diminish in both height and length. The cartons marked HALLIE and GARNET and KITCHEN were largely (but not entirely) gone, flattened and taken yesterday to the transfer station. On the other hand, they hadn’t even started on the boxes in the living room because they had made the decision that the wallpaper there—a repeating image of horses and hounds and a fox that looked disturbingly like an eel with fur—had to go and they might as well deal with it sooner rather than later. Nor had they started on the boxes in the dining room or the guest bedrooms. In the other rooms (and this house, they realized, really did have a lot of rooms) they had made varying degrees of progress, though all still had at least two or three unopened moving cartons.
Emily found herself fascinated by the traces that remained of the family who had lived in the house before them: Sometimes she was bemused, other times slightly disturbed. Parnell Dunmore had been buried nearly seven years now in the cemetery a mile away with the elegant wrought-iron fencing and the gates with the ornate trelliswork, and his wife, Tansy, had been in that graveyard almost four. Tansy had lived in the house not quite fifty years and, with Parnell, raised two sons there. Twins, which Emily viewed as either an irony or a coincidence. One of the sons had taken his own life as a twelve-year-old decades earlier, but his brother, now an ornery fifty-four-year-old named Hewitt, lived about forty minutes away in St. Johnsbury. Though almost all of the Dunmores’ furniture had long been cleared by the time the Lintons moved in, a certain amount of detritus remained that either the son had forgotten or hadn’t bothered to pack—or, in some way, was inextricably linked to the house. Sometimes Emily would find the sort of thing you might discover in the back of an antiques store, such as the broken but handsome sewing machine from the late nineteenth century. It was made of cast iron and mahogany and had a treadle in the bottom of the cabinet that demanded both feet to operate. It looked like a desk and might have weighed as much as a small car. Emily found it in the attic and couldn’t imagine how anyone could possibly have carted it up the rickety steps that descended from a trapdoor in the second-floor ceiling and was the only link between the attic and the rest of the house. Not far from the sewing machine were rows of old wine bottles—over two dozen—with either plastic flowers or melted candles emerging from the tops. Some were forty years old. Among the items they found in the basement (all far from the corner with that peculiar door) were old wooden sap buckets, great coils of deteriorating rubber garden hose, a plastic model of an Apollo rocket, a brass door knocker, and three separate birdhouses. The girls found a couple of old teacups hanging from hooks in the very back of a cabinet in a dining room wall and porcelain figurines of elves and trolls and skiers in a box in a corner of the walk-in closet on the third floor.
Meanwhile, the carriage barn had everything from long lengths of rusted barbed wire to a Betty Crocker wall calendar made of canvas from 1973. There were empty paint cans and barrels of bobbins because once, decades and decades ago, there had been a bobbin mill along the river at the base of the hill on which the house sat. Apparently, every house in Bethel had barrels of bobbins. There were a boy’s bow and a quiver of arrows, the tips blunt, and tall piles of what might have been the house’s original shutters (there must have been fifty of them). There was a collar for a draft horse. Emily phoned Hewitt Dunmore in St. Johnsbury and asked about this miscellaneous silt from the house and the barn, even offering to drive the articles (including, somehow, that sewing machine) to his home, but Hewitt raged that he couldn’t have been expected to empty the house completely, not with a back as bad as his and with knees that were cranky at best. He