Wednesday, December 26, 2007

Extraordinary Heart: Chapter 4

The computer in the living room is in automatic power-save mode, the monitor blank, the tower silent, and the sole sign of life is the monitor’s power light. It became this way after twenty minutes of a screensaver, which was watched by a catatonic Diana. There is a knock on their apartment door. Diana, who had been mindlessly opening a letter from the real estate agency, stops to answer it. In the doorway stands Corey, holding a bouquet of lilac oxalises.

Diana shakes her head slowly. “You still live here,” she sighs. Last night, after the discussion (what other word is there for it?), Corey slept in the makeshift guest room that was formed from putting Andrew’s crib in Gloria’s room.

“Diana, I love you more than anything. I don’t know when or how things went wrong, but I can’t let this fall apart. Not this quickly. Not at all.”

“Corey, I want this to work. I do, but—”

“Shut up…” Corey says swiftly, but not loudly.

Taken aback, Diana reacts with disgust, but before she can get a syllable in, Corey interrupts again, “Diana, I don’t know what notions you got in your head or where you got them from, but they’re killing us. They’re killing me. Maybe things have been too simple, but simple isn’t as bad as it seems. Diana, I don’t mind that you are curious about life and fate and all that, but I can’t stand around and let it separate us… get between us and push us apart. I won’t let it! Diana, things are right! They may not be perfect, but, God, what is? Me? Not a chance. You? Sometimes, I think so, but irregardless… I’m sorry if this—us—seems too unreal for you, but take my word for it, it’s real, and it’s good, and I’d like to know why you don’t think so…”

“It’s not that easy…”

“It can be!”

Diana holds up a hand, with a quick, “My turn.”

She breathes in before saying, “Corey, things are easy. It makes me look around and ask, what happens when things are too easy? Sometimes things don’t work out. I just want to know that it will work. I’m sure if I kept my mouth shut, things would coast along. If I don’t question it, I won’t know the answer.”

“The answer is ‘yes,’ my love. Listen to me. The answer is ‘yes.’ I don’t know this to be true; I make it to be true. Trust me, Diana, you’re just rocking the boat.”

“So, you don’t want me to rock the boat?”

“I don’t want you to expect the boat to tip, because I’m doing everything I can to counterbalance.”

Diana is silent for the longest time. “Remember when there was that time that we weren’t… us? I had to reroute my life. I had to implement a half-developed fallback plan.”

“Diana, when we put things on hold, you were still in a pretty stable environment: living at home, in college, working.”

“And every night, I prayed things would go back to the way they were.”

“And they did!”

Diana continues her monologue, “It’s not that I wanted a whole lot of change in my life, I just learned to expect it. When you hear about life plans being derailed, it’s usually off the desired track, not back onto it. It’s pretty scary when you’re told all your life that life is unpredictable and everything you predicted happens.”

“I know what you mean. When Donald was born, it was like an answered prayer. And how my great-aunt sang at our wedding, like I always imagined. And this beautiful house we’re living in. It’s everything we wanted.”

Corey gets the strangest look from Diana. “Donald” was the name Corey hand in mind for the son that would be the eldest Henderson child. Then Gloria was born. Corey’s Great-Aunt Delores died of throat cancer four months before their wedding. And Diana still held in her hand the half-opened letter from their real estate agent, who kept telling them that their dream house was out there somewhere. That letter fell to their apartment floor.

“Diana,” Corey starts, “I get what you’re wanting. But trust me, Sweetheart, I can give it to you. I never meant for things to seem stale. I just thought we wanted to be comfortable.”

Without another word, Arielle embraces him, holding him tightly in a forceful hug and kisses him. It is a welcome change from the reverent pecks that they usually exchange. Something out of a romance novel that Diana would not be able to stomach.

“You’re fighting…” Diana whispers.

“What?” he asked, taken aback by how things have changed so suddenly.

Diana smiles a great smile of joy, “You’re fighting it. You said to yourself, it’s worth it. You fought it. That’s what makes it different. All this time, I was following a linear system, and here you are, defying it, making it different. Defining the option.” Diana brings him close.

“And, are things going to get better, then?”

“They’re already better. And they’ll get better still.”

Corey asks, meekly, “I did good?”

“Doing good is hard. You did right. Right is as good as it gets. I don’t know what force made you figure it out, but you did.”

“Book,” he says simply.

“Huh?”

“There was a book in my office. A tattered, old thing by C. S. Lewis. I think I read it in high school, but this time, it was different. It inspired me to do something. It spoke of love and roles and how God wants us to be.”

Diana smiles, “What was it about?”

“I couldn’t even begin to talk about what it said, but it made realize that I should do what I was thinking about doing.”

“What?”

“This. Fighting. Anything but sit idly and watch my world fall apart.”

Diana picks up the letter from the ground. She reads it and says, “Shelley has found some houses she’d like us to look at. She’s asked us to call her.”

Epilogue coming soon...

Saturday, December 22, 2007

Extraordinary Heart: Chapter 3

Her eyes slowly open, squinting at the bright light coming from her computer monitor. The periwinkle-background screen displays a scrolling text in bright yellow, the Proverb of the Week. A quick tap at her mouse causes the screen saver to vanish, bringing back Diana’s manuscript. Sitting meekly at the top of the page is the lone third of a page of text that Diana has conquered today before her unexpected catnap. “I need a break.” She checks her watch. It’s nearly one o’clock.

Lunch sounds good, Diana thinks. She walks into the kitchen, completely ignoring the mail on the counter, not even throwing away the junk mail. The refrigerator hasn’t much in it. Well, it actually has plenty, but nothing looks good. Pantry’s a lost cause, too. Diana looks at the dry-erase calendar on the refrigerator door. It is filled with schedules of events for the kids. “Well, I guess Diana’s going out to eat today.” The kids are gone, playing with the neighbors for the day. Almost feeling guilty about it, Diana grabs her cell phone and throws it in her purse.

“I feel like Italian,” Diana says aloud, with a kind of confidence to her voice. She compulsively checks the message light of her answering machine, and sees the note she’s scribbled to herself: Finish your letter to Christopher!

The “letter” is the regular correspondence that she has with Christopher. A true writer, Diana starts by hand-writing her letters. The final draft is often a mess of mark-outs in several colors, with attachments and asterisks whose footnotes sometimes are whole new pages of writing, often an extra story that needed to be added. From there it is typewritten and sent off. Diana is pretty sure Christopher just types them. He’s a computer programmer after all. She has seen him type entire pages of texts or programs with his eyes closed. To keep it from feeling too distant, they agreed never to edit more than once and any proofreading was to be done the first time. It was a silly rule, but it worked. The expectation of raw humor that comes from seeing the other’s address in the top, left-hand corner of an envelope is always fulfilled after the letter is read. Laughter is heard, and the sun shines brighter. It’s official, I write too much poetry.

Truthfully, at times, she feels as if she knows Christopher better than she knows Corey. While Diana is good friends with the women at church and the mothers of Gloria’s playmates, Christopher is really that best friend, who, for most women in her situation, would be female, the “gal pal.” But the coed friendship worked for both of them. She knows Christopher to be on the shy side, but slowly progressing. Ever so slowly, she jokes to herself. But he has opened up to her, and she has returned the favor.

Inspired, she picks up the phone and dials one of the many memorized numbers. Corey had programmed it into the phone’s memory long ago, but Diana never messes with too much technical stuff. The VCR would be blinking 12:00 forever if Gloria wasn’t so clever. It would be great if she could tell time, then it would blink the correct time, instead of thirteen minutes behind Bangladesh.

“Hello?” the familiar male voice answers.

“Hey, Christopher,” Diana replies.

The voice answers cheerily, “Hey, Diana, what’s going on?”

“You had lunch, yet?”

“No, I got wrapped up in­—”

“…your programs, I know. It’s all you ever do,” Diana replies, smirking, “I’ve got a serious hankering for Italian. You up?”

“Yeah, Italian sounds good,”

* * *

Christopher walks in and sits down. Diana smiles at his faded jeans and wrinkled blue button-down, unbuttoned, over a white tee-shirt. His dark brown hair is long on all sides, but combed so not to look unkempt. Diana smiles, “You look like an unmarried computer programmer.”

“I am an unmarried computer programmer,” he replies, rehearsed.

Orders taken, Diana shakes her head, “You should get married,”

“I know I should. I want to. I’d love to. And so would my mom. I didn’t count on…”

“…splitting with Laura,” Diana finishes. She actually meant to start the conversation out gaily, but they were going down that road again. Christopher had met Laura Dale, an Education major/Spanish minor, at Emory University, where the two attended college. They were engaged right out of college and planned to wed a year later. That was, until Laura was forced to take a job outside of Atlanta, in Macon. They didn’t live together, so the hour-and-a-half drive was all that separated them. Then Christopher was promoted to lead a team of programmers on several big projects. Try as he might, he couldn’t make it every weekend. Laura refused to let him look for a job in Macon. Omnitech was his dream job. In the end, it just happened. They picked dates, made plans, discovered conflicts, and picked new dates; years passed; invitation corrections just stopped coming.

“I didn’t mean to start like this,” Diana apologizes after several moments of silence.

“No, it’s okay. Life goes on. I mean, who actually gets the life they planned?”

“I did,” Diana replies. Christopher opens his mouth to refute her, but remains silent, twisting his lips in a pensive glare. “Well, not completely, but pretty close, I have to admit.”

“So, how’s Corey?” Christopher asks quickly, finding the tables turned.

“Corey’s Corey. It’s all he’s ever been,”

“I meant, how is he doing?” Christopher asks, without cheer and with concern.

“Oh, fine. Work’s great. He’s happy. The kids are great.”

Christopher regretfully asks, with a grave tone, “Diana, what’s going on?”

Diana opens her mouth to reply, but is saved by the server giving them their plates. Diana quickly takes a bit of ravioli Alfredo.

“Diana…” Christopher repeats concerned, not picking up his fork. He glared at her, challenging.

“Christopher,” Diana begins as her friend finally reaches for his fork, “why didn’t things work out between you and Laura?” she asks in a conjecturing tone, “I know you lived far apart, but whatever happened to love conquering all?”

“This isn’t about me…” he refutes.

Diana puts her hand up and tells him, “I need somewhere to start from. Why couldn’t you make it work?”

“Diana, it wasn’t about making it work. We knew how to make it work. They say the secret to marriage is finding the right person and being the right person. In most, almost all, cases, somebody is not being the right person. In my case, it was the other. Laura was wonderful. She was caring and thoughtful and everything anyone could ask for, but we didn’t complement each other. Not in the sense of telling each other how great the other was, we didn’t have… friction.”

The word pulls a thought from deep within Diana’s memory. Way back when the two of them went to high school together, Diana remembers his theory of relationships. His use of the word “friction” signified the teasing and playful conflict that went on between dating couples. He had noticed that lovey-dovey relationship usually fade away, but “frictional” relationships, as he called them, were the kind that survived longer. They ended with “breakups,” messy breakups… clear, distinct points in when the relationship was over. It was dynamic that Christopher loved to comprehend, but was weary to participate in. He found a nice girl (whose name Diana can no longer recall) in high school that entered into a sort of symbiotic relationship with. Christopher, being completely inept in the world of dating, was her pupil of sorts. For her, it was really just a convenient date to dances. Though it didn’t last into junior year, they ended up going to senior prom together, as friends. With the prospect of college on the horizon, quite a few relationships in his social circle fell apart, and many couples ended up going “as friends.” Laura was the opposite of that girl, lacking expertise as Christopher did, and she supposes that’s what attracted Christopher to her. She made the relationship easy, and so did Christopher. The facts of the matter came crashing down afterwards.

“Faded away…” Diana mumbles to herself, “You said your engagement with Laura faded away, right?”

“Yes, it did. I’ve told you this before. She didn’t want to shop for a dress, for flowers. It didn’t feel right to either of us anymore. She was a great person, and we were in love, maybe falling out, but… but it wasn’t… stimulating… amusing,”

Diana laughs at “amusing.” He uses the word a lot; it’s the quality he looks for in friends and lovers. Etymology is one of his hobbies, and he told her that the original meaning of the word was more like “inspiring.” Finding this odd, she looked it up, and without reading the definition saw that he was right. Take away the “a,” from “amuse” and you get “muse.”

“Why would you not get with someone that you didn’t have friction with?” Diana asks.

“You don’t think like that when you’re in love. You’re just so happy…”

“I know what you mean. But, I guess no friction, no longevity…”

“No, it’s more than that. There has to be… roles,” he says, contemplatively.

“What do you mean?”

“I told you this freshman year. I read this book about gender roles. Men instinctively enjoy adventure. They want something to fight for, someone. Women want to be desired. It gets warped out of context, but the bottom line is that we’re all wild at heart. We tame ourselves, we starve our souls. What does this have to do with you and Corey?” Christopher asks, abruptly changing the subject, feeling Diana veering away.

“Lately, I’ve been wondering about us. He’s a great person, and we’re in love, but it’s just not… stimulating?”

Christopher lets out a deep sigh, “Diana, I don’t know what you’re considering, but… I knew Laura was not right for me. If you’re… Whatever happens, I’ll be here for you, but I don’t want you to… Figure this out, Diana, ‘cause this is big…”

How the conversation continued beyond this is beyond Diana’s comprehension. Years of putting her words on paper made Diana apt at speaking her mind. Christopher, usually quiet, spent the better part of his college years forcing himself into social situations. It gave him the same skill. Their conversation at lunch just happened. But there was no growth, no insight, no connection, as Diana realized long afterwards. They looked at each other, but almost through each other, between bites of food. There wasn’t any awkwardness; they’d been friends too long, but the words were lost moments after they were spoken.

Diana was almost surprised when she found herself at home again, so lost in her thoughts.

* * *

Corey just sits in the chair, tears rolling down his cheeks.

Diana sits across from him in the loveseat, her eyes, too, wet and her cheeks tear-streaked.



Chapter 4

Tuesday, December 18, 2007

Extraordinary Heart: Chapter 2

Diana sorts through her mail. It has become quite a distraction. She has a grand total of three poems and three-quarters of a short story done, all of which are in need of serious revision. Another letter from her editor, probably asking for a revised version of the incomplete The Heirs of Sonriso I, the infamous fourth novel that Diana now works on when she’s not working on her second anthology. Diana made the same promise she made while doing the second and third novels of the Sonriso chronicles; she swore to do only one book at a time. What started as a few inspirations for the novel became writing sections of scenes she wanted to capture. She informally showed them to Danielle, her editor, and now, she had two pots on the stove, once again. Must I be so creative? Why must my blessing also be a curse? Ooh, maybe I should write that down; it’d make a very powerful line…

The fifth book, however, would have to wait until she’s done with the anthology, no matter how much her fans complain. Let them read the new anthology. Let them extract the very essence of her work. In fact, why don’t they read the anthology she’s got out now? It spent three weeks on the New York Times Bestseller’s List. It may have been seventy-sixth at its peak, but let see them try to write a bestseller.

For a moment, she wasn’t paying attention to the words in the letter she was reading, so she starts over, reading the direct wording of her publicist, Bridget Burkly. Diana muses at how sharply her editor writes. Bridget does not include of ounce of fluff or trivialities; she just goes straight to business, quoting facts and making suggestions in such a way that one has the profound desire to take a deep breath after reading something composed by her. That’s not to say she’s abrupt. In reality, she’s a brilliant linguist; her sentences strictly coherent, making more points in one sentence than some make in a single paragraph and fitting more content into each paragraph than some can in fifteen pages. Bridget also has the unyielding habit of using Diana’s married name. Diana took her husband’s last name, Henderson, for all things but her writing, a small attempt to protect their identities. She doesn’t necessarily keep it a secret, but she uses her maiden name on the cover of all her books.

Plus, the name looks good on the cover of the books. Mimicking the style of mysteries or thrillers, the covers of Chronicles of Sonriso series feature a slight watery, oil painting-like background with Diana Owler embossed in brightly-colored, monochrome, serif font. As much as Diana prefers hardbacks, seeing her name in an array of colors on the paperback version covers of The Chronicles of Sonriso, placed side by side, never ceases to enchant her: the vibrant goldenrod on The Knight Sonriso, the metallic steel blue on The Long Reign of Sonriso I, and the warm crimson on Sonriso I in the War of Delcolm. For The Heirs of Sonriso I, Diana already has airy lavender-grey in mind.

For all other purposes: Christmas cards, personal letters, legal documents, and so on, Diana uses the surname Henderson. She is happily married to Corey, and is a bit of a traditionalist. He’s a good man. He has a steady income to support the kids when Diana’s book sales level off. The two had married when Diana was only twenty-two, but they had been in love for three years, and Diana had felt like she had found the man of her dreams. And everything was happily ever after. Well, for five years, they had been, within reason. Their two kids are a handful, to say the least, but nothing to be unexpected for young children. Diana, in the depths of her heart, wants one or two more, but she is careful to plan them more or less so that it won’t create a big interference with her writing.

Another advantage of marrying Corey right out of college was that there wasn’t the “random years” phase as a struggling writer. She’d never spent until three in the morning at some run-down coffee shop or old-fashioned diner smoking cigarettes and drinking “black-as-my-soul” coffee to relieve her writer’s block. For one, she is and has been religiously opposed to both nicotine and caffeine all her life. And it’s not as if she hadn’t spent until three in the morning in an old-fashioned diner, in throes of inspiration. Once, when she visited Manhattan for a book tour after her first anthology hit the Bestseller’s List, she did just that, drinking decaf coffee and eating a stale scone as she furiously scribbled down a poem about the beauty of Time Square. It was 1:00 AM, and the traffic was light, and she somehow had found herself in the very middle of the famous intersection. In retrospect, she couldn’t recall exactly why she had done it, but she spun twice in place, her eyes glazing over as the myriad of colored lights caused an almost psychedelic reaction in her brain that had left her feeling so euphoric that it took six napkins and a pen borrowed from a friendly waitress at a small diner called Nana’s to dull the high. The result was a poem that would never be published. Diana still has those napkins, stapled together, in one of her bottomless drawers of poem ideas scribbled on various pieces of paper or paper-like media.

The letter from Bridget was nothing more than a kind memo informing Diana about the success of three-book set in its first quarter. Her first anthology’s sale were holding steady. They had leveled off a lot quicker than Bridget had expected (or hoped), but the leveling off point was higher than expected, so she was rejoicing rather than panicking. It’s nice to have someone to do the worrying for you. All this of course was said in so many, though not too many, words.

Diana rather enjoyed reading Bridget’s writing. She remembered one time when Bridget had asked Diana to look at a short story she had written, just for kicks. Diana became deeply absorbed in analyzing the woman’s style. Diana’s critique had all but crushed the woman’s spirit. It had been too professional for the favor that was asked of her, a gaffe which Diana apologized for. She’d commented to her publicist that her writing was very forceful and pointed, but not poorly written. She regretted to tell her that the quality of work would never sell in the publishing world, but complimented her on the level of voice her work held. Diana always enjoyed being the critic, yet another pleasure that one would learn of when getting to know the woman.

Diana knows all too well that it is a hard act to be both the critic and the creator, but Diana blames it on her love of writing. Christopher often sends her the stories written during his spare time. None of them is quite good enough to publish, at least not well-developed enough, or sometimes a bit off-the-mark of professional work, but a very fun read in Diana’s opinion. It was through Christopher that Diana had found out she was a tough editor. In retrospect, Christopher turned out to be a ruthless proofreader, and Diana learned never to leave a comma out of place before sending him material to look at. They both soon learned to stick to responsive letters, which were often raw and much funnier than their polished works.

Being an editor, professional or otherwise, Diana decides to put on the back burner. Right now, she desperately needs to work on establishing herself. So far, she’s doing a fine job of transitioning into the world of bestselling authors. After she is done with that horrid yet delightful Sonriso series, and maybe after the kids are in or out of college, she’ll go back to school, work as a professor, and develop that analytical part of her brain. Working as a creative writing teacher would suit her just fine, but not yet, not until she has fully immersed herself in the literary world. “No distractions” needs to be her motto now. This new anthology is burning into her heart and there will be no time for thinking ahead until she really starts to face this collection. No distractions…

The clock chimes five o’clock and Diana goes into the kitchen to make dinner for the family. Tonight would be excellent for some homemade lasagna.

* * *

The artificial yellow lights shines upon Diana in her bed. She sits against the bed frame, fully awake, reading a printout of an untitled poem in one hand and gripping the neck of the modest, pink nightgown she’s wearing in the other, a displeased look upon her face. She looks at the clock. It’s nearly midnight. She lays the poem on her nightstand, but it slides off.

Diana looks to her right, seeing her husband fast asleep, his eyes closed and mouth straight. Diana softly brushes her hand against his thick, light brown hair. Diana lucked out in many ways with Corey. For one, they share many moral, ethical, and religious beliefs, which their respective families encouraged. Another is Corey’s thick hair, as shallow as it may be. Diana met Corey’s grandparents at her and Corey’s wedding. His grandfather had the same thick hair as Corey, though the elder’s was nearing a handsome shade of white. It’s something completely aesthetic, but one’s hair has become Diana’s guilty pleasure. Never one to pamper herself, her hair is usually nothing but naturally true, but, what is always ready for her use, under the bathroom sink, is a wide range of hair care products. For birthdays, anniversaries, reunions, and fancy occasions, Diana indulges in expensive conditioner. Not being a public figure, Diana has always allowed her wheat-blond hair grow out uninhibited… for a while. For the most part, at home, Diana’s hair seems unboisterously natural, but when she grants interviews about her books and for that occasional celebration, Diana knows full well how to achieve “shampoo commercial hair” as she calls it.

Corey dozes silently, breathing slowly, not snoring. Corey doesn’t snore. One of those silly maxims Diana’s mother told her when she was younger, as many mothers do: never marry a man who snores. Diana once humored herself with the thought that this contradicted one of the unspoken maxims of her mother: never share a bed with a man until one is married to him. Diana learned Corey was not a snorer when he fell asleep on the couch while Diana and her mother made wedding preparations. In his defense, he’d just gotten back from a business trip in Europe. Diana had almost forgotten he was there when she found him fast asleep, silent as a lamb.

Right now, Diana gives the smallest smile as she watches her resting husband. Corey is everything she wanted: dependable, loyal, family-oriented, faithful, and stable. As a young girl, Diana had watched her mother so many times, holding whichever of Diana’s siblings was the youngest, just rocking him or her to sleep. Years later, she still remembered that smile: almost a half-smile, but still genuine. It was the smile of someone full of warmth, not too hot, not too cold. Her mom often had that smile, and Diana knew she wanted it, too. Her school friends all talked about wanting children, but they also talked about working: being businesswomen, being lawyers, being doctors, just being anything but just a housewife. For a while, Diana dared not tell her friends that her only desire was to be a “housewife.” Luckily, she realized that writing was also a profession, not just a hobby. Diana always known she’d write. That was a given. What hadn’t clicked until then was that Diana never realized her mom’s “hobbies”—the gardening, the sewing, the nature walks—were different from a profession in writing. Her mom had not turned her nose when Diana expressed her desire to have a stay-at-home professional career. Her mom would never turn her nose at her eldest daughter. But Diana knew deep down in her mother’s heart was the desire for grandchildren, and beneath that outer desire, the legacy of traditional values that was held so dear in the Owler family. Corey’s family held those same values, which made their marriage quotably perfect.

The realization sweeps over Diana as it has so many times in her twenty-six years. She is her mother’s daughter: carrying on the family legacy without a glance back, yet still fulfilling the great potential God instilled in her. Many think that the two would counter each other: ambition and domesticity, but Diana found the harmony between them. Favoritism is tacitly forbidden within the family, but moderated pride is not, and many of Diana’s relatives: aunts, uncles, cousins, and in-laws all have great pride in the girl so petite on the outside yet so passionate on the inside. The words, “You’ve done well,” are spoken with meaning to her, and Diana accepts them graciously. It is no far cry to use the word “success” when speaking about Diana, no matter who you are.

Corey is everything Diana and her peers were looking for, being the right type of person to the exact extent he was trained by his family to be: the prize piece made by a potter’s hands… flawless. Well, relatively; Corey can be thickheaded at times and resistant to ask for help, but Diana thinks to herself every day how she landed the cream of the crop. Tonight, however, she gets the feeling that there’s something… unreal about him. No, she tells herself, I have felt the opposite feeling when I have looked at him. Diana reaches for the top drawer of her nightstand for her journal. Diana, finding herself confused by her own thoughts, reaches toward her comfort blanket of sorts. Pencil in hand, she lays the tip on paper, scribbles in the date, and writes, “I have no idea how to start this.” She pauses, but quickly scribbles: “I have no idea how to start this.” She writes this five times more, wondering why the words won’t come. The tried and true trick that she learned in eighth grade, which has yet to fail her, has… not succeeded this time. She puts the journal away, back in the drawer, her face devoid of emotion.

She curls up into bed, turns off the light, and falls asleep faster than usual.

Chapter 3

Monday, December 17, 2007

Extraordinary Heart


Dedicated to the beloved and inspirational
Diana Arielle,

my
inspiration for this story
a
dear friend, who hears God’s voice


Chapter 1

Extraordinary Heart: Chapter 1

Blink… blink… blink… blink… Without abandon, the tall, vertical cursor on Diana Owler’s computer monitor flashes on and off in a field of utter whiteness. The short woman with long, straight, wheat-blonde hair holds her tightly fisted hands above the light-gray keyboard of her desktop computer. She opens her hands and wiggles her fingers two inches about the array of marked buttons in a mock-typing motion. But without touching the keyboard, she drops her hands into her lap and stretches the tight muscles in neck with a long rotation of her head. The burning in her neck is warm against the cool air in the cool room. He left the air conditioner on high again, is the only thought that passes through her mind. Brilliantly and beautifully crafted sentences do not.

“It’s always the first word,” she recites, almost groans, whispering almost too softly for her own ears to hear. Her thoughts are interrupted by the crying of an infant in the next room. She smiles and walks into the next room. She cradles the tiny baby in her arms. “Hello, Andrew, how was your nap?”

The infant’s face remains clenched and continues to cry. Shifting the child to one arm, Arielle unbuttons her shirt. Feeding him with one hand, she walks into the next room, the kitchen, and grabs the stack of letters on the counter: a few bills, a catalog to a store they don’t shop at, and a letter from the real estate company. Except for the last item, these are all tossed back onto the countertop. Slipping her pinkie into the edge of the fold, Diana efficiently opens the letter with one hand still holding her son.

Feeling Andrew letting go, Diana grabs a towel from over the counter, flings it around onto her shoulder, and lays Andrew again her to burp him, the letter still in her hand. He burps immediately. Wait a relief, she thinks. She recalls how Gloria, her first daughter, took at least three minutes to perform this task. Diana lays her son down back in his room, knowing he will need a change within minutes. She scans the contents of the now-opened letter. She and her husband, Corey, have been looking into purchasing a house. With Gloria fully able to walk and Andrew struggling with bravado to figure out crawling, even the spacious apartment has become too cramped for anyone of their likings. Ironically, for the moment, Diana finds the apartment rather lonely with Corey out getting three-year-old Gloria a haircut. Andrew is wonderful company, and a great listener, but not much of a talker at the age of three months.

Their real estate agent, Shelley Dunn, spends nearly a hundred words telling Diana that, yes, there are plenty of homes their desired size within their price range. Diana immediately throws the letter away. She knows there are plenty of right-sized houses within their price range. She and Corey knew this two months ago. Between Corey’s promotion and his already generous salary, plus Diana’s newest book to be published next month (which will be a success according to her editor, who is an incurable exaggerator) (Diana still trusts her, thought), the family is financially secure. If Shelley would only find these many houses within their price range and show them to the family, they could actually purchase one. What a concept!

With the sound of crying coming from the next room, Diana correctly assumes that Andrew is finished with his business, so she strolls in to do her duty.

* * *

The autumns in Montgomery, Georgia, can be rather cool once November rolls around, and Diana knows this all too well. A heavy jacket surrounds her torso and a scarf adorns her neck. Once again, she finds herself with writer’s block, so she has opted to walk to the grocery store, which is conveniently only a quarter mile away. The beautiful scenery never ceases to inspire her to write a short story or a poem or even a song. And the trip is never complete without passing the neighborhood book store.

Oh, might as well, she thinks, as she takes a sharp left into the bookstore. Zion Street went under a nice renovation two years ago, and it is one of Diana’s favorite areas. The city had decided the area was an eyesore, so they spent millions making it look elegant, through the addition of red-brick façades and black, rod-iron lampposts. It was millions of dollars of tax money to beautify an area that supported old time stores which were replaced every few years anyway because old time stores just weren’t competing. The trend of adding profitable stores to the mix was a very slow and gradual one. The bookstore was the rare exception and the pioneer of this trend. Though the front is barely fifty feet across, the enormous storage area connected to the tail of the store is stocked to the brim with merchandise. Inside, hidden behind the polished wooden counters and pastel wallpapered walls is a highly advanced computer networking system that tracks thousands and thousands of books. The system keeps a catalog on all of the store’s merchandise, its customers, and which merchandise these customers buy. There are lucrative benefits for becoming a member, which is free of charge. For example, books are sold at decent prices; reserving books cost nothing; and a mere swipe of your membership card at the inconspicuous self-registration kiosk provides a large list of recommended books based on previous purchases or a short, customized questionnaire. It’s a very complex system, and Diana knows this all too well. The custom-made system was designed by a team at OmniTech, Inc., an Atlanta-based programming firm, led by her close friend and confidante, Christopher VanDrey. The system for Books of Eden was the first project he ever managed, in fact. The generic version of the system is reaping large profits for the company now.

Diana is personally acquainted with the owner of Books of Eden, John Waltmire, and this acquaintanceship keeps Diana’s books in the front shelves. She often goes to check and see what Diana Owler originals are featured on the shelves for that day, and today is no exception. The three-book set of her fairly popular Chronicles of Sonriso series is on the “Must-Read” counter-side display case. Diana planned for the series to have five books, but trilogies are always noteworthy, according to her publicist. Diana recalls two years ago when the first two books of Sonriso were sold in a similar set. The main difference is that the two-set was done as a single bound book, whereas this recent three-set puts the three individual paperback into an open-faced, decorated box. She can already see Bridget putting out the four-book set, then the five-book set.

Then the six-book set, Diana thinks dreadfully in her mind. She makes a mental note to make the sixth, should there ever be one, not as good as the rest, so that people will respect the integrity of the originals. In reality, she doesn’t find the medieval historical fiction chronology as her best work, but the books are easy to write, and it’s given her invaluable opportunities to improve her character development, not to mention pad her bank account. Of course, during the local TV news interviews she does, she always spits out the normal “They were a joy to write!” babble that Bridget feeds her. It’s not quite a lie. She does find herself writing ten pages of a novel in one sitting. She’s grown to love her characters, but her heart is truly taken by her anthology pieces. Her first anthology, A Tear’s Burning Desire, has graced the shelves of bookstores for eighteen months now. Quite an unconformity, it’s a collection of not only poetry, but of seven short stories of various genres and one acoustic guitar piece. Diana insisted on joining the publishing team for that publication, and although the team hated her perfectionism afterwards, no one could deny that the large hardcover digest was a work of art for both the writer and the designers. Diana almost squealed when she read the reviews in the New York Times, with nearly all glowing reviews. Two critics, who happened to be the very harshest and most well-known of critics in America, did call it “still a bit amateur,” and “trying too hard,” but having the phrase “immense potential” in both reviews brought a smile to Diana’s face that didn’t leave for at least twenty-four hours. The only experience that beat the reviews was the joy brought to Diana by the birth of her first daughter, even if bringing her into this world came with its expected amount of pain. She was a passionate writer, but motherhood is motherhood.

One reason for Diana’s errand, arguably the main reason over the fact that the family is completely out of Gloria’s favorite cereal, is that the second anthology is in the works. It’s currently untitled, (Diana never even thinks about the title until she’s compiled all the poems and stories and so on.) and Diana needs some time to connect with nature so that the anthology will progress.

Her first anthology had the definite theme about the power of the ties of deep friendship. She knew, going into A Tear’s Burning Desire, at the time untitled of course, that the overarching theme would be friendship. This new work, as far as Diana could tell, would also incorporate friendship, but it was already taking a much more spiritual feel, more about how friendship affects the world and really more about how the world, the environment around people, affects those with strong friendships; maybe even the cycle of the two: environment and friendship. The mental image of Christopher’s eyes rolling appears in her thoughts. In his free time, Christopher also writes short stories. His writing style, however, centers deeply on thick plots. Lately, she has had to praise him for starting to master character development, character interrelationships, and even developing the mood by creating an appropriate setting. He, however, lets his themes develop autonomously out of his writing. “Let the critics find deeper meaning” is his motto, verbatim. It is, in fact, written in one of Christopher’s frequent letters to her. Of course, his only critic so far has been Diana. She gets great pleasure out of critiquing his stories. Weakly, she uses it as a basis for the style for Chronicles of Sonriso.

As she leaves the store, she watches a woman smoke a cigarette in old clothing. Though she believes this would be great inspiration for a poem or two, the very mundane tone wouldn’t at all fit the ethereal emotion of her current works. Diana has a secret desire to write some really nitty-gritty kind of anthology: something a little more grim, not so much spooky, but harsh. She shivers at the prospect, or maybe it was the wind blowing though her jacket. Anyway, she knows she won’t be writing anything along those lines until she’s at least forty. Well, publishing maybe. It would be kind of cool to experiment with some naturalism.

Maybe Christopher’s onto something when he doesn’t let theme run his writing.

Chapter 2 coming soon...

Shooting Star: Chapter 6

Halley steps into her small dressing room behind the stage. It was a good opening night, almost completely sold out. After four months of tireless rehearsal, the play went on with barely a hitch. Her costar did mess up one line, which made him forget the rest, but he did a thinking pause worthy of a soap opera. The director, who had the unfortunate habit of chewing his nails, drew blood and yelped. Thank goodness for the soundproof set.

There is a knocking at Halley’s door. “Yes,” she calls out.

A man’s voice answers, “Miss Malore, there’s a man wanting to see you. He’s says he’s a friend.”

“Donny, anyone can say that,” Halley says, as if rehearsed.

“He says he’s—”

Halley runs to the door, opening it a crack. “Tell him I’m flattered, but very busy right now.”

“Yes, ma’am. He gave you this.”

Halley takes a piece of thick paper. In reality, Halley would love to meet an adoring fan. But she had been given specific directions about dealing with this kind of thing. Just in case it could be an adoring stalker, one is supposed to refuse to see someone into his or her own dressing room. The stagehands are trained to do this for the performers, and the fact that Donny was even asking means that he was likely bribed, an indication that the fan may have less than honorable intentions. Halley looks at the paper anyway. It’s a strange type of calligraphy. She quickly realizes it’s her stage name, but she doesn’t understand the design.

Halley tosses it by the corner onto her makeup table. It lands askew. Something catches Halley’s eyes. She walks over to it. In the left, top corner are some initials, written up‑side‑down. Finding this an unusual place for a signature, she flips the sign over so that the initials are right-side-up… and so is her monogram, even after turning it over.


She runs to the door, “Donny! Let him in! Let him in!”

Donny runs to her, “But you said—”

“Donny!”

“But they—”

“Go get them!” she pronounces, not an ounce of doubt in her voice.

Donny, flustered, sprints runs away. A few moments later, Halley hears a familiar voice, “I knew it was gonna take her a few minutes to figure it out.”

But the source of the voice is not who runs in. A woman with cherry red hair runs in.

“Amber?” Halley asks as she caught in a crushing hug by the woman.

“Halley, you were wonderful!”

Halley untangles herself from Amber’s grip. “Amber, what are you doing here?”

Almost choking on her tongue, Amber replies, “I came to the show… and what is with the new name?”

“That’s half my invention and half… his,” she comments tilting her head to see behind her.

“Hey,” Christopher says lightly, his dark hair slicked back. The other man with unruly black hair follows him.

“Christopher!” he hugs him, and then turns to other man in glee, “C.J.!” She hugs him, too.

C.J. says to her, “Yeah, Chris here says he could get tickets to this show in New York and we jumped at the chance. He forgot to mention you were in it.”

“Halley, you’re famous!” Amber cries.

Modestly giggling, Halley replies calmly, “I’m not famous. I have a leading role in off-Broadway play which had a good opening night. The plays only secure for like a month. I’ll have to do a lot better for a lot longer until I’m famous.”

Amber insists, “No, you’re famous, accept it.” She’s practically shaking.

“Okay, then. I’m getting the impression I can’t do otherwise.” Halley turns to her table and grabs the sign, “By the way, Christopher, thanks for getting the guy who does these things to make me one.”

C.J. comments, “‘the guy who does them?’ Halley, Chris does these.”

Halley looks insulted, “Christopher!”

Christopher defends, “Modesty is not a sin.”

“Neither is pride!”

There is a brief pause.

“By the way, Christopher, where’s Laura?”

“She couldn’t come. Sorry. You shouldn’t have planned opening night on a teacher in‑service day.”

“Yeah, ‘cause, you know, I pick the dates and times and everything myself.” Halley, still a bit overwhelmed, continues, “I don’t think I need to ask, but was I good?”

“Absolutely, incredibly, wonderfully…” Amber stops, running out of adverbs.

“Your opinion has been duly noted,” Halley tells her friends, “Guys?”

“Yeah, Amber’s right, Halley, you were awesome,” C.J. says in a calm tone.

“Yeah, it was very much getting back to your roots,” comments Christopher, with a knowing smile.

“Speaking of which, what’s going on in your corners of the world?” Halley asks.

Amber talks first, “Well, I’m a budget analyst for a company called Merchann & Chiam. It’s a lot of work, but you get to rub shoulders with all the big-wigs.”

C.J. goes next, “I’m a computer engineer, most mercenary work.”

Christopher smiles, “If you must know, I’m a programmer for OmniTech.”

“And your boss?” Halley prompts.

“Lateral transfer at the end of the month. I’m up for the promotion.”

“Good luck.”

“And you, Miss Malore?” Christopher asks.

Halley thickens her New Yorker accent, “Well, I am currently playing the role of Cecily Cardew in the Jean Cocteau Repertory production of The Importance of Being Earnest.”

In a reporter’s tone, C.J. questions, “And how are you enjoying that.”

“Oh, it’s absolutely extraordinary fun, but to tell you the truth, I miss waitressing a tiny bit. You meet so many great people.”

And all the four friends break into laughter.

* * *

The Jean Cocteau Repertory is located at Bouwerie Lane Theater, at the northwest corner of the intersection of Bowery and 2nd Streets, less than a quarter mile from Broadway. It is a small, white, two-story building, surrounded by a cast-iron veranda, supported by tall, nondescript white columns, much like the surrounding buildings. On either side of the tall wooden doors, hand two blue-background announcement boards. Hanging from the veranda, is a miniature theater marquee, an eyesore which rather ruins the austere décor of the block. It announces:

The Importance of Being Earnest

Starring
Dennis F. Perry
Arthur Holmes
Hilary Daphne
C C. Malore

The sign is falling into disrepair, resulting in incomplete letters on every line due to frequent burned out lights, including the first period of “C. C. Malore.” Quiet suddenly, the light representing the second period pops, sending a glowing piece of filament flying into the air. The light fades away, and it is invisible before it can be seen to descend.

Wednesday, December 12, 2007

Shooting Star: Chapter 5

Halley lies on her bed, eyes peacefully shut, flat on her back, her head turned toward the left side of her bed, away from the clock and toward the adjacent wall with the window. The clock displays 5:58 in the monotonous red digits. From outside the window, a golden light slowly enters the room. Halley eyelids quiver then open briefly. She inhales, her drowsiness leaving quickly. She looks to the clock, only a minute left until time to wake up.

Usually, Halley would take the opportunity to attempt to sleep for the remaining fraction of minute, but today, her hand darts to the clock, turning it off before it sounds. She had slept hard last night, she realizes as she pops her neck. She hops out of bed silently. She opens the closet door and seems to ponder over her outfit before retrieving the usual work wear. She passively closes the window blinds, removes her sleep shirt, and dresses at a casual pace.

In the bathroom, the brunette pulls up her hair, and makes the everyday bun out of it. She could remember a time when “down” was for normal days and “up” was for the more elegant occasions. Now, to have her shoulder-length hair sprawled over her shoulders is a rare pleasure. She applies the hint of blush, the barely-noticeable eye shadow, and pulls her coral red tube of lipstick, twisting it up, the tip long since smoothed over. She stares at it for a second, before twisting it back into the container, and throwing it carelessly behind her. It lands noiselessly on the rough carpet in the hall. She opens the medicine cabinet, grabs a black make-up bag, and starts to root through it before coming up with another lusterless golden tube. Returning the bag to the shelf, and closing the mirrored door, she removes the cap and twists the tube, revealing a vibrant orange-red color somewhere between the color of mango and grapefruit. She applies it and stares at herself breathlessly. The touches of once invisible blush now blaze like softly glowing embers against her cheeks. Her eyes water just looking at herself. Halley removes the hair pin and lets her hair fall around her head. She shakes it out and once again grabs the whole mass of it with one hand and with her other hand, she feels her temple and moves it up to her hairline, reaching her middle finger in and pulling away a thin lock of hair, which she allows to lie against her face, about an inch from her eyes. Tilting her head, but not smiling, she spins her hand and stabs her hair back into a bun.

She stares at herself for a moment, and then takes a peak at the digital clock by her bedside. Ironically, she has fixed herself up four minutes quicker than on normal days, when she rushes through the ordeal. Time has miraculously slowed down for her, if only a little.

Turning away from her reflection and aching the slightest bit because of it, she strides down the short hallway to the outside door and taking only a passing glance at the calendar.

* * *

Halley approaches a table and smiles politely, “What would like, guys?” in a normal accent, without any hint of the South and very little North. The two twenty-something males are still undecided. Halley walks away, giving them a minute. She’s had thousands of customers, but these two seem familiar. She tried for two months to remember all her customers at least by sight. This was too difficult, so she tried to remember only the ones who hit on her, so she could be icy, but even this select group became too large for her memory. She settled for a system of continual amnesia long ago.

“Dude,” one of pair says to his companion, “wasn’t that the waitress you hit on last time?”

“You know, it’s been a couple months. Yeah, it does look like her, but she’s different. Besides, the other one had to have been from Georgia or something, judging by her accent. This one’s from around here. And I’ll bet you anything she’s taken.”

“What makes you say that?”

“The way she carried herself. Waitresses are low-income, so they’re not getting their confidence from their money. That means they have to get it from their boyfriends. I know girls, and they rarely produce their own confidence. Trust me.”

Halley returns, “You guys decided yet?”

The first guy opens his menu, “Yes, I’d like…”

* * *

Halley exhales, still staring intently at the total stranger that she just expressed her utmost distaste. Her eyes squint against the harsh stage lights coming from her right.

“Okay,” a voice comes from the audience, “that was wonderful. Dennis, I like your charisma. We’ll keep in touch. Miss Malore, I was intrigued by your performance…”

* * *

Halley breathes quickly, her nervousness clearly visible even in the extreme low light. She brushes off her large, puffy skirt, shifting from one foot to the other, trying to let the heat escape from under her many petticoats. She leans in, straining to hear voices, and nods. “Okay,” she whispers to herself, “almost time.”

Suddenly it becomes very dark; pitch black even, and Halley runs blindly into the abyss. Hands grab her from behind and sit her down in a chair. The light returns and Halley finds herself seated at an outdoor table complete with a tea set and a place of English muffins, looking quite unsurprised. A woman, dressed similarly, comes upon her, and the two initiate a conversation.

“…if I may speak candidly—” the woman asks her, mid-way through their rather haughty discussion.

“Pray do! I think that whenever one has anything unpleasant to say, one should always be quite candid.” Halley replies with a twenty-four carat smile, oblivious to her archaic language.

But the woman says something wrong and hatred fills Halley’s face.

A tall man with unruly black hair comes upon her and she embraces him, and then becomes disgusted with him moments later after a startling revelation from her new and, frankly, former acquaintance. There is some angered dialogue and Halley’s companion finally states, “Neither of us is engaged to be married to any one.”

“It is not a very pleasant position for a young girl suddenly to find herself in. Is it?” Halley replies.

One can scarcely notice now how out of place Halley and her companions are. The clothes they wear are centuries old, and the furniture, undeniably made for the outdoors, rests on a black wood floor rather than a field of green grass. Most noticeably, a conversation so personal should have been greatly hindered by the thousands of eyes watching them from their plush, scarlet seats, arranged in sloping rows and curving in almost a semicircle around the small box where the scene is taking place.

Three people in this audience look onto this scene with exceptional interest. These three sit in the upper tier, second row, slightly off-center toward stage right. All three are in their early twenties and in formal attire. The first man, contently smiling, has light olive skin, dark brown eyes, and longish black hair, all of it pulled behind his ears and lying against the back of his neck. The second man, casually smiling, also has black hair, but it’s shorter, jet black, and unruly, but in an organized unruliness, if that’s at all possible. The third person is a woman, her hair deeply cherry red, straight, and falling perfectly to her shoulders, a hair clip in the shape of a white blossom holding the left side behind her ear. Her white-gloved hands cover her mouth, gleefully smiling, and her eyes are in teary delight.

Chapter 6

Saturday, December 8, 2007

Shooting Star: Chapter 4

Halley walks out of the diner after the completion of her second shift. Her eyes instantly fall toward a man sitting on the bench, reading a newspaper. Halley has never been able to pinpoint it, but thanks to her years of acting, she guesses, she has a sixth sense about people: she can tell when they are only pretending to do something. Plus, something’s a little too familiar about that dark hair.

“Excuse me, sir, may I trouble you for the time?” she asks the reader, in her best British accent.

Christopher drops the paper, and almost to himself, states, “Six-forty-seven, and thirty-one seconds… 33… 34… Man, I love digital watches.” He turns to her, “It also updates through time zones, knows the current moon phase, and will also give me a compass bearing, which for some reason always happens to be 322 degrees.” He nods sympathetically.

“For an engaged man, you spend a lot of time waiting for waitresses in diners.”

Leaning back, he says casually, “I’m in New York City for a job, which doesn’t start until Thursday. All I’ve had to do all day is yell at muggers.”

“Ew. You get swiped?”

“Nah. They are all cowards. It’s amazing the kind of looks you can get when you point and yell at them.”

“What?”

Christopher shrugs, “I was watching Oprah and it was a segment on how to survive in urban areas.”

“Oprah?” Halley asks, crossing her arms, and giving him a look.

“That’s all that was on in my hotel room, except for that movie parody,” he says pensively, getting up from the bench.

“What was wrong with the movie parody?” she wonders, as Christopher stands beside her.

“My hotel room,” he repeats, “What kind of parody do you think it was?”

A brief pause, then, “Oh, I hear those are really entertaining.”

“You eat food, right?” he replies, flatly changing the subject

“Yeah, I’m starving. Will you be joining me?” she asks flatly.

“Sure, it’ll be my treat.”

“Whoo, in that case, let’s upgrade. I know this great place to get hamburgers.”

“Hamburgers are an upgrade?”

“I live in New York, where you have street vendors and then you have rooftop cafés. You can only be so choosy in either direction.”

* * *

Between bites of hamburger, Halley gets out, “Well, it turns out that Constance Merriam is actually supposed to be an elderly woman from Belgium, not a young uppity British girl.”

Christopher cringes, “So, I take it you didn’t get the part.”

“Nope, but I’ve got another audition in two days. Wish me luck.” She crosses her fingers.

“Course. So, still doing the acting thing?”

“Well, I’m doing a lot of the trying-out thing, not as much acting thing as I’d like.”

“Hard occupation. Anyway, I’ve got a job in two days. Wish me luck.”

“Luck. You never told me what you did.”

Christopher smiles, “No, I didn’t, did I? I’m a computer programmer.”

“Figures,” Halley groans, remembering how her high school friends raved about the calculator programs that Christopher had written that allowed them to pass their geometry exams, “Who do you work for?”

Christopher reaches into his coat pocket and pulls out a business card, and launches into an elaborate spiel. “Company called OmniTech. Started three years ago by some Microsoft ‘early retirees,’ if you catch my drift. Problem is, to get hired by Microsoft, you have to be the best. Their ‘corporate overhead’ is still in the top 1% of technicians in the country. Well, they started OmniTech and have been the trickiest little devils in preventing Microsoft from having a monopoly on the market. The US should thank us.”

Halley, oblivious, is staring at the business card. She comments, “I like the logo. There’s something about it…”












Defeated, Christopher blankly replies, “Symmetry.” With that, he gently takes the card and drops it face up on the table, tapping the corner lightly. It rotates slowly and Halley’s eyes light up. He tells her, “It’s called an ambigram. The first employee they hired after founding was caught doodling one of these. They took him off his current project for two weeks to design a new logo. Extra fifty bucks on his next paycheck.”

“That’s cool.”

“I’ll relay the message.”

“So,” starts Halley, “tell me about this fiancée of yours.” Getting in touch with her inner woman, Halley even puts the French accent on the word, “fiancée.”

“Her name’s Laura Dale. I met her at Emory. She’s an elementary school teacher, ESL.”

“Good for her. ¿Español? I presume.”

Por supuesto. Nunca me casaría con una mujer que no hablara español,” Christopher responds in perfect Spanish.

“Ack, it’s been awhile since I’ve had a class. I heard ‘nunca’ and ‘casar.’ Something about never marrying… a woman who doesn’t speak Spanish, I’m guessing.”

Perfecto,” Christopher exaggerates the accent.

¡Basta! I like Spanish as much as the next person, but one of your idiosyncrasies is going overboard with it, especially with non-fluents. You did it all the time in LHS.” Halley suddenly notices she is getting several looks and leans in. “They’re looking at us.”

“It’s probably you. Most of them don’t know that ‘basta’ means ‘enough’ and not… yeah.”

“Whoops.” Halley starts laughing, and is soon joined by Christopher. They continue to do so for several minutes. Half-recovered, she asks, “So, what was I thinking? Was I? Yeah, I was. Stage name; do you think I need one?”

After a final chortle, Christopher replies, “It wouldn’t hurt. But I thought a rose by any other name smelled as sweet.”

“True, but does a ‘rossee’ smell as sweet?”

Christopher glides his hand over his head with the accompanying “whoosh” whistle. He eyes her.

Halley giggles, “My name is mispronounced.”

Christopher interrupts, “Ah, the lovely Hailey... Deh… Mah… lore… uh…?”

“Yeah. I thought I’d start with something…” and with hand motions, “…regal… British, kind of… I like Constance.”

Christopher nods. Constance’s pretty. Where d’you think of it?”

Halley shoves it off, “Call it inspiration. I’d also like to simplify my last name to… ‘Malore.’”

Christopher feigns being impressed, and then says with his best English accent. “Constance Malore. Sounds like a 19-year-old lovesick British chick from the 1800s. Your specialty.” He gets a fry thrown at him, but Halley can’t argue. In her tenure as a young actress at Lincoln High School, she had a knack for getting parts with European accents, or lovesick females, or characters from earlier centuries, or all of the above, really. But she got it down to an art. And the drama teacher, Mr. Carnegie, loved her to death for it.

“So, what do you think it needs?”

In an almost connoisseur-ish way, he replies, “It’s wonderful, but Constance Malore has too much of a pastel feel. Even Halley DeMallora has more fullness. It needs… tang.”

“Tang. Tang is good,” Halley comments, not hiding a smile, “What’s a tangy name?”

After a few seconds of thought, Christopher replies, “Something to match Electra?” He pauses for a few seconds, then vocally presents, “Carmen.”

Halley rolls her eyes, “Very funny, Christopher.”

“Constance Carmen Malore,” he recites, seemingly ignoring her lack of enthusiasm.

Halley perks up, and repeats it, with a thick Spanish accent. “Constance Carmen Malore…” she says passionately, “I like it. It’s tingly.”

“Tingly.” Christopher repeats deadpan.

“If anything to get my name right.”

“I know how that feels.”

“How do they get ‘Christopher VanDrey’ wrong?”

“‘Van-dree’ ‘Vanderay’ Varendy’ I got once. ‘Chris.’”

“Wait a second. I was in a bunch of your classes. You always said you didn’t mind ‘Chris.’”

“Eh, I appreciate it when people use the full form.”

“I do it out of convenience to discern between you and all the Chrises that we went to school with. Who else does three syllables?”

“Laura. My parents. My good friend, Diana Owler.”

This catches Halley off-guard, “The famous writer? The one who made the rounds on all the talk shows just last week?”

“Yeah, she went to Lincoln High with us for a year. So, you’ve read her books?”

“I haven’t had time to read a book in months. In the Sunday paper, I read the comics, the advice columns, and audition notices.” At this, Halley sighs heavily before smiling again, “Know anyone else famous?”

“Besides the world-renowned Constance Carmen Malore, nope.”

Halley laughs and takes a sip of her milkshake. “Continue to call me Halley.”

“Works for me.”

After a moment, Halley comments softly, “You know, my dad used to tell me that they named Halley’s Comet after me. I thought it was a sign that I, too, one day would be a star. That was before I realized it was pronounced the other way. I don’t know how this’ll play out.”

Christopher is quiet for a moment, “Halley, I don’t want to burst your bubble. Or whatever the opposite of bursting a bubble is, but it is Halley’s Comet,” he remarks, pronouncing ‘Halley’ with the short ‘a.’ “The astronomer, who was British, his name was Edmond Halley, like your name. Saying it with the long ‘a’ is simply an American mistake. Maybe it had to do with the warping of the British accent into the American accent. But it’s Halley.”

Halley has a bemused look, her eyebrows lowered, “You joshing me?”

“No, I’m not ‘joshing’ you. I’m guessing that’s the New Yorker version of ‘pulling my leg.’”

“Sorry, it’s something that was in my read-through today. It’s Halley?”

“Yep,” he replies deliberately.

Halley sits back in the booth, with a comforting sense of awe on her face, “Awesome. I mean, it’s not a completely profound thing, but… I’m glad you told me. How’d you find out?”

“Actually, it was kinda ‘cause of you. I remember you joking that it was really Halley’s Comet at school one day. Well, I looked it up in a British-origin dictionary, and it had the pronunciation for it with the short ‘a’ first, then the long ‘a’ as a secondary pronunciation. This was really the first time I got to tell you.”

“Thanks.” Halley looks at her watch. “I gotta get home. I have work in the morning. Listen, if you’re ever in New York again, visit me. Bring Laura. I’d like to meet her. Look me up.”

“If I don’t see your name in lights.”

“Yeah,” she replies, distant, sinking back into her seat, suddenly oblivious to the time.

“Halley, you’re gonna be a star. It’s not about talent,” Christopher immediately realizes his mistake, and corrects himself, “It’s not all about talent. You’re talented, yes. Immensely. And you have a burning love for acting. You’re gonna make it. You just have to find the right gig. Something that screams the way you are.”

“The way I am? Christopher, the roles you’ve seen me play are the naïve, lovesick girls. Granted, I was wonderful in them,” she states, with a coy smirk, which quickly vanishes, “but I want something better than this. I want to grow as an actress. Yeah, I love acting with a passion, but it’s not translating. You like computer stuff, and you’ve got a great job. What’s the difference?”

“The difference is the way our respective occupations are. I was hired to OmniTech right out of college because I interned at Microsoft, and I was under one of the guys who founded our company. Mr. Carnegie and your college acting professors aren’t professional directors. You haven’t made a name for yourself. About growing as an actress, Halley, you have to grow from somewhere. Halley, I cannot stand the way my team leader wants to program our projects. I think my ideas are a thousand times better, but I don’t know how to be a team leader. I hate salesmanship; I hate politics; but those are the kinds of things I need to have a grasp on before I move up the ladder. When Mr. Carnegie gave you the lead parts, it was because you proved yourself to him.”

“So you’re saying I should do the quirky British chick thing again?” she asks without enthusiasm.

“It’s a suggestion, from a computer programmer. I don’t know much about acting. I got out of it in the seventh grade. I’m just soliciting advice.”

“Thanks,” she replied in a rather feeble voice. She sits back in the booth, silent, and looks out the window, just staring. At first, her eyes try to play a connect-the-dots games with the stars, outlining her name, but she fails. She then looks to see the words “Constance Carmen Malore,” but quickly realizes that there aren’t enough stars in the New York sky for that. She then tires of stationary stars and searches the pitch-black horizon again.

“She won’t be back for another sixty-nine years, Halley.”

“Who?” Halley replies instantly, but smiles at the joke. Her father called it a “she,” too. “I wouldn’t mind any shooting star.”

Christopher points at the window, “There’s one.”

Halley’s head jerks toward the left, searching the night sky, but it’s still.

“You’re looking too far.”

Too far?, Halley thinks, still searching the sky. The night sky is two-dimensional, you can look too far in the horizontal or vertical directions, or too far toward some compass bearing, but “too far?” She turns toward Christopher, her face highly skeptical. He continues to point. She looks again, but quickly resides, and retracts her eyes, just staring at her translucent reflection in the pane.

And realization hits her again. Chuckling, she replies, “Christopher, how’d you get so smart?”

“I’ve always been smart, but how did I learn to talk like the old man on the mountain? Throughout high school, I stayed pretty sheltered and somewhat reclusive.” Halley smiles, remembering the shy but kind boy that never missed one of her plays. Halley always saw something in his eyes, burning to say something, but he didn’t. Their mutual friends told her that Christopher had the knack of saying just the right thing to get a whole group laughing every once in a while, but Halley had missed that pleasure. A friend named James Warren had one said that Christopher was going to write a book called What the Little Bird Saw, which would be a reflection of Christopher’s years of keen and silent observations. She had to agree. Christopher always seemed to know the general details about people, especially immediately picking up on people’s birthdays, including her own.

“However, in college…” Christopher continued. Halley was surprised about how much had gone through her head before the brown-haired man started his next sentence. She’d learned in her Oral Communication class that the human brain could think at roughly 400-500 words per minute. “…I found the courage to dive in head first in the Social Ocean, and I never was able to get out of the water. I cannot tell you how many all-night conversations I had with girlfriends or best buds. Conversation for me was something that only happened by grace when I was younger, but I got a lot of practice in college.”

Halley just smiled, too tired to respond. New York life had become too lonely for her tastes in the last few months. The apartment complex she lived in rented out single apartments for less than half of double. If she had the money, she’d gladly pay the difference just to have someone to talk to during the day. Then again, the apartment was really just for sleeping in. With her busy schedule, she’d still be seeing more of her coworkers than a roommate. Though, a roommate would be nice.

* * *

Halley’s Comet was first discovered in 240 b.c., over two thousand years before any other major comet. It is arguably the most famous. Named after Edmund Halley after he predicted it would show up Christmas Night 1758. He died before he saw his prophecy come true. It completes a cycle every seventy-six years, more or less, the second most infrequently-seen comet, just behind the Herschel-Rigollet with an orbit of 155 years. What it lacks in frequency, it makes up in proximity, coming within 2.1 million miles of the Earth during its perihelion, giving it the record of third-closest astral anomaly in recorded astrological history. The nucleus of the comet is a mere ten by five by five miles. She has a retrograde orbit, revolving in the opposite direction of the planets.

Though far away, the tiny ball of light burns furiously, leaving a long trail of similarly white light, though not near as bright. Halley, who is sitting on her father’s leg, can scarcely breathe. The comet glides near the western horizon. Within a few weeks, it will be gone, left for Europe and Africa to view its splendor. But for now, it’s Halley’s comet.

Huge goosebumps cover Halley’s skins, especially her bare arms, but unlike the rest of the bare-armed crowd, Halley is motionless, not rubbing her arms like her chilly guests. Her breath is shallow and spread out. I can almost hear Halley’s heart beating fifteen feet away. It sounds not like a heavy thumping, but a dull, full roar. From my point of view, I see the comet’s light reflecting in her pupils. Everyone is entranced by the comet, but no one more than she is. I have already absorbed the comet’s beauty on my own birthday, at 2:05 AM, so my enchantment is minor, allowing me to study the beauty of the people around me.

Mark Twain was born and died under Halley’s Comet, an occurrence he predicted himself. Some find the comet to a be a prophet of doom, but I rather think having the comet burning brightly in the sky as you emerge from the womb must be a blessing.

I pray it presence is for Halley at this point in her life.

* * *

“Christopher, you remember my sixteenth birthday party?”

“Of course, it snowed in April. That doesn’t happen a lot, even in the suburbs of New York.”

“No, the thing the day before.”

“Lookin’ at your comet.”

Halley smiles and stares out the window again, completely forgetting what she wanted to say, but smiling nonetheless.

Halley would have fallen asleep in that booth if Christopher hadn’t led her out of her seat and walked her home, which was actually only two blocks away from the restaurant and right on the way to his hotel anyway. Plus, it wasn’t too smart for a woman to walk home alone in the city at night. The company didn’t hurt anyway.

Chapter 5