The Last Romantics

Copyright

Published by HarperCollinsPublishers Ltd

1 London Bridge Street

London SE1 9GF

www.harpercollins.co.uk

First published in the United States by William Morrow, an imprint of HarperCollinsPublishers 2019

This edition published by HarperCollinsPublishers 2019

Copyright © Tara Conklin 2019

From Moments of Being by Virginia Woolf

Published by Hogarth Press, reprinted by permission of The Random House Group Limited. © 1985

Excerpt of three lines from “The Applicant” from Ariel by Sylvia Plath.

Copyright © 1963 by Ted Hughes. Reprinted by permission of Faber and Faber Ltd.

‘Maps’: Words and Music by Karen Orzolek, Nick Zinner and Brian Chase

Copyright © 2003 Chrysalis Music Ltd.

All Right Administered by BMG Rights Management (US) LLC

All Rights Reserved; Used by Permission

Reprinted by Permission of Hal Leonard LLC

Cover design by Ploy Siripant © HarperCollinsPublishers Ltd 2019

Cover illustration by Joel Holland

Tara Conklin asserts the moral right to be identified as the author of this work.

A catalogue copy of this book is available from the British Library.

This novel is entirely a work of fiction. The names, characters and incidents portrayed in it are the work of the author’s imagination. Any resemblance to actual persons, living or dead, events or localities is entirely coincidental.

All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins.

Source ISBN: 9780008323349

Ebook Edition © February 2019 ISBN: 9780008323356

Version: 2019-01-12

Dedication

Dedicated to the memory of Luella Briody Conklin

and Kenneth Jerome Conklin

For my sisters

Epigraph

Behind the cotton wool is hidden a pattern; that we—I mean all human beings—are connected with this; that the whole world is a work of art; that we are parts of the work of art. Hamlet or a Beethoven quartet is the truth about this vast mass that we call the world. But there is no Shakespeare, there is no Beethoven; certainly and emphatically there is no God; we are the words; we are the music; we are the thing itself.

—Virginia Woolf, Moments of Being

Wait, they don’t love you like I love you.

—Karen O, Yeah Yeah Yeahs

Contents

Cover

Title Page

Copyright

Dedication

Epigraph

Year 2079

Part I: Bexley

Chapter 1

Chapter 2

Chapter 3

Chapter 4

Part II: New York City

Year 2079

Chapter 5

Chapter 6

Chapter 7

Chapter 8

Part III: Miami

Year 2079

Chapter 9

Chapter 10

Chapter 11

Chapter 12

Part IV: After

Year 2079

Chapter 13

Chapter 14

Chapter 15

Chapter 16

Chapter 17

Chapter 18

Acknowledgments

About the Author

Also by Tara Conklin

About the Publisher

Year 2079

AT FIRST I believed the girl to be an apparition. A ghost. She rose from the crowd in the auditorium and walked to the microphone.

I remained very still. For the past ninety minutes, I had been seated onstage to discuss my body of work. As much as I dread large crowds, the event had been a success. The audience was respectful, intelligent, curious. I’d even made them laugh. That joke about the frog, of all things. We heard the sirens only once, a brief wail during which I paused my reading. We all waited, the thousand here in the auditorium and the thousands more watching via satellite and DTR. We waited, and then the sirens quieted, and I resumed with my poem.

Afterward the questions. So many questions! My first public event in twenty-five years—of course there would be questions, but I was not prepared for the intensity, the thoroughness with which these people had read my work. It still surprises me now, eighty years into this literary experiment, that my words might mean something to anyone other than myself.

I am 102 years old and a poet of some renown. My name is Fiona Skinner.

When the girl stepped forward, my attention was elsewhere. My energy low. I wondered what snack Henry had waiting for me backstage and hoped it was the candy with the peanut butter in the center, my favorite. My thoughts fixed on other comforts: the tall, soft bed in my house in the mountains; the river stocked with trout; the deep, cold well; the generator with its soothing hum. We never heard the sirens there, no, the nearest town was too far. It was a safe place, our house, a place beyond the reach of politics and rising oceans. At least that’s what I chose to believe. It’s possible to exist under any number of illusions, to believe so thoroughly in the presence of things you cannot see—safety, God, love—that you impose upon them physical shapes. A bed, a cross, a husband. But ideas willed into being are still ideas and just as fragile.

The girl at the microphone was an arresting sight: slender and tall, a dark bob cut short and sharp to her chin. She looked eighteen, perhaps twenty years old. Not a girl, then, nearly a woman.

The crowd was silent. She coughed into her hand. “Ms. Skinner,” she began. “My name is Luna.”

“Luna?” I said, and my voice caught, my breath stilled. For a moment I traveled back all those years to a different place and time. At last, I thought. Luna has returned.

“Yes. My mother named me after the last line of The Love Poem,” she said.

“Oh, of course.” I smiled. Henry had told me about this, the popularity of the name. The Love Poem had that effect on some readers. They wanted to keep a piece of it. And here was one of those babies, now grown, standing before me. Another Luna.

The girl’s face was half in shadow. I saw a mole high on her right cheek. About the size of a dime. A birthmark. A dark kiss.

“My mother always wanted to ask you about the name,” Luna continued. “She’d memorized the last pages at school. When my brother and I were little, she’d recite them at dinner if we were feeling down.” Her face became soft with the memory. “The Love Poem meant so much to her. I want to know, for my mother. Who was your inspiration? Who was Luna?”

The auditorium went still. Onstage the lights had become hot, but a cold spread through me, ice flooding my veins. I shivered. A sweat rose along my hairline. It was a question I’d always refused to answer publicly. And privately; even Henry didn’t know the truth. But of course I should have expected it tonight. Isn’t that why I’d agreed to speak one last time? Isn’t that why I was here? To finally tell this story.

An old regret lodged in my throat, blocking my voice. I coughed.

“Luna is the Spanish word for moon, of course,” I said. “In the poem itself, there are many metaphors, many symbols that mean different things. I wrote it seventy-five years ago, my dear. Your mother, you, anyone here”—I waved my palm at the audience—“you know what the poem means more than I do now.”

The Luna standing before me shook her head in frustration. A lock of hair fell into her eyes, and she pushed it away. “No. I mean the real woman. My mother always said there was someone named Luna.”

I straightened my spine and heard the bones crack, a minor internal disruption. I wasn’t often put on the spot. At home I had a gardener, a personal assistant, a housekeeper, a cook. I lived with my second husband, Henry, but I ran the house and gave the orders. Some might say I’m imposing. I prefer to think of it as self-assured. This girl was also self-assured, I could see it in the set of her shoulders, the purse of her lips.

How to describe the first Luna? I met Luna Hernandez only once. On a night when the wind threw tree branches onto the road and leaves whirled in crazy circles. Decades ago, a lifetime ago. That Luna had grown and changed in my mind until I hardly saw her anymore. Were her eyes brown or gray? The mole, was it high on the right cheek or the left? Had it been remorse I saw on her face that night or merely dismissal?

“I wrote a poem about love,” I began, addressing the crowd. “But there are certain limitations. There are certain failings. I’ve always been wary of love, you see. Its promises are too dizzy, its reasons too vague, its origins murkier than mud.” Here I heard a chuckle from the audience. “Yes, mud!” I called in the direction of the laugh. “When I was young, I tried dissecting love, setting it up on a table with a good strong light and poking, prodding, slicing. For years I believed it possible to identify the crux, the core, and that once you found this essential element you might tend it like a rose and grow something beautiful. Back then I was a romantic. I didn’t understand that there’s no stopping betrayal. If you live long enough and well enough to know love, its various permutations and shades, you will falter. You will break someone’s heart. Fairy tales don’t tell you that. Poetry doesn’t either.”

I paused.

“You’re not answering the question,” Luna said; her arms were now crossed against her chest, her chin down.

“Let me tell you a story,” I said. “In these difficult times, stories are important. In a sense, stories are all we have to tell us about the future.”

Luna moved away from the microphone. She was listening intently, everyone was, shoulders pitched just slightly forward, curious and alert.

“Once upon a time,” I began, “there was a father and a mother and four children, three girls and one boy. They lived together in a house like any other house, in a town like many other towns, and for a time they were happy.” I paused, and all those faces in the auditorium stared down on me, all those eyes. “And then—” I stopped again, faltering. I sipped my glass of water. “And then there was the Pause. Everything started there. Our mother didn’t mean for it to happen, she didn’t, but this is a story about the failures of love, and the Pause was the first.”

Chapter 1

IN THE SPRING of 1981, our father died. His name was Ellis Avery Skinner, thirty-four years old, a small bald lozenge at the back of his head that he covered every morning with a few hopeful strands. We lived in the middle-class town of Bexley, Connecticut, where our father owned and operated a dental practice. At the moment his heart stopped, he was pulling on a pair of blue rubber gloves while one of his afternoon patients, a Mrs. Lipton, lay before him on the padded recliner, breathing deeply from a sweet mask of chloroform.

“Oh!” our father said, and toppled sideways to the floor.

“Dr. Skinner?” Mrs. Lipton sat up. She was unsteady, groggy, and afraid as she looked down at our father on the floor. He twitched once, twice, and then Mrs. Lipton began to scream.

The look on his face, she later reported to our mother, was one of surrender and absolute surprise.

Our mother was thirty-one years old. She’d never held a full-time job and possessed a degree in English literature from Colby College in her home state of Maine that sat unframed in an upstairs closet. Her dark hair hung like two pressed curtains framing the window of her face. Her eyes were wide and brown, with sparse lashes and narrow lids that gave an impression of watchfulness and exposure. Her name was Antonia, though everyone called her Noni, and it was decided long before my birth that her children should call her Noni, too.

The day of our father’s funeral was dank, mid-March. Ronald Reagan was president, the Cold War dragged on, Star Wars had made us all believe in forces we could not see. At that time Bexley was a town where people greeted each other by name at the post office or the bank and no one cared who had money and who did not. The doctor and the mill worker both visited my father for root canals, and both drank beer at the same drafty tavern. The dark Punnel River meandered along the east side of town and gave us something to do on summer days. This was still the era when a ninety-minute commute to New York City seemed absurd, and so the people who lived in Bexley, for the most part, worked in Bexley.

It was no surprise when the whole town turned out for our father’s funeral. Hundreds, it seemed to me. Thousands. Noni led us through that awful day with an iron grip on two of our eight hands. She alternated, she did not play favorites. She had four children, and we all needed to feel the warmth of her palm.

Renee, the eldest of us, was eleven years old. Long, thin limbs, chestnut hair she wore in a single braid down her back. Even as a child, Renee exuded competence and self-containment, and at the funeral she was no different. She did not cry or make a fuss when her tights ran up the back. She helped Noni with us, the younger ones, and tried not to look directly at the casket.

After Renee came Caroline, who was eight, and then Joe, who was seven. Caroline was the fairest of us, with cheeks pink as bubble gum and hair that streaked blond in the summers. Joe was the boy, the only boy, with floppy hands and large feet and a stubborn right-side cowlick that he was forever flipping away from his face. Joe and Caroline both had a tawny glow and quick, broad grins and were mistaken so frequently for twins that sometimes even they forgot there was a year between them.

And then came me, Fiona, the youngest, four years and eight months old on the day our father died. I was a pudgy child with soft, dimpled knees and unruly reddish hair that frizzed and flamed around my freckled face. My looks contrasted so vividly with those of my lithe, golden siblings that neighbors raised eyebrows. A tilt of the head, a shadow of gossipy doubt passing behind the eyes. Bexley, Connecticut, was like that. Working-class New Englanders starched in Puritan ethics. Their nails were dirty, but their souls were clean. After our father’s death, the gossip stopped. Widowhood trumped the suggestion of infidelity. In her grief Noni became infallible, untouchable.

I remember very little about my father while he was alive, but the day we buried him I recall in great detail. At the cemetery a racket of crows flew above the casket. Our priest, Father Johns, delivered remarks in tones that rose and fell like a fitful storm; I could not understand a word of it. The ground was mushy with thaw, but crusts of snow still lurked beneath trees and along the shadowy side of the marble mausoleum that sat up on a low hill behind the grave site.

The mausoleum resembled a house: front steps, a peaked roof, the appearance of windows. It was so much larger and more impressive than the tidy headstone Noni had chosen for our father’s grave. I was more interested in the mausoleum than I was in Father Johns, and so I ran away from the funeral, around the back of the crowd, and up the hill. The mausoleum stones were a deep gray, speckled with rain spots and age, significant and somber. Along the top I sounded out the name GARRISON H. CLARK. And then: BELOVED FATHER, HUSBAND, SON, BROTHER, COLLEAGUE, FRIEND.

Down the small hill, Father Johns spoke in a dull, deep voice. From a distance, finally, I could make out the words:

“Too soon …”

“Great burden …”

“Do not ask …”

Noni’s head was bowed; she hadn’t noticed my absence. Noni was Catholic and felt it in her knees that ached from all the praying but not, she realized that day, in her heart. This was the last time she would entertain the rituals of organized religion, the last day she would bow her head to the words of a man wearing white.

From my position on the hill, the mourners looked similar to the crows, only bigger and quieter, perched on the yellowish green of the spring grass that cut abruptly to the darkness of earth beside the casket. I thought of how little space there was on our father’s stone. How unassuming it was, how meager, nothing like Garrison H. Clark’s showy marble mausoleum. Standing beneath a stranger’s name, gazing down at my father’s funeral, for the first time that day I began to cry.

* * *

WE LIVED IN a yellow house, a three-story Colonial on a street lined with arching maples and oaks that threw down acorns in the spring and curling red and orange leaves in the fall. There was a steep, clattery staircase leading to the bedrooms upstairs and a basement that smelled faintly of mold and scorched sheets. In the backyard we had a metal swing set, and a sandbox used regularly by the neighborhood cats, and flower beds of nasturtium, lavender, gardenia, and clematis tended diligently by Noni.

After our father’s funeral, people began to arrive at the yellow house. Everyone from church and others, too, people I had never seen before, people who knew my name and crouched to say it: “Fiona! Darling Fi!”

Our next-door neighbor, Mrs. Granger, took the plates covered in plastic wrap, the Tupperware containers in pastel shades, and bustled away to place them on the dining-room table. It struck me as odd to see Mrs. Granger perform this role, which seemed more properly to belong to Noni. But she remained on the orange couch, a white handkerchief moving from face to lap, face to lap, as strangers knelt before her, bowing their heads as though she bestowed upon them some sort of honor. She had never looked less like our mother.

The black of Noni’s dress, the orange of the couch, and the white of the handkerchief reminded me of Halloween, and I felt a strange, empty excitement. A near hysteria. Plus all the food. Everywhere! Bowls of green grapes and Chex Mix and hard butterscotch candies and potato chips. Platters of ham-and-cheese sandwiches cut into neat triangles, cubes of watermelon that leaked pink juice onto the white tablecloth. I grabbed what I could and ate it quickly, unsure as to what was permitted here, what would be allowed.

It soon became clear that anything was allowed when your father has died. I spied Joe beneath a table with an entire bowl of hard candies and three cans of Coca-Cola. Caroline took off her tights and sprawled on the floor, singing to herself; Renee sat on a rocking chair and picked with great concentration at an elbow scab, ignoring the adult who stood before her, saying her name again and again in a calm, sympathetic voice.

I ran crazily around the room. I slapped various bottoms and did not apologize. I picked my nose and wiped my finger on the coffee table. No one stopped me or spoke to me or noticed me at all. The freedom was exhausting. I climbed unsteadily into Renee’s lap. She wore a stiff black dress and black tights that she pulled at as I settled against her. With a shoeless toe, she rocked the chair back and forth, back and forth. The movement soothed me like a ship on the sea or a car on a bumpy road. This is how I would always imagine Renee: as a steadiness in times of turmoil.

I was on Renee’s lap when it began. I don’t know what triggered Joe’s fury. I know only that he got hold of a fireplace poker, sooty at its tip, cast iron, heavy. About the length of a baseball bat.

Joe began in the dining room and moved steadily, ferociously through the house. He did not strike people, only things. There was the sound of wood splintering, glass shattering, dull thumps and sickening crashes as he brought the poker down again and again on a table, a chair, those many bowls and platters of food. The noise startled me, but I didn’t cry. I listened. We all listened. Muted conversations and quiet tears gave way to a nervous, cowardly hush.

Crash. Into the living room he came. The crystal bowl full of hard candies, the porcelain table lamp with a linen shade, Noni’s collection of delicate glassware cats—all crashed and shattered to the floor. Joe paused before the piano, and then he took aim at the photographs that stood on top: pictures of what we, the Skinners, had been until that day. Six together. Ellis and Antonia, Renee and Caroline and Joe and little Fiona. Crash. Six together on windswept New England beaches and before tinselly Christmas trees, grinning and mugging, arms over shoulders, holding hands. Crash. We were gap-toothed children and anonymous infants, full-cheeked within our swaddles. Our parents were proud and exhausted, bright, blameless, beautiful even in their polyester and plaid. Crash. All of it, gone.

I waited for someone to stop Joe, but no one did. The room echoed with the noise of his destruction, grunts and strained inhalations, but otherwise there was silence. No one spoke. No one moved to stop him. Even Noni remained on the couch, her face pale and stricken. I wondered then, and I would wonder for the rest of my life: why did our mother not take the poker from Joe’s grasp, wrap her arms around him, tell him that everything would be okay?

Finally Joe paused. At seven years old, he already stood four feet tall. A borrowed black suit showed his pale ankles and pale, knobby wrists. Plaster dust had settled in his hair, onto the shoulders of his suit, ghosting his skin. With a free hand, he wiped sweat from his forehead.

Then a man’s voice called out. To this day I have no idea who spoke, but one could say he changed the course of Joe’s life, of all our lives. “Antonia,” the voice said. “Your boy’s got quite an arm. It’d be a shame if he didn’t play some baseball.”

Someone chuckled. A child began to cry. With a dull thud, Joe dropped the poker. Renee removed me from her lap, and went to him. “Joe,” she said. His hands shook, and she took one in her own. Caroline sprinted across the room in her bare feet and threw her arms around him. I followed, stumbling like a drunk from sleepiness and overstimulation, and wrapped myself around Joe’s calves and feet.

I believe this was the moment when we each assumed responsibility for our brother, Joe. A lifelong obligation of love that each of us, for different reasons, would not fulfill. We would try: Renee in her studied, worrisome way; Caroline carelessly with great bursts of energy followed by distraction; and myself, quiet and tentative, assuming that Joe would never need me, not in the way that I needed him. Years later this assumption would prove to be wrong. But by then it would be too late.

* * *

THE FIRST THING Noni did after all the funeral food was eaten and we had returned to school was to inquire about Little League baseball for Joe. She could focus on one thing at a time, she thought. If she tried to fix everyone all at once, she would fail, she would fall to the floor and never get up again. It’s important to take small steps. This was what Mrs. Cooperton, our neighbor the social worker, told her at the funeral. One day at a time. Cross one thing off your list at a time.