Laura Furman - The O Henry Prize Stories 2005

“Then we have to obey her.”

“But why can’t I hear the music?”

“Another time, I’m going to play something specially for you.”

“You are? What?”

“Wait and see.”

Lilí contemplated this briefly, then went to kiss Roberto and Miguel good night. Tripping back to me, she motioned me down and mouthed: “Don’t forget.” Rosario led her off.

“We missed you at the party,” said Roberto. “A resounding success, wouldn’t you say, Miguel?”

“Tito howled through most of it, that's for sure,” Miguel laughed. “What a pair of lungs that kid has!”

I offered my score to Roberto: “You might like to follow-though it may be awkward for the three of you together…”

“Not to worry.” With a flourish, he drew a tight new edition from a stack on the coffee table. I passed my wilted old folio to Miguel, who nestled into “his” armchair and leafed through the pages. Moving to the piano, I adjusted the bench and took some deep breaths. Rosario came back and sat down on the sofa beside Roberto. At that moment, I pounced.

The whole piece is daunting, but the first two notes are nearly insuperable: terminal heartbeats. How to play those ? The keys have to be touched as if they were red-hot irons. I pinged off that opening salvo-vitality's parting shots-and plunged ahead, in a kind of conscious trance… until at last, in the closing measures, the dawn appeared and outfaced the destroyer. The final note whispered: Death, even you will die.

Miguel stood up and began to pace: “This never sank in before-yet I can’t say I didn’t know.”

Roberto, who had been lost in scrutiny of the ceiling, bent forward and addressed me: “Rosario was right. You really put it across. I almost wish you hadn’t…”

“The beauty transforms it into something tolerable,” said Miguel.

Borne on her own current, Rosario reflected: “People live such different lives. Why shouldn’t they experience death differently? For one it might be an eternal catastrophe… For another, nothing at all.” She stood up; I thought she was going to leave. Instead, with a soft gesture she signaled for me to surrender the bench. She occupied my place with such a magisterial posture that an electric hush seemed to descend upon a crowded hall. “Number Five, from Schoenberg's Six Little Piano Pieces” she announced. “In celebration of our heartbeats.”

An hour before her next lesson, Rosario telephoned me, asking to have it at my house. She turned up well-groomed as always but had circles under her eyes. She was quiet, rather stiff. We worked on a Prelude and Fugue. At the end, I fetched her coat from the closet.

She wrapped it about her as if suddenly chilled, and sniffed sharply. “Roberto delivered an ultimatum: ‘If Miguel ever tries to see Tito again, I’ll kill him.’”

“Kill Miguel?”

“No, Tito.” She clawed her hair back. “All this time. Engineering it.”

The bell jangled. I opened the door: Miguel, unshaven, bedraggled. Rosario manifested no surprise at his apparition. He seemed on the verge of pleading for something. She laid her hand over his mouth.

The following day, I got in at four o’clock from doing errands. Two students of mine, teenage twin sisters, were waiting outside my apartment in their matched jumpers, stealing glances at Miguel, who leaned against a wall, weeping.

“Miguel, what is it?”

“How can he cut me off from my head? Never? I don’t want to live!” “Come in, why don’t you? I have to give these girls their lesson. Yours isn’t till five.”

“I’ll stay here.”

The twins were unabashedly gawking. I shooed them in.

When I ushered them out, Miguel was standing in the same spot, more composed. I led him in to the piano. He said nothing-for fear, I guessed, of dissolving again. His hands shook so, he could scarcely play. Midway through the hour, he sprang up, embraced me, and bolted.

Roberto requested that I come to him for his lesson. It was dusk; he left the lamps unlit. No one else seemed to be around. The gladiolas, still in their tall vase, exhaled a sickly smell.

He worked attentively. At one moment he mumbled to no one in particular: “Even flirted with me.”

At the end, he pressed down middle C with his fifth finger and intoned, “Good-bye.” Was he saying this to me or to the piano?

As I walked home, I remembered that once, at a gathering, I had seen Miguel clasp Roberto around the waist, dance a few steps with him, and yell, “How hot this man is!” Roberto joined in the act, stroking Miguel's chin: “Look who's talking!” Everybody had laughed, except Rosario, who asked me, “Why are they laughing?”

I recalled one of Miguel's first lessons. A stifling summer day. He had on a fitted silk shirt, shorts, espadrilles. I got up to pour him some water. When I turned around, he had unbuttoned his shirt. He flashed me a broad grin.

“Is something funny?’

“Sorry.” He buttoned up.

Another time-I’d praised him for having performed a piece well-he took my index finger and put it to his lips.

“What are you doing?”

He held my finger there for a few more seconds and, with a subtle smile, answered: “Shushing my pride.”

I was expecting Rosario at three o’clock. Three thirty came, and no sign of her. I phoned. The maid answered: “Something terrible, Dios mío… Lilí fell off the balcony. ”

“What?”

“Dead.”

The day after the funeral, Rosario arrived punctually for her lesson. She was dressed in a gray suit and had on dark glasses, which she did not remove.

“Just Bach,” she said.

Every so often, a shudder convulsed her and she had to stop. At one point she retired to the other room for a few minutes. She strode back in: “I need to play.”

Week by week, she made progress.

From her spring, she passed directly to her autumn. Her red foliage turned gray. She took to wearing a hat, and gray weeds. More stunning than ever. She reminded me of the elm in the field behind the house where I grew up. A squall of hailstones fractured its branches, yet the tree stood firm.

Roberto decided to relocate to another city. Rosario moved with him. At our last meeting, she clutched my hands. “You’ve taught me to take care with endings,” she said. “We’ll probably never see each other again. I am not an unfinished symphony. The double bar has come.”

The metronome tapped away, prestissimo. Six years? Seven?

One summer afternoon, the sun closed down like an iris, the sky let loose a barrage, and I, who had been trying to outrun the storm, found myself huddling beneath a leaky cornice. Each time the blast seemed to have reached its utmost vehemence it would swell anew. I was thinking of a three-legged mongrel I’d seen, hoping the poor cur hadn’t drowned, when suddenly a shape bodied forth out of the swirl. A bald shape, with an umbrella. It slowed, squinted through the murk, advanced, halted, pushed its nose almost up to mine.

“Roberto!”

He glowered, brought the drumming black canopy over my head. “Music!” His jaw quivered. “The best music is silence.” His incisors dug into his lower lip till it bled. He planted his umbrella in my hand with a solicitous squeeze, and tromped off into the deluge.

I tried to conjure up Rosario's two sapphires. In her presence I had always forbidden myself to blink, not wanting to lose sight of their dazzle even for an instant. Now, in order to recapture her eyes, I needed to press my own tight shut.

from Harper's Magazine

ONCE THEY were out on the street, Grace, his dog, paid no attention to John Hillman, unless she wanted to range farther than her leash permitted. She would pause and look back at him, holding up one paw instead of lunging ahead and straining against her collar as John had observed other dogs do.