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Good Cherries  -  Piet Sebens

Dutch,b.1961-

She does the same, the second and third and fourth times, careful, wary, mindful of her mother’s lessons. Remembers the way her mother’s hands had chafed on her soft cheeks, rough with cooking and cleaning for her fisherman husband, the way her mother’s peat-dark eyes had been tense and harsh with the lesson.

“Mind me, Niahm. Never let them find your cloak.”

The way her mother’s mouth had curved, a sickle of dissatisfaction and relief and envy, as she had escaped into the waves.

So she minds her mother’s lesson, and she takes care with her cloak.

Would that she had taken as much care with her heart.

The fifth time, she wears the cloak to the girl’s door, clutched about her throat, dripping along the darkened lanes.

She enters the home, welcomed with soft kisses and gentle touches and kindling passion. She drapes the cloak, artful in her carelessness, across an old wooden chair, the one that creaks and tilts slightly if you don’t sit just right.

When she wakes, in the wee hours of the morning, even before her lover, the cloak still rests, supple and dappled by the sea, on the back of the chair.

She frowns into the softening dawn, dons the cloak, and returns to the sea.

And again, the sixth time. And the seventh.

The eighth time, she finally breaks, prickling and hurt with longing, gripping a handful of russet hair in her hand, firm with emphasis.

“Surely you know what I am,” she says to her lover, the cool froth of sea foam and the call of gulls curling around her voice.

“Of course,” her lover responds, soft and tender in the dawnlight, throat arched willingly, pale as the inner whorls of a shell. “You taste of the sea,” the girl whispers, reverently.

She shakes her lover’s head gently, fingers tangled still in russet locks. “Why?” she demands. “Why won’t you keep me?”

A long silence that waits and fills, like a tidepool, stretches between them. Cool as a current. Deep as the Channel.

Her lover’s eyes are dark and tender. “Must I trap you to keep you, my heart? Is that the shape of love that you desire?”

She sinks into the thought, struck and stymied, remembering her mother’s harsh hands, her cold eyes. Her hand eases into russet waves, caresses where her grip had punished. Her lips press cool and damp as the sea against the arching curve of her lover’s shoulder. “What shape of love will you give to me?”

The answer is easy, quick, certain. “Myself. Only myself, whenever you should wish it. Your cloak by the door, your body in my bed, and the freedom to go, whenever you must. As long as you wish.”

It’s not an answer a fisherman could ever give, nor would think to.

When the pair almost kiss while listening to Kath Bloom’s “Come Here” in the record store booth, Delpy and Hawke’s reactions were authentic.

LINKLATER: That’s the only time I withheld anything from the cast. The lyrics were in the script, but they had never actually heard the song. So you can see them really listening because they’d never heard that yearning, creaky thing in Kath Bloom’s voice that’s so moving.

HAWKE: It’s probably my single favorite take of anything I’ve been involved with.

DELPY: That was really special. It was like magic — each time I felt Ethan looking away, I would look at him and vice versa. I almost fell in love with him right there, but then Rick said cut.

The lady was a zoo keeper for this(pallas) cat when she was a baby. That’s why she recognized her face.