go. Andrea was a very pretty woman. He could give her her way now or he could wait and give her her way later, but either way, she was going to get what she wanted.
All of this happened around the time I’d fallen in love with one of the VanHoebeek daughters, or rather with her portrait, which I called Julia. Julia had narrow shoulders and yellow hair held back by a green ribbon. Her portrait hung in a bedroom on the third floor of the Dutch House above a bed no one ever slept in. With the exception of Sandy, who ran the vacuum and wiped things down with a dust rag on Thursdays, no one but me set foot up there. I believed that Julia and I were true lovers thwarted by the misalignment of our births. I worked myself into such a state over the injustice of it all that I once made the error of calling my sister at Barnard to ask if she had ever wondered about the girl whose painting hung in the third-floor bedroom, the girl with the gray-green eyes who was one of the VanHoebeek daughters.
“A daughter?” Maeve said. I was lucky to have caught her on the phone. “They didn’t have any daughters. I think that’s Mrs. VanHoebeek when she was a girl. Take the painting downstairs and look at them together. I think they’re both her.”
My sister was fully capable of teasing me until I could have bled from my ears, but just as often she spoke as if we were equals, giving me an honest answer to any question. I could tell by her voice she wasn’t joking, or even particularly paying attention to what I had asked. I ran up the turning staircase to the third floor and stood on the unused bed to lift the carved gilt frame of my beloved off the wall (the frame was grander than what she would have wanted and not as grand as what she deserved). My Julia was not Mrs. VanHoebeek. But when I carried the painting downstairs to lean it on the mantelpiece, it was clear that Maeve was right. They were paintings of the same woman seated at either end of her life, old Mrs. VanHoebeek with the black silk buttons marching up to her neck and young Julia caught in a breeze. And really, even if it wasn’t the same woman, such a likeness made it clear how one day the daughter would become the mother. Then Jocelyn came around the corner and caught me standing there looking at the two paintings together. She shook her head. “Time flies,” she said.
Sandy and Jocelyn moved Maeve’s things up to the third floor. At least the room faced the back garden like her old room did. At least the view would be more or less the same and arguably even better: fewer branches, more leaves. But the windows were dormers, of course, and there was no window seat. The new room was also a fraction of the size, and under the eaves so the ceiling sloped. As tall as Maeve was she’d be hitting her head every other minute.
The whole depressing enterprise of turning Maeve’s room into Norma’s room took longer than anyone could have imagined, since once Maeve’s things were out Andrea wanted the place painted, and after it was painted she changed her mind and started bringing home books of wallpaper. She shopped for a new bedspread, a new rug. For a couple of weeks the redecoration was all anyone heard about, but it wasn’t until Maeve came home for Thanksgiving that I realized none of us had been brave enough to inform my sister of her exile. Surely that was my father’s job, and surely the rest of us would have known that he would never do it. Maeve was in the foyer, swinging me around, kissing Sandy and Jocelyn, kissing the little girls, and suddenly we all understood that she was about to go upstairs and find a raft of dolls spread across what had been her bed. In that moment it was Andrea, always the general, who showed presence of mind.
“Maeve, we’ve changed some things around since you’ve been gone. You’re on the third floor now. It’s very nice.”
“The attic?” Maeve asked.
“The third floor,” Andrea repeated.
My father picked up her
All of this happened around the time I’d fallen in love with one of the VanHoebeek daughters, or rather with her portrait, which I called Julia. Julia had narrow shoulders and yellow hair held back by a green ribbon. Her portrait hung in a bedroom on the third floor of the Dutch House above a bed no one ever slept in. With the exception of Sandy, who ran the vacuum and wiped things down with a dust rag on Thursdays, no one but me set foot up there. I believed that Julia and I were true lovers thwarted by the misalignment of our births. I worked myself into such a state over the injustice of it all that I once made the error of calling my sister at Barnard to ask if she had ever wondered about the girl whose painting hung in the third-floor bedroom, the girl with the gray-green eyes who was one of the VanHoebeek daughters.
“A daughter?” Maeve said. I was lucky to have caught her on the phone. “They didn’t have any daughters. I think that’s Mrs. VanHoebeek when she was a girl. Take the painting downstairs and look at them together. I think they’re both her.”
My sister was fully capable of teasing me until I could have bled from my ears, but just as often she spoke as if we were equals, giving me an honest answer to any question. I could tell by her voice she wasn’t joking, or even particularly paying attention to what I had asked. I ran up the turning staircase to the third floor and stood on the unused bed to lift the carved gilt frame of my beloved off the wall (the frame was grander than what she would have wanted and not as grand as what she deserved). My Julia was not Mrs. VanHoebeek. But when I carried the painting downstairs to lean it on the mantelpiece, it was clear that Maeve was right. They were paintings of the same woman seated at either end of her life, old Mrs. VanHoebeek with the black silk buttons marching up to her neck and young Julia caught in a breeze. And really, even if it wasn’t the same woman, such a likeness made it clear how one day the daughter would become the mother. Then Jocelyn came around the corner and caught me standing there looking at the two paintings together. She shook her head. “Time flies,” she said.
Sandy and Jocelyn moved Maeve’s things up to the third floor. At least the room faced the back garden like her old room did. At least the view would be more or less the same and arguably even better: fewer branches, more leaves. But the windows were dormers, of course, and there was no window seat. The new room was also a fraction of the size, and under the eaves so the ceiling sloped. As tall as Maeve was she’d be hitting her head every other minute.
The whole depressing enterprise of turning Maeve’s room into Norma’s room took longer than anyone could have imagined, since once Maeve’s things were out Andrea wanted the place painted, and after it was painted she changed her mind and started bringing home books of wallpaper. She shopped for a new bedspread, a new rug. For a couple of weeks the redecoration was all anyone heard about, but it wasn’t until Maeve came home for Thanksgiving that I realized none of us had been brave enough to inform my sister of her exile. Surely that was my father’s job, and surely the rest of us would have known that he would never do it. Maeve was in the foyer, swinging me around, kissing Sandy and Jocelyn, kissing the little girls, and suddenly we all understood that she was about to go upstairs and find a raft of dolls spread across what had been her bed. In that moment it was Andrea, always the general, who showed presence of mind.
“Maeve, we’ve changed some things around since you’ve been gone. You’re on the third floor now. It’s very nice.”
“The attic?” Maeve asked.
“The third floor,” Andrea repeated.
My father picked up her
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