simple.â
âYeah.â She hesitates. She finds it difficult to look at the dress. It seems to be carrying too much weight. âGrace picked it for me.â
He takes that in. He lifts the dress from the tissue and holds it up. The light from the window pierces it. âIâd like you in silk,â he says. âDiamonds if I could get them.â
When he leaves, he takes the dress with him.
In a week, he comes back with a parcel and leads her into her bedroom. âThis is more you, peach,â he says. This dress seems to roll up out of the paper. She wants it as soon as she sees it. The fabric is richly layered: silk, then lace, then a misty veil of organza. The hem is cut into strips that end in a diamond point, sewn with pearls in spiral patterns. She touches the cool fabric, pinches the layer of organza.
âIt came with this,â he says. He shifts the dress to one hand and pulls out a fan made of bamboo and white feathers.
She takes it from him and slides her fingers over the feathers, tickling his palm and hers with them. This is the right dress for her; sheâll be beautiful.
The night before the wedding, the pie vendor arrives. Lizzieâs dad got flighty at the last minute, reckoned the only thing he could afford was sausage rolls. He called in a favour and asked a mate to cater, a vendor who still has a horse he hooks up to the trailer. Around ten, Lizzie hears the hooves. The man sets up under the house, lets the horse out to graze on the ragged grass that clumps around the edges of the fence where the neighbours water their bromeliads.
Lizzie canât sleep. She lies in bed and drifts, then wakes abruptly from an early morning doze to the smell of mince and buttery pastry. Sheâs starved. She goes downstairs to ask for a pie for breakfast from the stringy, wide-calved man with a fringe that sips at his pupils. He gives her one, the meat still hot from the steel pot, and takes one for himself. They sit on the steps, licking the mince from their fingers, while he tells her that he makes a living mostly at night, dealing out the front of pubs after six oâclock closing, selling pies to men queasy from guzzling beer. The vendor has big hands. Lizzie watches him roll out the pastry, lift it up with an exaggerated gesture, fling it over the top of the mince. She likes his precision when he presses the lid on with a fork. Itâs strangely alright for this man to make the pies because heâll sell them, get himself out of debt with her dad. That somehow stops the act from being womanly.
Grace arrives to dress her and finds her with a line of mince down her chemise. âJesus, Lizzie, you havenât even got your stockings on.â
âWhat time is it?â
âToo bloody early. Whyâd you think before lunch was a good time?â
Lizzie roots around in the drawer for her suspender belt, her gloves, her stockings. She lifts her head up to see Grace inspecting the dress, laid out on the bed. âWhat happened to the one I picked?â
A pang at the sound of Graceâs hurt. âJoe changed it for this one, suits me better.â
Grace looks down, fiddles with her earlobe.
âDidnât think it mattered,â Lizzie says.
âI wanted you to wear the dress I picked.â
âOh.â Lizzie turns back to the stockings, shuffles them around a bit, starts rummaging through her jewellery box, searching for the pearls. Grace sniffs, and then sheâs moving again, pulling the veil from the hook in the cupboard, laying it on the bed. She dresses Lizzie in silence and doesnât look her in the eye when she crouches down to draw on her eyebrows with charcoal.
Out of the bedroom, Lizzie stands with her dad on the top step, waiting for the time when theyâll walk away from that house, the pie vendor following behind with his old horse-drawn trailer.
At Spring Hill they stand outside the church, its roof sloping steeply away from
Gil Brewer
Raye Morgan
Rain Oxford
Christopher Smith
Cleo Peitsche
Antara Mann
Toria Lyons
Mairead Tuohy Duffy
Hilary Norman
Patricia Highsmith