Sisterhood Everlasting - Ann Brashares [1]
Tibby is our younger middle child, our sly observer. She’s the quiet kid in the big Irish family who only wears hand-me-downs. She can be cynical, instantly judgmental, and devastating in her cleverness. She can also, as an old friend memorably put it, “change her mind.” She has a gift for exposing the lies—the lies we tell other people, the lies we tell ourselves. All of this is a casing around an exquisitely sensitive heart. She doesn’t turn her wit against us, almost ever. She entertains us with it, and uses it in her scripts and short films. If only anybody would produce any of them. Sometimes Tibby’s wit sweetens into wisdom. I think that’s what she gives us.
There was a significant epoch in our lives when we organized our friendship around a pair of pants we shared. Really, pants. We called them the Traveling Pants, and according to our mythology, they had the power to keep us together when we were apart.
Our pants were lost in Greece almost exactly ten years ago. How have we fared at keeping together since we lost them, you ask? That is a question.
Growing up is hard on a friendship. There’s no revelation in that. I remember my mom once told me that a good family is built for leaving, because that is what children must do. And I’ve wondered many times, is that also what a good friendship is supposed to be built for? Because ours isn’t. We have no idea how to cope with the leaving. And I’m probably the worst of all. If you need a picture, picture this: me putting my hands over my eyes, pretending the leaving isn’t happening, waiting for us all to be together again.
To make a prairie it takes
a clover and one bee,
One clover, and a bee,
And revery.
The revery alone will do
If bees are few.
—Emily Dickinson
Once, when she was thirteen, Carmen remembered turning to Tibby with her CosmoGirl magazine in one hand and her eye pencil in the other and declaring that she could never, ever get sick of doing makeovers.
Well, it turned out she could. Sitting in the makeup chair in early October in a trailer parked on the corner of Bleecker Street and the Bowery in the East Village of Manhattan, getting her hair blown out for the seven millionth time by a girl named Rita and the foundation sponged onto her face for the eight millionth time by a girl named Genevieve, Carmen knew it was just another mile on the hedonic treadmill. You could get sick of anything.
It was true. She’d read an article in Time magazine about it. “You could even get sick of chocolate,” she’d told her mother on the phone the night before.
Her mother had made a doubting sound.
“That’s what I read anyway.”
Being an actress on a TV show, even a moderately good and successful TV show, involved a few minutes of acting for every few hours you spent in the makeup chair. And even when you were done with the makeup—temporarily, of course; you were never done with the makeup—there was still a whole lot of sitting around drinking lattes. That was the dirty secret of the entertainment industry: it was boring.
Granted, Carmen didn’t have the biggest part in the show. She was Special Investigator Lara Brennan on Criminal Court. She showed up at least briefly at a crime scene in almost every episode and sometimes got to appear as a witness on the stand.
“Eyes up,” Genevieve said, coming in with a mascara wand. It was rare that Carmen needed a prompt. She knew exactly which way to turn her eyes for each portion of the mascara application. If she didn’t stay ahead of it, Carmen feared she’d end up like one of the many dolls she’d mangled as a child with her constant brutal efforts at grooming.
Carmen studied her hair in the mirror. She’d never thought she’d get sick of that either. She squinted down the highlights. They were a little brassy, a little bright this time. She would have liked