But then it also reminded me of something wonderful.
Michael and I, during our first year together, sitting outside the Cafe Deux-Magots in Paris on a bright, cool, early spring afternoon. On one side the St. Germaine-des-Pres church and on the other the Seine, lovers and thinkers slowly walking the cobble walk that bordered its left bank. Both of us dressed in leather jackets and scarves, drinking cappuccinos and smoking cigarettes, our eyes never tired of looking into each other’s faces, our knees touching under the little round table and on occasion the tips of our fingers touching and that wonderful electric shock sensation that went through our bodies each time it happened. Michael was on his way to becoming a famous novelist and I was going to be a famous artist and together we were going to be the toast of Paris and New York.
Eight years later, I was standing inside the open refrigerator door of my north Albany apartment. I was looking at the food and thinking that now there was only one person to cook for instead of two.
“What’s so important you can’t stay for dinner?” It was a question I posed against my better judgment. Not because I knew what he might say in response. But because I was afraid of what he might say.
He pursed his lips.
Here it comes.
He inhaled. “I, uh, have a date,” he mumbled with a quick nervous bob of his head.
So there it was: bang, pow, right smack in the kisser.
I would have gladly cut off my right pinky finger not to look affected, even if I was feeling a lump of lead lodge itself in my sternum.
“You okay, Bec?” he said yet again. This time with even more concern in his voice.
What I wanted to say was this: whose home do you use for a studio? Who do you need to be close to in order to be creative?
Instead I proceeded to plant the fakest smile you ever saw on my face.
“I’m fine.”
“You sure?” he asked. “Cause you’re acting more than a little weird. The ‘Listen’ stuff and all.”
I shook my head, put back one of the two Pepsi cans and shut the fridge door… a little more forcefully than the actor in me would have preferred. I needed him to leave. But he just stood there, brown eyes beaming into me.
“What are you going to do tonight?” he smiled.
“Bed early,” I said through clenched teeth. “Big class tomorrow.”
But if I had said, Nothing, I have no life, it would have sent the same exact message.
Michael leaned into me, giving me a peck on the cheek. He shot out of the kitchen, grabbed his leather jacket and his beret and put them on.
“By the way,” he said. “What does Franny call the painting?”
“’Listen’.” I said, following him around the corner into the living room.
“Come again?” he said. The question gave me pause until I realized Michael thought I had asked him to listen. As in, Listen up!
“Meaning,” I clarified, “that’s what Franny calls the painting, ‘Listen’.”
Michael laughed, as though suddenly understanding the punch-line to some silly joke.
“No kidding,” he said. “Maybe there’s something to your vision after all.”
I tossed him a smile. Yet another fake one.
“I hope you don’t think me a jerk for dating,” Michael said, as he opened the back door and stepped out onto the stone terrace in the rain. “You’re free to date too you know. Test the waters a little. Who knows, maybe in the end, seeing other people will bring us back together.”
I bit down on my bottom lip.
“Isn’t it pretty to think so,” I said, closing the door behind him.
Chapter 6
Time to be alone with my old friend self-pity.
For a moment I thought about taking a long, hot shower, then changing into some baggy sweats, popping a movie into the DVD player. Or maybe I would turn on the Food Channel, get a dose of Rachael Ray. Something pretty, peppy and mindless… anything to distract me from the events of the day.
Then I thought of just drinking myself into a self-sedating oblivion. But then poisoning myself over Michael’s new found love life didn’t sound very appetizing either. Of course there was always the cell phone and Robyn. But I couldn’t exactly call her while she was on a date.
From across the room I stared at Franny’s painting. The word ‘Listen’ peered out at me from the center of the canvas like a laughing, heckling hyena.
That’s when I got the most incredible cramp in my stomach. It felt as though some invisible creep had sucker-punched me in the gut. Now I definitely knew what I was going to do next.
I sprinted for the bathroom.
Moments later I was back on the couch, stomach cramps no longer an issue. But I felt drained. My forehead was pasty with sweat, my limbs were shaking, my mouth was dry. Turning my attention to the coffee table, I discovered that in all my sudden hurry to make it to the bathroom, I must have tipped over a glass of water because now I was left with a puddle of water that extended from the tabletop onto the hardwood floor below.
That spill became the perfect metaphor for my day. You’d think I might attend to it right away. But Franny’s painting was doing its magic. It’s black magic. It was calling me again. Not only the image of the grass field and dark woods beyond it-a landscape that now was very much mimicking the one of my youth; the field and the woods that Molly and I accessed from outside the back door of our farmhouse-but also the crazy, colorful abstract lines that were hastily painted over the scene.
To some people, these lines, circles and squiggles might seem an annoyance or, at the very least, a kind of self-indulgence on the part of the artist. But to me they represented something more. I’d been having more than my fair share of dreams lately. Dreams that involved Molly and me; that involved our walking through the field to the dark woods, despite our father strictly forbidding us to do so. Those abstract lines made me feel like I was entering into the dream once more, only not in the sleep state. They made me feel like I was dreaming while I was awake. For an added third dimension, the word ‘Listen’ was buried in the painting’s center. A word not everyone saw. Not without my tracing it for them.
Questions flooded me.
Why would Franny decide to give me a painting at all? Especially when the payday for one of his pieces pretty much equaled what I might make in three months working at the Albany Art Center.
Under the circumstances of Franny’s autism, he might not have cared the least bit about giving up the money. But then he had never before gifted me one of his paintings. Did Franny’s mother know that he’d slipped me a ten-thousand dollar present? And why did he call it ‘Listen’ when I was the only person who clearly recognized the word in the first place? Or so it seemed. That is, judging by the argument waged that afternoon by Robyn and myself inside the center studio. With the word ‘Listen’ being flung all over the place, had Franny made the spontaneous decision to use the ‘L’ word as the title of his masterpiece? Or, what was almost too freaky to contemplate, had ‘Listen’ been the title all along?
Seated on the couch in the silence of the old apartment, I once more pictured Franny’s face. Pictured it go from round, rosy and animated to pale and serious, as if for a few seconds, the boy-like autism stepped aside to reveal the hidden man.
I ran my hands over my face. It surprised me to know that I was crying. Exactly why was I shedding tears in the solitude of my apartment?
In a way, I’m not sure I wanted to know. But then the thirty year anniversary that would arrive on Friday and all the memories and dreams it conjured up, might have been reason enough for tears. And now this painting from Franny-a painting that was playing with my head and heart.