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before going into hiding overseas. As one commentator tartly put it, "Mr White, for those who know his name at all, is more likely remembered for his leaving his homeland than any work he published while living here."
    What’s intriguing about the incomplete biography of Conrad White are the hints at darker corners. The conventional take has it that he left because of the critical reception given his book, Jarvis and Wellesley , the fractured, interior monologue of a man walking the streets of the city on a quest to find a prostitute who most closely resembles his daughter, recently killed in a car accident. An idealized figure he calls the "perfect girl". To anyone’s knowledge, Conrad White hasn’t written anything since.
    But it’s the echoes of the author’s actual life to be found in the storyline of Jarvis and Wellesley that gives bite to his bio. He had lost a daughter, his only child, in the year prior to his embarking on the novel. And there is mention of White’s exile being precipitated by his relationship with a very real teenage girl, and the resulting threats of legal action, both civil and criminal. A literary recluse on the one hand, girl-chasing perv on the other. Thomas Pynchon meets Humbert Humbert.
    I go back to my table to find my laptop screen has fallen asleep. It knows as well as I do that there will be no writing today. But that needn’t mean there can’t be reading.
    The edition of Jarvis and Wellesley I pull off the shelf hasn’t been signed out in over four years. Its spine creaks when I open it. The pages crisp as potato chips.
    Two hours later, I return it to where I found it.
    The prose ahead of its time, no doubt. Some explicit sex scenes involving the older protagonist and young streetwalkers lend a certain smutty energy to the proceedings, if only passingly. And throughout, the unspoken grief is palpable, an account of loss made all the more powerful by narrating its effects, not its cause.
    But it’s the description of the protagonist’s "perfect girl” that leaves the biggest impression. The way she is conjured so vividly, but using little or no specific details. You know exactly what she looks like, how she behaves, how she feels, though she is nowhere to be found on the page.
    What’s stranger still is the certainty that I will one day meet her myself.

4
    Tuesday brings a cold snap with it. A low of minus eighteen, with a wind-chill making it feel nearly double that. The talk-radio chatter warns everyone against going outside unless absolutely necessary. It makes me think—not for the first time—that I can be counted among the thirty million who voluntarily live in a country with annual plagues. A black death called winter that descends upon us all.
    Down in the Crypt I dash off a column covering two new personal makeover shows, a cosmetic surgeon drama, and five (yes, five ) new series in which an interior designer invades people’s homes and turns their living rooms into what look like airport lounges. Once this is behind me, I get to work on my assignment for the evening’s circle. By the end of the day I’ve managed to squeeze out a couple hundred words of shambling introduction— Tuesday brings a cold snap with it , etc. It’ll have to do.
    Upstairs, as I heat up leftovers in the microwave, Sam comes to show me something from today’s paper.
    "Doesn’t she look like Mommy?"
    He points to a photo of Carol Ulrich. The woman who was abducted from our neighbourhood playground. The one snatched away as her child played on the swings.
    "You think so?” I say, taking the paper from him and pretending to study the woman’s features. It gives me a chance to hide my face from Sam for a second. He only knows what his mother looks like from pictures, but he’s right. Carol Ulrich and Tamara could be sisters.
    "I remember her,” Sam says.
    "You do?"
    "At the corner store. She was in the line-up at the bank machine once too."
    "That so."
    Sam pulls the newspaper down