Most eyes have more than one color, but usually they’re related. Blue eyes may have two shades of blue, or blue and gray, or blue and green, or even a fleck or two of brown. Most people don’t notice that. When I first went to get my state ID card, the form asked for eye color. I tried to write in all the colors in my own eyes, but the blank space wasn’t big enough. They told me to put “brown.” I put “brown,” but that is not the only color in my eyes. It is just the color that people see because they do not really look at other people’s eyes.
I like the color of Marjory’s eyes because they are her eyes and because I like all the colors in them. I like all the colors in her hair, too. She probably puts “brown” on forms that ask her for hair color, but her hair has many different colors, more than her eyes. In the store’s light, it looks duller than outside, with none of the orange glints, but I know they are there.
“Here it is,” she says. She is holding a box of rice, white, long-grained, quick-cooking. “On to the foil!” she says. Then she grins. “The cooking kind, not the fencing kind, I mean.”
I grin back, feeling my cheek muscles tighten. I knew what kind of foil she meant. Did she think I didn’t know, or was she just making a joke? I lead her to the middle cross-aisle of the store, all the way across to the aisle that has plastic bags and plastic storage dishes and rolls of plastic film and waxed paper and aluminum foil.
“That was quick,” she says. She is quicker to pick out the foil she wants than she was with the rice. “Thanks, Lou,” she says. “You were a big help.”
I wonder if I should tell her about the express lines at this store. Will she be annoyed? But she said she was in a hurry.
“The express lines,” I say. My mind blanks suddenly, and I hear my voice going flat and dull. “At this time, people come in and have more than the express lines sign says—”
“That’s so frustrating,” she says. “Is there one end or the other that’s faster?”
I am not sure what she means at first. The two ends of the checkout go the same speed, one coming as another leaves. It’s the middle, where the checker is, that can be slow or fast. Marjory is waiting, not rushing me. Maybe she means which end of the row of checkout stands, if not the express lanes, is faster. I know that; it’s the end nearest the customer services desk. I tell her, and she nods.
“Sorry, Lou, but I have to rush,” she says. “I’m supposed to meet Pam at six-fifteen.” It is 6:07; if Pam lives very far away she will not make it.
“Good luck,” I say. I watch her move briskly down the aisle away from me, swerving smoothly around the other shoppers.
“So — that’s what she looks like,” says someone behind me. I turn around. It is Emmy. As usual, she looks angry. “She’s not that pretty.”
“I think she is pretty,” I say.
“I can tell,” Emmy says. “You’re blushing.”
My face is hot. I may be blushing, but Emmy didn’t have to say so. It is not polite to comment on someone else’s expression in public. I say nothing.
“I suppose you think she’s in love with you,” Emmy says. Her voice is hostile. I can tell she thinks this is what I think and that she thinks I am wrong, that Marjory is not in love with me. I am unhappy that Emmy thinks these things but happy that I can understand all that in what she says and how she says it. Years ago I would not have understood.
“I do not know,” I say, keeping my voice calm and low. Down the aisle, a woman has paused with her hand on a package of plastic storage containers to look at us. “You do not know what I think,” I say to Emmy. “And you do not know what she thinks. You are trying to mind-read; that is an error.”
“You think you’re so smart,” Emmy says. “Just because you work with computers and math. You don’t know anything about people.”
I know the woman down the aisle is drifting closer and listening to us. I feel seared. We should not be talking like this in public. We should not be noticed. We should blend in; we should look and sound and act normal. If I try to tell Emmy that, she will be even angrier. She might say something loud. “I have to go,” I say to Emmy. “I’m late.”
“For what, for a date?” she asks. She says the word date louder than the other words and with an upward-moving tone that means she is being sarcastic.
“No,” I say in a calm voice. If I am calm maybe she will let me alone. “I am going to watch TV. I always watch TV on—” Suddenly I cannot think of the day of the week; my mind is blank. I turn away, as if I had said the whole sentence. Emmy laughs, a harsh sound, but she does not say anything else that I can hear. I hurry back to the spice aisle and pick up my box of chili powder and go to the checkout lanes. They all have lines.
In my line there are five people ahead of me. Three women and two men. One with light hair, four with dark hair. One man has a light-blue pullover shirt almost the same shade as a box in his basket. I try to think only about color, but it is noisy and the lights in the store make the colors different than they really are. As they are in daylight, I mean. The store is also reality. The things I don’t like are as much reality as the things I do like.
Even so, it is easier if I think about the things I do like and not about the ones I don’t. Thinking about Marjory and Haydn’s Te Deum makes me very happy; if I let myself think of Emmy, even for a moment, the music goes sour and dark and I want to run away. I fix my mind on Marjory, as if she were an assignment at work, and the music dances, happier and happier.
“Is she your girlfriend?”
I stiffen and half turn. It is the woman who was watching Emmy and me; she has come up behind me In the checkout line. Her eyes glisten in the store’s bright light; her lipstick has dried in the corners of her mouth to a garish orange. She smiles at me, but it is not a soft smile. It is a hard smile, of the mouth only. I say nothing, and she speaks again.
“I couldn’t help noticing,” she says. “Your friend was so upset. She’s a little… different, isn’t she?” She bares more teeth.
I do not know what to say. I have to say something; other people in the line are now watching.
“I don’t mean to be rude,” the woman says. The muscles around her eyes are tense. “It’s just… I noticed her way of speaking.”
Emmy’s life is Emmy’s life. It is not this woman’s life; she has no right to know what is wrong with Emmy. If anything is wrong.
“It must be hard for people like you,” the woman says. She turns her head, glancing at the people in the line who are watching us, and gives a little giggle. I do not know what she thinks is funny. I do not think any of this is funny. “Relationships are hard enough for the rest of us,” she says. Now she is not smiling. She has the same expression as Dr. Fornum has when she is explaining something she wants me to do. “It must be worse for you.”
The man behind her has an odd expression on his face; I can’t tell if he agrees with her or not. I wish someone would tell her to be quiet. If I tell her to be quiet, that is rude.
“I hope I haven’t upset you,” she says, in a higher voice, and her eyebrows lift. She is waiting for me to give the right answer.
I think there is no right answer. “I don’t know you,” I say, keeping my voice very low and calm. I mean “I don’t know you and I do not want to talk about Emmy or Marjory or anything personal with someone I do not know.”
Her face bunches up; I turn away quickly. From behind me I hear a huffed, “Well!” and behind that a man’s voice softly muttering, “Serves you right.” I think it is the man behind the woman, but I will not turn around and look. Ahead of me the line is down to two people; I look straight ahead without focusing on anything in particular, trying to hear the music again, but I can’t. All I can hear is noises.