed, not far enough to keep me from his ever-magnetic pull. Lying in bed with Charles is a reminder of our shared history and the private currency we trade in. Before children, before the idea of children. Those days we used to trek along the coast, those nights we read Yeats, mostly âThe Song of Wandering Aengusâ and the Maud Gonne poems to each other. Sometimes there were no stars in the sky and only a silver moon. He pledged to be my friend, my best friend. Charles, who once kept me safe.
He sits up, switches on the light, and looks at me. I look away. He takes my head in his elegant surgeonâs hands, runs his fingers down my jawline, and turns me to face him. He leans down and kisses me.
âLainie. Lainie. Weâre not moving to Minnesota. Weâre moving an hour out of the city.â If only what Charles said could influence me.
âI donât want to leave New York,â I say.
âYou might change your mind,â Charles says.
âI donât want to leave my life.â
âWhat life? What will you be giving up? You can have anything you want. You can have everything you want, Lainie.â He starts kissing my earlobe, a preliminary move.
âWhy is that?â I ask.
âYou would have your very own studio. A large studio.â A smart bait for me, his first method of conviction. Iâve worked at my dressing table or in a corner of the living room ever since we converted my studio into Tomâs bedroom two years ago.
âYouâll make new friends. Thereâs an Arts Council right in town to join, get to know some other artists. Elliot is where