saltcellars and carved-ivory knickknacks. She's lugging around the pillowcase, heavy and clanking with gilded-bronze gravy boats and hand-painted porcelain platters.
Still in her pink plastic uniform, sweat stains wet under each arm. Her name tag pinned to her chest, it lets all the strangers in the hotel call her Misty. Your poor wife. She works the same kind of shitty restaurant job her mom did.
Unhappily ever after.
After that, she's running home to pack. She's slinging around a string of keys as noisy as anchor chains. A string of keys like a cluster of iron grapes. These are long and short keys. Fancy notched skeleton keys. Brass and steel keys. Some are barrel keys, hollow like the barrel of a gun, some of them as big as a pistol, the kind a pissed-off wife might tuck in her garter and use to shoot an idiot husband.
Misty is jabbing keys into locks to see if they'll turn. She's trying the locks on cabinets and closet doors. She's trying key after key. Stab and twist. Jab and turn. And each time a lock pops open, she dumps the pillowcase inside, the gilded mantel clocks and silver napkin rings and lead crystal compotes, and she locks the door.
Today is moving-out day. It's another longest day of the year.
In the big house on East Birch Street, everybody's supposed to be packing, but no. Your daughter comes downstairs with a total of nothing to wear for the rest of her life. Your loony mother, she's still cleaning. She's somewhere in the house, dragging the old vacuum cleaner around, on her hands and knees, picking threads and bits of lint out of the rugs and feeding them into the vacuum hose. Like it matters a good goddamn how the rugs look. Like the Wilmot family will ever live here ever again.
Your poor wife, that silly girl who came here a million years ago from some trailer park in Georgia, she doesn't know where to begin.
It's not like the Wilmot family couldn't see this coming. You don't just wake up one day and find the trust fund empty. All the family money gone.
It's only noon, and she's trying to put off her second drink. The second is never as good as the first. The first one is so perfect. Just a little breather. A little something to keep her company. It's only four hours until the renter comes for the keys. Mr. Delaporte. Until they need to vacate.
It's not even a real
drink
drink. It's a glass of wine, and she's only had one, maybe two swallows. Still, just knowing it's nearby. Just knowing the glass is still at least half full. It's a comfort.
After the second drink, she'll take a couple aspirin. Another couple drinks, another couple aspirin, and this will get her through today.
In the big Wilmot house on East Birch Street, just inside the front door, you'll find what looks like graffiti. Your wife, she's dragging around her pillowcase of loot when she sees it—some words scribbled on the back of the front door. The pencil marks there, the names and dates on the white paint. Starting from knee high, you can see dark little straight lines, and along each line a name and number:
Tabbi, age five.
Tabbi, who's twelve now with lateral canthal rhytides around her eyes from crying.
Or: Peter, age seven.
That's
you, age seven.
Little Peter Wilmot.
Some scribbles say: Grace, age six, age eight, age twelve. They go up to Grace, age seventeen. Grace with her baggy jowls of submental fat and deep playsmal bands around her neck.
Sound familiar?
Does any of this ring a bell?
These pencil lines, the crest of a flood tide. The years 1795 . . . 1850 . . . 1979 . . . 2003. Old pencils were thin sticks of wax mixed with soot and wrapped with string to keep your hands clean. Before that are just notches and initials carved in the thick wood and white paint of the door.
Some other names on the back of the door, you won't recognize. Herbert and Caroline and Edna, a lot of strangers who lived here, grown and gone. Infants, then children, adolescents, adults, then dead. Your blood relations, your family, but
Still in her pink plastic uniform, sweat stains wet under each arm. Her name tag pinned to her chest, it lets all the strangers in the hotel call her Misty. Your poor wife. She works the same kind of shitty restaurant job her mom did.
Unhappily ever after.
After that, she's running home to pack. She's slinging around a string of keys as noisy as anchor chains. A string of keys like a cluster of iron grapes. These are long and short keys. Fancy notched skeleton keys. Brass and steel keys. Some are barrel keys, hollow like the barrel of a gun, some of them as big as a pistol, the kind a pissed-off wife might tuck in her garter and use to shoot an idiot husband.
Misty is jabbing keys into locks to see if they'll turn. She's trying the locks on cabinets and closet doors. She's trying key after key. Stab and twist. Jab and turn. And each time a lock pops open, she dumps the pillowcase inside, the gilded mantel clocks and silver napkin rings and lead crystal compotes, and she locks the door.
Today is moving-out day. It's another longest day of the year.
In the big house on East Birch Street, everybody's supposed to be packing, but no. Your daughter comes downstairs with a total of nothing to wear for the rest of her life. Your loony mother, she's still cleaning. She's somewhere in the house, dragging the old vacuum cleaner around, on her hands and knees, picking threads and bits of lint out of the rugs and feeding them into the vacuum hose. Like it matters a good goddamn how the rugs look. Like the Wilmot family will ever live here ever again.
Your poor wife, that silly girl who came here a million years ago from some trailer park in Georgia, she doesn't know where to begin.
It's not like the Wilmot family couldn't see this coming. You don't just wake up one day and find the trust fund empty. All the family money gone.
It's only noon, and she's trying to put off her second drink. The second is never as good as the first. The first one is so perfect. Just a little breather. A little something to keep her company. It's only four hours until the renter comes for the keys. Mr. Delaporte. Until they need to vacate.
It's not even a real
drink
drink. It's a glass of wine, and she's only had one, maybe two swallows. Still, just knowing it's nearby. Just knowing the glass is still at least half full. It's a comfort.
After the second drink, she'll take a couple aspirin. Another couple drinks, another couple aspirin, and this will get her through today.
In the big Wilmot house on East Birch Street, just inside the front door, you'll find what looks like graffiti. Your wife, she's dragging around her pillowcase of loot when she sees it—some words scribbled on the back of the front door. The pencil marks there, the names and dates on the white paint. Starting from knee high, you can see dark little straight lines, and along each line a name and number:
Tabbi, age five.
Tabbi, who's twelve now with lateral canthal rhytides around her eyes from crying.
Or: Peter, age seven.
That's
you, age seven.
Little Peter Wilmot.
Some scribbles say: Grace, age six, age eight, age twelve. They go up to Grace, age seventeen. Grace with her baggy jowls of submental fat and deep playsmal bands around her neck.
Sound familiar?
Does any of this ring a bell?
These pencil lines, the crest of a flood tide. The years 1795 . . . 1850 . . . 1979 . . . 2003. Old pencils were thin sticks of wax mixed with soot and wrapped with string to keep your hands clean. Before that are just notches and initials carved in the thick wood and white paint of the door.
Some other names on the back of the door, you won't recognize. Herbert and Caroline and Edna, a lot of strangers who lived here, grown and gone. Infants, then children, adolescents, adults, then dead. Your blood relations, your family, but
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