I is for Innocent

The interior was unfurnished except for easels and a few straight-backed wooden chairs. In the center of the room there was a low platform where a woman in a bathrobe, presumably the model, was perched on a tall wooden stool, reading a magazine. Students milled about, their ages ranging from late thirties into the seventies. In Santa Teresa, most adult education courses are offered free of charge. In a lab class like this there might be a two-dollar fee for materials, but most enrollment is open and costs the students nothing. I stood in the back of the studio. Behind me, cars were still pulling into the parking lot. It was 6:52 and people were still arriving, chatting as they entered the classroom. I watched as several women dragged additional easels from a small supply room. A coffee urn had been set up and I could see a big pink bakery box, probably filled with cookies to have with coffee during the break. A tape of Kitaro's Silk Road was playing, the sound low, infiltrating the room with a seductive tone. I could smell oil paint and chalk dust and the first bubbling evidence of strong coffee perking.

I spotted the woman I assumed to be Rhe Parsons emerging from a small supply closet with a roll of newsprint and a box of pencils; jeans, a denim work shirt with the sleeves rolled up, a pack of cigarettes visible in her left breast pocket. No makeup, no bra. She wore heavy leather sandals and a hand-tooled leather belt. Her hair was dark, pulled back in a French braid that extended halfway down her back. I placed her in her late thirties and wondered if she'd been at Woodstock once upon a time. I'd seen clips of the concert and I could picture her cavorting barefoot through the mud, stark naked, with a joint, her hair down to her waist and daisies painted on her cheek. Growing up had made her crabby, which happens to the best of us. She set the pencils on the counter and carried the newsprint to a big worktable where she began to cut off uniform sheets, using an industrial-size paper cutter. Several students without sketch pads formed a ragged line, waiting for her to finish. She must have sensed my scrutiny. She looked up, catching sight of me, and then went on about her business. I crossed the room and introduced myself. She couldn't have been more pleasant. Perhaps, like many habitually cranky people, her irritation passed in the moment, to be replaced by something su

"Sorry if I seemed short with you on the telephone. Let me get these guys going and we can talk out in the breezeway." She checked her watch, which she wore on the i

There was a bit of a scramble while the late students found empty easels. The model hopped off the stool, dropped her robe, and struck a pose, leaning forward with her hands on the wooden stool, a graceful curve to her back. It was comforting to see that she looked like an ordinary mortal-round and misproportioned, her torso softened by motherhood. The woman working next to me studied the model briefly and began to draw. Fascinated, I watched her capture the line of the model's shoulder, the arch of her spine. The quiet in the room was intense against the lyrical meandering of the music.

Rhe was watching me. Her eyes were a khaki green, her brows ragged. She moved toward the rear exit and I followed. The night air was fifteen degrees cooler than the room itself. She reached for a cigarette and lit it, leaning against one of the supports. "You ever draw? You seemed interested."

"Can you really teach people how to do that?"

"Of course. You want to learn?"

I laughed. "I don't know. It makes me nervous. I've never done anything remotely artistic."

"You ought to try it. I bet you'd like it. I teach the basics fall semester. This is life drawing, for people with a little drawing experience. Do what I tell you, you could pick it up in no time." Her gaze strayed out across the parking lot.

"Are you expecting someone?"

She looked back at me. "My daughter's stopping by. She wants to borrow my car. Hang around long enough and I may bum a ride home."

"Sure, I could do that."

She went back to the subject, maybe hoping to postpone any talk of Isabelle. "I've been drawing since I was twelve. I can remember when it happened. Sixth grade. We were out on a field trip in a little park with a pond. Everybody else drew the fountain with these flat stick people at the edge. I drew the spaces between the chicken wire in the fence. My drawing looked real. Everybody else's looked like sixth graders on a field trip. It was like an optical illusion… something shifted. I felt my brain do a sudden quickstep and it made me laugh. After that, I was like this art prodigy… the star of my class. I could draw anything."

"I envy you that. I always thought it'd be neat. Can I ask about Isabelle? You said your time was in short supply."

She looked away from me then, her voice dropping somewhat. "You might as well. Why not? I talked to Simone this afternoon and she filled me in."

"Sorry about the confusion over Morley Shine. According to the files, he'd already talked to you. I was just going to fill in the blanks."

She shrugged. "I never heard a word from him, which is just as well. I'd have really been a

"How'd you meet?"

"Out at UCST. We took a printmaking class. I was eighteen, unmarried, with a kid on my hands. Tippy was two. I knew who the father was. He's always pitched in with her and helped me out with the money, but he's not the kind of guy I'd ever marry…"

I pictured a dope dealer with his nose pierced, a tiny ruby sitting on his nostril like a semiprecious booger, long, unwashed hair tumbling halfway down his back.

"… Isabelle had just turned nineteen and she was engaged to the guy who was later killed in a boat. We were both way too young for the shit that was coming down, but it bonded us like cement. We were friends for fourteen years. I really miss her."

"Are you close to Simone?"

"In some ways I am, but it's not like Isabelle. For sisters, they were very different… remarkably so. Iz was special. She really was. Very gifted." She paused to take the last drag from her cigarette, which she flipped into the parking lot. "Tip adored Isabelle, who was like a second mother to her. She told Iz the secrets she didn't have the nerve to tell me. Which is just as well, in my opinion. There are things I'm not sure any mother needs to know about her kid." She interrupted herself by holding an index finger up. "Let me take a break here and see how the class is doing."

She moved to the doorway and looked in on the class. I saw one of the students, a man in his sixties, turn a befuddled face toward her. He put a tentative hand up. "Hang on a sec," she said, "I better earn my paycheck."

The man who'd summoned her launched into a long-winded question. Rhe used hand gestures as she made her response, almost like American Sign Language for the deaf. Whatever her point, he didn't seem to get it at first. The model had changed her pose and was perched again on the stool, one bare foot resting on the second rung. I could see the angle of her hip and the line where her buttock was flattened out by the wood. Rhe had moved on. I waited while she completed the circuit, making her way from one easel to the next.