Chapters (20)
- by
- Preface
- Ladders to Fire
- Main Characters
- Publishing History
- Prologue
- This Hunger
- Bread and the Wafer
- Children of the Albatross
- Main Characters
- Introduction
- The Sealed Room
- The Café
- The Four-Chambered Heart
- Beginning
- A Spy in the House of Love
- Publishing History
- Seduction of the Minotaur
- About the Author
- More Titles from Sky Blue Press
He was only five years older than she was. He was thirty-five and had gray hairs on his temples, and he talked to her as if he were her father. Had he always talked in this tone to her? She tried to remember Alan as a very young man. When she was twenty years old and he twenty-five. But she could not picture him any differently than at this moment. At twenty-five he stood the same way, he spoke the same way, and even then he said: "My little one."
For a moment, because of the caressing voice, the acceptance and the love he showed, she was tempted to say: "Alan, I am not an actress. I was not playing a part on the road. I never left New York, it was all an invention. I stayed in a hotel, with..."
She held her breath. That was what she was always doing, holding her breath so that the truth would never come out, at any time, not here with Alan, and not in the hotel room with a lover who had asked questions about Alan. She held her breath to choke the truth, made one more effort to be the very actress she denied being, to act the part she denied acting, to describe this trip she had not taken, to recreate the woman who had been away for eight days, so that the smile would not vanish from Alan's face, so that his trustingness and happiness would not be shattered.
During the brief suspense of her breathing she was able to make the transition. It was an actress who stood before Alan now, re-enacting the past eight days.
"The trip was tiring, but the play went well. I hated the role at first, as you know. But I began to feel for Madame Bovary, and the second night I played it well, I even understood her particular kind of voice and gestures. I changed myself completely. You know how tension makes the voice higher and thinner, and nervousness increases the number of gestures?"
"What an actress you are," said Alan. "You're still doing it! You've entered into this woman's part so thoroughly you can't get out of it! You're actually making so many more gestures than you ever did, and your voice has changed. Why do you keep covering your mouth with your hand? As if you were holding back something you were strongly tempted to say?"
"Yes, that is what she was doing. I must stop. I'm so tired, so tired, and I can't stop...can't stop being her."
"I want my own Sabina back."