48 pages • 1 hour read
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It is New Year’s Eve, and Amber has been in a coma for nearly a week. She is happy when Jo from work visits. Jo cannot understand why Amber quit her work at the studio after the Christmas party. Amber, to herself, explains mysteriously that she only took the job six months ago to hurt Madeline. Amber, suspended in the half-world of her coma, now sees the little girl in the pink dress. The girl departs with Jo.
Amber then feels the presence of someone in the room. Her intuition warns her it is Edward, but Claire comes in and, failing to recognize Edward, treats him as if he were a doctor before Edward abruptly departs. Amber then has a moment of recollection about Christmas: She is bleeding, and Claire is there with her. She remembers driving Paul’s car home and finding Paul in the driveway, standing in the rain. She is aware that the little girl in the pink dress is standing next to her, crying. Even as she reels in her sudden memories, Paul fusses about the hospital room and pops open a bottle of champagne to toast the approaching new year. He whispers to her that he will never give up believing she will recover. To that end, he tells her that he has placed a motion-sensitive camera in the room in the hopes of recording any movement she might make when she is alone. When Paul leaves for the night, Amber feels a presence slip into her room. She feels her hair being stroked, then her chin, her lips, and then her breasts. A man’s voice whispers to her that he knows how to feed her the right combination of IV medication to keep her in a coma for as long as he wants. Amber feels the man slide his fingers under her hospital gown and stroke her thighs. Amber feels him climb on top of her and then feels him slide into her. She can do nothing. When he is finished, he pokes his fingers between her legs and then puts them into Amber’s mouth: “Taste that? That’s us” (213). She struggles to lift her arms in protest. For a moment, she thinks she actually sees the outline of her raised hand before she collapses into the dark, hearing somebody say, “She’s crashing” (215).
Amber reveals that Claire is not actually her sister, but rather a friend of hers, her only friend when she was growing up. She also reveals that Taylor was actually the name Claire called her because Amber never liked the name Amber and wanted to go by her middle name. She recalls when Claire’s family was moving and remembers inviting Claire to her house for a farewell sleepover. It is Christmas time and the house is decorated. Amber remembers waking up during the night with Claire standing over her with a backpack. Claire whispers mysteriously that she promises to protect Amber, and Amber smells smoke. Claire opened the gas burner on the stove in the kitchen. Claire tells Amber they need to get out of the house. On the way out through the kitchen, Claire tosses a handful of matches on the glowing burner. The two barely get across the street when there is an explosion and the house erupts in flames. Amber’s parents are dead. Claire, she admits, “killed them for me” (199).
Christmas Eve, the day before the accident, Amber goes shopping with Claire. Amber feels certain that she is pregnant but has not told Paul. She wants to wait for the right moment. Claire mentions Edward and cautions Amber about getting involved with him as he was something of a nuisance stalker before they broke up. In fact, Claire admits that when she became alarmed over Edward’s creepy persistence 10 years ago, she authored a series of letters, each written in a different style and each signed by different women, accusing Edward of sexual harassment. She sent them to the university medical school where Edward was studying. The university summarily expelled Edward. Claire sought him out and told him about the letters but said they had all been from Amber. Amber is shocked. She needs a drink. Over drinks, Amber tells Claire that she took care of Madeline, that she did what Claire wanted, and that now Claire needs to leave Paul alone. That, she says, was their deal.
Shaken, Amber returns to an empty house. Paul has put out all the Christmas decorations, and the house is festive, but she finds the oven burner left on, noting, “Something is wrong” (187). She finds Edward sitting on the sofa. She threatens to call the police, but Edward snarls angrily that everything they did she wanted to happen and that he has photos on his phone of her in his bed. She tries to run, but Edward grabs her, slaps her, and tries to choke her. She begs him to leave her alone, saying that she is pregnant. Only Paul’s unexpected arrival stops Edward—he steals out the back door certain that Amber will say nothing about his visit. Paul, for his part, tells her that when he was in the attic to fetch the decorations he came upon a box with diaries from Amber’s childhood. He presumes they are Amber’s. He thought it might be fun to read passages. Amber, suddenly panicky, declines the offer and heads to the bath. When she comes back downstairs, Paul has lit a romantic fire in the fireplace, but he quickly realizes the fire on Christmas Eve might trigger bad memories. Amber, for her part, says nothing about their baby but rather stares absently into the fire. When Paul teasingly pulls out a diary from 1992 to read parts, Amber tells him the diaries are actually Claire’s.
In the diary passages in this section, Claire writes that as Christmas approaches, the family is selling her grandmother’s house and that strangers are walking through the home and making insensitive remarks about the condition of the rooms. It is too much for Claire, who throws a fit and even aims the lead doorstop at a couple looking at the house. She arranges to meet Taylor/Amber at a nearby park, where Amber/Taylor assures Claire that she has made no new friends since Claire was expelled; she has made up an imaginary friend she calls Jo, and she tells Claire if she ever needs a friend to talk to, she can “borrow” Jo. Four days before Christmas, their money starting to run out, Claire’s father tells her that he has found a job in Wales and that packing up the house has become the first priority. Wales seems like a different planet. Angry, Claire takes scissors into the bathroom and cuts off most of her luxurious hair, leaving only a bob, like Amber/Taylor’s.
Three days later, on Christmas Eve, Claire invites Amber/Taylor to the house for a final sleepover. Her father comes home drunk and is passed out; her mother, still grieving the lost baby, has taken sleeping pills. The girls are on their own. Claire does not want to move to Wales. When Amber/Taylor falls asleep, Claire packs a backpack with her diaries and tiptoes down to the kitchen with a handful of matches she stole from the school’s science lab. Although no account of the fire is given, the following week Claire attends her parents’ funeral services. A social worker tells Claire that her only living relative, her Nana’s sister Aunt Madeline, refuses to take her in. After a dramatic, tearful performance as a helpless orphan, Claire is placed with Amber/Taylor’s family.
In these chapters, confusion becomes the central engine of the novel’s plot, centering on the authorship of the diaries Paul brings down from the attic and on the actual events of that Christmas Eve night in 1992 when Claire’s parents died in a fire she set. If the diaries are Claire’s, then the sequence of events emerges as clear (to echo the girl’s name): Claire, desperate to keep Amber/Taylor, her only real friend, now that she has been expelled from school and, even worse, her family is being legally kicked out of their home by her grandmother’s sister, sets the fire in Amber’s kitchen during a sleepover. She gets Amber/Taylor out of the house, and the two of them watch as the gas leak Claire started in the kitchen catches on the matches she tossed on the burner. In the end, Claire is satisfied when, after she manipulates the government foster parent program agency through fake tears, she gets her family to take in the orphaned Amber/Taylor.
That narrative is upended, however, if Amber’s revelation that the diaries are not hers is a lie. Then the novel turns back on itself, and the entire episode on that Christmas 20 years earlier is open for debate. Did Claire cold-bloodedly orchestrate the deaths of her only friend’s parents as a way to maintain her control over Amber, making Amber a helpless victim of her friend’s psychotic need to control her (a relationship that perhaps foreshadows the disastrous relationship with Edward)? These revelations, however, point more to Claire as the “nutbag.” Amber here reveals the tie between Claire and Madeline, her boss at the station whose career Amber apparently for no reason destroyed. Amber reveals that Madeline was the sister of Claire’s grandmother and that after the grandmother died, Madeline used some slick legal maneuvering to oust Claire’s family, thereby marking Madeline a target for Claire’s simmering vengeance. It is Claire who demands Amber cooperate with her scheme 20 years later under threat, apparently, of going after Paul, perhaps a threat to have an affair with him or to hurt him physically or to reveal to him Amber’s complicity in what has long been determined to be Claire’s parents’ accidental death in a housefire. It is Claire who shows Amber the advertisement for an opening at the radio station and who sees this as her long-desired opportunity to even the score with the woman who ruined her family.
Despite the confusion, Amber begins here to assert a critical move toward her emotional independence and the recovery of her psychological well-being. Paul emerges as a long-suffering and quietly devoted husband, not a threat. Edward emerges as a real and present danger. The rape in the hospital would appear to be Amber at her most helpless, the embodiment of victimhood, save for the camera that her husband so lovingly placed in her hospital room in his efforts to find any hope to save his comatose wife. Good and evil, then, appear to take shape as Amber moves to engage a world that has too long denied her any opportunity to assert her identity and her moral integrity.
In these sections, unless Amber is just lying all the way through and she, not Claire, is the one responsible for the mayhem (which might be accurate—is Claire another of Amber’s imaginary friends?), Claire emerges as a manipulative character capable to great cruelty and great harm. She twists love into ownership and assumes that others will do what she tells them to do under the threat of her apparently bottomless treachery. Now, that moment in the science lab when Claire carelessly and callously fingered the dead fish seems to foreshadow the Claire who emerges here, evil uncomplicated by the simplest sense of humanity.
The novel signals that perhaps it is time for Amber to assert herself, to step away from the toxic relationship with her pretend sister and to finally embrace her own life. If Claire wrote the diaries, then Amber has been living for 20 years haunted by her responsibility, even indirect, for her parents’ horrific deaths. Amber, symbolically, needs to come out of that coma, out of her helpless dependency on Claire and her willingness to be used by her supposed friend, her faux sister. When on New Year’s Eve, itself symbolically a threshold night when the next day promises new beginnings, Amber watches as her imaginary friend, Jo, and her dead baby, the little girl in the pink dressing gown, depart together from her hospital room. It is time, the novel suggests, for Amber (whose name suggests the oily resin in which fossils get trapped) to move into the present and to let go of her escape from the real-time world (Jo) and the burden of guilt and pain (her pregnancy loss). It is time for Amber to awaken.
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By Alice Feeney