Women on their own run in Alice's family. This dawns on her with the unkindness of a heart attack and she sits up in bed to get a closer look at her thoughts, which have collected above her in the dark.
It's early morning, April, windless, unreasonably hot even at this sun-forsaken hour. Alice is sixty-one. Her husband, Harland, is sleeping like a brick and snoring. To all appearances they're a satisfied couple sliding home free into their golden years, but Alice knows that's not how it's going to go. She married him two years ago for love, or so she thought, and he's a good enough man but a devotee of household silence. His idea of marriage is to spray WD-40 on anything that squeaks. Even on the nights when he turns over and holds her, Harland has no words for Alice—nothing to contradict all the years she lay alone, feeling the cold seep through her like cave air, turning her breasts to limestone from the inside out. This marriage has failed to warm her. The quiet only subsides when Harland sleeps and his tonsils make up for lost time. She can't stand the sight of him there on his back, driving his hogs to market. She's about to let herself out the door.
She leaves the bed quietly and switches on the lamp in the living room, where his Naugahyde recliner confronts her, smug as a catcher's mitt, with a long, deep impression of Harland running down its center. On weekends he watches cable TV with perfect vigilance, as if he's afraid he'll miss the end of the world—though he doesn't bother with CNN, which, if the world did end, is where the taped footage would run. Harland prefers the Home Shopping Channel because he can follow it with the sound turned off.
She has an edgy sense of being watched because of his collection of antique headlights, which stare from the china cabinet. Harland runs El-Jay's Paint and Body and his junk is taking over her house. She hardly has the energy to claim it back. Old people might marry gracefully once in a while, but their houses rarely do. She snaps on the light in the kitchen and shades her eyes against the bright light and all those ready appliances.
Her impulse is to call Taylor, her daughter. Taylor is taller than Alice now and pretty and living far away, in Tucson. Alice wants to warn her that a defect runs in the family, like flat feet or diabetes: they're all in danger of ending up alone by their own stubborn choice. The ugly kitchen clock says four-fifteen. No time-zone differences could make that into a reasonable hour in Tucson; Taylor would answer with her heart pounding, wanting to know who'd dropped dead. Alice rubs the back of her head, where her cropped gray hair lies flat in several wrong directions, prickly with sweat and sleeplessness. The cluttered kitchen irritates her. The Formica countertop is patterned with pink and black loops like rubber bands lying against each other, getting on her nerves, all cocked and ready to spring like hail across the kitchen. Alice wonders if other women in the middle of the night have begun to resent their Formica. She stares hard at the telephone on the counter, wishing it would ring. She needs some proof that she isn't the last woman left on earth, the surviving queen of nothing. The clock gulps softly, eating seconds whole while she waits; she receives no proof.
She stands on a chair and rummages in the cupboard over the refrigerator for a bottle of Jim Beam that's been in the house since before she married Harland. There are Mason jars up there she ought to get rid of. In her time Alice has canned tomatoes enough for a hundred bomb shelters, but now she couldn't care less, nobody does. If they drop the bomb now, the world will end without the benefit of tomato aspic....
