I don’t know, he said. This is a pretty good arrangement, from my point of view.
Well, I do my best.
He got back into bed beside her and kissed her face. She had been sad before, after the film, but now she was happy. It was in Connell’s power to make her happy. It was something he could just give to her, like money or sex. With other people she seemed so independent and remote, but with Connell she was different, a different person. He was the only one who knew her like that.
*
Eventually Peggy finishes her wine and leaves. Connell sits at the table while Marianne sees her out. The outside door closes and Marianne re-enters the kitchen. She rinses her water glass and leaves it upside down on the draining board. He’s waiting for her to look at him.
You saved my life, he says.
She turns around, smiling, rolling her sleeves back down.
I wouldn’t have enjoyed it either, she says. I would have done it if you wanted, but I could see you didn’t.
He looks at her. He keeps looking at her until she says: What?
You shouldn’t do things you don’t want to do, he says.
Oh, I didn’t mean that.
She throws her hands up, like the issue is irrelevant. In a direct sense he understands that it is. He tries to soften his manner since anyway it’s not like he’s annoyed at her.
Well, it was a good intervention on your part, he says. Very attentive to my preferences.
I try to be.
Yeah, you are. Come here.
She comes to sit down with him and he touches her cheek. He has a terrible sense all of a sudden that he could hit her face, very hard even, and she would just sit there and let him. The idea frightens him so badly that he pulls his chair back and stands up. His hands are shaking. He doesn’t know why he thought about it. Maybe he wants to do it. But it makes him feel sick.
What’s wrong? she says.
He feels a kind of tingling in his fingers now and he can’t breathe right.
Oh, I don’t know, he says. I don’t know, sorry.
Did I do something?
No, no. Sorry. I had a weird … I feel weird. I don’t know.
She doesn’t get up. But she would, wouldn’t she, if he told her to get up. His heart is pounding now and he feels dizzy.
Do you feel sick? she says. You’ve gone kind of white.
Here, Marianne. You’re not cold, you know. You’re not like that, not at all.
She gives him a strange look, screwing her face up. Well, maybe cold was the wrong word, she says. It doesn’t really matter.
But you’re not hard to like. You know? Everyone likes you.
I didn’t explain it well. Forget about it.
He nods. He still can’t breathe normally. Well, what did you mean? he says. She’s looking at him now, and finally she does stand up. You look morbidly pale, she says. Are you feeling faint? He says no. She takes his hand and tells him it feels damp. He nods, he’s breathing hard. Quietly Marianne says: If I’ve done something to upset you, I’m really sorry. He forces a laugh and takes his hand away. No, a weird feeling came over me, he says. I don’t know what it was. I’m okay now.
Three Months Later
(JULY 2012)
Marianne is reading the back of a yoghurt pot in the supermarket. With her other hand she’s holding her phone, through which Joanna is telling an anecdote about her job. When Joanna gets into an anecdote she can really monologue at length, so Marianne isn’t worried about taking her attention off the conversation for a few seconds to read the yoghurt pot. It’s a warm day outside, she’s wearing a light blouse and skirt, and the chill of the freezer aisle raises goosebumps on her arms. She has no reason to be in the supermarket, except that she doesn’t want to be in her family home, and there aren’t many spaces in which a solitary person can be inconspicuous in Carricklea. She can’t go for a drink alone, or get a cup of coffee on Main Street. Even the supermarket will exhaust its usefulness when people notice she’s not really buying groceries, or when she sees someone she knows and has to go through the motions of conversation.
The office is half-empty so nothing really gets done, Joanna is saying. But I’m still getting paid so I don’t mind.
Because Joanna has a job now, most of their conversations take place over the phone, even though they’re both living in Dublin. Marianne’s only home for the weekend, but that’s Joanna’s only time off work. On the phone Joanna frequently describes her office, the various characters who work there, the dramas that erupt between them, and it’s as if she’s a citizen of a country Marianne has never visited, the country of paid employment. Marianne replaces the yoghurt pot in the freezer now and asks Joanna if she finds it strange, to be paid for her hours at work – to exchange, in other words, blocks of her extremely limited time on this earth for the human invention known as money.
It’s time you’ll never get back, Marianne adds. I mean, the time is real.
The money is also real.
Well, but the time is more real. Time consists of physics, money is just a social construct.
