thatâs different, completely different. All those things, fidelity, family stability, coupling for life, those were not invented for
us
. They,
mortals
, need boundaries, rules and strictures, or thereâs anarchy. They donât have the wherewithal to cope with the freedoms we up here take for granted. As for Athene, she is intolerably smug and quite intentionally hurtful, but as I said to her, she would do well to put her own cult in order before she criticises someone elseâs.â
âAtta girl. You show the bitch.â Mother gives me a green look so I quickly say, âI mean you show Aunt Athene how itâs done â properly â kind of thing ⦠anyway â¦â
Mother says, âThere is no doubt that Rebecca Finch has been letting me down and letting me down badly. She still hasnât delivered her new book. Her heart is not in her work at all. The other day she mumbled and fumbled her way though a talk at a very high-profile literary event when she was meant to shine as a representative of her craft. No, Eros, that kind of behaviour cannot be tolerated, it really cannot.â
âSo what do we do about it?â I ask.
âWe get her back on track, thatâs what we do.â
âHow?â I am about to sit down next to her but she gives me a look so I remain standing.
âItâs obvious, isnât it? We make her love again, thatâs how, and this time it has to be permanent.â
âIt sounds so easy,â I say, âbut I thought I did a pretty good job with whatâs-his-name â Mother stops me with another of those mean dark looks. âOK, maybe not that good but whatIâm saying is that itâs not my fault. All right then, it might be partly but ââ
âOh, do stop drivelling. The fact is that Rebecca Finch has failed in love. If she isnât capable of learning from her mistakes and finding love again then we must do it for her. And as we all know the child is the father of the man so if youâd kindly fetch me the box set of her life and meet me next door.â
âSheâs a woman so shouldnât it be the girl is the mother of the woman ââ
âCan you not do what youâre asked to without arguing, just for once?â
âI wish we could change to DVDs,â I mutter as I dump this huge pile of tapes on the table.
âYou know I canât work those things,â Mother says. âNow stop complaining and watch.â She pats the seat next to her on the sofa. âRight,
cherchez Iâenfant
!â
As the first video starts playing I sit down next to her. I rest my head on her shoulder just lightly, sort of expecting her to shrug me off but she doesnât, so with a sigh I fold my wings and snuggle closer.
âIs your mother always sad?â Matilda asked Rebecca.
Rebecca nodded.
âPretty well.â
âWhy?â
âBecause her heartâs broken.â
âDoes it hurt?â
âDuh.â
âHow did it happen?â
âIt happened when they put my daddyâs coffin in the ground. He was in it.â
âWas she underneath?â
âNo. No, of course not. They only put dead people in graves. Didnât you know that?â
Matilda felt stupid, and trying to recover she countered, âNot if theyâre zombies.â
âMy mother isnât a zombie and she wasnât in the grave.â Rebecca too was getting upset.
Matilda put two strong little arms around her friend and gave her a hug.
Then she said, âCan our hearts break too?â
Rebecca nodded again.
âWhen our husbands die.â
âThey donât always die, you know. Mrs Nicholsonâs, for example, just left for Canada.â
Mother presses the pause button and says, âAn early preoccupation with mortality. There could be something there. Wasnât her sister sick too?â
I shrug. I mean how should I know?
âWell,