My mom wears lipstick, eye liner, mascara, blush, and eyebrow pencil to go to the dry cleaner’s. Dad is much as he always is, tall, spare, a quiet dresser, a wearer of hats. The difference is his face. He is deeply content. They touch each other often, hold hands, walk in unison. At the beach the three of us wear matching sunglasses and I have a ridiculous blue hat. We all lie in the sun slathered in baby oil. We drink Rum and Coke, and Hawaiian Punch.

　My mother’s star is rising. She studies with Jehan Meek, with Mary Delacroix, and they carefully guide her along the paths of fame; she sings a number of small but gemlike roles, attracting the ears of Louis Behaire at the Lyric. She understudies Linea Waverleigh’s Aida. Then she is chosen to sing Carmen. Other companies take notice, and soon we are traveling around the world. She records Schubert for Decca, Verdi and Weill for EMI, and we go to London, to Paris, to Berlin, to New York. I remember only an endless series of hotel rooms and airplanes. Her performance at Lincoln Center is on television; I watch it with Gram and Gramps in Muncie. I am six years old and I hardly believe that it’s my mom, there in black and white on the small screen. She is singing Madama Butterfly.

　They make plans to move to Vienna after the end of the Lyric’s ‘69 -’70 season. Dad auditions at the Philharmonic. Whenever the phone rings it’s Uncle Ish, Mom’s manager, or someone from a record label.

　

　I hear the door at the top of the stairs open and clap shut and then slowly descending footsteps. Clare knocks quietly four times and I remove the straight-backed chair from under the doorknob. There’s still snow in her hair and her cheeks are red. She is seventeen years old. Clare throws her arms around me and hugs me excitedly. “Merry Christmas, Henry!” she says. “It’s so great you’re here!” I kiss her on the cheek; her cheer and bustle have scattered my thoughts but my sense of sadness and loss remains.