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  Claire squints at the thumbnail photo of the tweet’s author, the only Black girl on their dorm’s floor, and vaguely remembers her. In the frenzied first weeks at Dennis, full of getting-to-know-you games and welcomes, Claire accepted the girl’s friend request, but she wasn’t really aware that hallmate was a thing, a relationship carrying some expectation of trust or camaraderie. She is strangely embarrassed by the picture, the way it turns her into someone else. She wasn’t wearing the bikini to bother Black people—for Christ’s sake, there were none in her father’s new neighborhood to bother even if she wanted to—but to bother Puppy, who is half racist anyway, which makes her aggrieved reaction doubly hilarious. Claire turns her phone off again, closes her eyes, and thinks to the mental picture of the girl whose name she cannot remember, if she has ever known it, well fuck you too.

  * * *

  —

  In their old Virginia neighborhood, in the old house, the one Claire’s father sold the second she graduated, they have Black neighbors. The Halls move into Claire’s subdivision the summer before she starts first grade, back when the neighborhood is still brand-new: tech money is paving western Fairfax on its way out to Reston, which will be malls and mini-mansions and glossy buildings soon. Claire’s mother prefers the idea of a sprawling country house a little farther out, but her father likes the idea of something you can build from the ground up, tinkering with room sizes and flooring types, and so her father gets his house and Claire watches her mother choose from seven different shades of granite for the counters and eight different types of wood for the floors. Everything is so new and shiny when they move in that Claire is afraid of her own house, afraid her presence will somehow dent or tarnish it.

  Though Claire has always lived in Virginia, and Virginia, she knows, is technically The South, Angela is the first person Claire remembers meeting whose voice lilts: the Halls moved from South Carolina, and the whole family talks with drowsy vowels and an occasional drag that gives some words—her name, for example—a comforting dip in the middle. In Mrs. Hall’s mouth, Claire’s name is a tunnel from which a person can emerge on the other side. Claire is fascinated by their accents, and, yes, by the dark tint of their skin, but mostly she is anxious to be seen. In her own house, Claire is alone: her only sibling is a half brother, Sean, ten years older, from her father’s first marriage. She sees him for two weeks every summer and every other Christmas. Her father keeps long hours, and her mother has a certain formality; Claire loves her, but feels, in her presence, like a miniature adult, embarrassed by the silliness of her six-year-old desires.

  Mrs. Hall is an elementary school teacher and has a high tolerance for the frenetic energy of children’s games. Angela’s house also has Aaron, her brother, who is only a year older than the two of them. Claire’s mother refers to Angela and Aaron as Irish twins, which confuses Claire because they are neither twins nor Irish, so she adopts Mrs. Hall’s term: stair-step siblings, one right behind the other. At that age, they are the same size, Angela tall for her age and Aaron short for his. Aaron is skinny and quiet and wears glasses that dwarf his face; Angela is a whirlwind.

  Since Claire has no brother at home to torment, she and Angela torment Aaron together, chasing him around the front lawn, menacing him with handfuls of glitter and other arts and crafts detritus, taking his shoes from the row by the front door and hiding them in cupboards, in the garage, in the laundry. Claire, not yet entirely clear on the rules of family, thinks of herself as having not a half brother, but half-a-brother, and shortly after meeting the Halls she thinks of herself as having half of Angela’s brother too. The first summer, Angela teaches her that silly hand game, which starts My mother your mother live across the street. Though this isn’t technically true of them, it’s close enough, so they swear it is about them, and torment Aaron with its refrain—Girls are dandy just like candy, boys are rotten just like cotton, girls go to college to get more knowledge, boys go to Jupiter to get more stupider. In most aspects Aaron is indifferent to their teasing, but the Jupiter taunt seems to bother him for its failures of logic. Boys, he insists, would have to be smart to go to Jupiter, and would probably go to college first. The argument has merits that Claire and Angela ignore in favor of papering the door of his room with pictures of Jupiter: crayon drawn, ripped out of magazines, snipped out of Claire’s parents’ dusty encyclopedia set, and once out of a children’s book about the solar system, stolen from Angela’s pediatrician’s office. How is the weather on Jupiter? they ask him, though he never answers. Even now Claire recognizes renderings of the planet on sight, cloud spotted, big and bright and banded, unspectacular until you consider all it holds in orbit.

  * * *

  —

  The girl across the hall doesn’t look like Angela at all. She is lighter skinned and heavier framed and her hair is wilder, deliberately unkempt in a way that would have made Angela’s mother raise an eyebrow. Her name, Claire eventually remembers, is Carmen. By the time Claire arrives at her dorm room, on the second floor of a row of flat brick buildings that house a third of the small college’s freshmen, there are forty-seven responses to and twenty-three retweets of Carmen’s post. Claire is surprised by the level of interest, then annoyed by it. She distrusts collective anger; Claire’s anger has always been her own. Claire prints a photo of the Confederate flag and scrawls in loopy cursive on the back welcome back! i hope you had a great vacation. When she slips the photo under Carmen’s door, she means to tell Carmen-the-hallmate to fuck off.

  The next morning, the voice mail on her phone is full. She has 354 new emails, most of them from strangers. Across the hall, campus movers are noisily carting Carmen off to a new dorm. A reporter from the student paper, unable to reach her by phone, has slipped a note under Claire’s door asking for an interview. She gathers from his note that several bloggers have now picked up both the bikini photo and Carmen’s photo of last night’s postcard. She has a text from Jackson. The hashtag #badbikiniideas turns up 137 results, including one with a picture of swastikas Photoshopped into palm trees. An email marked urgent informs her that her academic counselor would like to speak to her. In a separate urgent email, the Office of Diversity requests her presence. Someone using the email fuckyou [email protected] thinks she is a cunt. Twenty-two different rednecks from around the country have sent her supportive pictures of their penises.

  It seems clear to Claire that most of the hall has taken Carmen’s side. Claire forgoes both showering and breakfast, opting instead to burrow in her room. Someone from the campus TV station has interviewed Carmen and put the clip online. In the video, Carmen stands in front of Bell Hall, one of the upperclassmen dorms, where she has apparently been relocated. She wears a Dennis College sweatshirt and wraps her arms around herself. “Up until this happened, I thought she was nice,” Carmen says. “We always smiled at each other in the hallway. But she put a hate symbol where I sleep, and she thought it was funny.” There is genuine fear in her eyes, which startles Claire.

  Sean, who hasn’t called her in months, has left an angry voice mail asking her what she was thinking. Claire does not call him back. Jackson texts again to tell her he knows she’s busy, but he thinks she’s awesome. Claire turns her phone off and shuts her in-box tab and spends the afternoon watching online videos of singing goats. She is on her tenth goat video when the president of the campus libertarians shows up at her door and introduces himself. His name is Robert and he lives two floors down, where he is the RA. He smiles like someone who has just won second place.

  “I’m here in support of your right to free expression,” he says.

  “Don’t take this personally,” Claire says, “but unless you’re here in support of my right to go to bed early, I don’t care. I don’t care about any of this. It was just a stupid picture.”

  “And you shouldn’t be punished for it, but you will be if you don’t get ahead of this. My friend lives on your hall and hasn’t seen you all day, so
we figured you were hiding out. We made you a care package.”

  The care package consists of a foil-wrapped caramel apple from the dining hall, which has declared it carnival week at the dessert buffet, and a book on libertarian philosophy, in case she’s bored. Claire considers the offering. She is unimpressed, but also hungry, so she lets him in before his presence in her doorway becomes a spectacle.

  “For the record,” he says, “I’m not a big fan of the Confederate flag myself. The Confederacy was an all-around failure of military strategy. Lost the battle when they lost the ports, if you ask me. But I’m not going to judge anyone for their support of lost causes. As far as I’m concerned, you can wear anything you want.”

  Claire gathers that she is supposed to find this endearing, that she is supposed to bite the apple and lick the caramel off of her lips and ask him to tell her more about military strategy and let him plan her own response campaign, and that sometime several hours into this discussion she is supposed to end up naked out of awe or gratitude. Instead she sets the book and the apple on her desk, politely thanks him, tells him she is tired, and, when he finally leaves, locks the door behind him. She eats the apple alone in bed, figuring it can cover her meals for today and maybe tomorrow—she’s still got some Burger Boy calories stored up.

  When she checks her mail again before bed, there are another hundred emails. Her student account’s address has been posted on several message boards and #clairewilliamsvacationideas is a locally trending topic (Auschwitz, My Lai, Wounded Knee). She is losing on Twitter, but a group called Heritage Defenders has picked up the story and distributed it to their members, so at this point she has more supporters than detractors in her in-box. Cliff from Tennessee writes that when he was in college, his fraternity hosted an annual plantation ball for their sister sorority, and everyone dressed in their frilly historical finest. One year he and his frat brother decided to cover the house’s front lawn in thousands of cotton balls, so that when they posed for pictures on its steps, the college’s mostly Black janitorial staff could be seen in the background of the shot, cleaning up. PC police tried to shut down our chapter for it, but we stayed strong. “Hang in there!” the email concludes. There is an attachment: a picture of a boy, smiling wide in khaki pants with a button-down and vest, his arm around a laughing redhead in a corset and frilly hoop skirt, cotton balls blanketing the ground beneath them, a stooped Black man in a green uniform sweeping up cotton in the background. He has a broom and a plastic trash can on wheels and his uniform is crisp and synthetic-shiny—there’s nothing historically authentic about his presence, other than his Blackness. She cannot see the man’s face, but she can imagine it, and the imagining comes with a twinge of shame. But she is not Cliff, Claire reminds herself; Cliff thinking they are the same doesn’t make them the same. The next email is angry and anonymous; its writer threatens to find out where she lives and set her on fire. Claire decides she will tell anyone looking where to find her. She prints out a copy of the flag and tapes it to her dorm window. She calls the reporter from the student paper back and tells him she is simply celebrating her heritage, like any number of groups on campus encourage students to do. She affects a lilt to say so, but as soon as the words are out of her mouth she realizes that the affect is a mistake. She doesn’t sound like herself. She sounds like Angela.

  * * *

  —

  In the second grade, sometime after discovering that Angela is Black, Claire writes a poem about their friendship for Martin Luther King Day. Most of the lines she has forgotten over time, the exception being the dubious couplet “I judge her for her character / and so I’m never mad at her.” Their teacher likes the poem so much that she stages it for the school’s February assembly, assigning them costumes: Claire, a stiff black-and-white “patriot” uniform, complete with tricornered hat, and Angela, a kente cloth dress. For the next three years of elementary school they are dragged out to recite the poem every February, a performance that Angela’s mother permits only after mandating a costume change.

  Claire and Angela forever. By adolescence they have both lucked into beauty, but neither has really noticed yet; there is so little room for interlopers in the tight world of their friendship that they are often each other’s only mirrors. When they are swarmed by boys at the mall, Angela will name the game, Wiccans or airheads or runaways, and they will play their roles until the boys catch on that they are being teased. The last good summer, they go to camp together at a college a few hours south of Fairfax. Other girls they know go to horse camp or dance camp or Paris, but they go to what Angela calls nerd camp. Technically they are not at camp together, because nerd camp is separated by discipline—Angela is there for poetry and Claire is there for language immersion—and most of the time all Claire can do is shout dirty words in French from across the quad when she sees Angela’s group trooping to lunch like a line of maudlin ducks. But in the evenings everyone socializes together, and as the weeks accumulate, the counselors, who are only college age themselves, become lackadaisical about chaperoning and enforcing rules.

  The third week of camp, a group escapes the confines of the awkward Saturday dance, flees the repurposed assembly room with its drooping crepe paper, the flailing girls on the dance floor ringed by a wall of scared boys who will not ask anyone to dance and are not cool enough to pretend not to want to. One of the photography campers has a water bottle full of vodka and someone else has a Tic Tac case full of pills, and at some point on their way to the most private patch of lawn they have taken pills and shots and then they are running through lawn sprinklers. Everything sizzles. When they kitten-pile into the grass, Claire turns to Angela. It is a love that requires touch, and so Claire snuggles against her, nuzzles into her neck to say it out loud against her. Love love love. Angela is her best friend, her other self. Someday they will go to college together. The world will unravel for them, fall at their feet.

  A year later both of their mothers are sick. It starts slow, with both of them, and then quick quick quick. With Angela’s mother it is a lump, with Claire’s a vague malaise. We should have caught it sooner, Angela and Claire say to each other, over and over again, as though their mothers’ bodies are their own. At first it seems as if, even in its cruelty, the universe is being kind, giving Claire a person to suffer through this with. Who else knows the smells of hospitals, the best way to sleep in a hospital chair, the flushed shame of disgust at cleaning up your mother’s vomit, the palpitating anxiety of waking each morning thinking that this is the day something will go terribly wrong, the wince every time the phone rings while your mother is out of sight? Claire doesn’t even have to give Angela words.

  Aaron knows too. He is two grades ahead of them and supposed to be gone by now, but when his mother gets sick he defers his college acceptance. “Guess you were right,” he says to Claire one afternoon, all of them in the basement watching daytime TV. “It’s Jupiter for me after all.” On-screen, two men on a court show are declared not the father, but one of them throws a chair at the other anyway.

  “Jupiter would be better than this,” says Claire.

  One afternoon when their mothers are miserable and weary from chemo, Aaron finds Claire jogging in the rain, and pulls over for her. She cannot explain why, in spite of the storm, she hasn’t turned around and gone back to the house—why she is, in fact, running in the wrong direction. When she gets into his car she sobs and then dry heaves and then follows Aaron into his house, where she strips and wraps herself in a throw blanket on the basement sofa and he makes her what his mother always made when they were kids, peppermint hot chocolate. It is out of season but still the best thing that has happened to her recently, though when she reaches for his body, feels the first thing she has felt in months that isn’t slow death, that isn’t bad either. He is still skinny, his hips slimmer than hers, so she slides underneath him; the weight of her, it seems, might smother him, but the weight of him tethers her to something. He is
too gentle with her even after she tells him not to be; after he is finished she has to fake an orgasm to get him to stop insisting he’ll make her come too. They don’t love each other that way, or pretend to, so it isn’t weird afterward, just a thing that happened because everyone is closer now. Claire and Angela can complete each other’s thoughts. Claire and Aaron can be naked. Their mothers, who have only ever been casually friendly, now speak an intimate language of supplements and painkillers and hospitals and wig shops. Even their fathers have taken to neighborly gestures of solidarity.

  Mrs. Hall has been Claire’s second mother most of her life, and Claire fears that she will lose both her mother and her other mother, but it turns out that it is worse to lose only one, when it’s the one that counts. Claire knows as soon as she feels it the first time that there is cruelty in this sentiment, so much cruelty that it surprises her, but that doesn’t change the feeling. Mrs. Hall walks out of the hospital in full remission. Not a trace of the cancer left. Her hair grows back, soft and downy. She takes up running to drop the steroid weight. She is working up to marathons. Angela trains with her.

  * * *

  —

  Claire’s mother dies in July. They bury her on a damp Tuesday when the ground is slimy from an afternoon thunderstorm. She does not hear a word the priest says, thinking of her mother down there, rotting. For weeks before the funeral she has nightmares in which she is the one being buried, alive, the sickening smell of earth always waking her. At the funeral, Angela holds her hand and Aaron puts an arm around her shoulders. He is a perfect gentleman, but one with a mother, and Angela is a friend with a mother, and already they are galaxies away from Claire, alone in her grief.