Under the Influence (2 page)

T
he house. I'll begin there. Someone else lives in the Havillands' house now; they've taken out the handicapped-accessible ramp and cut down Ava's camellias to make an additional parking space currently occupied by a silver hybrid SUV, from which I recently observed a pair of blond children emerging, along with a woman who appeared to be a nanny. And as much sorrow as I feel on those rare occasions when I pass the house, I cannot separate it from the other part, which was the way I used to feel every time I pulled into the driveway—the sense that I had landed at long last in a place that felt like home. I could breathe again, and when I did, the air was thick with jasmine.

I didn't live in that house. But my heart did. Ironic, saying this after everything that happened, but I felt
safe
at the Havillands'. No doubt it is a part of my story, and a reason why the place held such particular significance, that in the thirty-eight years before my first visit to Folger Lane, I had seldom if ever known such a feeling.

Back when Ava and Swift lived in this house, the first ones out of the Mercedes when she pulled up were always the dogs—three rescue dogs of indeterminate breed. (“They're rescue dogs,” she'd point out to anyone who didn't already know.) The vehicle had been specially equipped with an electric lift that lowered her state-of-the-art wheelchair to the ground. More often than not, I'd pull up and there would be Ava wheeling
toward me in her chair, with her free arm—the one not operating the chair—stretched open wide to greet me.

“I got you these fantastic leg warmers,” she'd say. Or it could have been a mug, or a beautiful leather-bound journal, or honey made from bees who only frequented lavender fields. She always had some little gift for me: a sweater she'd picked up, in a color I never wore that was suddenly revealed to be perfect for my skin tone; a book she thought I'd love; or a vase holding a bouquet of sweet pea blossoms. I hadn't even realized that the tread on my sneakers was worn, but Ava had, and knowing my size and the brand I favored (or a better one, more likely), she'd bought me new ones. Who else would buy her friend a pair of shoes? And a pair of striped socks to go with them. She knew I'd love them, and she was right.

Sammy and Lillian (the two smaller mutts) would be licking my ankles then, and Rocco (the problematic one who always hung back, except when he decided to bite you), would run in circles the way he did when he was excited, which was always, his tail wagging crazily. And Ava, once she had a hand free, would take mine, and we'd burst into the house together as she called out to Swift, “Look who I brought home,” though he'd know, of course.

Ava always fed me when I came over to Folger Lane, and I always devoured what she offered me. Somewhere along the line, over the years—without noticing, even—I'd lost the taste for food. Lost the taste for life, or close to it. That's what the Havillands gave back to me. I felt it every time I made my way up the smooth slate path to their open door, when the wave of good smells would hit me. Soup on the stove. Roast chicken in the oven. A bowl of floating gardenias in every room. And drifting in from outside, the smoke from Swift's Cuban cigar.

Laughter then. Swift's big, hearty explosion of it, like a macaw in the jungle, announcing his readiness to mate. “I'm making a wild guess it's Helen,” he'd call out.

Just hearing a man like Swift speak my name made me feel important. For the first time in my life, possibly.

S
wift didn't go to an office anymore. He hadn't done that for years. He'd run a series of start-ups in Silicon Valley—the most recent, something to do with making it possible for high-end business travelers to procure last-minute restaurant reservations—which had made so much money that he'd quit. At the point when I met them, he and Ava were in the process of creating a nonprofit called BARK that would find homes for abandoned dogs and provide funding for spay and neuter services. For now, he ran their foundation out of the pool house, where he also oversaw their investments. He was on the phone a lot, talking to potential BARK donors from his standing desk, in that big voice of his. But whenever Ava came home, he stopped everything and burst into the house, and then his hands were all over her.

“I'll tell you why Swift can relate so well to animals,” Ava said to me early on. “Because he is one, himself. The man lives for sex. It's as simple as that. He can't keep his hands off me.” Her voice, delivering this observation, suggested amusement more than irritation. Often, speaking of Swift, Ava adopted this tone, as if her husband were like a flea who'd landed on her, but one she easily flicked off. Still, I never questioned that she adored him.

And in fact, though she remained central in his universe, Swift had a number of other obsessions: his 1949 Vincent Black Lightning motorcycle
(bought, after a long search, because he'd loved the Richard Thompson song and had to own one himself), the school he sponsored in Nicaragua for street children, his private qigong classes, his fencing lessons, his study of Chinese medicine and African drumming, and a seemingly endless parade of young Reiki practitioners and energy workers and yoga instructors who presented themselves at the house throughout the day for one-on-one sessions. Ava might have appeared to be the one in greater need of bodywork, but more often than not, when someone showed up at the door—generally a woman, probably a beautiful one, carrying a mat, or a massage table, or some odd and unidentifiable piece of equipment, it would turn out she was there to work with Swift.

The house on Folger Lane was the place where everything happened. Swift and Ava had a second home on the shores of Lake Tahoe, which they visited now and then, but other than that, and Swift's occasional trips to promote their foundation, they didn't travel. They didn't like to be apart from each other, Swift said. Or, Ava added, away from the dogs.

There was a well-loved son—his, not hers—but Cooper was off at business school on the East Coast now, and even when he came home, he usually stayed with his mother, though anyone who visited the house on Folger Lane could see, from the number of photographs lining the walls of Swift's library (of Cooper and his fraternity buddies heli-skiing in British Columbia, or horsing around on a beach in Hawaii with his girlfriend, Virginia, or with his father, hefting an oversize beer stein at a 49ers game) that Swift adored his son.

Ava's children were the dogs, she told me. And perhaps, I used to feel, it was the fact that she had no children that accounted for my friend's extraordinary generosity toward the people and animals she loved. It was understood that dogs held the primary position in her affections, but she had this uncanny ability to recognize when a person needed rescuing, too.

Not just me, though I came to occupy a unique position with Ava, but also strangers. I could be out with her someplace, having lunch at
some little restaurant (her treat, naturally) and she'd see a man in the parking lot, sifting through the trash, and a minute later she'd be talking to the waitress, handing her a twenty-dollar bill and asking her to bring the man a hamburger and fries and a root beer float. If there was a homeless person standing by the side of the road with a sign, and that person had a dog, Ava always pulled over to give him a handful of the organic dog treats she kept in a large tub in the back of her van.

She'd made friends with a man named Bud who worked at a flower shop where we stopped in for the roses and gardenias—masses of them—that she liked to keep in a bowl next to her bed. Then we didn't see Bud for a while, and she found out he'd been diagnosed with cancer, and she was at the hospital that same afternoon with books and flowers and an iPod loaded with the soundtracks to
Guys and Dolls
and
Oklahoma,
because she knew how much he loved show tunes.

She didn't just go see Bud that one time, either. Ava followed up. I used to say about Ava that she was the most loyal friend a person could ever have. If Ava took a person on as a project, she was there for life.

“You'll never get rid of me,” she told me once. As if I'd ever want to.

I
met the Havillands around Thanksgiving, at a gallery opening in San Francisco for a show of paintings made by emotionally disturbed adults. I was moonlighting to make a little extra cash, working for the caterer. I had turned thirty-eight two months earlier, had been divorced five years, and if you'd asked me that day to name one good thing about my life, I would have been hard-pressed to come up with an answer.

That gallery opening was an odd event, a fundraiser for a mental health foundation. The majority of the people in attendance that night were the emotionally disturbed artists and their families, who also seemed a little disturbed. There was a man in an orange jumpsuit who couldn't look up from the floor and a very small woman in pigtails and a great many plastic barrettes clipped to her bangs, who talked to herself nonstop and periodically whistled. Not surprisingly, Ava and Swift stood out in the crowd, though Ava and Swift would have stood out in any crowd.

I didn't know their names yet, but my friend Alice, who was working the bar, did. I noticed Swift first, not because he was conventionally handsome, or even close to it. A person might actually have described Swift as one of the homelier men she'd ever seen, but there was something fascinating about his homeliness—something primal and wild. He had a compact, muscular body and crazy dark brown hair that stood
out in various directions. He had a dark complexion and large hands, and he wore blue jeans—some very well-cut brand, not Gap or Levi's, and his hand rested on the back of Ava's neck in a way that spoke of more intimacy than if he'd been touching her breast.

He was leaning close to Ava, saying something in her ear. Because she was sitting, he was bending over, but before he spoke, he had buried his face in her hair and lingered there for a moment, as if breathing her in. Even if he had been here alone, I would have recognized him as the kind of man who would never have noticed or paid attention to me. Then he was laughing, and he had a big laugh, more like a hyena than a person. You could hear it all the way across the room.

I hadn't spotted the wheelchair at first; I thought she was just sitting down, but the crowd parted and I saw her legs, immobile, in her silver silk pants, the exquisite slippers that never touched the floor. You wouldn't call her beautiful in the usual way, but she had the kind of face that people notice: large eyes, big mouth, and when she spoke she moved her arms like a dancer; the arms were long and lean, with every muscle defined as rope. She wore oversize silver rings on the fingers of both hands, and a thick silver bracelet that wrapped around her wrist like a handcuff. I could tell that if she were able to stand she'd be very tall—taller than her husband, probably. But even seated, you knew this was a powerful woman. That chair of hers was more like a throne.

Occupied as I was that night with my trays of appetizers, I allowed myself to consider, briefly, what it would be like to experience this crowd from the low elevation she did—with her face reaching to around chest level of most of the people surrounding her. If this bothered her, she betrayed no sign. She sat very straight in her chair, and she held herself like a queen.

I guessed that she was probably about fifteen years older than me, in her early fifties. Her husband—though he was in good shape, with taut skin and an abundance of hair—looked to be closer to sixty, which
turned out to be right. I remember thinking, I'd like to look like that woman when I'm older, though I knew I wouldn't.

For my day job at the time I worked as a portrait photographer, which was a fancy way of describing hours spent standing behind a camera—in schools, malls, event venues—trying to coax smiles out of bored-looking businesspeople and recalcitrant kids. The hours were long and the pay was low. Hence my occasional catering gigs. Still, I was pretty accurate in my assessment of faces, and I knew the story with mine. Small eyes. A nose that is neither large nor small, but lacking definition. My body has always been normal weight, but nothing to write home about. Going on from there to the rest of me—hands, feet, hair—I'd have to say there is not one memorable thing about my appearance—which may be why even people who've met me several times often forget that they have. This made it all the more surprising that of all the people she might have spoken to in the gallery that night, Ava chose me.

I was circulating with a tray of spring rolls and Thai chicken skewers when she looked up from the canvas she was studying.

“If you were going to buy one of these artworks, knowing you'd be looking at it on your wall every day for the rest of your life,” she said, “which would you choose?”

I stood there holding my tray as a blank-faced man (probably autistic) reached for his fourth or fifth skewer, dipping it into the peanut sauce, taking a large, messy bite, then dunking again. Some people might have been put off by this, but Ava was not that type. She dipped her spring roll into the bowl right after he did and finished the whole thing in a single bite.

“It's a hard choice,” I said, looking around the gallery. There was a portrait of Lee Harvey Oswald, made on a piece of wood, with a long string of words written on the bottom that made about as much sense as a shopping list merged with your old chemistry textbook from high school. There was a sculpture of a pig covered in a bright pink glaze, with
half a dozen smaller ceramic pigs, also bright pink, arranged around the pig as if suckling. There was a series of self-portraits of a large woman with bright orange hair and glasses—crudely done, but so successful in their evocation of their subject that I had spotted the artist immediately when she entered the room. The piece I liked best, though, I told Ava, was a painting of a boy pulling a wagon, which held a boy holding a similar but smaller wagon, with a dog in it.

“You've got a good eye,” she told me. “That's the one I'm buying.”

I looked down, too self-conscious to meet her gaze, though I had taken in the sight of her enough to know she was an extraordinary-looking person: that swanlike neck of hers, the smooth, tawny skin. I felt at that moment the way a child might when a teacher praises her. The kind of child who doesn't often meet with praise.

“I'm biased, of course,” she added. “I'm a dog person.” She extended her hand. “Ava,” she said, looking straight into my eyes as few people did.

I told her my name, and though I hardly ever admitted this to anybody anymore, I said that I was a photographer. Or had been. Portraits my specialty. What I really liked to do, I said, was tell stories with my photographs. I loved telling stories, period.

“When I was young, I thought I'd be someone like Imogen Cunningham,” I told her. “But this is more my calling.” I gave a rueful laugh, inclining my head toward the empty canapé tray.

“You don't want to put that negative energy out there,” Ava said. Her voice sounded kind, saying this. But firm. “You have no idea what you may be doing a year from now. How things can change.”

I knew how things could change, all right. Not for the good, in my case. There had been a time when I lived in a house with a man I believed I loved, who loved me back, I thought, and a four-year-old boy for whom my daily, hourly presence was so apparently essential that he had once tried to make me promise that I wouldn't ever die. (“Not for a long time,” I told him. “And by the time I do, you'll have some really terrific person in your life who loves you just as much as me, and
kids, maybe. A dog.” That was one thing he always wanted that Dwight never allowed.)

Dwight got mad when Ollie showed up in our bedroom wanting to get into bed with us, but I never minded that. Now I slept alone and dreamed of my son's hot breath on my neck, his small damp hand curled around me, and his father, on the other side, murmuring, “So I guess we aren't having sex tonight, huh?”

Dwight had a temper, and more and more, over the duration of our relationship, it was directed at me. But there had been a time when my husband, catching sight of me at a crowded party, or at a potluck at our son's school, would have grinned the way Ava's husband had when he'd spotted her across the room that night—smiled, then made his way across the floor to touch my back, or put his arm around me to whisper that it was time to go home, get to bed.

Those days were done. Nobody noticed the woman holding the tray. Or hadn't for a long time, until Ava.

Now she was studying my face so hard I could feel my skin turning hot. I wanted to move away and serve some other guest, but when you're talking with a person in a wheelchair that doesn't seem fair. You can get away more easily than she can.

“What's your favorite picture you ever took?” she asked. Not necessarily the best, but the one I loved the most.

“That would be this series I made of my son sleeping, the year he was three,” I told her. “I stood over his bed after he went to sleep and made an image of him every night for a year. He looked different in every one.”

“You don't do that anymore?” she said.

I wasn't usually like this—I was always a person to keep my problems to myself—but something about Ava, the sense that she actually wanted to hear what you had to say and cared when you told her, caused an odd reaction in me.

I didn't cry, but I must have had that look.

“He doesn't live with me anymore,” I told her, shading my face. “I can't talk about it right now.”

“I'm sorry,” she murmured. “And here I am taking you away from your work, too.”

She motioned for me to lean down, to bring my face level with hers. She reached out and dabbed my eyes with a cocktail napkin.

“There,” she said, sounding satisfied. “Beautiful once more.”

I straightened, amazed that this lovely woman had called me beautiful.

She wanted to know more about my photography. I hadn't taken my camera out of the case in a year, I told her. The work I did at my job didn't count.

She wanted to know if there was a man in my life now, and when I said no, she said we had to fix that. She said “we” as if there was already a team here, with two players. Ava and me.

The other part—the part about Ollie—was not a topic I intended to visit.

“I'm not suggesting that a man solves everything,” she said. “But the other problems you have don't seem so overwhelming when you go to bed every night in the arms of someone who adores you.” From the way she spoke, it seemed clear she had this with her husband.

“And then there's sex,” she said. A little way off, I could see the man whom Alice had told me was named Swift. He was engaged in conversation with an odd-looking woman—one of the artists, no doubt—wearing a piece of what appeared to be aluminum foil around her neck. He was nodding in a way that suggested he was trying hard to grasp what she was telling him. Just at that moment he caught Ava's eye, and grinned at her. Perfect white teeth.

“You must never lower your standards,” she told me. “Hold out for the real thing. If you don't feel totally crazy about him, forget it. And if the day comes when it's over, walk away. Assuming you can walk,” she said, with a laugh free of bitterness.

Her remark suggested that I deserved something amazing and wonderful. An amazing and wonderful career, an amazing and wonderful partner and lover. An amazing life. I couldn't imagine why this would be so.

“You have to come over to the house,” she said. “You need to tell me everything.”