43 pages • 1 hour read
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It is morning. It is Christmas Eve. Roy wakes up and showers, cleaning his body in a ritual baptism to commence his resolution to begin a new life. Going to the kitchen, he acknowledges to his wife that they need to talk before Dre arrives. Roy understands now that Celestial has made her choice and he cannot demand she love him again. He says he wants only to collect his things and be gone. He wants his missing tooth: “I couldn’t leave without the rest of my body” (261).
He goes to the garage to sort through the boxes marked “Roy’s Stuff” looking for his tooth. What he finds, however, is a letter from his mother dated just before Roy and Celestial married. In it, Olive asks, “What I want to ask you is if you are sure that she is the woman for you” (265). Roy studies the letter, seeing his mother’s question in an entirely new light: “My mama had tried to warn me, tried to save me” (266). Celestial was never going to be the right wife. The right wife, he reasons, would have waited for him. He reads the letter over and over, each word becoming like a “lash” (267). His anger seethes. Celestial is not the only person who can be terrible. He grabs a tennis racket and begins to smash Celestial’s Volvo parked in the garage. The car alarm sounds, but Roy keeps on swinging. Celestial comes into the garage. His anger erupts. He grabs a massive double-edged axe hanging in the garage with Celestial watching. He demands to know whether Celestial, “raw fear on her face” (268), loves him anymore. She hesitates, and Roy heads out into the front yard and starts taking swings with the axe against the thick gray trunk of the massive hickory tree that Celestial tended for years.
Dre pulls up and takes over the narrative. Dre suggests the three talk. They sit on a bench, Celestial next to Roy. She tells Roy that she and Dre had fallen in love not because Roy was away but because they had always been in love. Dre puts it succinctly, “Roy, you have to see that we’re together. Full stop” (274). Roy suggests that Celestial go inside, that the men need to talk. Left alone, the two began to scuffle, Roy’s anger fueling his need to hurt Dre. Dre feels that anger: “This was the nasty scrapping of a man with nothing to lose” (277). Roy gets the upper hand and demands Dre apologize. Dre refuses, and the fight continues. Roy yells, “You’re black, employed, heterosexual, unincarcerated, and into sisters. This shit’s your fucking oyster. But you had to go for my wife” (265). Prison has made Roy a wily fighter. He bests Dre, now prostrate on the ground. “It wasn’t supposed to be like this,” a desperate Roy laments, “I was just trying to come home” (281).
The police arrive, summoned not by Celestial but by neighbors. The police depart once they are satisfied the fight has stopped. Roy begins to drive his forehead against the tree trunk, again and again. The three talk. Roy wants only to understand why Celestial picked Dre over him. Celestial is torn. She notes, “All around Roy were the shards of a broken life, not merely a broken heart.” Celestial is concerned over Roy’s erratic behavior, and she fears he may have given himself a concussion. “I had forgotten,” she admits, “that [Roy] was real” (283). She tenderly nurses Roy’s head wound until he drops into a fitful sleep.
The next morning, Christmas, Celestial sits Dre down on the couch and they intertwine their arms. She tells Dre that she will return to Louisiana with Roy. Dre begs her to reconsider, “You are the one making this choice, Celestial. You” (288). Her mind is set, however: “I have to do this” (289).
Roy comes down, unsteady but feeling the possibility of true reconciliation. The two share a late breakfast of salmon croquettes and grits. Their conversation, however, turns to the last time Celestial visited the dying Olive. Roy asks whether it was true that Celestial took that moment when Olive was so fragile and vulnerable to tell her the devastating news that Roy and his biological father had reunited in prison when Roy asked her specifically not to. A disbelieving Roy demands some explanation. She says Roy has it all wrong—once Olive was sure Roy’s father was in the same prison and could protect their son, she surrendered happily to God. Roy is not sure.
In the quiet after Celestial heads up for a shower, Roy phones Davina. She is confused—is what happened between them something or nothing, she asks. Roy responds, “Something” (295). Celestial returns dressed in a lace nightie. When they go to the bedroom, Roy tells her over and over that he is not a rapist. She calms him: she knows. Roy reveals the truth about his one-night stand with Davina so they would have no secrets. Celestial thinks a moment but then offers herself to him “like a banquet prepared in the presence of my enemies” (300). It is, he sees, a gesture to make amends. Roy declines. The two fall into troubled sleep.
Against the backdrop of Christmas morning, with its suggestion of new hope, joyful beginnings, and the miracle gift of love, Roy and Celestial confront the complex reality of their relationship. Roy wants a happy ending, but by now we see that cannot happen. The reader has no clear sympathies here. Rather we are impressed by how in different ways each of these three characters is a victim. Roy wants only to make his world go back to what it was five years earlier. In the showdown with Celestial’s car and then her family’s tree, he brings to the surface the anger that he suppressed in jail and in the first days of his release. That world is gone. He demands that Celestial acknowledge that he is no rapist, and we realize that at the heart of this narrative is the uncertainty—ours and Celestial’s—over exactly that question. Like Celestial, we hunger for some independent verification of this. The narrative itself never actually clears Roy; it only shortens the sentence. Nothing, Roy finally admits, “is ever over” (299).
The movement toward the bedroom signals to the reader the irony of any Hollywood-styled (or Homeric-styled) reunion. We know that Roy has not revealed that he knows that Celestial dealt a death-blow to his mother struggling to hold off lung cancer. We see what Roy cannot, that the gesture, while cruel, was surely a way Celestial had to begin the process of splitting from Roy’s family, Roy’s influence, from Roy himself. And when Roy, in turn, tells Celestial about his weekend with Davina, it is as much to come clean as it is to remind her of his charisma, appeal, and sexual charms. In its way, his confession is like Celestial’s undermining of Olive’s recovery: a declaration of independence, a shattering of ties to the past, and an assertion of new beginnings. It is then that Roy echoes Psalm 23—he compares his beautiful wife, stretched out invitingly in their bed, to that fetching meal prepared by God as a way to console and comfort in turbulent times; for him now her willingness to make love is only a measure of the distance between them. Her love, he now knows, has limits. Rather than make love, he silently kisses Celestial’s finger where her wedding ring once rested. The two fall asleep, together in the gathering dark, certainly, but now apart.
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