“OK, it’s Papo’s turn,” I say, turning in my seat to look at him, his hands on the wheel, eyes straight ahead. “What song would you like?”
“I’d like a nice surprise,” he says, emphasizing nice so that I don’t tease him by playing Sufjan Stevens, whose voice sets my husband on edge. He’s patient with me and my scrolling, trying to decide. So many songs make me think of him, but on this — and maybe only on this — I’m the over-thinker. In the end, I choose a Billy Joel song from the 1990s for him, an upbeat tune I know he likes, a song with a rhythm that seems to hide the wistfulness of the lyrics about searching forever in the water, in the valley, for something sacred, undefined, and lost. My husband, at my side for twenty-five years now, sings along, the crinkles at the edges of his eyes pressing each other. I tangle my fingers in the curls at the nape of his neck, content to be here next to him as he drums the steering wheel with the side of his hand.
The song ends, though, and it’s my older daughter’s turn. She has put her mountain of hair into an enormous bun; is knitting another smart-phone cozy in her lap. Her eyes look up as she considers, and I remember reading Junie B. Jones with her, when Junie B. (“the B stands for Beatrice, but I just like B, and that’s all!”) says “Mother rolled her eyes and looked at the ceiling. I looked up there, too. But I didn’t see anything.” And there she is, my no-longer-first-grader, no-longer-middle-schooler, almost-college-girl looking at the ceiling, too, trying to decide. I wish I could see inside to guess what she wanted, like when the choices were all songs from The Muppets. Eventually, she says, “Satisfied. And I get Angelica’s part!” She tips her head back and so much sound comes out, so much bravado and beauty, loud held notes, anger, love, desire, somehow accessible in the soul of a girl who used to twirl her finger around one curl as she sucked her thumb. I remember that dreamlike candlelight, like a dream that you can’t quite place… And the world goes by outside her window, so fast I can’t even make out the shapes of the trees.
“Your turn, Sammi,” she says as the song fades into its last notes.
She’s been waiting, my littlest one. She’s clear as a brand new glass of water, ready with her answer. “Scars to Your Beautiful,” she tells me, and I think of course. She’s literal and poetic at once, the message below the surface of her middle school drama and also, of course, right there on her shoulder blade, slit through twice as doctors pushed her rips apart to get to her aorta. The world, I want to tell her, might never change its heart, might always look right over her head at the space above her stature, might look past her unless she leaps into their view. The heart that needed to change was hers, will always be hers. Let me be your mirror, help you see a little bit clearer… But she sings along, trying hard to bring her bell-like voice above the belt of her sister’s. The growing band of bracelets on her wrists slide up and down, her finger curled into one rubber one from camp, a lifeline to people who understand her. I reach my hand back along the door and grab her ankle. She puts her hand on top of mine.
When the song ends, I’m ready with my choice, having considered it carefully. I’m always thinking through a series of eventualities: what will happen then? what will happen if I choose this? that? who will like it? who will sing along? who will listen and fall in love and ask for it again? who will be offended, inspired, bored, annoyed? I’d ruled so much out, scrolling through my lists, but here was just the thing for a rainy day on a road trip, a cover of something nostalgic, a version by William Fitzsimmons of Sarah McLachlan’s “Ice Cream,” dedicated to the precious cargo in the seats around me.
Your love is better than ice cream
Better than anything else that I’ve tried
And your love is better than ice cream
Everyone here knows how to cry
And it’s a long way down
It’s a long way down
It’s a long way down to the place where we started from
I wish I could touch all of them at once, but in the car, I can only reach one at a time with my hands. Instead, as I sing, I send tendrils out from my heart, bright ropes of light that encircle each one, snared forever, energetically connected to me as I tell them that nothing, nothing is better than them, nothing, not ever.
This has been a Finish the Sentence Friday post, hosted by Kristi of Finding Ninee, with the prompt “Road Tripping.”by