Cecilia Biagini, The Meaning of Meaning, 2021. Acrylic paint on canvas, sticks, wire on canvas, 56 x 54 in. Image courtesy of the artist and Ruiz-Healy Art.

 

How Easy it is to Leave

by Sophia Veltfort


We meet across a beer pong table in the basement of the squash house, where my roommate and his roommate have been hooking up for the last month. We flirt by convenience, proximity. Before my roommate and I go out each night, I stash what matters of myself—my mohair blanket that gleams blue as wet seal skin in the moonlight, my sweatpants, my socks so thick I can step freely amid our floor’s exposed nailheads—I stash her away with the tchotchkes and paperbacks and laundry-day underwear so by the time we reach the squash house I can be no one. 

He seems to sense that I have no skin in this game and to like it. He wants to know what music I listen to. Simon and Garfunkel, my roommate answers for me, her squash player’s arms around her shoulders, her necklace around my throat and her glitter on my eyelids. It astonishes me how little is required to be the pretty friend in a short skirt who listens and smiles. He puts on “Bridge Over Troubled Water.” This isn’t what I like, I don’t tell him. 

He takes me to the movies with his friends, likes that I’m down to watch superheroes, that I’m one of the boys. When he drives me up I-95 to meet his parents, he mentions that his ex never liked to go water-skiing but that he can tell I will, that I will be impressed with his rooster tail, which I gather later that night, thanks to the internet, is a “high arching spray” produced in his wake. When I don’t say I loathe sports, he slides his hand up my thigh and tells me how much he admires my willingness to try new things. I think I could stand being the person he sees, just for a little. 

When we graduate, when we move in together, when he puts my name on his car insurance, I don’t forget the part of me folded away in an old college dorm room, but I don’t retrieve her, either. I think of her when the garbage trucks sing through my window at four in the morning in a city where I know no one but him. I recall the shape of her, the feel of her, as I hug his friends at a neighborhood pizza place the night before we are married at his parents’ house by the lake. She tugs at me, sharp and insistent, a summons. I do not imagine that she could be lost or expired.

Only later, when I love him, does it occur to me that he has done this, too, or that I have done this to him: stolen his alternatives and hidden them away and hoped he will stop longing. For genuine, unbounded levity, for someone who is not always dreaming in counterfactuals. If I hadn’t written my number on his palm with the pen he offered. If I hadn’t taken the job in the city where he was. If I hadn’t begun to see the world refracted through what I guessed of his vision.

I haven’t seen my old roommate in years when she comes through town for a conference. She and her squash player are no longer together. Now she has a long-distance runner and two rescue rabbits, Louisa and Juniper. Our conversation falters. We no longer recall how to talk to each other. We’ve just gotten the check when she says, by the way, you forgot this, left it behind when we graduated. From her bag she pulls a small bundle. I was cleaning out my basement, she says, and remembered it was yours.

The wool is exactly as I recall, grey-striated cerulean, silky but durable, like you could swim long distances in her and not get cold. I slip the fabric over my shoulders and almost feel sorry for how easy it is to leave.

Published March 27th, 2022


Sophia Veltfort’s fiction has appeared or is forthcoming in Prairie Schooner, Writer’s Digest online (first place, 89th Annual Writing Competition), the Santa Monica Review, Narrative online (30 Below Contest finalist), Chicago Tribune online (Nelson Algren finalist), and Alaska Quarterly Review, among other journals. Her nonfiction has appeared in Harvard Review and been selected as a Notable Essay in the Best American Essays. Currently a PhD candidate at Cornell, she is completing her first novel and story collection.



Cecilia Biagini studied painting with Guillermo Kuitca in Buenos Aires and attended university for sociology. Biagini received the Photography Critics Award from the Centro de Arte y Comunicación in 1989 and was a recipient of the Kuitca Scholarship in 1994, and then again in 1997, when her work was short-listed for the prestigious Braque Award and the Gunther Award. In 1998 she moved to New York, where she co-founded the exhibition space, The Hogar Collection, in Brooklyn.

Her work is included in several art collections including MACBA Museum collection, Buenos Aires; Ministerio de Educación de la Nación Argentina;The University of Texas at San Antonio, San Antonio, TX; The New York Public Library, New York; and The Department of Homeland Security in Washington D.C. Additionally, her artwork has been exhibited at notable museums including MoMA PS 1, New York City, NY; The Cervantes Institute in Rome, Italy and in Buenos Aires, Argentina; the Recoleta Cultural Center, Buenos Aires, Argentina; The Museum of Fine Arts, Houston, TX; the PROA Foundation, Buenos Aires, Argentina; and the Museum of Modern Art, Buenos Aires, Argentina.