The Mailer Review/Volume 13, 2019/Silent Night
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| « | The Mailer Review • Volume 13 Number 1 • 2019 | » |
When Carol disappeared, she was fifty years old. The police department flier described her the way I remembered her: five feet six, blond, thin, a smoker of cigarettes. In this way it was as if high school Carol was missing, the girl with the best clothes and the eyes and the beautiful, drunken laugh. Her disappearance brought back our town with its main street and its winding suburban lanes clotted with fallen maple leaves. It brought back Paul Ruskin and his truck, and my receptionist job in the manufacturing company across the street from the gas station where he worked, the Grote & Weigel hot dog factory next door, the Hole-in-the-Wall Theater and its production of Hair.
Some suggested Carol was careless. These were fellow high school classmates who straightened out and went to college, married well and had three children. Carol waitressed at a tavern and went into the beauty industry, suffered addictions and, sometimes, driving into trees, and arrests with drugs and paraphernalia in the car in towns like New Britain and Derby, places my father called the armpit of Connecticut. He meant our town was nothing like these.
Once, looking through a book of picture riddles with my grandson, we came to the final page, titled “Silent Night.” It was a snowy nighttime scene, a town with a church and a railroad crossing and a farm with a fence and small, safe houses with snow-covered roofs tucked along the road, their windows a pale yellow glow. Beyond the town were the edges of woods, crests of hills. The photographer claimed to have constructed the four by eight foot set out of wood and chicken wire. He used baking soda for snow. But in the photograph the town looked real—the moon lighting everything bluish, the night so dark the objects we sought were barely perceptible: a glove, a horse, a gate, a silver coin, the shadow of a skate.
“This is just like the town I grew up in,” I said, and then immediately wanted to pull the words back."
Carol’s house was two down from mine. We were friends from childhood up through high school, though she was a year behind me. I graduated and got a full-time job filing and answering phones and filling in pink “While You Were Out” slips. Carol cheered at Homecoming and made culottes in Home Ec. That first year of work, I went to my company Christmas party at the Sheraton ballroom downtown. I wore a peach satin halter dress, one that I imagined Carol would have worn herself. I had the money, finally, to buy the clothes I always wanted—still living at home, paying a small car loan. The only coat I owned was a parka, and I didn’t think it matched the dress, so when Paul Ruskin picked me up in his truck I rushed down the front walk of my mother’s house with nothing on but the dress and a pair of black velvet heels. I never brought a purse with me on dates. The house was always left open, and I knew I didn’t have to pay.
I think of this now in light of Carol’s disappearance how we’d grown up with the desire to be unencumbered. No one carried a purse to the keg party by the reservoir. You had some bills in the pocket of your jeans and that was for cigarettes if you were low. The boy paid for the alcohol he plied you with, and condoms, and the motel, if he lived at home, too, and wanted to have sex somewhere other than his car. It was considered romantic to get a room something couples did on the night of prom. Even if the room was at the Grantmoor on the Berlin Turnpike.
In the three months since her last sighting, a snowstorm in December, Carol’s cell phone had not been paid, her number given to someone else. Her bank account and credit cards had gone unused. Carol didn’t own a car. On the website broadcasting her disappearance, nothing is listed for “Cloth- ing and Accessories,” which is a terrible injustice. Carol was always fashion- ably dressed, and it saddened me that whatever outfit she had pulled together on that day would always go unnoticed. I imagined her stepping out into the snow the way we often did—with nothing but ourselves and the pull of the unknown. What will happen now? we had thought. We didn’t worry about bodily harm. These were local boys who knew how to drive the town’s winding roads. They gripped the wheel of the car or truck, their sleeves rolled up and their forearms ropy with muscle. All through high school, Paul Ruskin was Carol’s boyfriend, and his family lived in Kenwood in a brick colonial, and she was safe, safe, safe.
The night of my company’s Christmas party I climbed into Paul’s truck and he grinned at me, the grin slightly off. He and Carol had recently bro- ken up. He’d been working at the Mobil station for two years, serving sub- urban women who pulled in and said, “Fill it up, please.” He washed their windshields, hustling around their station wagons with the squeegee, but you could tell he wasn’t suited for the job, that his family expected him to go to college, and in many ways, Carol’s leaving him was just another disap- pointment for his parents, who had spent many nights with her, watching television in the den. I knew I wouldn’t be filling her position. I wasn’t the type at the time, and I sensed that Paul knew it, and understood that maybe this night with me would be his last. Still, I saw he would make the best of things. He leaned over and rubbed his hands up and down my exposed arms.
“Jesus,” he said. “You know it’s like twenty degrees out?” I settled into the truck’s seat and Paul angled the heating vents toward me. “Ice Queen,” he said, putting the truck into gear. A compliment, or not, I couldn’t tell.
The night was dark and clear, the sky like it had been pricked with a fork, the sparks of light showing through. We drove through town—the Congre- gational Church strung with lights, the roads black and shining, the houses looking like everyone inside sat in front of their televisions with hot cocoa and bowls of popcorn. At my house my mother perched on the edge of her bed watching her little black and white television, drinking sherry. My sis- ters were out somewhere with their friends in the night, loose and as im- mune to the cold as I was. Back then, people said things like “the wrong side of the tracks,” and that was where we’d moved with my mother when she di- vorced my father, when the house we’d grown up in was sold and only the living room’s love seats fit in the rental—a gray house with slipping clap- boards. The winding lane and the maples and the iron lamp post of our old house no longer protected us, and we were suddenly, like a store with it lights flipped on, open for business. “Here we are!” we said.
Paul Ruskin was one of a string of boys who took me out the year we moved, all after my first boyfriend decided to tell his friends about the things we did together. I saw now that he’d been hurt and rejected when I broke up with him. I was probably cruel, though I cannot remember what I said. I only know I wanted to be away from him, that I wanted to be with someone else. Later, he moved on with his life and married a local girl and had children and discovered cancer in his lungs and died. It struck me now how much he may have truly cared for me—taking me to the motels for sex, try- ing to make it nice in various ways. But no matter how nice I didn’t care for him, and there was nothing to be done about that.
Paul drove I- downtown to the Sheraton, into the depths of the park- ing garage, a place as dank and forlorn as any I’d ever seen. We took the el- evator, and inside, in its mirrored walls, I saw how pale my shoulders were, how my nipples poked against my dress. Paul wore a suit. He kept tugging on his tie.
“We don’t have to stay long,” I said, though a plan for after the party had not been shared.
The elevator opened into the lobby and we followed the little placards to the ballroom. My dress moved along my legs, and Paul put his hand on the small of my back, and I thought we were an attractive couple—he was one of the most handsome boys I knew, and that was the reason I’d asked him. He looked like the kind of boy the person I pretended to be would date, and this would impress the people I worked with—the office women with their manicured hands and designer bags and dishes of watermelon candies; the men who invited me into their offices and told me to close the door, then leaned back, their chairs squeaking.
“So, you have a boyfriend? What does he do?”
I was happy to have the break from the dull clerical work, and it seemed as if these men were bored, too—distracted and irritated with their wives and children, tearing open packages of Snowballs and Mars bars and down- ing cans of Coke. I can honestly say I never knew what sort of work they did at the company or looked with any interest at the piles of papers on their desks. I never saw them working at anything.
owner of the Hole in the Wall theater, and he played Romeo in a version in which Romeo and Juliet remove their clothes in their tower, a construct of wood and artificial stone. Paul had invited me to the show’s final perform- ance the week before. It was our first date. The lights were dimmed in the theater, but everyone knew beforehand that there would be a nude scene— this was probably why they were there. I sat in the audience and watched him step out of his pants, embarrassed for him. After, I met the theater owner at the cast party, and he took a handful of my hair in his hand and asked me to be in his version of “Hair.”
“You have to do it,” he said. “Convince her Paul.”
I knew that this play, too, had a nude scene and that the theater owner wasn’t just complimenting my hair. He ran his fingers through the long strands and when I tried to step away he gripped my hair in his fist. In his other hand he held a plastic cup of wine and a cigarette. He was an English professor at a nearby university and had started the theater in the early s. He made me nervous, the way he stared at me, and held my hair, though I behaved as if he didn’t. I thought he was probably dead now, as were most of the people I knew back then. I smiled at him and sipped from my own plastic cup of wine. He wore a velvet jacket, as threadbare as the red carpet in the theater lobby. Outside, the wind blew white paper napkins in the street. I watched them flutter past the front window, waiting for him to release me.
