Where ARE You, Mary Riley? by Regan Burke

Where ARE You, Mary Riley? by Regan Burke

Vehicles on Ridge Road held landowners and families, deliverymen, trash collectors, handymen, maids, sheep and no others because the country road rolling along the distant end of our north shore Chicago suburb past big old generational homes like yours, one modern (mine) and one sheep farm disinvited disturbances to the quiet outside while inside Meet the Press murmured on Sunday mornings before Mass and the nightly news narrated the evenings before dinner, but you, Mary Riley, clomped 5 miles down Ridge Road on your horse and brought another to me so we could trailblaze in the sheep fields and eat wild raspberries in season then ride through the back brush to your barn spying on your mysterious brothers and their polo ponies, making the best of memories in a time that held the worst for me inside my family’s rented mid-century modern that reeked of cigarettes, Scotch and Budweiser—outside, chlorine rose from the pool my mother cleaned for us so we could swim after horseback riding in the summer—then in the fall Sacred Heart Academy took us in navy blue blazers for French and Religion, The Mikado and recess and lunch with the nuns and Cuban girls from the revolution; after school I avoided the shame of the empty ice box and food cabinets and met you on Ridge Road to ride our bikes with my baby sister Stacy on the handle bars past the sheep farm to the seven-kid Burns family compound for softball and ping pong, joking around and drinking cokes in the Burns family kitchen watching horses in the fields and chickens in the coop, a respite from my house down the road where talking was dangerous and lies took over and my father was absent for long stretches, commuting to the city and flying to Mexico on extended business trips, and my mother drank all day and night and I wondered if she was still alive in the morning because she didn’t wake to wrap peanut butter and jelly sandwiches in wax paper and boil soft eggs— what about yours? she had something wrong with her, did she drink too? was she sick?— then learning to drive on the macadam driveway in the white station wagon when my little sister Erin ran over her kitten, splat! hysterics all around except me—I went numb, wise to parents not giving a damn behind the flat walnut door to the Mies-like architecture where danger lurked and drunks stumbled but where, once, pointing out the bathroom window at eye-level with a tree limb, my mother showed me a robin’s nest holding blue eggs, and when I told you, you said, my father told me your phone is disconnected because you didn’t pay the bill, and Boom! that was the end of our friendship, right there at the lunch table in front of the muchachas who didn’t speak English and the Cuban girls who did and the French nuns Mon Dieu! alarmed but inept at how to reprimand you, you double-crossing rat bastard—whatever happened to you?

Thank you, Kevin Coval, for the brief but spectacular teaching.

Vampire Portrait

Vampire Portrait

The portrait represented my not-surprisingly-sad six-year-old self. People told me as far back as I can remember that I looked sad. Some would even ask why I looked so sad. How does a small child answer such a question?

The oil painting, a three-by-four foot gothic with a gilded oil-rubbed frame looked like an antique. I have a vague recollection of my mother taking my two sisters and I to the artist’s home in Washington, DC, where we had moved for a few years after World War II. We all sat for separate portraits. Mine was the only one the artist completed before my father ran out of money. The artist gave them all to my mother nonetheless and it was one more reason for me to feel superior to my two sisters – my portrait was the best.

I was painted from the waist up seated in a mahogany armchair. Dressed in black velvet with a rounded white lace collar, I held a doll similar to the one my father gave me when I had to stay home from school with the mumps. He bought her in the gift shop of the hotel where we lived when we were evicted from our home. The painting’s forest green background mimicked the dark green velvet of the doll’s coat.

Our family moved around the Midwest for many years before my mother left my father in 1960 – Terre Haute and Indianapolis, St. Louis and Clayton, Chicago and Lake Forest. Those childhood portraits made it through all the evictions, storages and moving vans until I finally got married and my mother gave me my portrait. I hauled it through my own two marriages, divorces and geography. Wherever I hung it, someone inevitably asked who was that sad little girl. I once wanted to rid myself of it when a friend said, “It’s your heirloom.” And so I brought it to a new home in Chicago, where I returned after a stint in Washington, DC during the Bill Clinton years.

My home of 15 years is the first condominium where I’ve had a storage locker. I don’t have a lot of storage items. I figure if you can’t wear it, sit on it, or hang it on the wall, there’s no point in keeping it. For a few years my sad childhood likeness laid in darkness in the basement next to some pictures of my grandchildren and a large suitcase.

Then one day, I needed the suitcase for a two-week trip to San Sebastian, Spain with my California friend Cappi Quigley. I thought I’d bring the portrait upstairs while retrieving the luggage. I couldn’t find the keys to the locker’s padlock so I asked Marcel the building engineer to meet me in the lobby with a bolt cutter. We descended to the basement where Marcel unlocked the steel door to Locker Room B. We located the locker assigned to my condo unit.

The padlock was gone and so were all the contents of the locker.