Chapters (53)
- Cover
- Dedication
- Epigraph
- Chapter 1
- Chapter 2
- Chapter 3
- Chapter 4
- Chapter 5
- Chapter 6
- Chapter 7
- Chapter 8
- Chapter 9
- Chapter 10
- Chapter 11
- Chapter 12
- Chapter 13
- Chapter 14
- Chapter 15
- Chapter 16
- Chapter 17
- Chapter 18
- Chapter 19
- Chapter 20
- Chapter 21
- Chapter 22
- Chapter 23
- Chapter 24
- Chapter 25
- Chapter 26
- Chapter 27
- Chapter 28
- Chapter 29
- Chapter 30
- Chapter 31
- Chapter 32
- Chapter 33
- Chapter 34
- Chapter 35
- Chapter 36
- Chapter 37
- Chapter 38
- Chapter 39
- Chapter 40
- Chapter 41
- Chapter 42
- Chapter 43
- Chapter 44
- Chapter 45
- Acknowledgments
- About the Author
- Books by Cynthia Hand
- Back Ad
- About the Publisher
Whatever the reason, it was the wrong call. Leo was offended. He might say it’s all right and that he respects me and that he can wait, but he got instantly distant with me after I wanted to stop. He couldn’t help it. He was disappointed.
Yeah, well. I’m disappointed, too.
I sign and date the sketch. It needs a title. I scrawl a word I like: crestfallen. That’s what Leo was. His crest had definitely fallen. I snort, then erase the word carefully. Not ready, I write instead.
Not ready. I sigh. I flip back through the journal, past the pages and pages of sketches like this one, documenting the moments of my life as intimately as any diary would. There are so many drawings of Leo. Leo on the beach at Santa Cruz, the sea breeze ruffling his hair. Leo tying his shoe. Leo in swim trunks that one time we swam in his aboveground backyard pool, his back to me as he stood at the edge of the water, the muscles tightened as he prepared to dive in. He’s beautiful. Built. Sexy. What is wrong with me?
I flip back a few more pages, to February and the first sketch I ever did of Leo, at his mother’s show.
He was slumped in a chair to one side of the gallery, a modern teenage boy as Rodin’s Thinker, rumpled hoodie, holes in his jeans, elbow propped on his knee and his chin in his hand. I knew after two seconds of seeing him that he was Diana Robinson’s son. For a minute I just stood there, looking, internalizing his shapes and shading for this sketch, the one I’d do of him later. Then I actually went over and talked to him, a move so unlike my introverted self that thinking back on it surprises me every time. How was I so inexplicably brave that day?
“It must be weird” is what I said to him.
He looked up, startled. “Weird?”
“To be your mom’s, like, muse.” Almost all of Diana Robinson’s sculptures featured a little boy doing something strangely adult: reading Proust, driving a car, shaving, fastening a cuff link to his sleeve. I’d recognized Leo from the back—that cowlick he has on the right side of his head. It’s in every sculpture, that uncooperative swirl of hair.
“How did you . . .” Leo seemed confused at how I knew who he was, but then he glanced around and realized. “Uh, yeah. It’s weird. Little bit.”