their lives. Not all fiction, for sure. Not the human
beings-are-garbage-life-stinks-there-is-no-God novels filled with
fashionable despair.”
“Dr. Marty Stillwater, dispensing the medicine of hope.”
“You do think I’m full of shit.”
“No, baby, no,” she said. “I think you’re wonderful.”
“I’m not, though. You’re wonderful. I’m just a neurotic writer.
By nature, writers are too smug, selfish, insecure and at the same time
too full of themselves ever to be wonderful.”
“You’re not neurotic, smug, selfish, insecure, or conceited.”
“That just proves you haven’t been listening to me all these years.”
“Okay, I’ll give you the neurotic part.”
“Thank you, dear,” he said. “It’s nice to know you’ve been listening at
least some of the time.”
“But you’re also wonderful. A wonderfully neurotic writer. I wish I
was a wonderfully neurotic writer, too, dispensing medicine.”
“Bite your tongue.”
She said, “I mean it.”
“Maybe you can live with a writer, but I don’t think I’d have the
stomach for it.”
She rolled onto her right side to face him, and he turned onto his left
side, so they could kiss. Tender kisses. Gentle. For a while they
just held each other, listening to the surf.
Without resorting to words, they had agreed not to discuss any further
their worries or what might need to be done in the morning.
Sometimes a touch, a kiss, or an embrace said more than all the words a
writer could marshal, more than all the carefully reasoned advice and
therapy that a counselor could provide.
In the body of the night, the great heart of the ocean beat slowly,
reliably. From a human perspective, the tide was an eternal force, but
from a divine view, transitory.
On the downslope of consciousness, Paige was surprised to realize that
she was sliding into sleep. Like the sudden agitation of a blackbird’s
wings, alarm fluttered through her at the prospect of lying unaware
therefore vulnerable in a strange place. But her weariness was greater
than her fear, and the solace of the sea wrapped her and carried her, on
tides of dreams, into childhood, where she rested her head against her
mother’s breast and listened with one ear for the special, secret
whisper of love somewhere in the reverberant heart beats.
Still wearing a set of headphones, Drew Oslett woke to gunfire,
explosions, screams, and music loud enough and strident enough to be
God’s background theme for doomsday. On the TV screen, Glover and
Gibson were running, jumping, punching, shooting, dodging, spinning,
leaping through burning buildings in a thrilling ballet of violence.
Smiling and yawning, Oslett checked his wristwatch and saw that he had
been asleep for over two and a half hours. Evidently, after the movie
had played once, the stewardess, seeing how like a lullaby it was to
him, had rewound and rerun it.
They must be close to their destination, surely much less than an hour
out of John Wayne Airport in Orange County. He took off the headset,
got up, and went forward in the cabin to tell Clocker what he had
learned earlier in his telephone conversation with New York.
Clocker was asleep in his seat. He had taken off the tweed jacket with
the leather patches and lapels, but he was still wearing the brown
porkpie hat with the small brown and black duck feather in the band.
He wasn’t snoring, but his lips were parted, and a thread of drool
escaped the corner of his mouth, half his chin glistened disgustingly.
Sometimes Oslett was half convinced that the Network was playing a
colossal joke on him by pairing him with Karl Clocker.
His own father was a mover and shaker in the organization, and Oslett
wondered if the old man would hitch him to a ludicrous figure like
Clocker as a way of humiliating him. He loathed his father and knew the
feeling was mutual. Finally, however, he could not believe that the old
man, in spite of deep and seething antagonism, would play such
games–largely because, by doing so, he would be exposing an Oslett to
ridicule. Protecting the honor and integrity of the family name always
took precedence over personal feelings and the settling of grudges
between family members.