The performance runs so deep you forget it is a performance.
You forget that the capable face is something you put on, like the coat you reach for without thinking because it has been hanging on the same hook for so long that reaching for it is no longer a decision. The coat is not you. The coat has just become what going out looks like.
I spent decades being competent in public.
I was very good at it. I want to give myself that. I was genuinely skilled at the performance of having it together, at walking into difficult rooms and knowing what to say, at absorbing what was thrown and not letting it show that it landed, at meeting the rising bar with the appropriate response, which was to rise.
But performance requires an audience. And the audience has gone home. And the stage is empty now and the lights are up full and I can see the whole set for what it is, canvas and scaffolding and paint made to look like walls, and I am standing in the middle of it in my own clothes asking who I am in this room when no one is watching.
I think the answer is: quieter than I thought.
I think the answer is: softer. More easily moved by small things. The kind of woman who cries at the light on the water because she finally has time to notice the light on the water. The kind of woman who sits with her tea until it goes cold because she is thinking and thinking is allowed now, long and slow and without conclusion, without the demand that the thinking produce something legible by end of term.
I do not always know what to do with her, this quieter version.
But I am glad she was there underneath the whole time, waiting. Holding on to the real thing while the performance went on above her.
She has been patient with me. I am trying to be patient with her now.