Читать книгу: «Astonish Me»

Table of Contents

Cover

About the Book

Praise for Maggie Shipstead

Title Page

Dedication

Part I

September 1977—New York City

November 1978—Chicago

June 1982—Southern California

August 1984—Disneyland

October 1985—Southern California

Part II

February 1973—Paris

March 1974—New York City

January 1975—Toronto

February 1976—Paris

Part III

April 1986—Southern California

December 1987—Southern California

March 1990—Southern California

April 1991—Southern California

July 1992—Upstate New York

May 1993—Southern California

July 1994—New York City

Part IV

July 1977—New York City

December 1995—Southern California

May 1998—New York City

August 2000—Upstate New York

April 2002—New York City

Part V

February 1973—Paris

Acknowledgments

About the Author

Also by Maggie Shipstead

Copyright

About the Publisher

I

September 1977—New York City

In the wings, behind a metal rack crowded with bundles of cable and silk flower garlands and the stringless lutes from act 1, two black dachshunds lie in a basket. They are awake but motionless, their small, uneasy eyes fixed on the dancers who come smiling and leaping offstage and give themselves over to violent exhaustion, standing stooped, hands on hips, heaving like racehorses. The dancers grab fistfuls of tissues from boxes mounted to the light rigs with gaffing tape and swab their faces and chests. Sweat patters on the floor. A stagehand pushes an ammonia-smelling mop around. The pas de deux begins. Two Russian stars are out alone in the light, both defectors. The surface of the stage has the dull shine of black ice; rosin dusts it like snow.

Ordinarily, members of the corps do not dare acknowledge the dogs, but Joan Joyce crouches and strokes their long backs. She fingers their velvety ears and smooth little skulls. The creatures shrink away into their basket, but she persists. In the shadows, other corps girls stand waiting in a clump, tutus overlapping like a mat of stiff lavender blossoms.

“What are you doing?” one of them whispers. “You can’t touch those.”

Joan’s roommate Elaine Costas, a soloist, is sitting against the wall and stretching. Her pointe shoes are pressed together at the soles like hands in prayer, her face bent to their arches. Her costume is yellow, the bodice embroidered with gold. “If Ludmilla were going to murder Joan,” she says, looking up, “she would have done it already.”

One of the dogs sets a paw against Joan’s wrist and braces away, his hard ebony nails digging into her skin. She kisses at him. He lifts his ears, then remembers himself and flattens them, recanting his interest. Joan has never danced as well as tonight. She is of the corps but also entirely herself, both part and whole. The tiny ball of cells clinging to her uterine wall is a secret, but she feels as translucent and luminous as a firefly.

Arslan Rusakov and Ludmilla Yedemskaya appear in the bright channel between the black stage drapes and stop, glazed with sweat and white light. He turns her waist between his palms, his face set in an ardent mask. Love in a ballet is something that does not exist and then suddenly does, its beginning marked by pantomime, faces fixed in rapture, a dance. After, when they are hidden in the wings or behind the curtain, the dancers will grimace like goblins, letting the pain show.

At home in their apartment, Elaine sometimes does an unkind imitation of Arslan’s love face, dancing pompously and then turning to answer herself with a parody of Ludmilla’s smile: bared teeth beneath flinty eyes. Joan laughs and asks for more, but the mockery stings. Arslan had been her lover. She had been the one to help him defect.

He and Ludmilla had been a couple when they were both in the Kirov, and now they are getting married. They had announced their engagement after a performance of Swan Lake with champagne for the whole company. Ludmilla’s head was swathed in a crown of white feathers. Joan and Arslan were done before Ludmilla arrived, but still the tiny yellow-haired Russian provokes Joan’s sense of having been taunted and robbed, deprived.

Applause, and Ludmilla sweeps into the wings. The music for Arslan’s variation begins. Joan keeps petting the dogs, but the animals crane their long necks for a glimpse of their mistress. “They are not nice,” Ludmilla says after a moment, her accent flat and heavy like a stone in the back of her throat. “You should not touch.”

Before curtain, the dachshunds had moped around Ludmilla’s feet while she warmed up, narrowly avoiding being kicked. She never seems to pay them any attention, but she brings them to every class, every rehearsal, every fitting, every performance, every gala. They were a gift from Arslan when she arrived in New York after her defection, replacements for dachshunds left behind in Leningrad. Their bony, penitent faces are always turned, like so many others, toward her. They would never think of barking, not even when cymbals crash or when stagehands pump out chilly clouds of fog from a machine to make an enchanted haze or suggest the surface of a lake.

“They seem sweet,” Joan says.

Ludmilla, dabbing her cheeks with a tissue, gazes at her with amused malevolence. “They bite.”

“I don’t think so.”

“They are my dogs, not your dogs, but if you want get bite, suit yourself.”

Suit yourself is something Arslan says because it is something Joan says. She taught him, and now he has taught Ludmilla. Joan gives the dachshunds a final rub—one bares a set of tiny, sharp ivory teeth at her, as dainty and menacing as his mistress—and stands up. Ludmilla turns away to watch Arslan pirouette at center stage (he is a prince! it is his wedding day!) as the music accelerates and sweat flies from his hair. Arslan is racing the conductor, trying to squeeze in more turns. When he is done, the audience will let loose the huge, docile roar of amazement they always do. The ovation is a given, but he will still earn it. He is extraordinary. The audience loves him for being extraordinary and also for having been born to the enemy, for coming to dance for them instead.

The end of the music. His last turn squeaks around a beat late. The roar explodes from the belly of the theater, blasts out to the back of the house. Arslan bows, bows again, gives a modest flick of his head. Ludmilla draws herself up, raises her arms over her head, and steps briskly out from the wings. Her variation begins, but Joan does not watch.

Joan has known plenty of pregnant dancers but only a handful who stayed that way and only one who then returned to the company—a principal famous enough to be forgiven for the months of leave, her slow battle back into shape. For most of the women Joan knows, a child is unthinkable. The body has already been offered up; the body is spoken for. She is only eight weeks or so and still not showing, but she is surprised she hasn’t been found out. The dancers keep close surveillance on one another, report suspicions of weakness. Elaine might have guessed, Joan thinks, but it’s not her nature to interrogate or tattle. Usually they share a banana in the morning before class, but Joan, both nauseated and famished, has a new compulsion to toast frozen waffles and spread them with peanut butter. Elaine, eating her banana half, watches the passage of the sticky knife, says nothing. Mercifully, magically, Joan’s nausea tends to dissipate during morning class. She hasn’t betrayed herself by puking.

In July, after the blackout, she had faked a slight sprain and gone to visit Jacob in Chicago. He is not her boyfriend. In high school, they had explained themselves as best friends, proud of their status as a bonded but platonic pair, a relationship that seemed modern and cosmopolitan to them, worlds away from the short-lived, sweaty-palmed hormonal couplings happening around them. But Joan had known Jacob wanted more. For so long, he was too timid—and too proud—to try anything.

He had kissed her once, just before he left for college. It had been the kind of kiss that asks for something enormous. When she pushed him away, he was angry, and she had turned his anger around and punished him with it and hidden behind it. Then he left, and they wrote letters, which seemed safer.

She supposes Jacob still is her best friend, although during the time she was with Arslan and then recovering from being with Arslan, she had allowed their friendship to lie fallow. She prefers to think that way—her bond with Jacob was resting, regathering itself—instead of admitting she had neglected him. But Jacob is the forgiving type, the comforting type, the patient type.

In Chicago, at first he had affected a breezy version of their high school intimacy, taking her to a loud and smelly bar, alluding to the latest woman he was seeing, letting her buy the drinks. “What’s the latest with Arslan the Terrible?” he’d asked in a brotherly tone. But shifting the momentum had not been difficult. She’d touched his arm as they drank, leaned into him, bumped against his side as they walked to his apartment, and, over a nightcap, told him she’d missed him. “I’ve been considering,” she said. “Like you asked me to.”

“Yeah?” he said, guarded. They were sitting on his sway-backed sofa.

“I think maybe.”

“Maybe what?”

She was too afraid to look at him. “Just, you know, maybe.”

She had anticipated a long nocturnal conversation full of hesitation, negotiation, reminiscence, and uncertainty. But instead he had taken off his glasses and set them carefully on his junky coffee table and then lunged at her the way he had before, when they were teenagers. In spite of herself, she laughed.

“What?” he said.

“Nothing,” she said. “Sorry. Just nerves.”

There had been no discussion of pills or condoms. She had the sense he was afraid to raise any impediment to what was finally about to happen.

Ludmilla is turning rapidly across the diagonal as the music builds toward the end of her variation. The corps girls in their lavender tutus shake out their legs, prepare. Joan can feel how impatient the audience is to applaud. Their hands are held apart like straining magnets. Ludmilla wraps the tension around herself as she turns.

When Joan begins to show, when she is found out, she knows she will feel regret, sorrow, panic—but now the sensation of purpose soars over her like the hunting bugle from act 2. She is surprised by the strength of it, the way it unfurls.

Applause. She falls into line with the others and is pulled out into the light.

THE SUMMER HAS been long, hot, chaotic. Civilization seems fragile. When the lights went out for a night in July, thousands of people looted and marauded and set fires. David Berkowitz has been arrested, but the specter of random death lingers. Elaine knows all the bouncers in the city and has enticed Joan to nightclubs and parties where glittering people loom out of the smoke and flashing lights, sometimes in costume—Cleopatras, unicorns, Dionysuses—slip-sliding and pivoting, not caring how they dance, just that they are dancing. Hot spots. Joan thinks of thermal vents, volcanic fissures. She dislikes crowds and jostling, but she has seen the smiling cokehead crescent moon at Studio 54 and peeked through the doorway to the orgy room at Plato’s Retreat and been guided by more than one guy who knows a guy who knows a guy through downtown deadlands and up secret stairs to illegal parties in cavernous lofts. Elaine doesn’t look like a ballerina when she’s out—she turns slinky and loose on the dance floor, matching the steps of whatever man materializes in front of her—but Joan is too precise, too reserved, too square. She has tried drugs, but they leave her clinging to a banquette or crouched in a bathroom stall, immobilized by anxiety.

Elaine ingests a steady but restricted diet of cocaine without apparent consequence. The key, she has said to Joan, is control. Control is the key to everything. Elaine has a strict limit for coke, a regimen. She will do a bump before a performance for confidence and maybe another at intermission if she’s dragging. She will do a line or two—never more than two—once or twice (no more than twice) a week when she’s out, and she will substitute coke for lunch when she wants to drop a few pounds. She’s not greedy about the high, doesn’t want it all the time, just wants the boost of it. If she’s short on money and doesn’t have a man who’s supplying her, she will cut it out entirely. No problem. That way it is a routine, something already managed, and the drug will not interfere with what’s important, which is dance.

Elaine always has men but is never in love, except with Mr. K, the artistic director, who also believes in regimens. Their love can be managed, must be managed. Joan had been surprised by how kind Elaine was during the tumultuous futility of her affair with Arslan, how patiently she listened as Joan plotted with a conspirator’s intensity the hypothetical events, realizations, and declarations that, if they occurred, would ensure Arslan’s lasting devotion. Arslan! A man who had never been faithful to anyone and did not seem to love her. Maybe Elaine enjoyed the proximity to unmanageable love, the whoosh of it brushing by, the spectacle of someone else losing control. She must crave those things or else she wouldn’t have such an appetite for nightlife. Joan wonders what she will think—possibly already thinks—about the pregnancy.

The sweepers are moving through the theater, clacking their dustpans. The audience has gushed, marveling, out onto Columbus Avenue. Arslan and Ludmilla have slipped away through the stage door. Tomorrow will start with company class. Almost every day starts with class, and those that don’t are shapeless and problematic. Only what’s left of the night separates Joan from more stretching, more dancing, from the genteel swoop and clatter of the piano, everyone at the barres while Mr. K patrols, sweater tied over his shoulders, saying, And open, and two, and again, lengthen your leg and UP, stay, stay, stay. No, girl. Like this.

Joan should sleep while she can, but she isn’t ready to go back to the apartment. She sleeps in a twin bed against the far wall of their small living room. For privacy, she tacked a sheet of printed Indian cotton high to the wall and draped it down over her bed to form a kind of tent, but the sheet only makes the room seem squalid and ramshackle. Which it is, in a way. The apartment is a crash pad, somewhere to go between classes and performances, between men, somewhere to recover from the hot spots.

She finds Elaine in the soloists’ dressing room.

“Do you want to go out?” she asks, peering around the door.

Elaine, wrapped in a towel, is brushing her smooth black curtain of hair and studying herself in the mirror of the long makeup table. A plastic cup of wine sits on the counter, surrounded by colorful tiles of eye shadow, rounds of blush, tubs of pancake, fake lashes fanned out in their plastic cases. The wine helps her come down at night. No more than two glasses. “Sure. Where?”

“I don’t know. I thought you’d know.”

Elaine waves her in. “Come in already.”

A few other soloists are still around. One is wiping her eyelids with a cotton ball. Another stands naked, blow-drying her hair. Another lifts her dance bag to her shoulder and walks out, giving Joan’s shoulder a friendly pat as she passes. A wardrobe assistant moves through the room, collecting tights to be washed, straightening costumes on hangers, putting the hangers on a rolling rack. Joan sidles in and perches on the table.

“Do you have anything else to wear?” Elaine asks.

Joan looks down at her jeans and platform sandals, her striped tank top. “No.”

“We should go home first, then.”

“No, Elaine, please, I’ll lose momentum. It doesn’t have to be a big thing. Just a drink out somewhere. I don’t want to go right home.”

“Well. Okay.” Elaine pulls her dance bag out from under the table and paws through it. She thrusts a bundle of purple cloth at Joan. “Here.” Joan unfurls a loose, filmy blouse with a low neck. She strips off her tank top and pulls the blouse on over her bare chest.

“Can you see my nipples though this?” As soon as she has spoken, she regrets drawing attention to her breasts, which are swollen.

Elaine’s eyes are sharp and green and set close against her long, narrow nose, pinning it in place. No change registers in them. “Not really,” she says. She turns to the naked dancer with the blow dryer. “Yvette, do you have anything I could borrow to wear out?”

“I have a little dress,” the girl says.

It is a very little dress, and yellow, but it suits Elaine, as most things do. “Do you want to come to a party?” Elaine asks Yvette.

The girl, who is zipping up another little dress, blinks as slowly and mechanically as a doll as she considers. “Yes,” she says. “That would be very nice.” Joan is disappointed even though she likes Yvette, finds her dippy and harmless. Yvette was born in France and retains traces of an accent and of continental diffidence even though she has lived in New York since kindergarten. But Joan is becoming nostalgic in anticipation of the end of her ballet life and had imagined the night as belonging to her and Elaine, a memory just for the two of them, although Elaine will probably vanish as soon as they get wherever they’re going. She has a way of vaporizing at parties, being immediately absorbed into the revelry.

Outside, the three of them find a taxi heading downtown. The city’s summer breath rushes forcefully in through the windows, smelling of garbage and gasoline, and they recline in the warm air, saying little, worn out but also energized, their blood circulating smoothly, as though the performance had swept their veins clean. Joan is already too hot in her jeans and borrowed top. She envies the others’ little dresses even though their bare legs must be sticking to the grimy vinyl seat cover. The driver peeks in the mirror, the silver rim of his glasses catching red and green sparks from the traffic lights. He handles the wheel gently, cautiously, with his plump hands. Most cabbies flirt a bit when the dancers are out together, make some suggestion about where they should go, comment on how nice they all look, but he doesn’t. He takes his glances in the mirror, like someone peeping over a fence.

The party is near Astor Place, in a brick building with peeling yellow paint and a fire escape made out of rust. It is not Elaine’s usual sort of glitzy, careening, pill-popping party but something else, just a party, a humid crowd of languid people gathered in a smoky apartment. Edith Piaf warbles from the stereo. Joan didn’t need to have worried about Yvette. The girl takes the French music as a sign of welcome and sets off for the table of bottles in the far corner, greeting strangers as she goes with little sideways bonjours.

“Drink?” Elaine says.

“No, I need to drop weight.”

Elaine takes a pack of cigarettes from her purse. “Want one?”

“No, thanks.”

A knowingness hovers around Elaine’s pursed lips and raised eyebrows as she lights up.

About Yvette, Joan says, “I don’t know why she still does this French act.”

“She’s just French enough to pretend to be French. I don’t know—look at her. It works. I should think it’s obnoxious, but I don’t.”

They look together through the people. At the makeshift bar, Yvette is smiling up at a tall and gorgeous black man. She cuts her eyes to the side, murmurs something out the corner of her mouth, making him lean in.

“I’m going to get a drink,” Elaine says. “And hopefully a very tall man.”

Joan grabs her arm. “No, don’t. I’ll never see you again. You’ll disappear.”

“This place is tiny.”

“You have a way.”

“Come with, then. Five steps that way. We can rope ourselves together first if you want.”

Joan follows. “How did you know about this party?”

“I went home with the guy whose apartment this is a couple months ago, and then I ran into him the other night. He said he was having a thing. I wasn’t going to come, but then you … he’s—where is he?—oh, he’s that one.” She points through the crowd to a pale head with full pale lips and small pale eyes. The head, partially obscured by a woman’s red curls, nods in a courtly way, smiles slyly. It is the smile of a man who knows women like to think they are being amusing.

“He’s handsome.”

“Isn’t he? I thought so.” Elaine pours bourbon into a mug and offers the bottle. “You sure?”

Joan shakes her head. “All your men are handsome.”

“I would not call this guy one of my men. I would call him … Christopher? I’m not sure. I should have asked when I saw him again, but it seemed impolite. Maybe we can delicately find out from someone here.”

“Except Mr. K. He’s not handsome.”

“Mr. K doesn’t have to be handsome. He’s a genius. You should know. Arslan doesn’t have to be handsome either.”

“Arslan is handsome.”

“No, Arslan’s sexy. Anyway, he’s not a genius the way Mr. K is. Mr. K creates. Mr. K has changed everything.”

“Please, tell me more about your boyfriend, your old, gay boyfriend.”

Elaine taps her cigarette into an empty wine bottle, unflappable. “Labels are a waste of time. So is possessiveness. I know what he is.”

“God,” Joan says on a long breath. “I can’t believe how liberating it is not to care anymore. I watched Arslan walk out the stage door with Ludmilla tonight and didn’t want to kill myself. Finally. I’m cured. It’s heaven.”

“Hmm.” Elaine drags on her cigarette, drops it into the wine bottle. “I think you’re pregnant.”

Joan smiles at the linoleum floor. She draws her toe across it in an arc. “Because of the waffles?”

“Lately you seem like you’re saying good-bye all the time, like you’re about to go catch a bus.” Elaine studies her. “Have you told Jacob?”

“No.” Joan watches the tentatively identified Christopher as he walks around with a jug of red wine, filling people’s glasses and mugs. This is the first time she has spoken about the pregnancy except with the doctor who gave her prenatal vitamins, and Jacob’s name is loaded with a heavy, sudden future.

In high school, she had decided her mild sexual curiosity about Jacob was nothing more than a generic offshoot of her general sexual curiosity. He was younger, which was not sexy, and wore little wire-rimmed glasses, which had seemed to signify something important then, and he was transparently devoted to her, which was not sexy, and he was academically brilliant and a little insecure (not sexy, not sexy). Joan, however, had the mystique of ballet to trade on, her tininess and her suppleness, the grace that had been drilled into her until she was physically unable to be awkward. Lots of boys wanted to date her, and dating them was simple, while dating Jacob would not have been.

But when they were sitting side by side at the movies or watching TV on the couch when her mother was out, not speaking and not looking at each other, he would stay so still that she sensed he was restraining himself, wary of any movement that would betray what he wanted, and some hidden sensory organ in her would rotate toward him, probing, considering.

“Did you do it on purpose?” Elaine asks.

“Of course not.”

“You can’t do this if it’s only about running away from Arslan.”

Since she got pregnant, the cattle prod jolt of Arslan’s name has worn off, become only a faint zap, two weak wires touched together. “It’s not. It’s really not. I might be running from everything else, but I have to go. I have to find something else. You’ll make it. I was never going to.”

“You did it on purpose.”

“I didn’t!”

“It doesn’t matter. It’s done. But you don’t have to … you could, you know, just quit the company. Not have a baby. Get a job. Do something else.”

Solemnly, Joan shakes her head. “I couldn’t just decide to stop. I thought about it. But I’m too much of a coward. I can’t stay in the city if I’m not dancing, and I wouldn’t know where else to go. Or what to do, generally.”

“So you’re counting on Jacob to figure all that out for you. This all seems really elaborate, Joan. I feel sorry for Jacob. He’s walking around Chicago right now with no idea he’s a marked man.”

“He’s getting what he wants.”

“Oh yeah?” Elaine takes another cigarette from her pack. “Well then. You’re a Good Samaritan.”

“Give me a cigarette, please.”

“You shouldn’t smoke.”

“I know. This one and then I’m quitting. I’m quitting everything. Everything is going to be different.”

“Inevitably.”

Finding nothing else to say, they pretend to be interested in the party that drifts around them as lightly as fog. Joan makes eye contact with a series of men. They are the kind of men who look over shoulders while they chatter, searching for the people they will chatter at next. The crowd shifts, revealing the host’s pale head inclined attentively toward the fast-moving mouth of a blond woman in a paisley jumpsuit.

Joan says, “Will you introduce me to Christopher?”

JOAN LIES AWAKE. Beside her, the man sleeps. Even his snores are polite and well formed. His name is Tom, not Christopher. Probably some other Christopher had swum through Elaine’s nocturnal world, crossing bubble trails with this handsome Tom, an assistant professor of Old and Middle English at NYU. His bed is surprisingly clean and nice smelling for a single man with bohemian tastes. Joan wonders if he will be the second-to-last man she ever sleeps with.

The yellow night drops a window-square on the pale sheet. Tom makes a rough sound in his sleep that might be Old or Middle English. The cells continue to multiply. Joan rests her palm against her belly, trying to divine the exact spot where life has been planted like a tulip bulb. Usually when she is in bed with a strange man—there haven’t been so many—she has trouble sleeping because she is preoccupied by the nearness of the unfamiliar body that has been recently and intimately explored and is now remote, locked away in sleep. But Tom holds no curiosity for her. She strokes her own skin, wonders what time it is. His wrist with his watch is under his pillow, and she doesn’t see a clock in the room. When the sun rises she will make her way home and then, later, to class. She wonders how many more times she will go to class. When she stops dancing, class will continue on without her, every day except Sunday, part of the earth’s rotation. The piano will swoop and clatter, and Mr. K will say No, girl, like this to dancers who are not her. Her empty spot at the barre will heal over at once. But she wants a few more days, a week or two. She wants the cells to grow in time to the piano, to Mr. K’s clapping hands, his one pa pa pa, two pa pa pa, and UP pa pa pa, to the rhythm of her battements. Until now, even when surrounded by twenty women dressed just like her, moving in unison with her, she has always been lonely, but the cells give her a feeling of companionship. For the first time she can remember, she is not afraid of failing, and the relief feels like joy.

November 1978—Chicago

As Jacob crosses the quad, shuffling home through new snow, he is seized by a rebellious impulse to stop at a bar. Not that he doesn’t want to see Joan and the baby, and not that having a quiet beer by himself would be a crime, but the enormous obligations that have arrived abruptly (and, one could argue, prematurely) with his new status as a family man have recalibrated his sense of himself, made him ashamed of his moments of selfishness and guilt stricken whenever he feels a twinge of resentment. He wants so badly to satisfy and delight Joan in all possible ways and to be a good father to Harry that he is not certain there should be space left over for wanting a beer. Or solitude. Or freedom, which is unmistakably a thing of the past.

He has never been one to fetishize freedom, though. Since he can remember, he has pursued obligation and commitment, which is why, at twenty-four, he is already into the fourth year of his doctorate. That he is, at twenty-four, also already the father of an infant son and already married to a woman he has coveted since it first occurred to him to covet women, might not have been part of his original plan, but he can’t claim he hadn’t been an enthusiastic participant in Harry’s conception or that he hadn’t wanted to marry Joan, at least as far as he was capable of imagining marriage, since he was a high school kid desperately playing it cool.

The snow is the first serious one of the year. It settles in strips on naked tree branches, builds white doilies on the stone traceries of Gothic windows. In the summer, the façade of Green Hall is bearded with Boston ivy, and a wreath of leaves surrounds Jacob’s office window, giving the light a pleasantly verdant quality, like the inside of a tree house. But now, in late November, the vine is a withered caul of twigs, tapping and scratching at the walls. Jacob changes trajectory, heading for a dank subterranean bar he likes and away from the tiny apartment where Joan and Harry are waiting. The apartment has a demonic radiator that shrieks in defiance when Jacob tries to turn it off and incubates all the fetid baby smells and makes his hair brittle and his skin itchy. Joan, who is always cold, likes the radiator and will not let him call the super. She takes a reptilian solace in its heat, perching neatly sideways atop the flaking silver coils.

The mug of Old Style the bartender coaxes from the tap is mostly foam but is delivered with a look that discourages Jacob from complaining. He is happy, anyway, to be sitting on a stool with a ripped vinyl cover, resting his elbows on sticky Formica, gazing at pocked dartboards and a jumble of Bears and Cubs ephemera. There is a TV behind the bar, but it’s angled so only the bartender can watch. Light flickers over the ranks of bottles.

The woman Jacob was dating before—and, truthfully, during and for some time after—Joan paid her fateful visit had introduced him to this place. Liesel, a Ph.D. student in chemistry. There is one other guy at the bar: thirtyish, with a mustache, on the beefy side, sipping whiskey.

“Great place, isn’t it?” Jacob remarks. His stolen hour, now that he has committed to it, is making him expansive and giddy.

“Yeah,” the guy says, “a real hidden gem.” He has a strong Chicago accent and a plump face that suggests, in a friendly way, that bullshit would be unwelcome.

“I used to come here with an ex,” Jacob says.

“Yeah?”

“It was kind of her spot. I haven’t been here since we broke up.”

“Bad breakup?”

“It wasn’t great.” Then, wanting to clarify, Jacob adds, “I married a ballet dancer.”

At ballet dancer, the guy’s smile seems to snag on something. “Yeah?” the guy says. “Like a professional?”

Jacob nods. “Yeah.”

The fact that Joan is a dancer impresses most men and rankles most women. Was a dancer, although he has no plans to tell this stranger she is retired. When Joan was pregnant, Jacob had thought she might try to go back to ballet after the baby, but she said flatly that she couldn’t. Her career had run its course. She will teach, but she will not perform. Elaine sent them tickets to the Joffrey not long before Harry was born. On the way home, Joan had cried on the El, clasping her thin arms around her belly, but she only shook her head when Jacob said it didn’t have to be over for her. He didn’t understand, she said. She had never been that good, anyway, she said, and to keep trying would be pathetic.

There is, in this decision, a loss for Jacob he would never admit to her. For as long as he has known Joan, since they were almost children, she has lived a double life, as a dancer and as a civilian, and her retirement means she has been reduced in some essential way. He will miss seeing her onstage, displayed so beautifully at the front of all that darkness, and he will miss the mystery of her hours of class and rehearsal, her proximity to other beautiful women and to the hands of other men. He finds low-level jealously to be enlivening, pleasantly astringent.

He has his limits, though. During the months Joan was involved with Arslan Rusakov, Jacob had been in agony. Her other boyfriends, beginning in high school, had irritated and disgruntled but not tortured him; Joan had not appeared to be very attached to the others, had certainly not loved any of them. Then Rusakov came along and swallowed her up, and Jacob’s belief that they would end up together one day, after they’d exhausted the dubious pleasures of trying out people they didn’t love, had begun to dwindle. His mother, who has never liked Joan, made a point of phoning him long-distance when she showed up in magazines or newspapers with Rusakov, and he would go out to the newsstand to see for himself, flipping clumsily through the pages and then staring down at the photos until the guy said, Library’s down the street, buddy. Joan’s letters dwindled to a trickle, and the few she did write only made things worse.

The mustache guy signals the bartender for another drink, and the bartender, surprisingly, hops to it. “Where’d you meet?”

“High school. In Virginia.”

Jacob and his two older sisters had high IQs, and their father, a naval officer, was frequently reposted, allowing their ambitious, unmaternal mother to skip her children forward in school until they were high school freshmen at twelve and college students at sixteen. The great mercy of Jacob’s life was that he grew early (but then stopped—he is not tall) and was a reasonably handsome, affable kid, good enough at baseball and track to avoid classification as an irredeemable nerd. Joan’s locker had been across from his when they were freshmen, and she was so small, so knobby and tentative like a fawn, that at first he had hoped she was young, too.

“Excuse me,” she had said, appearing beside him on the first day while he fussed with his books and notebooks. “Do you know where room three-nineteen is?” She wore a red and blue plaid dress with a collar and a red belt and peered at him with anxious earnestness, like a tourist asking for directions in a dicey neighborhood.

“Yeah,” he said. “It’s on my way. I’ll show you.”

“Are you a sophomore?” she asked as they walked. “How do you know where things are already?”

“I took a class here last year,” he said, trying to project proprietary confidence. “I got the lay of the land.”

“Lucky.” She flinched away from a group of older students. “I thought about coming down on a weekend and making sure I knew where to go, but then I thought someone would see me and think I was nuts. You probably think I’m nuts. It’s just, I have a feeling I’m going to do this wrong.”

“Do what wrong?”

“Everything. High school.”

“You’ll be fine. Just act like you’re sure you belong.” He was echoing what his sister Marion had said to him that morning. “Nobody knows any better.” He let a beat go by. “How old are you?”

“I’ll be fourteen in October. I’m a little young. When’s your birthday?”

“March,” he said, neglecting to mention that his next birthday would be his thirteenth.

“Why did you ask?”

“I was just wondering. You look young.”

“I hope I always do,” she said with unexpected vehemence. “I do ballet. I can’t be big or old.”

Jacob, who wouldn’t have minded being either of those things, said, “It might be hard to avoid getting older.”

“I know that,” she said, sharply again. She was not as meek as she had first appeared, and he liked her more for it. “It only matters how you look.”

“That’s not true,” he ventured after a moment, “in the big picture.”

He was afraid he might have offended her, or that she would think he was an annoying goody-goody, but she made a wry face. “I mean in ballet,” she said. “Which is my big picture.”

They fell into separate groups of friends—Joan’s smallness and prettiness and docility made her popular—but they chatted by their lockers and greeted each other in the halls. Their houses were not far apart, and sometimes they walked together. The ballet studio was on the way to Jacob’s house, and when he didn’t have baseball, he escorted her there, carrying her dance bag. He never went inside, and, in his imagination, the unassuming little storefront was a cloistered place of rites and mysteries. Sheer white curtains covered its front windows, and through them he caught vague, gauzy glimpses of girls in black leotards.

“Is that your brother?” Jacob heard one of Joan’s friends ask in the lunchroom.

“Basically,” Joan replied, and he felt both honored and insulted.

Her nerviness and discipline appealed to him, and he felt protective of her in a way that seemed adult and masculine and new. As the younger brother of two bossy sisters, he was used to being clucked over by girls, but Joan seemed to trust that he could take care of himself and also, as needed, her. He understood that this was a role worth cultivating. Her mother was single and worked and didn’t understand ballet or Joan. Joan’s dance teacher, Madame Tchishkoff, was of the formidable, exacting variety and offered little beyond unyielding rigor and the motivational power of perpetual, implacable disappointment. Joan’s school friends were the kind of pretty girls who clumped together to assert their collective prettiness. They were companions and accessories, not confidantes.

When Joan was lonely or distressed, it was Jacob she called, and he would take the phone from his scowling mother and retreat into the pantry, closing the flimsy door over the cord, gazing idly at the cans of soup and boxes of crackers while he listened. On the rare afternoons she didn’t have ballet, she summoned him to watch TV and help her with her homework at her house, which was always too dark and didn’t seem to have enough furniture and so felt like a hideout. Jacob’s mother would not allow a television in the house, nor did she approve of Joan’s lack of supervision or of friendships between boys and girls, and so he told her he was staying late at school.

Joan trusted him with her darkest secret, which was that she had not only found her mother’s diaphragm but become obsessed with checking its presence in the bathroom drawer against what her mother said she was doing on a given night and the sometimes contradictory information offered by her Filofax.

“See?” she said to Jacob once, having dragged him into the bathroom and opened a drawer with great portentousness, as though revealing the entrance to an Egyptian tomb. He saw cotton balls and shiny makeup compacts, emery boards, nail scissors with handles in the shape of a bird. “It’s gone.”

“Okay,” he said, baffled by both her emotions and the workings of a diaphragm.

“She’s doing it!” Joan told him, near tears. “With that man! His name is Rick! He works in her office.”

To Jacob, this was not information to be cried over but rather to be filed away for later consideration. Joan’s mother was a thin, brusque woman who wore neat suits and pinned her hair in elaborate updos, the mechanics of which eluded him.

“Don’t worry,” he said. He closed the drawer. Joan stared desolately at its white-painted face, its little ceramic knob in the shape of a rosebud. “It doesn’t have to bother you.”

He wished he could think of something less dumb to say, less helpless, but she nodded and folded her arms over her chest. “It feels better just to show you,” she said. “But promise you won’t tell anyone.”

He realized, with a flush of gratitude, that her standards for wisdom were pathetically low. He patted her shoulder. “I won’t.”

He liked her delicate, feline face, her long, wispy hair, her narrow hips, her duck-footed walk, the gap between the tops of her thighs when she was in tights, her small, bony hands. If his sister Marion would drive him and not tell their mother, he went to Joan’s recitals, and he liked the way she was willing to stand onstage and be looked at. Eventually, March of sophomore year, when he finally actually turned fourteen, he confessed his age, and by then they were too close for her to make much of a fuss, although he thought he detected a new and faintly patronizing undertone in the way she spoke to him, especially about her dates, which were as frequent as her ballet schedule would allow and, he gathered, relatively chaste. She seemed more interested in the public victory of securing the attention of popular and athletic boys than the private encounters that might follow.

“I can tell you anything,” she told Jacob often, which, to him, sounded less like a compliment than a command, the way his father said, You’ll make this family proud. Her confessional openness struck him, sometimes, less as a sign of intimacy between them than a smoke screen meant to keep him at a distance. She would chatter on, telling him how Barry Sauerland had offended her at the winter formal by implying that she was not his first-choice date or how Floyd Bishop had called her an icicle. She never seemed to notice that Jacob did not reciprocate her confidences, or not exactly. He confided in her about his father’s distant rigidity and his mother’s suffocating rigidity and about their clockwork marriage that, on rare occasions of malfunction, caused both to go wild with rage. But he did not talk to Joan about girls, even though he took dates to dances and sometimes to the movies, disguising his lack of a driver’s license as a lack of a car.

Just before graduation, Joan tore a ligament in her foot. She had been slated to dance in a student performance in New York, where she would be seen by the directors of companies there and from San Francisco and Chicago and everywhere, she said, but now she could only lie around her house with her foot in a cast, paralyzed with fear that she would not heal, that she would miss her chance.

“Let’s go to the beach,” Jacob said on a hot Saturday. Joan was lying on the couch with her cast propped up on a pillow, and he was sitting on the floor beside her, absently digging his fingers into the jungley olive-green pile of the carpet while they watched American Bandstand. “This is getting depressing.”

Track was over; he was officially going to Georgetown, was officially the valedictorian, could relax for the first time in his life, and his big reward was to be pressed into constant service as Joan’s footman in her mother’s austere, gloomy den. At first, he had been eager to spend long, unsupervised hours indoors with Joan, but she was so morose that it seemed inappropriate to persist in the hope that they would finally make out, if only to dispel the boredom. Instead he made sandwiches for her that she didn’t eat, poured Tab over ice, changed the channel at her bidding, and waited for the unseen filaments of her ligament to knit themselves back together. Even Joan’s mother, off for the weekend with one of Rick’s successors, was having more fun.

“I can’t go to the beach,” she snapped, pointing at her cast. “Remember?”

“You don’t have to go in the water. Let’s just get out of here. My mom will let me take the car. She’s so happy I’m leaving soon.”

“I’ll get sand in my cast.”

“We’ll put a bag over it.” An idea struck him. “I’ll carry you.”

She looked skeptical.

“I’ll put you down on a towel, and you can just lie there. It’ll be almost as good as lying on the couch all day. You’ll love it.”

“You’re not that strong.”

“You don’t weigh anything.” He was not entirely certain he could carry her all the way from the car to the beach, but he was willing to try. Her injury made her more approachable, somehow. Not that he was afraid of her. He was just aware of her boundaries, of the prickly force field around her. Standing over her, though, while she lay hobbled and clutching her plastic cup of soda, he decided to be daring. “Stand up,” he said.

His authoritative tone seemed to surprise her. She set her drink on the carpet, swung her legs around, and, taking his outstretched hands, stood unevenly on her bare foot and her cast. He put one arm under her knees and one around her back, and then he straightened up, cradling her. The easy way she lay in his arms reminded him that she was no stranger to being carried. Jacob had met her pas de deux partner, the only boy at her studio, Gregory, son of Russian immigrant scientists, a sallow, pimply creature who was educated by private tutors to avoid the brutalizing influence of high school. Gregory, for all his apparent wimpiness, could lift Joan over his head with ease. Jacob had wondered what it would be like to lift her, to grasp her by her thighs or her waist and move her body through space as he pleased. She looked at him. Their faces were very close. “Okay, fine,” she said. “Let’s go to the beach.”

Jacob’s mother handed over the keys to her Rambler wagon with minimal admonitions. The front seat stretched out long between him and Joan, its scratchy cream upholstery radiating early summer warmth. Joan sprawled in the sun: wiry legs poking out of short shorts, bikini ties in a tantalizing bow at her nape, her face turned to her open window. The Rambler, with its big windows and long bench seats and vast carpeted launchpad of a cargo space in back, did not seem, as it usually did, like a blocky symbol of maternity but was transformed into a terrarium of sexual possibility. For weeks, Jacob had been gearing up to try something with Joan. Not because he didn’t care about their friendship but because he felt like his participation in that friendship, as it was, had become disingenuous. He wasn’t a saint or a child. He wasn’t the palace eunuch. He wasn’t her cousin, as he knew she had told one of her boyfriends. She might reject him—probably would reject him—but he needed to come clean. High school was, for all intents and purposes, over, and he needed to slough off its context. He wasn’t eager to be separated from Joan, but he was curious what would be in store for him at Georgetown, who he would be there.

They turned off the main road and bounced along a sandy lane to their usual spot, some way down the shore from the popular swimming beach. Before they’d left, Joan had rallied enough to stump around the kitchen filling a thermos with fruit punch and her mother’s vodka, and after he parked, Jacob took the towels and the ice chest and crossed the low, sharp-grassed dunes. He spread the towels out on dry sand, and then he went back to get Joan. She was standing on her good foot, leaning against the Rambler.

“I think it would make the most sense for me to ride piggyback,” she announced when he drew near. “For long-distance transport.”

He considered. He had already held her in his arms, and having her cling to his back sounded like a new and interesting variation. “Okay,” he said. “You’re the boss.” He turned around and crouched down. Nimbly for someone in a cast, she hopped aboard. As he started across the sand, he kept his eyes on the terrain in front of him, but his nerves were busily mapping her body. His hands were wrapped around the backs of her thighs. He could feel her ropy muscles under his fingers and a film of sweat. The rough plaster of her cast occasionally scraped the outside of his left calf. Her arms were around his neck, her sharp chin on his shoulder, the soft points of her small breasts against his back. The spot where the crotch of her shorts pressed against his waist was almost too potent to think about. His glasses slid down his nose, and he kept having to toss his head like a horse to keep them from sliding off. They didn’t speak until he stooped to let her dismount onto the blue-and-white-striped towel.

“Such service,” she said, sitting and smiling up at him uncertainly. She felt the pull, too. He knew she did.

He sat. She looked away, out at the surf, which was breaking sluggishly, the waves plumping up in gelatinous heaps before collapsing into exhausted white frills. He was alive with fear and need. Then she said, as though everything were normal, “The worst part about being injured is how smug my mom is about the whole thing.”

He closed his eyes against the glare of the sun. “Yeah?”

Joan nodded. “The other day she circled an ad for a typing course and left it on my pillow. I wanted to hit her.”

“You can’t do that.” He dug in the ice chest and busied himself pouring out cups of vodka punch.

“Hit her?”

“Type.”

She smiled ruefully. “With my mom, it’s like she’s missed the whole point of my entire life. I work myself to death at something that’s really actually important, and all she wants is for me to be a secretary. It’s not like I know if ballet’s going to work out, but I have to believe or else there’s no point.”

“At least,” Jacob said, trying to focus on the problem at hand, to be, in spite of everything, a good friend, “you know that what you want was your idea in the first place. My parents brainwashed me into the fine citizen I am today.”

“What do you mean? You don’t want to go to Georgetown?”

“No, I do. But I’m not sure I wanted to be skipped ahead and put in extra classes and all that. I don’t know. It’s done. I get to leave home early, so I should be grateful.”

“Sometimes I wonder,” Joan said, her mouth red from the punch, “how you’re supposed to know if you’re really feeling what you think you’re feeling. Like how do we know everybody sees colors the same way, you know? Do we all feel ‘happy’ the same way?”

Jacob shrugged.

“In ballet,” she went on, “when something’s really beautiful, I feel a lot, but not happy or sad, really. Just a feeling. With goose bumps. I like it.” After a moment, she sighed and rolled onto her stomach, resting her forehead on her arms. “If I can’t dance, I know I won’t die, but it feels like I will.”

He rolled over onto his stomach, too. “It’ll work out.”

She turned her head so they were looking at each other. “You’re the only person who takes care of me. You think I don’t notice, but I do.” Her punch-stained mouth was as inviting as red velvet.

Later he would not believe that he had simply scooted across his towel and put his mouth on her red one, lunged at her, really. The desire was so pure it set his teeth on edge. He pushed her over onto her back with an insistence he didn’t know he was capable of. Her arms went up around his neck; her hands clasped the back of his head; he sprawled across her. Some seconds passed before he became aware that her hands had dropped to his chest and were pushing at him. He lifted his face slowly, unwillingly.

She looked stricken, panicked. “I can’t,” she said.

His frustration produced an abrupt and furious certainty that he had been cruelly wronged. “What do you mean you can’t?” he demanded. “Of course you can.”

She shook her head, opened her mouth, but said nothing.

He couldn’t stop himself from saying, “You’re a selfish tease, and I’m sick of it.”

She sat up. Her small face was hard, knowing. “Oh, I see. You’re not really my friend. You were just hoping to get some all this time. Didn’t you have anything better to do? Isn’t there someone else you could follow around? You’re such a kid.”

“No one cares about you like I do,” he said. The core of his anger had gone cool, and he felt an appalling flicker of the remorse that would follow. “I’m the one who takes care of you. You said so yourself. But what does that get me? Nothing.”

“What does that get you?” she repeated. “What do you think it should get you, Jacob?” She flopped flat onto her back, limp, legs apart. “Here you go. Here’s the grand prize. Buffet’s open. Help yourself. Go ahead.”

He looked down at her and couldn’t help but consider kissing her again. Instead, he wrapped his arms over his head and pulled his knees to his chest. In the past, when he had imagined kissing her, his worst-case scenario—also his most likely scenario—had ended with humiliation. He would plant an exploratory kiss; she would balk, embarrassed; he would be humiliated. He had not anticipated the lunge, the greedy engine driving him through the kiss toward more and more. “What’s wrong with me?” She didn’t say anything. He looked at her. “Really. What’s wrong with me? You go out with other guys. I know you like me more than them, but you let them kiss you.”

“Nothing’s wrong with you,” she said. “Usually.” Whatever debt might have been between them had been erased, or reversed, by the word tease. She owed him no explanation for why she didn’t love him the way he wanted her to. “Let’s just forget about this. Let’s go home.”

“I’m sorry,” he said. “I’m so sorry.”

“I know,” she said. “Let’s forget about it.” But when he extended his hand to help her up, she waved him off.

“You’ll get sand in your cast.”

“You’re the one who wanted to go to the beach,” she said and set off over the dunes.

They saw each other that summer but not often. Jacob was scrupulously respectful. Joan made a show of joking about all the girls he would get in college. Georgetown had gone coed the previous year. There was malice to the way she showered him with affectionate mockery, but he endured it, thinking about how he would leave in August and get some perspective. That would be a relief. Their friendship was no longer a thing in itself. They were warily circling a different thing, something that might exist or might not.

Then he left and heard nothing from her, and for a time he thought their relationship, whatever it was, might have run its course. He missed her, but he also felt a self-congratulatory satisfaction in having outgrown her. He learned to play racquetball. He drank beer. He decided on psychology, much to the disappointment of his mother, who had been pushing for medicine. He dated a girl named Sarah and lost his virginity to her. Everything was fine, and then, late one night, drunk, he wrote his first letter to Joan.

THE DOOR OPENS and a woman comes into the bar on a burst of cold air. She is bundled in a sheepskin jacket with epaulettes of snow and a purple scarf. An ear-flapped lumberjack hat is pulled low on her brow. She stops short. “You’ve got to be kidding me,” she says, staring at Jacob from between hat and scarf like a knight peering out of a suit of armor.

“Liesel?” he says. “Is that you under there?”

In answer, she unwraps her scarf from around her broad, shrewd milkmaid’s face. “Ta da,” she says. Before he can process what is happening, she goes and kisses the mustache guy on the lips. The guy raises his glass at Jacob.

Liesel pats the guy on his beefy pectoral. “This is my boyfriend, Ray.”

“Hey,” Jacob says.

“Ray, this is my ex-boyfriend, Jacob.”

“Yeah,” Ray says, “I’d guessed.”

“Really?” Liesel looks between them. “How?”

“He said he was married to a ballet dancer.”

“Do you tell everyone?” Liesel asks Jacob with scorn and amusement. “You should get cards printed up and go around tossing them in people’s laps on the El. Anyway, I thought I got custody of this place.”

“I wanted a beer,” he said. “It’s too cold to walk anywhere else.”

They have not spoken much for a year, not since he dumped her, which he had only done because, perplexingly, she had not dumped him after he told her about Joan’s pregnancy. She takes off her jacket and turns it inside out over a barstool; snow drips off it onto the floor. The bartender sets a beer in front of her.

Her wispy blond hair, recently and unwisely cut to chin length, lies limp against her head, but the cold has flushed her cheeks and lips in a way that makes him think of sex. He chides himself for being so predictably horny, like a lab subject responding to stimuli. Since Harry’s birth, Joan has not been interested in sex, but, for Jacob, the relentlessness and insistence of the baby’s physical being draws constant attention to bodies and skin and nakedness and his own maturity and virility. He finds himself getting turned on in the most inappropriate situations, such as by a pissed-off ex, in front of her boyfriend.

Liesel doesn’t attract him as strongly as Joan, but he likes her looks, which are ruddy and earthy. She had tried to couch their breakup as a rejection of her appearance. Sorry I’m not a ballerina, she’d said, bending the last word into a long, sarcastic sine wave.

“What do you do, Ray?” he asks.

“I’m a cop.” Ray smiles.

Liesel leans against him, and he wraps an arm around her waist and tucks his fingers into her pocket. “No more academics for me,” she says. “I can’t take all the narcissism and insecurity.”

“Fair enough,” Jacob says.

“Really, though, what are you doing out drinking all by yourself?” Liesel asks.

He has no answer, of course, beyond his simple desire to be drinking and by himself and not at home. But to say this would suggest discontentment. One of Jacob’s greatest fears is that his life will not appear intentional. Had he subconsciously wanted to run into Liesel? Maybe. But only to use her as a reminder that he is happy. “I was supposed to meet a colleague, but I’m afraid I’m being stood up.”