Little Fires Everywhere Read Online Free PDF

doing. Sometimes she was downstairs in the makeshift darkroom she’d rigged up in the basement laundry room, developing rolls of film or making prints. Sometimes she seemed to spend all her time reading—things that weren’t obviously relevant to Moody, like cooking magazines from the 1960s, or car manuals, or an immense hardcover biography of Eleanor Roosevelt from the library—or even staring out the living room window at the tree just outside it. One morning when he arrived, Mia was toying with a loop of string, playing cat’s cradle, and when they returned she was still at it, weaving ever more complicated nets between her fingers and then suddenly unraveling them back into a single loop and beginning again. “Part of the process,” Pearl informed him as they cut through the living room, with the nonchalant air of a native unfazed by the curious customs of the land.
    Sometimes Mia went out with her camera, but more often she might spend days, or even weeks, preparing something to photograph, with the actual taking of the photographs lasting only a few hours. For Mia, Moody learned, did not consider herself a photographer. Photography, at its heart, was about documentation, and he soon understood that for Mia photography was simply a tool, which she used as a painter might use a brush or a knife.
    A plain photograph might be doctored later: with embroidered carnival masks obscuring the faces of the people within, or the figures themselves might be clipped out, paper-doll style, and dressed in clothes cut from fashion magazines. In one set of photos, Mia rinsed the negatives before making prints that were oddly distorted—a photo of a clean kitchen speckled with spots from lemonade; a photo of laundry on the clothesline rendered ghostlike and warped by bleach. In another set, shecarefully double-exposed each frame—layering a far-off skyscraper over the middle finger of her hand; superimposing a dead bird, wings akimbo on the pavement, over a blue sky, so that except for the closed eyes, it looked as if it were flying.
    She worked unconventionally, keeping only photos she liked and tossing the rest. When the idea was exhausted, she kept a single print of each shot and destroyed the negatives. “I’m not interested in syndication,” she said to Moody rather airily, when he asked why she didn’t make multiples. She seldom photographed people—occasionally, she would take a picture of Pearl, as with the bed on the lawn, but she never used them in her work. She never used herself either: once, Pearl told Moody, she had done a series of self-portraits, wearing different objects as masks—a piece of black lace, five-fingered horse-chestnut leaves, a damp and pliant starfish—had spent a month on these photos, narrowing them down to a set of eight. They’d been beautiful and eerie, and even now Pearl could see them exactly: her mother’s bright eye like a pearl peeking out between the legs of the starfish. But at the last moment Mia had burned the prints and negatives, for reasons even Pearl could not fathom. “You spent all that time,” she’d said, “and just
pfft
”—she snapped her fingers—“like that?”
    â€œThey weren’t working” was all Mia would say.
    But the pictures she did keep, and sold, were startling.
    In their luxurious sublet in Ann Arbor, Mia had taken various pieces of her hosts’ furniture apart and arranged the components—bolts as thick as her finger, unvarnished crossbeams, disembodied feet—into animals. A bulky secretary desk from the nineteenth century transformed into a bull, the sides of the disassembled drawers forming muscled legs, the cast-iron knobs of its drawer pulls serving as the bull’s nose and eyes and glinting balls, a handful of pens from inside the desk fanned out into thecrescents of horns. With Pearl’s help, she had laid the pieces out on the