Cat's eye Read Free

sensible choices, so different from many of my own. Also in sensible names for children, because look what happened to Cordelia.
    Alongside my real life I have a career, which may not qualify as exactly real. I am a painter. I even put that on my passport, in a moment of bravado, since the other choice would have been housewife. It’s an unlikely thing for me to have become; on some days it still makes me cringe. Respectable people do not become painters: only overblown, pretentious, theatrical people. The word artist embarrasses me; I prefer painter, because it’s more like a valid job. An artist is a tawdry, lazy sort of thing to be, as most people in this country will tell you. If you say you are a painter, you will be looked at strangely. Unless you paint wildlife, or make a lot of money at it, of course. But I only make enough to generate envy, among other painters, not enough so I can tell everyone else to stuff it. Most of the time though I exult, and think I have had a narrow escape. My career is why I’m here, on this futon, under this duvet. I’m having a retrospective, my first. The name of the gallery is Sub-Versions, one of those puns that used to delight me before they became so fashionable. I ought to be pleased by this retrospective, but my feelings are mixed; I don’t like admitting I’m old enough and established enough to have such a thing, even at an alternative gallery run by a bunch of women. I find it improbable, and ominous: first the retrospective, then the morgue. But also I’m cheesed off because the Art Gallery of Ontario wouldn’t do it. Their bias is toward dead, foreign men. The duvet is in a studio that belongs to my first husband Jon. It interests me that he would have a duvet here, although his house is elsewhere. So far I’ve restrained myself from going through his medicine cabinet, in search of hairpins and female deodorants, as I once would have done. This is none of my business any longer, I can leave the hairpins to his iron-clad wife.
    Staying here is possibly a silly thing to do, too retrospective. But we’ve always kept in touch because of Sarah, who is his daughter also, and after we got through the shouting and the broken glass we settled into being friends of a sort, by long distance, which is always easier than up close. When he heard about the retrospective, he offered. The price of a hotel in Toronto, he said, even a second-rate hotel, is becoming offensive. Sub-Versions would have put me up, but I didn’t mention that. I don’t like the neatness of hotels, the squeaky-clean bathtubs. I don’t like hearing my own voice echo in there, especially at night. I prefer the shedding and disorder and personal dirt of people like myself, people like Jon. Transients and nomads.
    Jon’s studio is down on King Street, near the waterfront. King Street used to be one of those places you never went, a place of dingy warehouses and rumbling trucks and dubious alleyways. Now it’s come up in the world. Artists have infested it; in fact the first wave of artists has almost come and gone, and brass lettering and heating pipes painted fire-engine red and firms of lawyers are taking over. Jon’s studio, on the fifth and top floor of one of the warehouses, doesn’t have long to live in its present form. Track lighting is spreading over the ceilings, the lower floors are being stripped of their old linoleum, smelling of Pine Sol with an obscure base note of ancient throwup and pee, and the wide boards underneath are being sandblasted. I know all this because I walk up the five floors; they haven’t got around to an elevator yet.
    Jon left me the key in an envelope under the mat, and a note saying Blessings, which is a measure of how much he’s softened, or mellowed. Blessings was not his former style. He’s temporarily in Los Angeles, doing a chain-saw murder, but he’ll be back before my opening.
    I last saw him at Sarah’s college graduation four years ago. He flew out to the