I am sweating suddenly. “They are my friends,” I say. “Emmy says they can’t really be friends, but they are. Friends do not hurt friends.”
He grunts. I do not know what that grunt means. “There are friends and friends,” he says. “Tell me about the people in that group.”
I tell him about Tom and Lucia first and then the others; he takes down the names, asking me how to spell some of them.
“And were they all there, these last few weeks?”
“Not all every week,” I say. I tell him what I can remember, who was on a business trip and who was there. “And Don switched to a different instructor; he got upset with Tom.”
“With Tom. Not with you?”
“No.” I do not know how to say this without criticizing friends, and criticizing friends is wrong. “Don teases sometimes, but he is my friend,” I say. “He got upset with Tom because Tom told me about something Don did a long time ago and Don wanted him not to have told me.”
“Something bad?” Stacy asks.
“It was at a tournament,” I say. “Don came to me after the match and told me what I did wrong, and Tom — my instructor — told him to let me alone. Don was trying to help me, but Tom thought he wasn’t helping me. Tom said I had done better than Don had at his first tournament, and Don heard him, and then he was angry with Tom. After that he quit coming to our group.”
“Huh. Sounds more like a reason to slash your instructor’s tires. I suppose we’d better check him out, though. If you think of anything else, let me know. I’ll send someone over to retrieve that toy; we’ll see if we can get some fingerprints or something off of it.”
When I have put the phone down, I sit thinking of Don, but that is not pleasant. I think of Marjory instead, and then Marjory and Don. It makes me feel a little sick in my stomach to think of Don and Marjory as… friends. In love. I know Marjory does not like Don. Does he like her? I remember how he sat beside her, how he stood between me and her, how Lucia shooed him away.
Has Marjory told Lucia she likes me? This is another thing that normal people do, I think. They know when someone likes someone and how much. They do not have to wonder. It is like their other mind reading, knowing when someone is joking and when someone is serious, knowing when a word is used correctly and when it is used in a joking way. I wish I could know for sure if Marjory likes me. She smiles at me. She talks to me in a pleasant voice. But she might do that anyway, as long as she did not dislike me. She is pleasant to people; I saw that in the grocery store.
Emmy’s accusations come back to me. If Marjory does see me as an interesting case, a research subject even though not in her field, she might still smile and talk to me. It would not mean she liked me. It would mean she is a nicer person than Dr. Fornum, and even Dr. Fornum smiles an appropriate smile when she says hello and good-bye, though it never reaches her eyes as Marjory’s smile does. I have seen Marjory smile at other people and her smile is always whole. Still, if Marjory is my friend, she is telling me the truth when she tells me about her research, and if I am her friend, I should believe her.
I shake my head to drive these thoughts back into the darkness where they belong. I turn on the fan to make my spin spirals whirl. I need that now; I am breathing too fast and I can feel sweat on my neck. It is because of the car, because of Mr. Crenshaw, because of having to call the police. It is not because of Marjory.
After a few minutes, my brain’s functionality returns to pattern analysis and pattern generation. I do not let my mind drift to Cego and Clinton. I will work through part of my lunch hour to make up the time I spent talking to the police, but not the two minutes and eighteen seconds Mr. Crenshaw cost me.
Immersed in the complexity and beauty of the patterns, I do not emerge for lunch break until 1:28:17.
The music in my head is Bach’s Violin Concerto No. 2. I have four recordings of it at home. A very old one with a twentieth century soloist named Perlman, my favorite. Three newer, two fairly competent but not very interesting and one with last year’s Tchaikovsky Competition winner, Idris Vai-Kassadelikos, who is still very young. Vai-Kassadelikos may be as good as Perlman when she is older. I do not know how good he was when he was her age, but she plays with passion, pulling out the long notes in smooth, heartbreaking phrases.
This is music that makes it easier to see some kinds of patterns than others. Bach enhances most of them, but not the ones that are… elliptical is the best way I can say it. The long sweep of this music, which obscures the rosetted patterns Bach brings out, helps me find and build the long, asymmetrical components that find rest in fluidity.
It is dark music. I hear it as long, undulating streaks of darkness, like blue-black ribbons blowing in the wind at night, obscuring and revealing the stars. Now soft, now louder, now the single violin, with the orchestra just breathing behind it, and now louder, the violin riding up over the orchestra like the ribbons on a current of air.
I think it will be good music to have in mind while I am reading Cego and Clinton. I eat my lunch quickly and set a timer on my fan. That way the moving twinkles of light will let me know when it is time to go back to work.
Cego and Clinton talk about the way the brain processes edges, angles, textures, colors, and how the information flows back and forth between the layers of visual processing. I did not know there was a separate area for facial recognition, though the reference they cite goes back to the twentieth century. I did not know that the ability to recognize an object in different orientations is impaired in those born blind who gain sight later.
Again and again they talk about things I have had trouble with in the context of being born blind or having brain trauma from a head injury or stroke or aneurysm. When my face does not turn strange like other people’s do when they feel strong emotion, is it just that my brain doesn’t process the change of shape?
A tiny hum: my fan coming on. I shut my eyes, wait three seconds, and open them. The room is awash in color and movement, the spin spirals and whirligigs all moving, reflecting light as they move. I put the book down and go back to work. The steady oscillation of the twinkles soothes me; I have heard normal people call it chaotic, but it is not. It is a pattern, regular and predictable, and it took me weeks to get it right. I think there must be some easier way to do it, but I had to adjust each of the moving parts until it moved at the right speed in relation to the others.
My phone rings. I do not like it when the phone rings; it jerks me out of what I am doing, and there will be someone on the other end who expects me to be able to talk right away. I take a deep breath. When I answer, “This is Lou Arrendale,” at first I hear only noise.
“Ah — this is Detective Stacy,” the voice says. “Listen — we sent someone over to your apartment. Tell me again what your license number is.”
I recite it for him.
“Um. Well, I’m going to need to talk to you in person.” He stops and I think he expects me to say something, but I do not know what to say. Finally he goes on. “I think you may be in danger, Mr. Arrendale. Whoever’s doing this is not a nice guy. When our guys tried to get that toy out, there was a small explosion.”
Explosion!
“Yes. Luckily, our guys were careful. They didn’t like the setup, so they called the bomb squad. But if you’d picked up that toy, you might’ve lost a finger or two. Or the thing might’ve hit you in the face.”
“I see.” I could in fact see it, imagine it visually. I had almost reached out and grabbed the toy… and if I had… I feel cold suddenly; my hand starts to tremble.
“We really need to find this person. Nobody’s home at your fencing instructor’s—”
“Tom teaches at the university,” I say. “Chemical engineering.”