The Nest: America’s hottest new bestseller. Cynthia Sweeney D’Aprix

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СКАЧАТЬ smart and irreverent enough to be slightly scandalous, which made it an instant hit with the insular world of the New York media, the precise community it ruthlessly mocked. Leo wrote a column every month, media news peppered with salacious gossip that freely ridiculed the city’s old guard, rife with inherited money and nepotism and ludicrously insular. The column made him a little bit famous and a whole lot disliked. The magazine folded after only a few years, but almost everyone from the original staff had gone on to bigger media ventures or bestselling novels or other highly respected literary pursuits.

      For a long time, Leo had been the major success story. He’d corralled some of the younger staff to start an online version of SpeakEasy from his tiny apartment. He kept the snide voice and expanded the scope, targeting all his favorite objectionable people and industries, growing the business from one site to seventeen in the space of fifteen months. Only three years later, Leo and his partner sold their tiny empire to a media conglomerate for a small fortune.

      Bea still missed the early SpeakEasy magazine days. The office was like a raucous summer camp where all the kids were smart and funny and got your jokes and could hold their booze. Back then, it had been Leo who’d pushed her to finish those early stories. It had been Leo who’d stayed up late dissecting her paragraphs, making everything better and tighter and funnier. It had been Leo who’d passed along her first story to SpeakEasy’s fiction editor (and her current boss, Paul Underwood) for its inaugural short story issue: “New York’s Newest Voices: Who You Should Be Reading.” It had been Leo who’d used the photo of her on the magazine’s cover (with the very SpeakEasy caption: “The editor’s sister wrote our favorite story, get over it”). That picture of Bea still popped up to accompany the occasional commemorative piece about SpeakEasy (“Where are they now?”) or the group of young, female writers, including Bea, that some journalist had infuriatingly dubbed “The Glitterary Girls.” The photo had been taken on Mott Street in Chinatown in front of a window of gleaming Peking ducks hanging from silver hooks, their still-attached heads all facing the same direction. Bea was wearing a bright yellow dress with a billowing skirt and holding a lacquered green parasol painted with tiny pink and white peonies over one shoulder. The long braids she still wore were a deep auburn then, pinned up at her neck. Chin lowered, eyes closed, profile bathed by the late-afternoon August sun—she resembled a modern-day annunciation. The photo was on the back flap of her first (only) book. For years, the green parasol had hung from the ceiling above her bed. She still had that yellow dress somewhere.

      BEA MOTIONED TO GARRIE and he came over with more coffee and placed the bottle of Jameson’s next to her cup. She saw him eye her notes and then quickly look away. He’d overheard enough of her whining to Tuck over the years about the novel that never appeared to know better than to ask her about work, which made her feel even more pathetic, if that was even possible.

      Leo had loved—and published—her first story because it was about him. The character she called Archie was a thinly disguised version of a young Leo, a funny, self-absorbed, caustic Lothario. The Paris Review published the second Archie story. The third was in The New Yorker. Then she landed an agent—Leo’s friend Stephanie who was also just starting out and who secured a two-book deal for so much money that Bea felt faint and had to sit in Stephanie’s office and breathe into a paper bag. Her story collection (the highlight of which, the critics agreed, were the three Archie stories—“delectably wry,” “hilarious and smart,” “whether you find yourself rooting for or against Archie, you’ll be powerless to resist his dubious charms”) sold quietly.

      “It’s fine,” Stephanie told her then. “This is all groundwork for the novel.”

      Bea wondered if Stephanie and Leo were in touch anymore, if Stephanie even knew what was going on. The last time Bea spoke to Stephanie was well over a year ago during an uncomfortable lunch downtown. “Let’s meet somewhere quiet,” Stephanie had e-mailed, alerting Bea to the difficult but not surprising conversation to come about her long-delayed, laboriously overworked novel.

      “I can see the effort that went into this draft,” Stephanie had said (generously—they both knew not a lot of effort had gone into the draft in quite some time). “And while there’s much to admire here—”

      “Oh, God.” Bea couldn’t believe she was hearing the stock phrase she’d employed so many times when she couldn’t think of a single thing to admire about someone’s prose. “Please don’t much-to-admire me. Please. Just say what you have to say.”

      “You’re right. I’m sorry.” Stephanie looked frustrated and almost angry. She looked older, too, Bea was surprised to note, but then she supposed they both did. Stephanie had fiddled with a sugar packet, tearing it a little at one corner and then folding the end and placing it on her saucer. “Okay, here it is. Everything I loved about your stories, their wit and ingenuity and surprise—everything that worked in those pages—” Stephanie broke off again and now she just looked confused. “I can’t find any of it in these pages.”

      The conversation had plummeted from there.

      “Are you breaking up with me?” Bea had finally said, trying to joke and lighten the mood.

      “Yes,” Stephanie said, wanting to leave no doubt as to where she and Bea stood. “I’m very sorry, but yes.”

      “I want my novel to be big,” Bea told Stephanie and Leo the night they celebrated her book deal, a long, boozy evening when her ebullience was so uncorrupted that she could shift a room’s atmosphere when she moved through, like a weather front.

      “That’s my job,” Stephanie had said. “You just write it.”

      “I’m talking about the canvas. I want it to be sweeping. Necessary. I want to play a little, experiment with structure.” Bea waved at their waiter and ordered another bottle of champagne. Leo lit a cigar.

      “Experimenting can be good,” Stephanie said, tentatively.

      Bea was very drunk and very happy and she’d leaned back against the banquette and put her feet up on a chair, took Leo’s cigar and blew three smoke rings and watched them float to the ceiling, coughing a little.

      “But no more Archie,” Leo had said, abruptly. “We’re retiring Archie, right?”

      Bea had been surprised. She hadn’t been planning more Archie stories but she hadn’t thought of them as retired either. Looking at Leo across the table, clearing her throat and trying to focus her vision through the smoke and champagne and those tiny spoonfuls of coke in the bathroom some hours ago, she thought: yes. What was that Bible verse? Time to leave childish things behind?

      “Yes,” she’d found herself saying. “No more Archie.” She’d been decisive.

      “Good,” he said.

      “You’re not that interesting, anyway.” She handed him back his cigar.

      “Not anymore he isn’t,” Stephanie said, and Bea had pretended not to notice Stephanie’s fingers moving higher on Leo’s leg and disappearing beneath the linen tablecloth.

      How many pages written since then? How many discarded? Too many to think about. Thousands. The novel was big all right. Five hundred and seventy-four pages of big. She never wanted to look at it again.

      She poured a little more Jameson’s into her cup, not bothering with the coffee now, and looked again at the new pages nobody had seen or even knew existed. It wasn’t an Archie story. It wasn’t. But it had energy and motion, the same lightness of language that had come so easily to her СКАЧАТЬ