City of Girls

Enough time had passed that I now officially gave up the hope of being met on the train platform. I stashed away my baggage with a Red Cap and wandered through the rushing crush of humanity that was Grand Central, trying to find my aunt amid the confluence. You might think I would’ve been more disquieted at finding myself all alone in New York City with no plan and no chaperone, but for some reason I wasn’t. I was sure it would all end up all right. (Maybe this is a hallmark of privilege: certain well-bred young ladies simply cannot conceive of the possibility that somebody will not be along shortly to rescue them.)

Finally I gave up my wandering and sat down on a prominently placed bench near the main lobby of the station, to await my salvation.

And, lo, eventually I was found.

—

My rescuer turned out to be a short, silver-haired woman in a modest gray suit, who approached me the way a Saint Bernard approaches a stranded skier—with dedicated focus and serious intent to save a life.

“Modest” is actually not a strong enough word to describe the suit that this woman was wearing. It was a double-breasted and square little cinderblock of an item—the kind of garment that is intentionally made to fool the world into thinking that women do not possess breasts, waists, or hips. It looked to me like a British import. It was a fright. The woman also wore chunky, low-heeled black oxfords and an old-fashioned boiled-wool green hat, of the type favored by women who run orphanages. I knew her sort from boarding school: she looked like a spinster who drank Ovaltine for dinner and gargled with salt water for vitality.

She was plain from end to end, and furthermore she was plain on purpose.

This brick of a matron approached me with much clarity of mission, frowning, holding in her hands a disconcertingly large picture in an ornate silver frame. She peered at the picture in her hands, and then at me.

“Are you Vivian Morris?” she asked. Her crisp accent betrayed the truth that the double-breasted suit was not the only severe British import in town.

I allowed that I was.

“You’ve grown,” she said.

I was puzzled: Did I know this woman? Had I met her when I was younger?

Seeing my confusion, the stranger showed me the framed picture in her hands. Bafflingly, this item turned out to be a portrait of my own family, from about four years prior. It was a photo we’d taken in a proper studio, when my mother had decided that we needed to be, in her words, “officially documented, for once.” There were my parents, enduring the indignity of being photographed by a tradesman. There was my thoughtful-looking brother, Walter, with his hand on my mother’s shoulder. There was a ganglier and younger version of myself, wearing a sailor dress that was far too girlish for my age.

“I’m Olive Thompson,” announced the woman, in a voice that indicated she was accustomed to making announcements. “I’m your aunt’s secretary. She was unable to come. There was an emergency today at the theater. A small fire. She sent me to find you. My apologies for making you wait. I was here several hours ago, but as my only means of identifying you was this photo, it took me some time to locate you. As you can see.”

I wanted to laugh then and I want to laugh now, just remembering it. The idea of this flinty middle-aged woman wandering around Grand Central Station with a giant photograph in a silver frame—a frame that looked as though it had been ripped in haste off a rich person’s wall (which it had been)—and staring at every face, trying to match the person before her to a portrait of a girl taken four years earlier, was wickedly funny to me. How had I missed her?

Olive Thompson did not seem to think this was funny, though.

I would soon discover that this was typical.

“Your bags,” she said. “Collect them. Then we’ll taxi over to the Lily. The late show has already begun. Hurry up now. Make no flimflam about it.”

I walked behind her obediently—a baby duck following a mama duck.

I made no flimflam about it.

I thought to myself, “A small fire?”—but I did not have the courage to ask.

THREE

A person only gets to move to New York City for the first time in her life once, Angela, and it’s a pretty big deal.

Perhaps this idea doesn’t hold any romance for you, since you are a born New Yorker. Maybe you take this splendid city of ours for granted. Or maybe you love it more than I do, in your own unimaginably intimate way. Without a doubt, you were lucky to be raised here. But you never got to move here—and for that, I am sorry for you. You missed one of life’s great experiences.

New York City in 1940!