me. I thought I’d stop by and see how you
and Eva are doing.”
Ten minutes later, she climbs the steps to the brownstone. Two urns overflowing with
verbena and hollyhocks flank the door. She rings the bell, and then uses her key to
let herself in.
Her mother and Eva are at the farm table that separates the kitchen and parlor. Through
the doors opening onto the dining deck, Caro can see the mugs left on the outdoor
table. The canvas umbrella is open, casting shade over the terra-cotta pots. Below,
in the garden, a path leads from the shaded lower deck to a fountain installed the
year Adam left for college, if his at best partial residence in his N.Y.U. dorm can
be called leaving, by her mother’s first lover, a photographer with a penchant for
tinkering that resulted in a hidden pump that makes the water gurgle over a tiny wheel.
Beyond the fountain and the brick-edged beds of plantings—low pachysandra, bushy oat
grass, miscanthus interspersed with daylilies and purple irises—is the huppah under
which Adam and Rachida were married seven years ago, Omar’s presence in Rachida’s
belly obvious to all. The huppah is home now to a hammock, installed by her mother’s
last lover, an itinerant lecturer of mathematics whose jealous scenes had led to what
her mother has told her was a decision that “last” means not latest but final, a final
she now views in the context of her teleology of love as progress rather than retreat.
“Hello, darling,” Myra says. “We’re just working out a schedule for Eva, first for
the next two weeks before the others arrive, and then for after that. Come take a
look and see if we’ve forgotten anything.”
Caro pulls up a chair and pours herself a glass of lemon water from the pitcher on
the table. Although she and everyone else admire her mother’s keen organizational
skills, applied these days primarily to herself and her own pursuits, they also provoke
in Caro a kind of dread, a silent rebelliousness, as though she is being asked to
conform to a grim military regime. When she once confessed this to her mother, her
mother said, “I’m so sorry. How awful for you. You need to remember that I’m only
trying to control myself. An orderly external life allows my mind to wander freely.
It’s an occupational hazard for therapists. We overvalue order, since it’s the unchanging
routine of the sessions that lets the unconscious flow.”
Her mother’s love of order, Caro has come to understand, runs even deeper. For her
mother, there is a harmonic beauty in a household where the precise number of cartons
of milk needed for a week are loaded face forward on the bottom refrigerator shelf
every Wednesday afternoon, where each closet has its designated function, where the
mattresses are turned left to right, top to bottom, in alternating seasons. Unlike
Caro, her mother eats the foods her body needs at the times they are needed. Her days
are laid out so that each includes fresh air, work, solitude, conversation, and time
at her piano. They are works of art unto themselves, something that fills Caro alternately
with awe and horror—awe because her mother, in fact, accomplishes more in a day than
anyone else she knows, horror because it seems inhuman to be able to keep destructive
impulses so entirely leashed.
Caro studies the first column of the schedule her mother has drawn up for Eva. It
is labeled Daily Tasks : Mondays for laundry, Tuesdays for washing linens and ironing, Wednesdays for cleaning
the baths and kitchen, Thursdays for vacuuming and dusting, Fridays for food shopping
and errands. She skips to the column labeled Omar School Pickup . Caro had leaned on all her connections to find a first-grade spot for Omar, with
a friend in the admissions office at the City School having come through only last
week thanks to a family that was unexpectedly moving. On the schedule, there is Adam
for