O+F

John Moncure Wetterau

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• Publié par: anko
• Publié le: 08 décembre 2010
• Nombre de lectures: 57
• Langue: English

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The Project Gutenberg eBook, O+F, by John Moncure Wetterau This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net ** This is a COPYRIGHTED Project Gutenberg eBook, Details Below ** ** Please follow the copyright guidelines in this file. ** Title: O+F Author: John Moncure Wetterau Release Date: February 9, 2004 [eBook #11005] Language: English ***START OF THE PROJECT GUTENBERG EBOOK O+F*** Copyright (c) 2003 by John Moncure Wetterau O + F John Moncure Wetterau Copyright (c) 2000 by John Moncure Wetterau. Library of Congress Number: 00-193498 ISBN #: Hardcover 0-7388-5815-3 Softcover 0-9729587-1-1 This work is licensed under the Creative Commons Attribution-NoDerivs-NonCommercial License. Essentially, anyone is free to copy, distribute, or perform this copyrighted work for non-commercial uses only, so long as the work is preserved verbatim and is attributed to the author. To view a copy of this license, visit http://creativecommons.org/licenses/by-nd- nc/1.0/ or send a letter to: Creative Commons 559 Nathan Abbott Way Stanford, California 94305, USA. Published by: Fox Print Books 137 Emery Street Portland, ME 04102 [e-mail] 207.775.6860 This is a work of fiction. Names, characters, places and incidents either are the product of the author's imagination or are used fictitiously, and any resemblance to any actual persons, living or dead, events, or locales is entirely coincidental. This book was printed in the United States of America. Acknowledgements: Cover art by Majo Keleshian. I want to thank Majo, Sylvester Pollet, and Nancy Wallace for suffering through early versions of the book and for offering useful suggestions. Thanks to Francois Camoin and the Vermont College MFAprogram for giving me a good shove down the road to fiction. And thanks to Ellen Miller for her consistent encouragement and support. for Rosy 1. Tall. Dark hair. Nose almost straight. Mouth curving around prominent teeth. Beautiful, Oliver realized as their eyes met perfectly. "Francesca, sorry I'm late," another woman said, guiding two girls into the next booth. "I just got here." "Hi, Mommy." Francesca's smile turned down, traveled around, and turned up independently at each corner. "Hi, Sweetheart. Turn around, now." One of the girls was looking tentatively at Oliver, holding the top of the booth with both hands. He waved at her, raised his eyebrows, and bent to his eggs. Toast. Nothing like toast. He wiped up the remaining yolk. Where's the husband? Probably one of those jerks in a Land Rover. A bad golfer. Cheats. Christ. Oliver drank the rest of his coffee and prepared to leave. As he slid sideways across the green plastic seat, he again caught the woman's eyes. They were calm and questioning, brown with deepening centers the color of the inner heart of black walnut. He stood and nodded in the Japanese manner. No one would have noticed, unless perhaps for her friend. He buttoned his coat before pushing open the outer door of the diner. The air was damp, tinged with car exhaust and diesel. The first flakes of a northeaster coasted innocently to the ground. Francesca—what a smile! She reminded him of the young Sinatra in From Here To Eternity, awkward and graceful at the same time. The friend was heavier and looked unmarried, a career teacher, maybe. Problems on short leashes yapped around her heels. Oliver shrugged, pulled a watch cap over his ears, and walked toward the Old Port. A car pulled over. "Olive Oil!" George Goodbean shouted. "Want a ride?" "Taking my life in my hands," Oliver said, getting in. "It's a good day to die," George said. "Aren't we romantic." "Artists live on the edge, Olive Oil. Where the view is." A pickup passed at high speed, hitting a pothole and splattering mud across the windshield. "Moron!" George reached for the wiper switch. The street reappeared. "Ahh," Oliver said, "now there's a view." "Why is it, the worse the weather, the worse they drive?" George asked. "Dunno. It isn't even bad yet." "Assholes," George said. "Yeah. I bought some black walnut," Oliver said. "I just saw a woman in Becky's; she had eyes the same color." "You want I should go back?" "I'm too short for her," Oliver said. "You never know. Some of those short people in Hollywood have big reputations." "They're stars," Oliver said. "I'm just short." "What are you doing with the wood?" "Haven't decided—maybe a table." "I'm getting into casting. You ought to come over; I'm going to try out my furnace." "Casting what?""Bronze. Small pieces." "Hey, whoa, let me out." Oliver pointed at the ferry terminal, and George stopped. "Yeah, come on over tomorrow morning, if you're not doing anything." "O.K., I'll see." George beeped twice and drove into the thickening snow. Oliver bought a ticket for Peaks Island. The ferry was nearly empty, cheerful with its high snub bow painted yellow, white superstructure, and red roof. It was not as spirited as the red and black tugs that herd tankers to the Montreal pipeline, nothing could match the tugboats—but the ferry was close; it had the human touch, a dory that couldn't stay away from cheesecake, broad in the beam, resolute, proof against the cold rollers of the outer bay. After two long blasts, the ferry churned away from the wharf. A line of gulls on the lee side of a rooftop watched them move into the channel and gather speed. Twenty minutes later, the ferry slowed, shuddered, and stopped at the Peaks Island landing. Oliver walked uphill to the main street, unsure why he had come. Habit took him around by his former house. No lights were on, no sign of anyone home. He continued around the block, surprised at his disappointment. He hadn't seen Charlotte for six months and had no reason to see her now. He considered this over a cup of coffee at Will's. It was natural to check in sometimes with old friends. I mean, we were married, he told his cup. Jealousy is a symptom—like the effects of drought. Owl told him that once. They had been standing on the club dock, having one of their rare conversations. He was telling Owl about Kiersten, how she wouldn't take him seriously, her smile always for Gary—star everything. Owl's voice was sympathetic but with a dissatisfied edge, as though he were impatient with or imprisoned by his superiority, his tenure at Brown, his aluminum boat, one of the fastest on the sound. Oliver never thought to ask for an explanation, and then, sadly, it was too late. It was years before he understood Owl's jealousy pronouncement. He wasn't jealous any longer, certainly not where Kiersten was concerned. God, she'd driven everybody crazy. Territory—now that was different. You want your own territory, your own mate, your house, your space. It still pissed him off to see his old garage surrounded by Mike's messy piles of building materials. But he wasn't jealous. Charlotte was better off without him; she had a child, finally. The waitress had a tolerant smile. Thank God for waitresses. He left a big tip and got back on the ferry. Snow