and the lighting. Someone had given great thought to the lighting and managed to work small ponds of illumination into an otherwise overly large banquet room, and the resulting effect was intimate and appealing. One could imagine stopping anywhere beside a light and having a conversation, even a romantic exchange, but the larger flow of the room made such potential moments only part of the evening. The music controlled much of the atmosphere in the ballroom, and Margaret delighted to see the burgundy jackets, the gleaming instruments, and the serious indifference with which many of the band members played. They were pros, obviously, and they had doubtless played these standards countless times before, but now and then a moment of genuine pleasure and virtuosity jumped out and took possession of the musicians, and then the band played with more enthusiasm and relish, and the dancers responded. Margaret particularly liked that the ball had no spokesperson, no planned agenda. No one tapped a glass or demanded the groupâs attention. It was very French, she felt, to give over the night to music and dance and drink and require nothing of the attendees. It should be a rule, she decided, to require nothing of guests except their own pleasure. That was something she would definitely tell Blake.
âSo,â Charlie said, arriving with two glasses of white wine and a small plate of appetizers, âare you taking it all in? Youâre not planning to run off at midnight, are you?â
âOh, Charlie, itâs wonderful. Itâs a beautiful event. Iâm glad you persuaded me to come.â
âCan you grab one of these wines, please? I ran into a fellow I knew and he insisted we try this food. He called it
amuse-bouche
. Heâs a Frenchie.â
âWhat is it?â Margaret asked, taking one of the wines. âDid he say?â
âPâté of some sort. I didnât listen very closely. I wanted to get back here to you.â
âWell, when in Rome . . .â
âOr Paris. But first a toast to your husband. To Thomas Kennedy.â
âTo Thomas,â Margaret said and touched her glass to his.
âHereâs how,â Charlie said as she sipped. âHowâs the wine?â
âFrench, Iâm guessing. Itâs good. It tastes sweet, but not too much.â
âTry one of these appetizers. You need to lead the way.â
She tasted what looked like a spring roll. It crumbled a little as she bit into it. The pastry gave way and underneath it Margaret tasted a dark, tangy meat with an odd consistency. She didnât much care for it, but she held it while Charlie sampled a different one.
âWhat do you think?â she asked.
âNot a fan.â
âIâm a complete peasant when it comes to food, Iâm sorry to say. Pot roast is exotic for me.â
âI bet youâre a good cook. Here, put that back on the plate and weâll just drink wine. Is that okay? Maybe we can grab something a little later. The buffet table was jammed.â
She put her half-eaten appetizer back on the plate, and Charlie managed to hand the plate to a passing busboy. It was a relief to be without something to juggle, Margaret decided. She took another sip of wine and found it excellent. It tasted of dry barrels and something bright and sharp that stung the tip of her tongue a little.
âHow do you like the band?â Charlie asked.
âVery much. I like seeing the musicians playing. I realized itâs been a while since I was around live music. Itâs not like going to a rock show when youâre a kid . . . all those strobe lights and stage theatrics. You can actually see the musicians and watch their faces turn red when they blow hard on their trumpets. That fellow over there . . . the one with the mustache . . . heâs quite dedicated to his instrument.â
âAnd the clarinetist. Do you think people end
Sherry Thomas
London Casey, Karolyn James
J. K. Snow
Carolyn Faulkner
Donn Pearce
Jenna Black
Linda Finlay
Charles Sheffield
Gail Bowen
Elizabeth Chadwick