Every Last Lie. Mary Kubica
of the highway, especially during rush hour. Harvey Road is a flat, level plane; there are no hills. It’s narrow, two lanes that hardly seem suitable for two cars, especially along the bend, a sharp ninety-degree angle that resembles an L, the double yellow line that dissects it met with disregard as cars drift blindly across it to make the hairpin turn. A chain of horse properties run the length of Harvey Road: large, modern houses surrounded by picket fences, harboring Thoroughbreds and American quarter horses. It’s the high-end version of rural, tucked in a nook between two thriving suburbs that snowball with droves of department stores, convenience stores, gas stations and dentists.
The day is sunny, the kind of glorious day that gives way to a magnificent sunset, turning the world to gold at the hands of King Midas. The sun hovers in the belly of the sky like a Chinese lantern, golden and bright, glaring into the eyes of commuters. It sidles its way into cars’ rearview mirrors, reminding us of its dominion in this world as it blinds drivers moving into and away from its glare. But the sun is only one cause of the accident. There’s also the sharp turn and Nick’s rapid speed, I’m soon to learn, three things that don’t mix well, like bleach and vinegar.
That’s what he tells me, the man in the woven shirt and pants, who stands before me, bracing me by the elbow, waiting for me to fall. I see the sunlight slope through the open front door and gain entry into my home, airbrushing the staircase, the distressed hickory floors, the hairs on Felix’s vulnerable head in a golden hue.
There are words and phrases equally as elusive as accident had been: too fast and collide and tree. “Was anyone hurt?” I ask, knowing Nick has a tendency of driving too fast, and I see him in my mind’s eye force some other car off the road and headlong into a tree.
There’s the hand again at my elbow, a sturdy hand that keeps me upright. “Ma’am,” he says again. “Mrs. Solberg.” He tells me that there was no one there. No witnesses to the scene, Nick taking that turn at over fifty miles per hour, the car being propelled into the air by the sheer physics of it, speed and velocity and Newton’s first law of motion that an object in motion stays in motion until it collides with a white oak tree.
I tell myself this: if I had asked for Mexican for dinner, Nick would be home by now.
* * *
The fluorescent lights line the ceiling like a row of stalled cars at a stoplight, one in front of the other in front of the other. The light reflects off the corridor’s linoleum floors, coming at me from both directions as everything in that one, single moment comes at me from both directions: Felix with a sudden, single-minded need to eat; men and women in hospital scrubs; gurneys ferrying by; a hand on my arm; a solicitous smile; a glass of ice water set in my shaking hand; a cold, hard chair; Maisie.
Felix disappears from my arms, and for one split second I feel lost. Now my father is there, standing before me, and in his arms sits Felix as I fold myself into him, and my father holds me, too. He is thin but sturdy, my father. His hair is nothing more than a few faint traces of gray on an otherwise smooth scalp, the skin darkened with age spots. “Oh, Daddy,” I say, and it’s only there, in my father’s arms, that I let the truth settle in, the fact that my husband, Nick, lies lifeless on an operating table, brain dead but being kept alive on life support while a list of organ recipients is procured: Who will take my husband’s eyes, his kidneys, his skin? A ventilator now breathes for him because Nick’s brain no longer has the ability to tell his lungs to breathe. There is no activity in the brain, and there is an absence of blood flow. This is what the doctor tells me as he stands before me, my father behind me, like a pair of bookends holding me upright.
“I don’t understand,” I tell the physician, more because I refuse to believe it than I don’t understand, and he leads me to a chair and suggests that I sit. It’s there, as I stare into his brown, disciplined eyes, that he explains again.
“Your husband has suffered from a traumatic brain injury. This caused swelling and bleeding in the brain,” he says, knotting his arms before his thin frame. “A brain hemorrhage. The blood has spread over the surface of the brain,” and it’s sometime there that he loses me, for all I can picture is an ocean of red blood spilling onto a sandy beach, staining the sand a fuchsia pink. I can no longer follow his words, though he tries hard to explain it to me, to choose smaller and more rudimentary words as the expression on my face becomes muddled and confused. A woman stops by, asking me to sign a donor authorization form, explaining to me what it is that I’m signing as I scrawl my name sloppily on a line.
I’m allowed into the trauma center to watch as a second physician, a woman this time, performs the very same tests the male doctor has just done, examining Nick’s pupils for dilation, checking his reflexes. Nick’s head is shifted to the left and the right, while the physician watches the movement of his steel-blue eyes. The doctor’s eyes are stern, her expression growing grim. The CT scan is reviewed again and again, and I hear these words slip into the room: brain shift and intracranial hemorrhaging, and I wish that they would put a Band-Aid on it so that we could all go home. I will Nick’s eyes, his throat, to do whatever it is they need for them to do. I beg for Nick to cough, for his eyes to dilate, for him to sit up on the gurney and speak. Chinese or Mexican? he’d say, and this time I would say Mexican.
I will never eat Chinese food again.
* * *
I say my goodbyes. I stand before Nick’s still-alive but already-dead body and say goodbye. But I don’t say anything else. I lay my hand on a hand that once held mine, that only days ago stroked my damp hair as I pushed an infant from my body. A hand that only hours ago cradled Maisie’s tiny one as they skipped through the door—she in a pale pink leotard and tutu, he in the very same clothing that is now sprinkled with blood, clipped from his body like store coupons by some nurse’s hurried hand—to ballet class, while I stayed behind with Felix in my arms. I run a convulsing hand along his hair. I touch the bristle of his face. I lick my thumb and wipe at a swatch of fluid above his eye. I press my lips to his forehead and cry.
This is not the way I want to remember him, here on this aseptic bed with tubing stuck into his arms and throat and nose; pieces of tape plastered to his face; the machines’ grating beeps and bleeps, reminding me that if it weren’t for them, Nick would already be dead. The appearance of his face has changed, and suddenly I realize that this is not my Nick. A terrible mistake has been made. My heart leaps. This man’s face is covered with contusions and is swollen so that it’s no longer recognizable, not to me, not to his hapless wife, another woman who will soon be informed her husband is dead. They’ve brought some other man into this room—mistaking him for Nick—and his wife, this poor man’s wife, is now wandering the monochrome hospital halls wondering where he is. Perhaps he, too, is a Nick, but my Nick is somewhere else with Maisie. I stare at this torpid body before me, at the bloodstained hair, the pale, ductile skin, at the clothing—Nick’s clothing, I thought only moments ago, but now I see it’s an insipid blue polo shirt that any man could wear—that’s been pruned from his body. This is not my Nick; I know this now. I swivel quickly and scurry through the curtain partition to find someone, anyone, so I can proclaim my discovery: the dying man on that hospital bed is not my husband. I stare a completely bemused nurse right in the eye and demand to know what they’ve done with my husband.
“Where is he? Where is he?” I beg, latching on to her arm and joggling it up and down.
But of course it is Nick. Nick is the man on that hospital bed. My Nick, and now everyone in the whole entire hospital is looking at me with pity, feeling thankful that they’re not me.
When I’m done they lead me to another room, where Maisie sits on a hospital table beside my father, fervently filling him in on the fundamentals of her ballet teacher, Miss Becca: she’s pretty, she’s nice. The hospital staff has told me Maisie is fine, and yet there’s a great wave of relief that washes over me at seeing her with my own eyes. My legs buckle at the knees, and I latch on to the door frame, telling myself it’s true. She really is fine. I’m feeling dizzy, the room orbiting around me as if I am the sun and it is the earth. Felix is there in my father’s grip, and in Maisie’s hand is a lollipop, cherry red, her favorite, which dyes her tongue and lips bright red. There is a bandage on her hand—just a small laceration,