She wonders why Fola has this, of all photos, here framed on the nightstand, the frame the wrong size so the photo slips sideways, the shot out of focus, some Christmas performance of no real consequence. She abandoned ballet sophomore year, first semester, despite great potential and greater “commitment.” Had seen it: could lift her big toe to her forehead, demanded a split of her muscular legs, had defied her flat arches to bend into pointe shoes, could do all the steps in her sleep, no mistakes, but had stood at the bar in a line that September and noticed the palette, the pinks and the whites, light brown hair, light brown wood, clean-straight lines in the sunlight, and noticed herself, neither long, straight, nor light, and had seen in an instant what was meant by commitment: she was great at ballet but was no ballerina. (Philae had suggested that she take up Team Management to meet her requirement for after-school sports, and indeed she had found a perverse kind of pleasure in watching her light-brown-haired classmates in skirts — yellow mouth-guards bared, snarling, browned legs churning earth, drawing blood from bare shins with their field hockey sticks, later ice hockey, lacrosse sticks, so bafflingly violent, “Blood makes the grass grow!”—while she ticked off stats.)
She rolls the other way but feels the photo-faces watching her. She turns the photo over so it’s lying facedown. The position has promise. Unseen and unseeing. She rolls to her stomach and lies there facedown. At first she finds comfort: the intensified silence, the absolute darkness befitting the occasion. She isn’t quite sure what she’s meant to be feeling, but this here would seem the appropriate pose, sort of prostrate with grief (that won’t come) for her father and guilt at the thing with her mother, what’s left. If she embarrassed them all with that scene at the airport, she unburdened a bit of the anguish at least. Maybe they’ll talk a bit more a bit later. Probably not. It is not Fola’s thing, “talking out.” More likely they’ll act as if the thing never happened, not least as there’s now this more solid despair that her siblings won’t mention, not once at the airport, not once in the car, as if it’s not really true, as if they’re all here in Ghana — where no one has been except Olu, someone mentioned, when he was just born — just by chance, here for Christmas, a family vacation, and not for their father, unmentioned and gone.
The comfort becomes panic, with her face in the pillow, unable to breathe for the cloth and the heat, and now, rolling back over, she finds that she’s crying for nothing more epic than feeling left out. There they are, the lot of them, somewhere else, talking, their voices drowned out by the overhead fan while she’s here on her own, the one not like the others, feeling inferior as she always does whenever they’re home. With one of them (two max, the twins for example), she can generally rise above it but not with all three, so much older and taller, inexplicably taller, and surer, more spectacular, more shiny than she.
Her siblings are shiny. Olu, Taiwo, and Kehinde. They shine into rooms with their confident strides, their impressive achievements, and she with her beauty; they glow with their talent, their stuffed bag of tricks. There is Olu’s calm brilliance, his mastery of science, his deep steady voice sure with knowledge of facts. There is Taiwo’s dark genius, her hoarse luring whisper aglow with long words and the odd phrase in French; all her life she has had it, since Sadie can remember, this thick air of mystery, of effortless grace, as have only those women whose beauty is given, not open to interpretation by beholder, a fact. There is Kehinde’s pure talent, the gift of the image, that quiet assurance with which he looks out as if all of the world were overlaid with some pattern indescribably beautiful and meaningful, a grid, and if only you could see it as clearly as he could, then you too would take to blank easel with brush just as simply as one watches movies, the news, without commitment, simply seeing and understanding the seen. And there’s she. Baby Sadie. A good decade tardy, arriving in winter, a cheerful mistake, with her grab bag of competencies — photographic memory, battement développé, making lanyards — but lacking entirely in gifts.
Fola is convinced that the thing is there latent; for years now she’s said, “Just you wait. It will out.” Nothing has outed. She has done all her homework and studied with diligence so done well in school, not like Olu or Taiwo, more so eighty-fifth percentile; has made it to Yale (off the wait list but still); has settled in comfortably to a life of B-pluses and management positions on teams and class councils; has basked in the attention refracted by Philae of tow-headed frat boys endeared by her braids — but has yet to unearth any particular gift that might place her in league with her siblings at last.
Panic. Rising gently from the place in her stomach such panic lies waiting for moments like this. She runs from the bed to the adjoining master bathroom and kneels by the toilet to let the thing out. Up come the peanuts and Coke and six bread rolls she ate on the plane behind Olu and Ling, tearing the bread into pieces more appropriate for pigeons before scarfing them down when the rest fell asleep.
iii
Taiwo and Ling in the one-bedded bedroom.
Awkwardly pretending to begin to unpack.
Ling sees the vase on the nightstand and thinks of it. “Your mother’s so gorgeous.”
“Mmm-hmm,” Taiwo says. She is crouching on the floor by the bed with her suitcase, looking vaguely for a shirt for the household-wide nap. She can feel Ling behind her trying to strike up conversation as if they were roommates, day one at the dorm, by turns nervous and excited at the distinct possibility that this stranger might well be a lifelong best friend. They’ve met on other occasions — Olu’s various celebrations, mostly birthdays, when the family would drive down to Yale in the little blue hatchback, a mess from the flowers, Baby Sadie in grade school, and they just returned — but those were the years that she, Taiwo, spent mute, when she’d sit there in silence at Sally’s, and eat, so it wasn’t until later, circa med school graduation, that she spoke to Ling really, got to know the girl some.
It was then she discovered that Ling, much like Olu, is dead set on things going well at all times and so cannot sit stilclass="underline" flutters, flits, laughing constantly as if trying to keep a beach ball from touching the ground. The problem, to boot, is the lack of a filter. She says what she’s thinking, then laughs at her thoughts to an endearing effect (if exhausting, adolescent). If she weren’t pretty, she’d be annoying. Instead she is cute.
This more than anything is what disturbs Taiwo, how cute is Ling, barely five feet off the ground, with her skinny black ponytail bobbing along as she bobs beside Olu double-step to keep stride. She doesn’t find cute women trustworthy, not grown-ups. A cute girl is one thing, cute adult another. Such women always seem to have something to hide, to be playing at helplessness, masking desire. Invariably, she sees in their sweet long-lashed eyes the same smoldering want that burns blatant in hers, if not more of it, cunning, more clarity of purpose, obscured by the girlishness, false to its core. They are women in the truest sense, ripe with soft power, yet pretending not to know what they want, that they want — as if want were unbecoming, a flaw cleverly masked by the appearance of being both needy and content.