I watched your feed fill with more and more photos, links to articles, messages from politicians and journalists.
I opened up a direct-message box and sent you a note. I can’t believe it, I wrote.
I know, you wrote back. I feel like the world has shifted on its axis.
I did too.
lx
Two months after that, I got a call from Julia at work. Since she left television and went into book publishing, we saw each other less than we used to but tried to get together at least once every couple of months to catch up. And we still talked on the phone a lot. Her life was pretty different than mine, though, since she was still single, still going out on dates, still taking advantage of what New York City had to offer in a way I hadn’t in years.
“Have you read Time Out New York today?” she asked.
“Oh, Jules,” I said, “I can’t remember the last time I even saw a Time Out New York.”
I turned my chair sideways so I could look out the window of my office. I’d had a window office for almost a year now, and never tired of checking out the buildings across the way and the traffic below.
“You’re going to want to get it today,” she said. “There’s an article on Gabe—your ex, Gabe. He has a photography show up at the Joseph Landis gallery in Chelsea. I haven’t had a chance to read the review or the interview they did with him, but the headline and pull quote are great.”
I watched a taxicab stop and pick up two passengers—an older couple with suitcases.
“Lucy?” Julia asked.
I was trying to figure out what I wanted to do.
“Do you want to go?” I finally said. “Today at lunch? Meet you there?”
“Just so happens my lunch plans canceled this morning,” Julia said. “Twelve thirty?”
I looked at my calendar of meetings. “Can you make it one?” I asked.
“One it is.”
We met at the gallery, and even though it was the middle of a weekday, we weren’t the only ones there. Between how successful your book had been, and the review of the show in Time Out New York, you’d drawn a bit of a crowd. Light, it said, stenciled onto the wall, A Photography Retrospective by Gabriel Samson.
Julia and I shuffled from photograph to photograph with a group of ladies-who-lunch in front of us and a few NYU students behind us. It started with images of the Arab Spring, some of the same ones Jon Stewart showed, from the interior of your book. They were arresting, like all of your photography—the kind of images that draw a viewer in right away, like Steve McCurry, like you’d dreamed about.
“So hopeful,” the ladies kept saying, at pretty much every shot. “Look at the hope in their eyes.”
It got to the point where Julia mouthed their words along with them and rolled her eyes.
But as much as she was rolling her eyes, she was also saying, “These are spectacular.” And they were, the way you captured emotion, the way you framed the people, the way everything seemed saturated with color and feeling and determination.
“I heard this guy’s a real badass,” one of the NYU kids said. “Like, he climbs on mountains of rubble and lies in puddles and shit to get these shots. I heard he once got beat up in Iraq because he took a picture of the wrong person’s wife.”
I realized, when I heard those words, that I had no idea why you’d gotten beat up in Iraq. Just that you had. Just that you’d called me afterward. Should I have asked more? Is that why you never called me from Arizona?
I noticed, as we were walking, that the photographs were in reverse chronological order. You could actually see the hope and determination increase—the earlier photos even more powerful than the later ones. Then the accompanying narration on the wall told us we were going further back in time, before the Arab Spring, before the photographs in your book, and we were looking at images from Afghanistan, from Pakistan, from Iraq. I hadn’t read the review of the exhibit but had assumed it was all from Defiant. It was interesting to see the other countries in comparison. Then I took another step to the right and saw images I recognized from New York—the little girl behind the barred window was there, the one who inspired the dream episode of It Takes a Galaxy. And then I turned a corner and was confronted with a wall of myself.
“Whoa,” Julia said, when she turned the corner a moment after I did.
There I was, at twenty-four, laughing, my head thrown back, a drink in my hand. There I was on the couch, smiling, my arms reaching for you. I was in the kitchen, looking delighted, holding a plate of waffles. Then I was twenty-three, slipping on a pair of high heels, my hair loose, swinging next to me. The final image in the show was one I’d never seen before: me, asleep on the couch, with one hand still on my laptop and the other clutching the pages of a script.
Stenciled on the wall it said: A woman filled with light makes everything she touches brighter. Lucy, Luce, Luz, Light.
When we got to the end of the exhibit, there was a pile of books on the counter next to a little note that said: Signed by the artist. I stopped.
“Are you okay?” Julia asked. “I—”
“I don’t know,” I said. “I don’t think so.”
I couldn’t even name the emotions I felt then. What were you thinking, putting up a wall of pictures of me without telling me about it?
“I’m going to buy a book,” I said, pointing to the stack.
The woman who rang me up kept staring at me. Then she looked at the name on my credit card.
“You’re her,” she said. “Lucy.”
I nodded. “I’m her.”
She looked like she wanted to say something else, but instead she handed me a receipt to sign and slid a book across the counter.
When I handed her the receipt back she said, “He’s very talented.”
“I know,” I said. “He always was.”
My brain was still turning inside out by the time I got back to the office and slipped your book in my desk drawer. I couldn’t concentrate on anything. So I opened up an e-mail and sent you a message: