That was all.
Yet the next week I was meeting Blake Watson.
When he called us from the hospital and asked if we wanted the beautiful baby girl there had been no hesitation: we wanted her. When they asked us at the hospital what we would call the beautiful baby girl there had been no hesitation: we would call her Quintana Roo. We had seen the name on a map when we were in Mexico a few months before and promised each other that if ever we had a daughter (dreamy speculation, no daughter had been in the offing) Quintana Roo would be her name. The place on the map called Quintana Roo was still not yet a state but a territory.
The place on the map called Quintana Roo was still frequented mainly by archaeologists, herpetologists, and bandits. The institution that became spring break in Cancún did not yet exist. There were no bargain flights. There was no Club Med.
The place on the map called Quintana Roo was still terra incognita.
As was the infant in the nursery at St. John’s.
L’adoptada, she came to be called in the household. The adopted one.
M’ija she was also called. My daughter.
Adoption, I was to learn although not immediately, is hard to get right.
As a concept, even what was then its most widely approved narrative carried bad news: if someone “chose” you, what does that tell you?
Doesn’t it tell you that you were available to be “chosen”?
Doesn’t it tell you, in the end, that there are only two people in the world?
The one who “chose” you?
And the other who didn’t?
Are we beginning to see how the word “abandonment” might enter the picture? Might we not make efforts to avoid such abandonment? Might not such efforts be characterized as “frantic”? Do we want to ask ourselves what follows? Do we need to ask ourselves what words come next to mind? Isn’t one of those words “fear”? Isn’t another of those words “anxiety”?
Terra incognita, as I had seen it until then, meant free of complications.
That terra incognita could present its own complications had never occurred to me.
11
On the day her adoption became legal, a hot September afternoon in 1966, we took her from the courthouse in downtown Los Angeles to lunch at The Bistro in Beverly Hills. At the courthouse she had been the only baby up for adoption; the other prospective adoptees that day were all adults, petitioning to adopt one another for one or another tax advantage. At The Bistro, too, more predictably, she was the only baby. Qué hermosa, the waiters crooned. Qué chula. They gave us the corner banquette usually saved for Sidney Korshak, a gesture the import of which would be clear only to someone who had lived in that particular community at that particular time. “Let’s just say a nod from Korshak, and the Teamsters change management,” the producer Robert Evans would later write by way of explaining who Sidney Korshak was. “A nod from Korshak, and Vegas shuts down. A nod from Korshak, and the Dodgers suddenly can play night baseball.” The waiters placed her carrier on the table between us. She was wearing a blue-and-white dotted organdy dress. She was not quite seven months old. As far as I was concerned this lunch at Sidney Korshak’s banquette at The Bistro was the happy ending to the choice narrative. We had chosen, the beautiful baby girl had accepted our choice, no natural parent had stood up at the courthouse and exercised his or her absolute legal right under the California law covering private adoptions to simply say no, she’s mine, I want her back.
The issue, as I preferred to see it, was now closed.
The fear was now gone.
She was ours.
What I would not realize for another few years was that I had never been the only person in the house to feel the fear.
What if you hadn’t answered the phone when Dr. Watson called, she would suddenly say. What if you hadn’t been home, what if you couldn’t meet him at the hospital, what if there’d been an accident on the freeway, what would happen to me then?
Since I had no adequate answer to these questions, I refused to consider them.
She considered them.
She lived with them. And then she didn’t.
“You have your wonderful memories,” people said later, as if memories were solace. Memories are not. Memories are by definition of times past, things gone. Memories are the Westlake uniforms in the closet, the faded and cracked photographs, the invitations to the weddings of the people who are no longer married, the mass cards from the funerals of the people whose faces you no longer remember. Memories are what you no longer want to remember.
12
Sidney Korshak, 88, Dies; Fabled Fixer for the Chicago Mob:
So read the headline on Sidney Korshak’s obituary, when he died in 1996, in The New York Times. “It was a tribute to Sidney Korshak’s success that he was never indicted, despite repeated Federal and state investigations,” the obituary continued. “And the widespread belief that he had in fact committed the very crimes the authorities could never prove made him an indispensable ally of leading Hollywood producers, corporate executives and politicians.”
Thirty years before Morty Hall had declared on principle that he and Diana would refuse to go to any party given by Sidney Korshak.
I remember Morty and Diana arguing heatedly at dinner one night over this entirely hypothetical point.
Morty and Diana and the heated argument at dinner about whether or not to refuse to go to a party given by Sidney Korshak are, I have to conclude, what people mean when they mention my wonderful memories.
I recently saw Diana in an old commercial, one of those curiosities that turn up on YouTube. She is wearing a pale mink stole, draping herself over the hood of an Olds 88. In her smoky voice, she introduces the Olds 88 as “the hottest number I know.” The Olds 88 at this point begins to talk to Diana, mentioning its own “rocket engine” and “hydra-matic drive.” Diana wraps herself in the pale mink stole. “This is great,” she replies to the Olds 88, again in the smoky voice.
It occurs to me that Diana does not sound in this Olds 88 commercial as if she would necessarily refuse to go to a party given by Sidney Korshak.
It also occurs to me that no one who now comes across this Olds 88 commercial on YouTube would know who Sidney Korshak was, or for that matter who Diana was, or even what an Olds 88 was.
Time passes.
Diana is dead now. She died in 1971, at age forty-five, of a cerebral bleed.
She had collapsed after a wardrobe fitting for a picture she was due to start in a few days, the third lead, after Tuesday Weld and Anthony Perkins, in Play It As It Lays, for which John and I had written the screenplay and in which she was replaced by Tammy Grimes. The last time I saw her was in an ICU at Cedars-Sinai in Los Angeles. Lenny and I had gone together to Cedars to see her. The next time Lenny and I were in an ICU at Cedars together it was to see her and Nick’s daughter Dominique, who had been strangled outside her house in Hollywood. “She looks even worse than Diana did,” Lenny whispered when she saw Dominique, her intake of breath so sudden that I could barely hear her. I knew what Lenny was saying. Lenny was saying that Diana had not lived. Lenny was saying that Dominique was not going to live. I knew this — I suppose I had known it from the time the police officer who called identified himself as “Homicide”—but did not want to hear anyone say it. I ran into one of Diana’s daughters a few months ago, in New York. We had lunch in the neighborhood. Diana’s daughter remembered that we had last seen each other when Diana was still alive and living in New York and I had brought Quintana to play with her daughters. We promised to keep in touch. It occurred to me as I walked home that I had seen too many people for the last time in one or another ICU.