or Japanese Vogue or something and read it on the way home. I didn’t want anyone to see me with it.”
We step out of the terminal and walk to Eva’s car. “You can’t worry about what everyone else thinks.”
“Oh, I don’t, not now. Especially after reading that column you wrote about embracing your guilty pleasures.”
“I wrote that years ago.”
Eva stops for a moment. “Two thousand and one, I think. Sometime in the spring?”
I have no idea if she’s right, but I’ll assume she is. “I think you know more about me than I do.”
The drive to the airport and back with the top of Eva’s convertible down has sobered me up and a dull headache is setting in. Eva parks and we walk to the corner and buy two bottles of cheap French wine at the depanneur. A couple glasses and my headache is masked by the liquor. Then there’s the guilt and the phantom pain of work tomorrow. It’s not even eight.
Eva walks around my apartment as if it were a museum. She looks closely at everything, every picture, every knickknack, the title on every spine of every book on my shelves. She doesn’t touch a thing. I take my camera out and upload the weekend’s photos onto my computer. Of the twelve DOs for the fashion page, seven are strong enough to use. I only need five. I have fifteen DON’Ts, of which ten are hysterical, but I only need five of those, as well. And then there’s Parrot Girl.
I hate Parrot Girl because I don’t know what to do with her. It used to be easier when people just dressed how they dressed and it was about style, not irony and preciousness or getting their picture taken. I’m tired of Parrot Girl and all the other girls who may not have parrots but they’re the same because they try so hard not to be. I hate Parrot Girl and her soccer socks and her cowboy boots and her satin jacket. But I hate her most because I know she looks ridiculous and that she is a DON’T. But it’s not about me and my personal DON’Ts, not really, not anymore, it’s about the perception of DON’Ts and knowing whether twenty-year-olds will think Parrot Girl is a DON’T. Stuffy American companies don’t pay people twenty thousand dollars to talk to their marketing department for a day unless they can tell them definitively what a DON’T is to a twenty-year-old. I’m almost forty. I want to slap myself, but instead I take another swig of wine, and then I want to slap Parrot Girl, but she’s not here. Eva is. I don’t want to slap her. She’s twenty-four. I could ask her what she thinks about Parrot Girl. She’d be thrilled, I’m sure. But I don’t because I can’t, because I can’t fucking tell what Parrot Girl is. Is she a poseur or some newfangled post-post-ironic poster child for some save-the-birds society? Is she wrong or all right? Is she a test, a comeuppance for something I did last week or last year? Fuck me. Is she a DO or a DON’T?
My brain flips over and hurts. Get me a cold compress and a very soft pillow. Let me not care and play dead or pretend I’m a teacher, a strict schoolmarm. It’s a pop quiz for Eva: who’s a DO, who’s a DON’T? Pencils down in three minutes! I’ll check her work right away, taking my time—making her wait, making her nervous and possibly sweaty, though Eva seems likely to be one of those girls whose sweat smells like rosewater and never stains. Yes, a pop quiz could be fun, with Parrot Girl first up. No, second—I don’t need Eva to sense that I need her, and that I want her to spill every secret she knows.
I’m quite sure that Eva would tell me everything—anything—I wanted. She’d be happy, I’d be happy, we could do a dance around the living room because we’d know, we’d know, we’d know just what Parrot Girl is. We could revel and open more wine, make a toast to the most fabulous DO or DON’T of the week. I stare at the photo of Parrot Girl and her stupid fucking parrot and my mouth seals shut. I say nothing and there will be no pop quiz. I don’t need Eva, she holds no secrets I haven’t heard or told before. Parrot Girl is my problem, she’s a riddle, not a test, maybe even a joke.
I click through the photos and print them out. I spread them on the floor and Eva stands beside me as I decide which photos will make the column. Skinny Denim Shorts Man with the skeevy mustache is a DON’T. Skinny Pink Polo Shirt Man with the mutton chops and a kilt is a DO. Headband Girl is a DON’T. Babushka Girl is a DO. And so it goes until there is one more DON’T slot and one more DO. Parrot Girl is still on the floor. My confidence is sunk; it’s not too late for the pop quiz and this is no joke. I’ve made a Skinny Pink Polo Shirt Man with mutton chops and a kilt a DO. He looks absurd and he’s trying too hard but I know he’s a DO because the boys at Snap keep trying to grow mutton chops and half of them are in kilts—but never sarongs—and they really like pink and girls like Eva like them. And there are no fucking pets at all so it’s really not so complicated.
I look closer at the photo: it’s technically good. I have to use it. Eva shuffles her feet. She’s bored, she’s waiting, one second longer and she’ll know I’m a fraud. I pick up the photo and put it on the DON’T pile. I feel a rush of bravado and decide she’ll be the feature DON’T. Eva’s shuffling stops. Fuck Parrot Girl.
Jack calls. He’s home and safe. The flight was good. No snacks or bar service, but it was only an hour and he tells me he found a half-eaten protein bar in his jacket pocket. I’m drunk and I can’t believe I’m dating someone who eats protein bars. Eva’s sitting on the sofa wearing gloves and examining issues six and eight of Snap. She told me that she carries the gloves in her handbag at all times. She won’t read an important book or periodical without them, she said. Eva is odd. I slip into my bedroom and say this to Jack and he says,” You’re odd.” And he’s right, of course. I like her—Eva—and her oddness. I like that she carries gloves in her bag and wears panty hose and orthopedic shoes and has hair the color of a Francophone grandma. Jack tells me he loves me and that he misses me already. “I know you do, baby,” I say and as soon as that baby is out of my mouth I feel again like I want to vomit.
Eva is too drunk to drive so I tell her she can stay here. I make up the spare room that’s so rarely used. I lend her a black cotton camisole and a pair of boxer shorts printed with grinning flowers. They’re Japanese and they were free. They look cute on Eva. I rifle through my sleepwear options and decide on a long black silk chemise with lace trim and a matching robe. I keep my bra on so my breasts won’t flop around. I catch myself in the mirror. I look like a madam, but the silk feels cool and soft against my skin. At home, I’m usually in long johns and T-shirts, my hair tied back in a ponytail and my glasses on. I swipe a neutral gloss across my lips before heading back to the living room.
As we finish the wine, Eva tells me all about how great and important and influential I am. Sometimes I ask her about herself. She grew up in Pointe-Claire with an Anglo mother and a French father, not far it turns out from Ted and Genevieve’s new house. I look up their address in my book and Eva knows the street, it’s about six blocks from her parents’ place. She’s living there now, just temporarily she says. She has a job, an office PA for a French film company, but the pay is shit. She hates it, says the producer is a prick who wears a fedora and a trench coat every day and does nothing except play video games and look at porn on his cell phone. I tell her I’ll take his picture and make him the featured DON’T one week. She laughs until her eyes tear and I do, too. Eva tells me she went to private school, with uniforms that she started altering at thirteen. She says she makes clothes she sometimes sells to friends, but mostly she’s a stylist and a writer—like me. Except when I was twenty-four no one knew what a stylist did and no one knew our names. I tell her this and she goes on about how it’s about time people—but mostly me—were recognized for our talent. We’re the ones who spot and set the trends, not the movie stars, not the pop stars. Eva is very passionate about this. I’m fading and my eyes are heavy, but Eva keeps talking, telling me how remarkable and inspiring I am. “Look at all you’ve accomplished—look at everything you’ve done. And you’re not even forty.” Eva says this and it’s better than sex,
