So Much for That Read Free Page B

ten years as well, so, yeah, in hindsight they should have bought—thereby making about as much profit from sitting on his ass as he had from selling a whole company, fruit of twenty-two years’ sweat. That was the way people made money in this country now, according to Jackson: ass-sitting. You couldn’t get rich on earned income, he railed. Taxes on wages made sure of that. Jackson claimed that only inheritance and investment—ass-sitting—paid. Shep wasn’t so sure. Certainly he himself had worked hard, but he’d been compensated for his trouble. Limuru lay ever in the back of his mind, and he’d earned far more than a dollar per day.
    Shep had opted to rent for the same reason that drove every big decision he’d ever made. He wanted to be able to pick up stakes—easily, quickly, cleanly, without waiting for a house to sell in a market whoseclimate he couldn’t foresee. That’s what irked him a bit about Homeowner Smugness: all these schmoes with keys to a front door acted as if they’d seen the boom coming, as if they were financial geniuses and not the beneficiaries of dumb luck. He may have regretted missing out on the property windfall; he didn’t regret the reason he’d missed out. He was proud of the reason, proud of planning to leave. He was only ashamed of having stayed.
    He tried not to blame Glynis. If that meant blaming himself instead, that seemed fair. The Afterlife was his aspiration—the word he preferred to fantasy —and any dream was dilute secondhand. He tried not to be angry at her for a lot of things, and to a great extent succeeded.
    When they met, Glynis had been running her own small business from home, making jewelry of a strikingly stark, streamlined nature during an era of clunk, slapdash, and feathers. She had contacted Knack of All Trades to build a worktable bolted to the floor, and later, because she liked the proprietor—his broad veined forearms, his wide-open face like a field of wheat—a set of racks for hammers, pliers, and files. Shep appreciated her meticulous requirements, as she appreciated his meticulous execution. The second time he showed up to finish the table, she’d left numerous samples of her work lying casually around the studio (deliberately, she confessed with a laugh once they started going out; she’d dangled the glittering baubles before her handsome handyman “like fishing lures”). Though he’d never considered himself the artistic type, Shep was transfixed. Delicate and morbid, a whole series of elongated stickpins looked like assemblages of bird bones; when she modeled the bracelets for him, they wrapped all the way up her arm, slithering like serpents to the elbow. Sinewy, elusive, and severe, Glynis’s creations were an uncanny manifestation of the woman who made them. It was touch and go whether he fell in love with Glynis or her metalwork first, because as far as Shep was concerned they were one and the same.
    During their courtship, Glynis was teaching at summer camps and doing piecework in the Jewelry District to pay the rent. Meantime, she was placing single necklaces in second-tier galleries, and her silversmithing barely broke even. Yet she fevered long hours, and paid her ownphone bill. Surely any man would have assumed that for a self-starter like Glynis—disciplined, ascetic, and fiery—pulling her financial weight in a marriage would be a point of pride. (On reflection, it probably was.) So he’d never expected to have to save for The Afterlife all by himself.
    Less compassionate men might have felt they’d been sold a bill of goods. Pregnancy had seemed a reasonable excuse for letting her metalsmithing tools languish, but that accounted for only eighteen months of the last twenty-six years. Motherhood wasn’t the real problem, though it took him a long time to figure out what was. She needed resistance, the very quality that metal most demonstrably offered up. Suddenly Glynis had no difficulty to overcome, no hard