Little Deaths by Emma Flint
1
On the rare nights that she sleeps, she is back in the skin of the woman from before.
Then: she rarely slept neat in a nightgown, pillows plumped, face shining with cold cream. She sometimes woke in a rumpled bed with a snoring figure beside her; more often she woke alone on the sofa with near-empty bottles and near-full ashtrays, her skin clogged with stale smoke and yesterday’s makeup, her body tender, her mind empty. She would sit up, wincing, aware of the ache in her neck and of the sad, sour taste in her mouth.
Now she wakes, not with the thickness of a headache or the softness of a blurred night behind her, but with forced clarity. Her days begin with a bell, with harsh voices, clanging metal, yelling. With the throat-scraping smells of bleach and urine. There’s no room in these mornings for memories.
Then, she would make her way across the hallway each morning, and into the kitchen to put coffee on the stove. She would light her first cigarette of the day, and listen to the morning come alive around her: to the blast of Gina’s radio overhead, Tony Bonelli’s heavy tread on the stairs. Doors slamming, cars starting up. Nina Lombardo yelling at her kids next door.
She would go into the bathroom at the end of the hallway and lock the door behind her. More than a year since Frank moved out, and she still didn’t take her privacy for granted. She would strip off yesterday’s clothes, and wash in the tiny basin: her hands, her face, under her arms, under her breasts, between her legs. Sometimes she could smell herself—that ripe, yellow odor that she still thinks of as peculiarly her, and that embarrassed her on those days she woke up with company.
Like a bitch in heat ain’t ya, honey?
She would scrub between her legs with the rough blue washcloth, hard, so that it hurt, and then harder still. Would rub herself dry, pushing along her thigh with the heel of her hand, making it look firm for a moment before letting it fall back into the familiar dimples. Hang up the towel, shrug into her robe, back down the hallway into the kitchen where she poured coffee, thought about the sugar in the jar, never tipped a spoonful into her cup.
Into the bedroom, where she pulled on slacks and a shirt. If she was working a shift at Callaghan’s later, she would take out her uniform, hang it on the outside of her closet, check for loose threads and spots. A crisp blouse ironed on Sunday evening. A skirt, just a shade too tight. Shoes lined up, toes together, the heels too high to be practical for a cocktail waitress on her feet all night. But the eyes on her gave her a certain glow that made the tips increase, that made the hours go by faster.
Then she lit another cigarette, slipped her feet into her house slippers, and took her coffee back to the bathroom. Only then, awake and alert, her clothes protecting her, could she look in the mirror.
Skin first—always skin first. On a good day, it was as pale and smooth as a black-and-white photograph. On a bad one, blemishes and old scars speckled the surface and needed to be hidden. She set her cup on the edge of the basin, took another drag on her cigarette, and balanced it in the ashtray that sat on the shelf.
Each morning she smeared on foundation with fingers that trembled depending on how much the view in the mirror had upset her, or on what kind of night she’d had. There were days when her hands were shaking and sweating so that her makeup was patchy, or when her skin was so marked that two layers of foundation seemed to make little difference. On those days, she slapped her face as she applied it. Punishing. She watched her eyes in the mirror as she did it. Hard enough to hurt, not hard enough to mark.
Then the powder, patted into the familiar mask. She pursed her lips, stroked blush into the hollows made beneath her cheekbones, squinted until the face in the mirror became a blurred oval, and she could see that the stripes of color were even. Enough. She blinked, took up her pencil, focused. The eyebrows first: high, surprised arches framing her long eyes. Shadow, liquid liner, three coats of mascara. She worked like an artist: blending, smudging, deepening colors. Occasionally she took a drag on her cigarette, a mouthful of coffee. A final dusting of powder; a coat of lipstick, blotted; a comb through her hair, teasing it taller; a silver spiral of hairspray. And it was done. For the first time that day, she could look at her face as a whole.
She was Ruth, then.