Homeland and Other Stories

  "Just give it some thought," Janice had said calmly, but Miriam hadn't needed to think. "Will you help out with my memoirs if I'm someday the President?" her sister might as well have asked, or "What are your plans in the event of a nuclear war?" The question seemed to Miriam more mythical than practical. Janice was a careful person, not given to adventure, and in any case tended to stick to those kids like some kind of maternal adhesive. Any act of God that could pick off Janice without taking the lot would be a work of outstanding marksmanship.

  Late on Sunday night, while Miriam was hemming a dress of Rennie's that had fallen into favor, she'd had a phone call from her ex-husband Lute. His first cousin and her boyfriend had just been killed on a San Diego freeway by a Purolator van. Over the phone, Lute seemed obsessed with getting the logistics of the accident right, as though the way the cars all obeyed the laws of physics could make this thing reasonable. The car that had the blowout was a Chrysler; the cousin and boyfriend were in her Saab; the van slammed into them from behind. "They never had a chance," Lute said, and the words chilled Miriam. Long after she went to bed she kept hearing him say "never had a chance," and imagining the pair as children. As if even in infancy their lives were already earmarked: these two will perish together in their thirties, in a Saab, wearing evening clothes, on their way to hear a friend play in the symphony orchestra. All that careful mothering and liberal-arts education gone to waste.

  Lute's cousin had been a freelance cellist, often going on the road with the likes of Barry Manilow and Tony Bennett and, once, Madonna. It was probably all much tamer than it sounded. Miriam is surprised to find she has opinions about this woman, and a clear memory of her face. She only met her once, at her own wedding, when all of Lute's family had come crowding around like fog. But now this particular cousin has gained special prominence, her vague features crystallized in death, like a face on a postage stamp. Important. Someone you just can't picture doing the humdrum, silly things that life is made of--clipping her toenails or lying on the bed with her boyfriend watching Dallas--if you hold it clearly in your mind that she is gone.

  Lute is probably crushed; he idolized her. His goal in life is to be his own boss. Freelance husbanding is just one of the things that hasn't worked out for Lute. Freelance fathering he can manage.

  Miriam is thinking of Rennie while she waits through a yellow light she normally might have run. Rennie last week insisting on wearing only dresses to nursery school, and her pale, straight hair just so, with a ribbon; they'd seen Snow White. Rennie as a toddler standing in her crib, holding the rails, her mouth open wide with the simplest expectation you could imagine: a cookie, a game, or nothing at all, just that they would both go on being there together. Lute was already out of the picture by that time; he wouldn't have been part of Rennie's hopes. It is only lately, since she's learned to count, that Lute's absence matters to Rennie. On the Disney Channel parents come in even numbers.

  The light changes and there is a honking of horns; someone has done something wrong, or too slowly, or in the wrong lane. Miriam missed it altogether, whatever it was. She remembers suddenly a conversation she had with her sister years ago when she was unexpectedly pregnant with Rennie, and Janice was already a wise old mother of two. Miriam was frantic--she'd wanted a baby but didn't feel ready yet. "I haven't really worked out what it is I want to pass on to a child," she'd said to Janice, who laughed. According to Janice, parenting was three percent conscious effort and ninety-seven percent automatic pilot. "It doesn't matter what you think you're going to tell them. What matters is they're right there watching you every minute, while you let the lady with just two items go ahead of you in line, or when you lay on the horn and swear at the guy that cuts you off in traffic. There's no sense kidding yourself, what you see is what you get."

  Miriam had argued that people could consciously change themselves if they tried, though in truth she'd been thinking more of Lute than herself. She remembers saying a great many things about choices and value systems and so forth, a lot of first-pregnancy high-mindedness it seems to her now. Now she understands. Parenting is something that happens mostly while you're thinking of something else.

  Miriam's job claims her time for very irregular hours at the downtown branch of the public library. She is grateful that the people at Rennie's day care don't seem to have opinions about what kind of mother would work mornings one day, evenings the next. When she was first promoted to this position Miriam had a spate of irrational fears: she imagined Miss Joyce at TenderCare giving her a lecture on homemade soup and the importance of routine in the formative years. But Miss Joyce, it seems, understands modern arrangements. "The important thing is quality time," she said once to Miriam, in a way that suggested bedtime stories read with a yogic purity of concentration, a mind temporarily wiped clean of things like brake shoes and Master-Charge bills.

  Miriam does try especially hard to schedule time for the two of them around Rennie's bedtime, but it often seems pointless. Rennie is likely to be absorbed in her own games, organizing animated campaigns on her bed with her stuffed animals, and finally dropping off in the middle of them, limbs askew, as though felled by a sniper.

  Today is one of Miriam's afternoon-shift days. After leaving Rennie she has forty minutes in which she must do several errands before going to work. One of them is eat lunch. This is an item Miriam would actually put on a list: water African violets; dry cleaner's; eat lunch. She turns in at the Burger Boy and looks at her watch, surprised to see that she has just enough time to go in and sit down. Sometimes she takes the drive-through option and wolfs down a fish sandwich in the parking lot, taking large bites, rattling the ice in her Coke, unmindful of appearances. It's efficient, although it puts Miriam in mind of eating disorders.

  Once she is settled inside with her lunch, her ears stray for company to other tables, picking up scraps of other people's private talk. "More than four hundred years old," she hears, and "It was a little bit tight over the instep," and "They had to call the police to get him out of there." She thinks of her friend Bob, who is a relentless eavesdropper, though because he's a playwright he calls it having an ear for dialogue.

  Gradually she realizes that at the table behind her a woman is explaining to her daughter that she and Daddy are getting a divorce. It comes to Miriam like a slow shock, building up in her nerve endings until her skin hurts. This conversation will only happen once in that little girl's life, and I have to overhear it, Miriam is thinking. It has to be here. The surroundings seem banal, so cheery and hygienic, so many wiped-clean plastic surfaces. But then Miriam doesn't know what setting would be better. Certainly not some unclean place, and not an expensive restaurant either--that would be worse. To be expecting a treat, only to be socked with this news.

  Miriam wants badly to turn around and look at the little girl. In her mind's eye she sees Rennie in her place: small and pale, sunk back into the puffy pink of her goosedown jacket like a loaf of risen dough that's been punched down.

  The little girl keeps saying, "Okay," no matter what her mother tells her.

  "Daddy will live in an apartment, and you can visit him. There's a swimming pool."

  "Okay."

  "Everything else will stay the same. We'll still keep Peppy with us. And you'll still go to your same school."

  "Okay."

  "Daddy does still love you, you know."

  "Okay."

  Miriam is thinking that ordinarily this word would work; it has finality. When you say it, it closes the subject.

  It's already dark by the time Miriam picks up Rennie at TenderCare after work. The headlights blaze accusingly against the glass doors as if it were very late, midnight even. But it's only six-thirty, and Miriam tries to cheer herself by thinking that if this were summer it would still be light. It's a trick of the seasons, not entirely her fault, that Rennie has been abandoned for the daylight hours.

  She always feels more surely on course when her daughter comes back to her. Rennie bounces into t
he car with a sheaf of papers clutched in one fist. The paper they use at TenderCare is fibrous and slightly brown, and seems wholesome to Miriam. Like turbinado sugar, rather than refined.

  "Hi, sweetie. I missed you today." Miriam leans over to kiss Rennie and buckle her in before pulling out of the parking lot. All day she has been shaky about driving, and now she dreads the trip home. All that steel and momentum. It doesn't seem possible that soft human flesh could travel through it and come out intact. Throughout the day Miriam's mind has filled spontaneously with images of vulnerable things--baby mice, sunburned eyelids, sea creatures without their shells.

  "What did you draw?" she asks Rennie, trying to anchor herself.

  "This one is you and me and Lute," Rennie explains. Miriam is frowning into the river of moving headlights, waiting for a break in the traffic, and feels overcome by sadness. There are so many things to pay attention to at once, and all of them so important.

  "You and me and Lute," Miriam repeats.

  "Uh-huh. And a dog, Pickles, and Leslie Copley and his mom. We're all going out for a walk."

  A sports car slows down, letting Miriam into the street. She waves her thanks. "Would you like to go for a walk with Leslie Copley and his mom sometime?"

  "No. It's just a picture."

  "What would you like for supper?"

  "Pot pies!" Rennie shouts. Frozen dinners are her favorite thing. Miriam rather likes them too, although this isn't something she'd admit to many people. Certainly not her mother, for instance, or to Bob, who associates processed foods with intellectual decline. She wonders, though, if her privacy is an illusion. Rennie may well be revealing all the details of their home life to her nursery-school class, opening new chapters daily. What I had for dinner last night. What Mom does when we run out of socks. They probably play games along these lines at TenderCare, with entirely innocent intentions. And others, too, games with a social-worker bent: What things make you happy, or sad? What things make you feel scared?

  Miriam smiles. Rennie is fearless. She does not know how it feels to be hurt, physically or otherwise, by someone she loves. The people at TenderCare probably hear a lot worse than pot pies.

  "Mom," Rennie asks, "does God put things on the TV?"

  "What do you mean?"

  Rennie considers. "The cartoons, and the movies and things. Does God put them there?"

  "No. People do that. You know how Grandpa takes movies of you with his movie camera, and then we show them on the screen? Well, it's like that. People at the TV station make the programs, and then they send them out onto your TV screen."

  "I thought so," Rennie says. "Do you make them sometimes, at the library?"

  Miriam hears a siren, but can't tell where it's coming from. "Well, I organize programs for the library, you're right, but not TV programs. Things like storybook programs. You remember, you've come to some of those." Miriam hopes she doesn't sound irritated. She is trying to slow down and move into the right lane, because of the ambulance, but people keep passing her on both sides, paying no attention. It makes Miriam angry. Sure enough, the ambulance is coming their way. It has to jerk to a full stop in the intersection ahead of them because of all the people who refuse to yield to greater urgency.

  "Mom, what happens when you die?"

  Miriam is startled because she was thinking of Lute's poor cousin. Thinking of the condition of the body, to be exact. But Rennie doesn't even know about this relative, won't hear her sad story for years to come.

  "I'm not sure, Rennie. I think maybe what happens is that you think back over your life, about all the nice things you've done and the people who've been your friends, and then you close your eyes and...it's quiet." She was going to say, "...and go to sleep," but she's read that sleep and death shouldn't be equated, that it can cause children to fear bedtime. "What do you think?"

  "I think you put on your nicest dress, and then you get in this glass box and everybody cries and then the prince comes and kisses you. On the lips."

  "That's what happened to Snow White, isn't it?"

  "Uh-huh. I didn't like when he kissed her on the lips. Why didn't he kiss her on the cheek?"

  "Well, grownups kiss on the lips. When they like each other."

  "But Snow White wasn't a grownup. She was a little girl."

  This is a new one on Miriam. This whole conversation is like a toboggan ride, threatening at every moment to fly out of control in any direction. She's enjoying it, though, and regrets that they will have to stop soon for some errands. They are low on produce, canned goods, aluminum foil, and paper towels, completely out of vacuum-cleaner bags and milk.

  "What I think," says Miriam, after giving it some consideration, "is that Snow White was a little girl at first, but then she grew up. Taking care of the seven dwarfs helped her learn responsibility." Responsibility is something she and Rennie have talks about from time to time. She hears another siren, but this one is definitely behind them, probably going to the same scene as the first. She imagines her sister Janice's three children bundling into her life in a whirlwind of wants and possessions. Miriam doesn't even have time for another house plant. But she realizes that having time is somehow beside the point.

  "So when the prince kissed her, did she grow up?" Rennie asks.

  "No, before that. She was already grown up when the prince came. And they liked each other, and they kissed, and afterward they went out for a date."

  "Like you and Mr. Bob?"

  "Like Bob and I do sometimes, right. You don't have to call him Mr. Bob, honey. He's your friend, you can call him just Bob, if you want to."

  Instead of making the tricky left turn into the shopping center, Miriam's car has gone right, flowing with the tide of traffic. It happened almost before she knew it, but it wasn't an accident. She just isn't ready to get to the grocery store, where this conversation will be lost among the bright distractions of bubble gum and soda. Looping back around the block will give them another four or five minutes. They could sit and talk in the parking lot, out of the traffic, but Miriam is starting to get her driving nerves back. And besides, Rennie would think that peculiar. Her questions would run onto another track.

  "And then what happened to the seven dwarfs?" Rennie wants to know.

  "I think Snow White still took care of them, until they were all grown up and could do everything by themselves."

  "And did the prince help too?"

  "I think he did."

  "But what if Snow White died. If she stayed dead, I mean, after the prince kissed her."

  Miriam now understands that this is the angle on death that has concerned Rennie all along. She is relieved. For Miriam, practical questions are always the more easily answered.

  "I'm sure the dwarfs would still be taken care of," she says. "The point is that Snow White really loved them, so she'd make sure somebody was going to look after them, no matter what, don't you think?"

  "Uh-huh. Maybe the prince."

  "Maybe." A motorcyclist dodges in front of them, too close, weaving from lane to lane just to get a few yards ahead. At the next red light they will all be stopped together, the fast drivers and the slow, shooting looks at one another as if someone had planned it all this way.

  "Rennie, if something happened to me, you'd still have somebody to take care of you. You know that, don't you?"

  "Uh-huh. Lute."

  "Is that what you'd like? To go and live with Lute?"

  "Would I have to?"

  "No, you wouldn't have to. You could live with Aunt Janice if you wanted to."

  Rennie brightens. "Aunt Janice and Uncle Paul and Michael-and-Donna-and-Perry?" The way she says it makes Miriam think of their Christmas card.

  "Right. Is that what you'd want?"

  Rennie stares at the windshield wipers. The light through the windshield is spotty, falling with an underwater strangeness on Rennie's serious face. "I'm not sure," she says. "I'll have to think it over."

  Miriam feels betrayed. It depresses her that Rennie
is even willing to take the question seriously. She wants her to deny the possibility, to give her a tearful hug and say she couldn't live with anyone but Mommy.

  "It's not like I'm sending you away, Rennie. I'm not going to die while you're a little girl. We're just talking about what-if. You understand that, right?"

  "Right," Rennie says. "It's a game. We play what-if at school." After another minute she says, "I think Aunt Janice."

  They are repeating their route now, passing again by the Burger Boy where Miriam had lunch. The tables and chairs inside look neater than it's possible to keep things in real life, and miniature somehow, like doll furniture. It looks bright and safe, not the sort of place that could hold ghosts.

  On an impulse Miriam decides to put off the errands until tomorrow. She feels reckless, knowing that tomorrow will already be busy enough without a backlog. But they can easily live another day without vacuum-cleaner bags, and she'll work out something about the milk.

  "We could stop here and have a hamburger for dinner," Miriam says. "Or a fish sandwich. And afterward we could stop for a minute at Ice Cream Heaven. Would you like that?"

  "No. Pot pies!"

  "And no Ice Cream Heaven?"

  "I don't need any more angel stickers. Leslie Copley gave me twelve."

  "Well, that was nice of him."

  "Yep. He hates bananas."

  "Okay, we'll go straight home. But do you remember that pot pies take half an hour to cook in the oven? Will you be too hungry to wait, once we get home?"

  "No, I'll be able to wait," Rennie says, sounding as if she really will. In the overtones of her voice and the way she pushes her blond hair over her shoulder there is a startling maturity, and Miriam is frozen for a moment with a vision of a much older Rennie. All the different Rennies--the teenager, the adult--are already contained in her hands and her voice, her confidence. From moments like these, parents can find the courage to believe in the resilience of their children's lives. They will barrel forward like engines, armored by their own momentum, more indestructible than love.