greasy
sake,
the best the house has to offer. (Have I mentioned that grapes are a thing of the past? NapaâSonoma is all rice paddies now, the Loire and Rhine Valleys so wet theyâd be better off trying to grow pineapples â though on the plus side I hear the Norwegians are planting California rootstock in the Oslo suburbs.)
âHe never knew what hit him,â sheâs saying, chasing me down with her eyes. âHis son told me they found the thing â it was the size of a golf ball â embedded in the concrete in the basement, still smoldering.â
Iâm in awe. Sitting there over my
sake
and a plate of cold fish, holding that picture in my head â a softâboiled egg! The world is a lonely place.
âTy?â
I look up, still shaking my head. âYou want another drink?â
âNo, no â listen. The reason I came is to tell you about April Wind â â
I do everything I can to put some hurt and surprise in my face, though Iâm neither hurt nor surprised, or not particularly. âI thought you said you wanted to see me for love â isnât that what you said? Correct me if Iâm wrong, but my impression was you wanted to, well, get together â â
âNo,â she says. âOr yes, yes, I do. But the thing that got me here, the reason I had to see you, is April Wind. She wants to do a book. On Sierra.â
I donât get angry much anymore, no point in it. But with all Iâve been through â not just back then, but now too, and who do you think is going to have to track down the Patagonian fox and the slinking fat pangolins on feet that are like cement blocks? â I canât help myself. âIdonât want to hear it,â I say, and somehow Iâm standing, the carpet squelching under my feet, the whole building vibrating under the assault of another gust. My arm, my right arm, seems to be making some sort of extenuating gesture, moving all on its own,
I come to bury Caesar, not to praise him.
âSheâs dead, isnât that enough? What do you want â to make some sort of Joan of Arc out of her? Open the door. Look around you. What the fuck difference does it make?â
Sheâs a big woman, Andrea, big still â in her shoulders, the legs tucked up under her skirt, those hands â but she reduces herself somehow. Sheâs a waif. Sheâs putâupon. Sheâs no threat to anybody and this isnât her idea but April Windâs, the woman who talks to trees. âI think itâs a good idea,â she says. âFor posterity.â
âWhat posterity?â My arm swings wide. âThis is your posterity.â
âCome on, Ty â do it for Sierra. Let the woman interview you, tell your story â whatâll it hurt?â
Everything compresses to rush into the vacuum inside me, the winds dying as if on the downstroke of a baton, the rain taking a timeâout, the mop finally prevailing at the door. Andrea is standing now too, and weâre a matching pair of the youngâold, as rejuvenant as any couple youâd see in New York or Paris or in those TV ads for transplants, poised over the table as if weâre about to sweep off across the floor in some elaborate dance routine. âWhatâs it in for you? A finderâs fee?â
No response.
âAnd how
did
you track me down, anyway?â
Thereâs no malice in her smile â a hint of smugness, maybe, but no malice. She holds up her fingers, all ten of them. âThe Internet. Search for Maclovio Pulchris and youâd be amazed at what turns up â and as far as whatâs in it for me, thatâs easy: you. Youâre what I want.â
Iâm stirred, and thereâs no denying it. But Iâm not taking her home with me, never, no matter what. Iâm grinning, though â a grin so glutinous you could hang wallpaper on it. âYou want to go to a