“I'm glad,” says Francesca with a chuckle. “I've been with worse, I suppose.”
They embrace again. Zoli swings her legs off the side of the bed, narrows her mind, forces it upon her arms and legs, stands. The nightdress comes up over her head. It takes an effort not to sway. Francesca turns her back and flicks on a smal lamp on the nightstand as Zoli puts on her dress. Foolish not to have brought more clothes, but she wanted to impress that it would only be for a few days, no more, that she would not be part of the conference, that she would just sit and watch and listen, if even that.
Her daughter hitches the dress at the shoulders.
“Are you al right, Mamma?”
“I wouldn't know I had it if it didn't hurt,” says Zoli, and a smile loosens over her face.
At the door there is a series of three gold locks she had not noticed earlier. Three. And one hanging chain. It strikes Zoli that she has never lived in a place with locks on the door.
“We should take the elevator.”
“No, chonorroeja, we'l walk down.”
Outside, in the darkness, the engine of the car purrs. Henri waves them over with the sort of grin that already seems to throw out opinions and confidences. She wil try hard to like him, she tel s herself. He has, in any case, a fine name—so much like Enrico, though the sound is not as round or as ful —and he is handsome in a measured way. She slides into the front seat and pats his arm.
“Onwards,” Henri says abruptly, and they drive off through a light rain.
By the time they reach the center of Paris, the rain has let up and the streets shine wet and black under lamplight. Elegant statues and houses, each angle planned, each tree thought out. Boats along the Seine dimple the water. Zoli opens the window to hear the rushing of the water, but receives only traffic.
At the restaurant there are engraved mirrors behind the bar. Wood and heavy glass. Waiters in long white aprons. She is given a menu and it strikes her with a start, how absurd, a menu in French, but her daughter says: “I'l help you, Mamma.” So many things to choose from, and nothing amongst them simple. She sits in a mild haze, listening to her daughter and Henri talk about their jobs, social work with immigrants, of how there is always a heartbreaking story, how it is hard to believe, in a civilized society, that these things stil go on, day after day.
Zoli finds herself drifting, watching the movement of the waiters in the background, their intricate steps. She circles her fork around the edges of her wineglass, but snaps herself back when Francesca touches her hand: “Did you hear me, Mamma?”
It is, she knows, a story about an Algerian man and a hospital and flowers by someone's bed, but she can't quite locate the center of the story, and has to catch up. She surmises that the man sends the flowers to himself, and it seems to her not so much a sadness as a triumph, sending flowers to his own bedside, but she doesn't say so, she is caught up in the caughtness of her daughter who has a tear at the edge of her eye, which she brushes away.
A waiter arrives bearing three large plates. The dinner unfolds and Henri seems to sweep in behind Francesca, as if he has started driving the table, taken the front seat, lowered the pedal. He rattles on, in a high voice, about the plight of the Islamic women and how nobody takes them seriously at al , how their lives are denned by the narrowness that others bring to it, how they have been poisoned by stereotype, that it's time for people to open up and listen. He is, thinks Zoli, the sort of man who knows in advance al that, for him, is worth knowing.
Dessert arrives and the taste of coffee fil s her with sadness.
She wakes in the backseat of the car, startled a moment as Henri points out the Arc de Triomphe. “Yes, yes,” she says, “it's beautiful,” though the car is sandwiched in traffic and she can hardly see it at al . They swing past a tower and then zoom along the quays. Henri clicks on the radio and begins to hum. Soon they merge onto a highway and it seems like only moments later when Zoli is being brought up in the elevator. She panics briefly and reaches for the buttons but her daughter catches her arm and strokes her hand. “It's al right, Mamma, we'l be there in a flash.” A strange word, it seems, and the light actual y flashes across her mind as if invited. She feels her daughter support her indoors. Zoli flops to the bed with a little laugh: “I think I drank too much wine.”
In the morning she rises early and kneels down by the couch and combs her sleeping daughter's hair, the same way she used to comb it when Francesca was a child. Francesca stirs, smiles. Zoli kisses her cheek, rises, and searches in the kitchen for breakfast items, finds a card on the fridge with a magnet attached. She runs the magnet over her own hair and suddenly Francesca is there behind her with a phone to her ear: “What are you doing, Mamma?”
“Oh, nothing, Franca,” she says, and it's a name so close to Conka that it stil manages, at times, to hol ow out Zoli's chest.
“What's the magnet for?”
“Oh, I don't know,” says Zoli. “No reason real y.”
Her daughter begins chatting rapid-fire into the phone. There is, it seems, a seating issue at the conference and some rooms have been overbooked. Francesca clicks down the phone and sighs. In the kitchen she opens a can of coffee beans, grinds them, fil s a contraption with water.
So much white machinery, thinks Zoli. She can feel a slight tension between her and her daughter, this is not what she wants, she wil not embrace it, conference or not, and she asks Francesca how she slept and she says, “Oh fine,” and then Zoli asks her in Romani. It is the first time they have used the language, it seems to stun the air between them, and Francesca leans forward and says: “Mamma, I real y wish that you would speak for us, I real y wish you would.”
“What is there for me to speak of?”
“You could read a poem. Times have changed.”
“Not for me, chonorroeja.”
“It would be good for so many people.”
“They said that fifty years ago.”
“Sometimes it takes fifty years. There's going to be people from al over Europe, even some Americans.”
“And what do I care for Americans? ”
“I'm just saying it's the biggest conference in years.”
“This thing makes good coffee?”
“Please, Mamma.”
“I cannot do it, my heart's love.”
“We've put so much money in. It's huge, people from al over the world, it's a mosaic. They're al coming.”
“In the end, it won't matter.”
“Oh, you don't believe that,” says her daughter. “You've never believed that, come on, Mamma!”
“Have you told anyone about the poems?”
No.
“Promise? ”
Mamma, I promise. Please.”
I can t do it, says Zoh. I m sorry. I just can t.
She places her hands on the table, emphatical y, as if the argument itself has been tamped beneath her fingers, and they sit in silence at a smal round kitchen table with a rough-hewn surface. She can tel her daughter has paid a lot of money for the table, beautiful y crafted, yet factory-made al the same. Perhaps it is a fashion. Things come around again and again. A memory nicks her. Enrico used to spread his hands out on the kitchen table and playful y stab a knife between his fingers, over and over, until the wood at the head of the table was coarse and pitted.
“You know, Franca, this coffee is awful, your father would rol over.”
They look at each other then, mother and daughter, and together they smile broadly at the thought of this man now slid briefly between their ribcages.
“You know that no matter what, I am stil pol uted.”
“But you said it yourself, Mamma, that's al gone, it's over.”
“That's gone, yes, those times, but I'm stil of those times.”
“I love you dearly, Mamma, but you're exasperating.” Francesca says it with a smile, but Zoli turns away, looks towards the kitchen window. No more than a meter away is the brickwork of a neighboring building.