Tomorrow

The world seems off-kilter, and I talk, talk, talk and think, think, think, and still it rains in the morning, hard, and I send my first-born out the door in her yellow rain jacket, walk her onto the school bus, kiss her soft head, and walk off again, the little one in my arms, send her off as though she were a parcel or a soldier: out into the world, thinking, thinking as I watch the bus disappear around the corner: I would die for you.

The little one searches my face as we wait for the elevator, reaches out and touches my cheek with a delicate finger. What you name, Mama? she asks, a new game, and I answer, wiping a speck of crayon from her forehead, My name is Amy. She chortles, shakes her head in mock-dismay. No, no, she says. You not Amy. You Mama. You my Mama.

Later I emerge from the subway, from this bizarre maze of train-filled tunnels below the streets on which cars and trucks and buildings dash and perch and settle, and as my head clears the overhang and is first exposed to the air outside the subway system the sun appears, and the sky, for the first time all day, is a sort of dirty pale blue but blue nonetheless, and the rain has stopped, and I walk my boots around the puddles stretching my gloveless fingers, testing the air for premature signs of spring or at least a winter on the wane.

The girls have been listening to Annie, begging me to sing the songs they love best: "Maybe," to see me rock an imaginary baby, or a gleeful Annika, or even a lanky Lily; "I Don't Need Anyone But You," to hear me tell the story of the duet I performed as a babysitter on the beach, in Cape Cod, as a just teenager (while I wonder how at thirteen I minded seven children most of each day for a week, marvel at the energy and resourcefulness of my barely adolescent self); but most of all "Tomorrow," for the sheer belting joy of it, the way my woefully inadequate (so pretty, Mama, they say, believing it) voice cracks at every high note, the way I beam when they join me in the chorus.

And as I walk up and down the city streets, especially, only, on those rare occasions when I am alone, I find myself singing it in my head, wondering about the lyrics--is tomorrow always a day away or only a day away? I want to check it, but I keep forgetting, and then when I could, say now, I decide not to do so, not to know.

Instead I remember what I keep letting myself forget: that I have always had a way to set things straight a little, a little at least, a way to rein in the voice at the edge of an octave-and-a-half, a way to be everything I am, to center, to breathe. And so I do that, this, instead. And a little, a little, at least, it works.