The Family Tabor. Cherise Wolas
beginners; and in a multitude of rounds of internet dating. In that vein, before she constructed Aaron Green, she toyed with the notion of hiring an old-fashioned Jewish matchmaker, and briefly considered dialing up the level of Judaism she was willing to accept—from Reform, as Phoebe and the rest of the Tabors are, to the more involved Conservative branch—to enlarge the pool of possibilities. Since her college days, she has tried to remember to light Shabbat candles when she is home on a Friday night, saying the prayer in Hebrew, speaking aloud the wishes she harbors inside. And she is a good holiday Jew, driving to Palm Springs to join her parents in the preparation of Rosh Hashanah dinners, attending services at the temple they’ve belonged to forever, returning ten days later for Yom Kippur dinner and services and the next endless day spent in temple hungry and thirsty, breaking the fast with bagels and cream cheese and the salty types of fish her father particularly likes from his childhood in the Bronx.
When the light turns, she makes a left onto Olympic. Not far from her apartment are two Jewish neighborhoods, one thick with Orthodox, black hats and beards and ear curls, and the other, Modern Orthodox, mostly clean-shaven, identifiable by their kippahs or baseball caps, the acceptable substitute for honoring God above, appearing otherwise normal, but who require a nearby temple within walking distance and are wholly unavailable from sunset on Friday nights until after sunset on Saturdays, rendering null romantic weekends. Studying those two subsets of religious men, she had retreated entirely from the thought of a Jewish matchmaker.
There’s a coven, a pride, a flock of the ultrareligious right now, walking on the otherwise empty sidewalk. The men with the sidelock curls, those dangling peyot, hands clasped behind their backs, bodies tilting forward, overdressed in their dully black coats that absorb the morning sun. Passing them, she uselessly admonishes herself to not dwell on what’s missing in her life.
A bright red car whizzes past. She is like that car, carrying herself with spangle and spark, but the strength that has long held her up is weakening. In Palm Springs, she’s going to disappoint everyone when she walks in alone, without Aaron Green. Should she throw out a few hints that the relationship may be experiencing a loss of acceleration?
God, no. Nothing has come of his supposed existence, except for the homework she must do and the need to keep everything straight, but she’s not ready to resume her old role as the Tabor offspring unloved outside the familial circle.
Is it wrong that she wants the warmth of her family’s attention, to retain their newly revived belief that love is not beyond her reach, that love has found her again?
Absolutely not.
And not telling the truth is kinder—she wouldn’t want to be responsible for torching Harry’s big award weekend.
That’s not the real reason.
She’s a coward, plain and simple, lacking the kind of bravery needed to come clean about her whale of a lie.
And that makes her think of the story from Hebrew school that she never got straight—was Jonah saved, regurgitated out of the whale’s massive mouth, and into the cleansing water, as she could be if she came clean, or did he die in there? He probably died in there.
The pretend lover, the few relationship details she has coyly shared with her family about Aaron Green, illuminate what she tries to forget: the Phoebe who existed at twenty-three, in love with a long-haired boy named Elijah, who threw himself into life with abandon. The only former love who has never reached out to her.
Over the years, she has debated whether the way she let him go has been responsible for her perennial single status, the diminution, then disappearance, of that magnetism she once took for granted.
Sometimes late at night in her office she searches for Elijah’s name, but no engine finds him, not even one other person with his name seems to exist in the whole great world, and she wonders if he went off the grid, as he swore he wanted to do someday. Or if he is dead.
She was a foolish young woman back then, and did him wrong, did herself wrong, too. She had lacked the courage to face him and explain she didn’t possess his audacity to live an explorative life, that the idea of dropping out, even temporarily, frightened her, that the life she was living gave her the comfort and certainty she needed and desired. She had disappeared on him, shunned his calls, deleted his emails, hid in the tiny bathroom in the small apartment she then had, until he removed his finger from the buzzer, until his rapping against the door stopped—she imagined him putting his tongue to his knuckles and tasting the blood, inhaling the iron scent of confusion. It had taken four months before he gave up, before she sighed in relief, then flinched in horror, that she had murdered something so rare with silence.
It sounds like a bad country song, Phoebe thinks.
Then she thinks, no, it feels biblical, the resultant suffering she has endured since tossing away that long-ago love.
The mundane intrudes. Her car requires fuel and she swings into her regular station. At the pump, she listens to the rush of the gasoline, watches the gallons ratchet up. On the other side of the tanks, a man extracts himself from his low-slung convertible, runs his card through, and starts doing the same.
“Happy Saturday morning,” he says to Phoebe across the concrete divide. He is rather handsome. His smile is nice, so are his eyes. But drawing love to herself would never happen at a gas station.
“Bonjour,” she says.
“Are you French?”
“Oui.” And with that floating oui comes the thought that she’s wrong about where love could happen. It could happen here, but it’s too late, she’s declared herself French. Why didn’t she simply say hello in her native English?
“Are you visiting, or do you live here?”
This interest of his, surely it’s been triggered by the allure of her supposed foreignness. If she’d said, “Hello,” he would have said, “Lovely day, enjoy it,” filled his tank and driven away.
Because it’s a lost cause, she shakes her head and says, “Je suis désolée. Je ne parle pas l’anglais.”
“You don’t speak English?”
“Non.” She could backpedal the lie that she doesn’t speak English, but not the lie that she’s French.
She feels his eyes on her as she hangs up the hose, screws on the fuel cap, enters the car, shuts the door, and starts the engine. At the exit, she glances in her rearview mirror and the man is looking in her direction, his hand raised in what could be a wave.
When she’s back on the road, she yells at herself. He could have been the one, and what a story they could have told, about how their love ignited over premium unleaded at Shell. Real love, maybe, rather than the illusory love she shares with Aaron Green, whose invention was to find the real thing.
She cranks up the music and the first artist loud out of the speakers is like a finger wagging in her face. One of her favorites, with a stage name that’s a play on Chet Baker. She’s never listened to Chet Baker, but she likes Chet Faker, his cool, moody music, and she forces herself to sing along, to drown out how aptly his stage surname applies to her—faker, faker, faker.
HARRY CLICKS THE TEMPERATURE button on his watch. Still early, but the heat is inching up, the norm for August, when Labor Day is still a couple of weeks away. Yesterday at five, it peaked at 114. Today, it could reach 108 by noon. He reaches into his bag for a bottle. Forty-five minutes ago, it could have been a frozen weapon; now it’s just plastic holding cold water, which he swigs.
Levitt has gone out the gate, to the parking lot, has popped his trunk, seeking a dry shirt, then holds his phone up in the air. “Hey, Harry, I’ve got to make a call,” he yells.
“Do what you need to do,” Harry yells back, and sits down on the weather-worn bench on the court.
Levitt