He would smile, perhaps relieved by my unaffectedness. Sometimes Yasmeen cried. I thought two crying daughters would be too much for him, so I trained myself to wait until I was alone, in my closet or in the bath. My father would wipe Yasmeen’s face, hug us both, ask us if we wanted chocolate milk.

“Good girl,” he’d whisper in my ear. I was good because I was restrained. My father, I believe, carried a lot of hurt from his relationship with my mother. He did not like to see the related pain radiating from his daughters’ eyes.

Those letters taught me about longing. Reading them in front of my father taught me to hide it, often even from myself. I know now what a dangerous kind of denial that is. It leaves you ravenous. It makes your seismometer vibrate when the phone call you are shocked to discover you have been waiting for your whole life offers you precisely what you are terrified to want: Hello, Nadia. This is your mama.

She waits, holding her breath, but he says nothing more. All this time Bird’s gaze hasn’t left the city below, the dense milling swarm of it. One hand still rests half raised, as if he’s propping himself up on air, or trying to grasp the edge of the skyline. She waits, lets the moment breathe and drift, trusting it to find its own way to land.

Why did you leave, he says at last.

It is easier to ask these things up here, somehow, where everything except them is small and far away.

She spreads her arms wide, as if to dive, tips her head back, closes her eyes. The moonlight catches in her hair, frosting it with silvery glints. For a moment, frozen there, she looks like the figurehead of a ship, sailing boldly forward into strange new waters. Then her hands drop to her sides, and she turns back again.

I’ll tell you, she says. I’ll tell you everything. If you promise to listen.

The question must have lingered in me because the next morning I awakened to find myself sitting bolt upright in bed, the eulogy standing in the air before me like a composition. That was it, I realized. It had been composed. That is what had made the difference.

The eulogist had been remembering herself as a young doctor coming under the formative influence of the older one. The memory had acted as an organizing principle that determined the structure of her remarks. Structure had imposed order. Order made the sentences more shapely. Shapeliness increased the expressiveness of the language. Expressiveness deepened association. At last, a dramatic buildup occurred, one that had layered into it the descriptive feel of a young person’s apprenticeship, medical practices in a time of social change, and a divided attachment to a mentor who could bring herself only to correct, never to praise. This buildup is called texture. It was the texture that had stirred me; caused me to feel, with powerful immediacy, not only the actuality of the woman being remembered but— even more vividly—the presence of the one doing the remembering.

Precisely the place to which our eulogist finally puzzles her way: her own mixed feelings. First she sees that she has them. Then she acknowledges them to herself. Then she considers them as a way into the experience. Then she realizes they are the experience. She begins to write.

Penetrating the familiar is by no means a given. On the contrary, it is hard, hard work.

She places her hand on my fist. Her hand covers my fist. I let my hand fall open. She moves her hand down and crosses her wrist against mine and now I’m almost asleep. When and where were you happiest? My one remaining contact with wakefulness is the flat inside of her wrist resting on the flat inside of mine, as though each wrist were seeking the other’s pulse. I listen for the soft beat of blood through the skin. I listen as best as I can in the dimming stillness. I slow my breathing and soon I hear nothing.