Picturing Will by Ann Beattie

you went back. You’d know that you were in deep when your things began to proliferate in the apartment: things he bought for you, to be yours , if you did not leave enough behind. When he stopped taking his blue shirt to the dry cleaner and started tossing it in the wash because it had become your favorite nightgown. When he bought you a plant instead of cut flowers so you would call to make sure it had been watered. When cotton pullovers became unisex and got jumbled together. When pictures of the two of you were put on the refrigerator. When other women called and he didn’t close the door or lower his voice and, when he hung up, acted as if your conversation hadn’t been interrupted.
    That was the thing about taking photographs. About taking wedding photographs, at least: that the people you were seeing wanted so sincerely to belong. It was desperation rather than vanity that made them look soulfully into the camera, because the camera had the power to stop time and to verify that they were part of a tradition. That was why brides wore their grandmothers’ wedding dress (a little too tight in the waist, and the shoes were always too small; few brides could walk down the aisle in their grandmother’s size-five shoes). It was a celebration that all generations were invited to witness, and sometimes the dog as well. The bride was always asking an implicit question: Don’t you remember this? Even if you don’t understand my life now or know me very well, doesn’t this ceremony constitute a link between us? Isn’t this your engagement ring I’m wearing? Haven’t I styled my hair with the waves that swept my mother’s cheeks at her wedding? Isn’t this the wedding cake we’ve always eaten, even though we’ve never had dessert together? The figurines at the top are generic. The bubbles in expensive champagne don’t vary in size. I’m in love. Don’t you remember being in love?
    At a wedding she photographed recently, some relative of the groom had said to her, “Love is like a feather in the breeze.” People often said startling things at weddings, so perhaps it was just the dreamy—no, deranged—look on the woman’s face that had made Jody force a smile. As the old lady walked away from her, Jody had thought several things in quick succession: Love, that exhilarating and exhausting state, is whatever anybody says it is, so stop the poetry and end the song; love is, indeed, like a feather; love is nothing like a feather; the word “breeze” might have been indicative of the lady’s attitude, because a feather in the wind would be another matter entirely.
    Jody put her key into the lock and opened the door. A flight of steep black-painted steps rose into Mel’s apartment. Except for two rooms in the front, under the steep pitch of the roof, the area was open space, with an off-center stairwell surrounded by a high railing. It was like being in a treehouse; tall windows at the back overlooked the tops of ailanthus trees growing below. In the kitchen there was a skylight through which wisteria had pushed its way. When it rained, the top of the stove would be moist, and occasionally tiny flowers would be scattered over the stovetop. When Mel turned on the stove he ignored them, but she always brushed them away, as if they were alive. She sat for a minute, a little out of breath, on the sofa that curved around the room. No sofa in New York rose higher than midback.
    Mel had left a note for her on one of the sofa cushions. Apparently Duncan had called to say that his former roommate, who lived on Christopher Street, had just gotten very bad news from a blood test. What was she supposed to do? Call some man she’d never met? She pushed the note aside and wandered away. Tucked in the bathroom mirror was a picture of Will, straddling Mel’s neck, proud of his new red sneakers and looking as secure, perched there, as the driver of an armored car. Recently, Mel had instigated the silliness of nicknames. Some