I wake at night sometimes now, thinking someone is in my house. Abby sleeps on the other side of the bed, and Hudson sleeps on the floor. Where I live it is brutally dark at night, unless there’s a moon—no one wastes power on lights at night. My house is small, two bedrooms, a kitchen, and a family room. I lean over and shake Hudson on the floor, wake him up. “Who’s here?” I whisper. Abby sits up, but neither of them hears anything. They pad down the hall with me into the dark front room, and I peer through the window into the shadowy back lot. I wait for them to bark.
Many a night, I don’t go back to sleep.
But the man at my door this morning weeds my garden and accepts my bowl of soup and some flour tortillas. He thanks me gravely. He picks up his phone, charging off my system, and shows me a photo of a woman and a child. “My wife and baby,” he says. I nod. I don’t particularly want to know about his wife and baby, but I can’t be rude.
I finish assembling the doll I am working on. I’ve painted her, assembled all the parts, and hand-rooted all her hair. She is rather cuter than I like. Customers can mix and match parts off of my website—this face with the eye color of their choice, hands curled one way or another. A mix-and-match doll costs about what the migrant will make in two weeks. A few customers want custom dolls and send images to match. Add a zero to the cost.
I am dressing the doll when Abby leaps up, happily roo-rooing. I start, standing, and drop the doll dangling in my hand by one unshod foot.
It hits the floor head first with a thump, and the man gasps in horror.
“It’s a doll,” I say.
I don’t know if he understands, but he realizes. He covers his mouth with his hand and laughs, nervous.
I scoop the doll off the floor. I make reborns. Dolls that look like newborn infants. The point is to make them look almost, but not quite, real. People prefer them a little cuter, a little more perfect than the real thing. I like them best when there is something a little strange, a little off about them. I like them as ugly as most actual newborns, with some aspect that suggests ontology recapitulating phylogeny; that a developing fetus starts as a single-celled organism, and then develops to look like a tiny fish, before passing in stages into its final animal shape. The old theory of ontology recapitulating phylogeny, that the development of the human embryo follows the evolutionary path, is false, of course. But I prefer that my babies remind us that we are really animals. That they be ancient and a little grotesque. Tiny changelings in our house.
I am equally pleased to think of Thanksgiving turkeys as a kind of dinosaur gracing a holiday table. It is probably why I live alone.
“Que bonita,” he says. How beautiful.
“Gracias,” I say. He has brought me the empty bowl. I take it and send him on his way.
I check my email and I have an order for a special. A reborn made to order. It’s from a couple in Chicago, Rachel and Ellam Mazar—I have always assumed that it is Rachel who emails me, but the emails never actually identify who is typing. There is a photo attached of an infant. This wouldn’t be strange except this is the third request in three years I have had for exactly the same doll.
The dolls are expensive, especially the specials. I went to art school and then worked as a sculptor for a toy company for a few years. I didn’t make dolls, I made action figures, especially alien figures and spaceships from the Kinetics movies. A whole generation of boys grew up imprinting on toys I had sculpted. When the craze for Kinetics passed, the company laid off lots of people, including me. The whole economy was coming apart at the seams. I had been lucky to have a job for as long as I did. I moved to New Mexico because I loved it and it was cheap, and I tried to do sculpting freelance. I worked at a big-box store. Like so many people, my life went into free fall. I bought this place—a little ranch house that had gone into foreclosure, in a place where no one was buying anything and boarded up houses fall in on themselves like mouths without teeth. It was the last of my savings. I started making dolls as a stopgap.
I get by. Between the garden and the little bit of money from the dolls, I can eat. Which is more than some people.
A special will give me money for property tax. My cistern is getting low, and there is no rain coming until the monsoon in June, which is a long way from now. If it’s like last year, we won’t get enough rain to fill the cistern anyway. I could pay for the water truck to make a delivery, but I don’t like this. When I put the specials on my website, I thought about it as a way to make money. I had seen it on another doll site. I am a trained sculptor. I didn’t think about why people would ask for specials.
Some people ask me to make infant dolls of their own children. If my mother had bought an infant version of me, I’d have found it pretty disturbing.
One woman bought a special modeled on herself. She wrote me long e-mails about how her mother had been a narcissist, a monster, and how she was going to symbolically mother herself. Her husband was mayor of a city in California, which was how she could afford to have a replica of her infant self. Her emails made me uncomfortable, which I resented. So eventually I passed her on to another doll maker who made toddlers. I figured she could nurture herself up through all the stages of childhood.
Her reborn was very cute. More attractive than she was in the image she sent. She never commented. I don’t know that she ever realized.
I suspect the Mazars fall into another category. I have gotten three requests from people who have lost an infant. I tell myself that there is possibly something healing in recreating your dead child as a doll. Each time I have gotten one of these requests, I have very seriously considered taking the specials off my website.
Property tax payments. Water in the cistern.
If the Mazars lost a child—and I don’t know that they did, but I have a feeling that I can’t shake—it was bad enough that they want a replica. Then a year ago, I got a request for the second.
I thought that maybe Rachel—if it is Rachel who emails me, not Ellam—had meant to send a different image. I sent back an email asking if they were sure that she had sent the right image.
The response was terse. They were sure.
I sent them an email saying if something had happened, I could do repairs.
The response was equally terse. They wanted me to make one.
I searched for them online but could find out nothing about the Mazars of Chicago. They didn’t have a presence online. Who had money but no presence online? Were they organized crime? Just very very private? Now, a third doll.
I don’t answer the email. Not yet.
Instead I take my laptop out to the shed. Inside the shed is my oven for baking the doll parts between coats of paint. I plug in the computer to recharge and park it on a shelf above eye level. I have my parts cast by Tony in Ohio, an old connection from my days in the toy industry. He makes my copper molds and rotocasts the parts. Usually, though, the specials are a one-off and he sends me the copper supermaster of the head so he doesn’t have to store it. I rummage through my molds and find the head from the last time I made this doll. I set it on the shelf and look at it.
I rough-sculpt the doll parts in clay, then do a plaster cast of the clay mold. Then from that I make a wax model, looking like some Victorian memorial of an infant that died of jaundice. I have my own recipe for the wax—commercial wax and paraffin and talc. I could tint it pink; most people do. I just like the way they look.