her.
He gets out of his car without turning off the lights or the engine. âI didnât mean to frighten you.â
âYou didnât. Iâm old enough to know who I need to be scared of.â
âI just want to talk to you.â
âAre you a crazy person? Are you going to kill yourself and blame me for it?â
âI donât think so.â
âYouâre probably going broke.â She crosses her arms. âThat makes people behave badly.â
âI just want to disappear. Can you do that?â
âDonât you ever sleep? Donât you have a job?â
âPlease, Miranda.â
âItâs not that simple. You need props and a rigged stage and dry ice for that kind of thing.â
âI just want to know what it feels like.â
âGo home.â She speaks as though she is used to men like him. âGo home to your wife or whoever buys you those nice clothes.â
âMy wife is dead.â
âOkay.â She looks up at the sky then closes her eyes. âI donât care. Do you understand? I donât care, because itâs not my job to care.â
âBecause youâre the dealer and Iâm the player?â
âGood guess.â
âBecause youâre the performer and Iâm the audience.â
âLeave me alone, Tom.â
âI wasnât joking about the two of us running off together. I wasnât joking about taking your show on the road.â
âYou want to lose it all?â She smiles the kind of smile she must once have used onstage, before juggling knives. âSome of us donât have that luxury.â
âWe should escape. We should be brave. You should have seen how brave my wife was.â
âI have rent to pay. I have an ex-husband who owes me over four thousand dollarsâbut maybe thatâs nothing to you.â
âThis time we might be lucky.â
âI have a son. Okay?â She runs her hands through her dark, wet hair. âAnd I have to be up in less than five hours to get him to school.â
He hadnât imagined a child, another life that filled her own. He looks at her exhausted face and sees, now, how poor his imagination had been.
âIâm sorry,â he says. âYou should go home.â But she doesnât move. He steps closer to her and she doesnât walk away. âJust tell me one thing.â
âItâs Mabel, all right? My name is Mabel.â
âReally? Itâs cute.â
âItâs terrible.â
âI can see why you donât like it.â
She smiles, and he touches the hair that sticks to her forehead. She lets him brush it out of her eyes. He wraps his arms around hershoulders and she allows this. She leans into him, for one second, maybe two.
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WHEN HE GETS HOME , he scrapes the algae off the glass. He distills and cools twenty gallons of water, and replenishes the tank. When he sprinkles food onto the waterâs surface, the convict tang, damselfish, and flamefish swim up to it. Tom presses his palm to the glass and touches the place where, on the other side, the sea star has attached itself. Then he lies on the floor, on the spot where Kellyâs bed had been, as though heâs beside her. He watches the fish until he falls asleep, and he sleeps until the next afternoon.
Thatâs when he finds the seven of hearts. Itâs in his wallet, which had been empty before.
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t r a c e s
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ALL I KNOW OF YOU is in traces: the musky smell of lavender and molasses in the house, his rushed phone calls when he thinks Iâm not listening, the look on his face. Maybe if we met, I could explain my situation.
Explain my situation
. As if situations can be folded into the neat boxes of words, as if the word
situation
can define this. Define
this:
you are fucking (fabulous word, perfectly shaped box!) my husband. And for four months, you have occupied my
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