Stop Here (20 page)

“Ha-mid,” Murray draws out the name. Where you from, Iran?”

“Morocco.”

“Oh yeah. Here in the US to—”

“Take some food,” she interrupts.

“No, thank you.” Hamid shrugs off his wet jacket, pulls up a chair beside Bobby, who looks pleased. “Glory e-mailed me two names.” He waits.

“Yes?” pencil poised, her voice loud, ready to talk past Murray, who watches her warily.

“First name is Come Back Diner,” Hamid pauses, no one says anything.

“Got it. Next?” her voice more normal though everyone's eyes are still on her.

“Welcome In Diner,” Hamid offers with some assurance.

“That's as silly as Tip-toe In,” Murray heckles.

“Hey—” Nick says evenly. “Everyone here participates equally. You want to give us a name or what?” He stares hard at Murray.

“Nick and Ava's,” Murray replies sourly.

Mila rolls her eyes.

She writes it down. “Others?” she asks.

“A-One Diner,” Mila raises her thumb.

“New Place,” Willy points a bony finger at the additions.

“Fine Dine,” Dina tries again.

Murray inches toward the door, god willing he'll slip out.

“Chow Down,” Bruce offers.

“Eat Out,” Mila declares.

“Food for Thought,” the electrician perched on a stool suggests shyly.

“Second Chance,” Shelly says loudly.

“Ace Diner.” Bobby grins the way he does when he's playing Nintendo, aware this isn't a game but wanting to win.

She's writing now as fast as she can. When she looks up, her son's watching her. His admiration fills her with the kind of love only a child elicits. Her steady gaze embarrasses him. She turns away. Outside, a blanket of white as far as the eye can see. Bad weather curdled Murray's mood. It doesn't bother her.

“Hey, Ava?” Murray calls as if reading her mind. “What's your contribution?” He's leaning hard against the newly painted wall.

She hasn't thought about a name and admitted as much to Bobby yesterday, who took pains to explain that a name was important. A tag, he said, without a tag you're unknown. Lord help her, a lot rides on the diner being known. Her eyes scan her friends' waiting faces.

A name, she thinks. Give them a name, any name, but her mind blanks, wiped clean of names forevermore. She glances hopelessly at Nick, a name, she begs him silently, any name.

“Best Deal,” he says softly, but loud enough for others to hear.

“It's Ava's turn,” Murray shouts.

Darla's hand shoots up. “How about Stop Here?”

• • •

She sits at the bedroom window, watching the blue edge of dawn emerge. In the weeks since they closed on the diner she wakes at the same time each night. It's eerie. A scattering of illuminated snowflakes tumbles past the streetlamp, reluctant to hit the ground. The party's on her mind, though it ended hours ago. When Murray finally shut the door, she felt both relief and a chill of fear. The diner was theirs. In the twilight darkness people left in a group, Bobby went home with Dina. She and Nick watched the cars' red lights come on and then snake away. Alone, silent with their own thoughts, they tidied up some till hired cleaners arrived to finish the job.

Tomorrow the diner opens for business, the name, though, still up for grabs. All agreed Nick should make the decision, which delighted him. He's excited to be an owner. It's there in the way he palms the storeroom keys, responds patiently to salespeople who phone nonstop, checks and rechecks condiments, floors, appliances though no customer has yet been served. She's careful not to undercut his pleasure, careful to keep certain worries to herself. Because, really, it's not the best time to start a new venture. Look at how difficult it was to secure the mortgage, and what if they don't make enough to cover it? What if all the stuff they bought and still have to pay for doesn't result in more customers? What about her friends, now employees? They, too, must wonder, can she and Nick pull this off? If the diner fails, they'll be out of work. What then? These are the thoughts that visit before her day begins.

It's not that Nick's free of worry, he frets all the time, always has, about something happening to her, about Glory in Mali, whatever. Yet he sleeps, one arm up under the pillow. Amazing. Her eyes flick to her dead husband's portrait, a man who didn't fret. She offered to remove it. Nick said, no, he's gotten used to it, feels some affection for the guy.

Slipping out of the flannel robe, she climbs into bed. He curls around her back, warm, reassuring in its way.

“Couldn't sleep again?” she's surprised to hear him whisper.

“Umm.”

“Want to say why?”

“Uh-uh.”

“Nervous?”

“A bit,” she admits.

“Me too. Things tank. We could live in a tent, no expenses, go from park to park.”

“What about winter?”

“Problem,” he agrees.

“We could go south.”

“We could,” his words low in his throat.

“There's Bobby—”

“Don't be real,” he admonishes softly.

“That's a challenge,” she whispers more to herself. The streetlamp flickers off and milky morning light brightens the sky.

 

Acknowledgments

My deep gratitude to Jane Lazarre for her talent, time, and unwavering eye on this book; to Jocelyn Lieu and Jan Clausen, whose attention to all on the page continue to impress me; to Tom Engelhardt for getting me started on the long journey here; to Denise C. for her insight and encouragement; and to Judi Brand, Elizabeth Strout, Barbara Schneider, Marsha Taubenhaus, Vickie Breitbart, Prue Glass, and Liz Gewirtzman for constant support and friendship.

Huge thanks to Dan Simon, Publisher extraordinaire, for his ongoing belief in this project; to my editor, Gabe Espinal, whose intelligence and easy ways made the process more than pleasant; to Gail Heimberg for her technical wizardry; to John Samuel Wiggins for his video; to Jesse Lichtenstein, Anne Rumberger, Elizabeth DeLong, and everyone at Seven Stories Press for their thoughtful and tender care in making this into a book. And deep and abiding appreciation to my agent, Melanie Jackson, a national treasure.

As always I remain grateful to my beloved, Charlie Wiggins, for his unfailing devotion, enthusiasm, and faith in what I do. And to the lights of my life, Georgina, Dónal, and Maya, you make it all matter.

 

About the Author

beverly gologorsky
is the author of the acclaimed novel
The Things We Do to Make it Home
, originally published by Random House in
1999
, reissued by Seven Stories in
2009
, named a Notable Book by the
New York Times
, Best Fiction by
Los Angeles Times
, and a finalist for the Barnes and Noble Discover Great Writers Award. Her work has appeared in anthologies and magazines, including the
New York Times
,
Newsweek
,
The Nation
, and the
LA Times
. Former editor of two political journals, Viet-Report and Leviathan, she is acknowledged in the publication
Feminists Who Changed America
. She lives in New York and Maine.

 

About Seven Stories Press

seven stories press
is an independent book publisher based in New York City. We publish works of the imagination by such writers as Nelson Algren, Russell Banks, Octavia E. Butler, Ani DiFranco, Assia Djebar, Ariel Dorfman, Coco Fusco, Barry Gifford, Martha Long, Luis Negrón, Hwang Sok-yong, Lee Stringer, and Kurt Vonnegut, to name a few, together with political titles by voices of conscience, including Subhankar Banerjee, the Boston Women's Health Collective, Noam Chomsky, Angela Y. Davis, Human Rights Watch, Derrick Jensen, Ralph Nader, Loretta Napoleoni, Gary Null, Greg Palast, Project Censored, Barbara Seaman, Alice Walker, Gary Webb, and Howard Zinn, among many others. Seven Stories Press believes publishers have a special responsibility to defend free speech and human rights, and to celebrate the gifts of the human imagination, wherever we can. In
2012
we launched Triangle Square books for young readers with strong social justice and narrative components, telling personal stories of courage and commitment. For additional information, visit www .sevenstories.com.

 

A Seven Stories Press Reading Group Guide

Stop Here

by Beverly Gologorsky

The following questions are suggested to enhance individual reading and invite group discussion regarding Beverly Gologorsky's
Stop Here
. We hope these questions provide additional topics for consideration and generate a stimulating dialogue with others.

For a complete listing of Seven Stories Press books featuring Reading Group Guides, please visit our website at www.sevenstories.com.

DISCUSSION QUESTIONS

1. War affects most of the characters, both directly and indirectly. How does each character react to the effects of war and what do their reactions say about their personalities?

2. Most of the characters in
Stop Here
are struggling to make ends meet and have limited opportunities because of their economic situations. How does each character respond to the stress of supporting themselves and their families? How does each character feel about their economic situation and how does that reflect their view of the world?

3. How does money affect the way the characters view Murray, the owner of the diner? How does it affect the way they view Sylvie, Murray's new wife?

4. What role does romantic love play in each character's life? Why do you think Ava is so hesitant about falling in love, first with Mark and then with Nick? How does Rosalyn use her illness as an excuse not to get close to Jack?

5. A prominent theme in this novel is the betrayals of the body—we see this through Dina and also Rosalyn. How do Dina and Rosalyn's reactions differ as their bodies start to fail them? What do they find comfort in to help them through these experiences?

6. What did the author accomplish by telling the story from multiple points of view? How did you feel when returning to a character after spending a few chapters away from him/her?

7. Many of the characters spend time fantasizing about what they thought their lives would look like or actions they would take if they could disregard the consequences. What role does fantasy play for each character and how does exploring their inner fantasies help you understand their characters?

8. Murray has never fought in a war and his thoughts on war differ greatly from other characters' opinions. How does his attitude compare with Bruce's, Liam's, and Ava's views on war and its place in society?

9. Do you think Sylvie loves Murray? What are her reasons for marrying him and how does her view of their relationship change when she gets pregnant and lets Murray believe the baby is his?

10. Shelly advises Sylvie to “Take what you can when you can where you can” (page 37). What do you think of this advice and how does this sentiment tie into the novel as a whole?

11. What is Sylvie searching for in her relationship with Liam? Does caring for him at the end of his life change anything for Sylvie?

12. What would you do if you were in Shelly's place, deciding between leaving Bruce and helping him through his debilitating depression?

13. Does Dina blame herself for her son Tim's actions? Do you understand her decision to help him escape and her refusal to ask him what he did? Do you think it is hard for her to admit that she prays that Tim stays away from her?

14. Do you understand Mila's reasons for keeping the truth about where Darla's father is secret? Do think she made the right decision in keeping the information from Darla? How might things have been different for Darla if she had grown up knowing her father was in prison?

15. The employees of Murray's diner feel like a family. What role in the family does each character play?