The same way I still see the stephanotis in her braid, the plumeria tattoo through her veil.

Something else I still see from that wedding day at St. John the Divine: the bright red soles on her shoes.

She was wearing Christian Louboutin shoes, pale satin with bright red soles.

You saw the red soles when she kneeled at the altar.

14.

Before she was born we had been planning a trip to Saigon.

We had a.s.signments from magazines, we had credentials, we had everything we needed.

Including, suddenly, a baby.

That year, 1966, during which the American military presence in Vietnam would reach four hundred thousand and American B-52s had begun bombing the North, was not widely considered an ideal year to take an infant to Southeast Asia, yet it never occurred to me to abandon or even adjust the plan. I even went so far as to shop for what I imagined we would need: Donald Brooks pastel linen dresses for myself, a flowered Porthault parasol to shade the baby, as if she and I were about to board a Pan Am flight and disembark at Le Cercle Sportif.

In the end this trip to Saigon did not take place, although its cancellation was by no means based on what might have seemed the obvious reason-we canceled, it turned out, because John had to finish the book he had contracted to write about Cesar Chavez and his National Farm Workers a.s.sociation and the DiGiorgio grape strike in Delano-and I mention Saigon at all only by way of suggesting the extent of my misconceptions about what having a child, let alone adopting one, might actually entail.

How could I not have had misconceptions?

I had been handed this perfect baby, out of the blue, at St. John's Hospital in Santa Monica. She could not have been more exactly the baby I wanted. In the first place she was beautiful. Hermosa, chula. Strangers stopped me on the street to tell me so. "I have a beautiful baby girl at St. John's," Blake Watson had said, and he did. Everyone sent dresses, an homage to the beautiful baby girl. There the dresses were in her closet, sixty of them (I counted them, again and again), immaculate little wisps of batiste and Liberty lawn on miniature wooden hangers. The miniature wooden hangers, too, were a gift to the beautiful baby girl, another homage from her instantly acquired relatives, besotted aunts and uncles and cousins in West Hartford (John's family) and Sacramento (mine). I recall changing her dress four times on the afternoon the State of California social worker made her mandated visit to observe the candidate for adoption in the home environment.

We sat on the lawn.

The candidate for adoption played at our feet.

I did not mention to the social worker that Saigon had until recently figured in the candidate's future.

Nor did I mention that current itineraries called for her to sojourn instead at the Starlight Motel in Delano.

Arcelia, who cleaned the house and laundered the wisps of batiste, busied herself watering, as antic.i.p.ated.

"As antic.i.p.ated" because I had prepped Arcelia for the visit.

The thought of an unstructured encounter between Arcelia and a State of California social worker had presented spectral concerns from the outset, imagined scenarios that kept me awake at four in the morning and only multiplied as the date of the visit approached: what if the social worker were to notice that Arcelia spoke only Spanish? What if the social worker were to happen into the question of Arcelia's papers? What would the social worker put in her report if she divined that I was entrusting the perfect baby to an undoc.u.mented alien?

The social worker remarked, in English, on the fine weather.

I tensed, fearing a trap.

Arcelia smiled, beatific, and continued watering.

I relaxed.

At which point Arcelia, no longer beatific but dramatic, flung the hose across the lawn and s.n.a.t.c.hed up Quintana, screaming "Vibora!"

The social worker lived in Los Angeles, she had to know what vibora meant, vibora in Los Angeles meant snake and snake in Los Angeles meant rattlesnake. I was relatively certain that the rattlesnake was a fantasy but I nonetheless guided Arcelia and Quintana inside, then turned to the social worker. It's a game, I lied. Arcelia pretends she sees a snake. We all laugh. Because you can see. There is no snake.

There could be no snake in Quintana Roo's garden.

Only later did I see that I had been raising her as a doll.

She would never have faulted me for that.

She would have seen it as a logical response to my having been handed, out of the blue at St. John's Hospital in Santa Monica, the beautiful baby girl, herself. At the house after her christening at St. Martin of Tours Catholic Church in Brentwood we had watercress sandwiches and champagne and later, for anyone still around at dinner time, fried chicken. The house we were renting that spring belonged to Sara Mankiewicz, Herman Mankiewicz's widow, who was traveling for six months, and although she had packed away the china she did not want used along with Herman Mankiewicz's Academy Award for Citizen Kane (you'll have friends over, she had said, they'll get drunk, they'll want to play with it) she had left out her Minton dinner plates, the same pattern as the Minton tiles that line the arcade south of Bethesda Fountain in Central Park, for me to use. I had not used the Minton dinner plates before the christening but I put them on a buffet table that night for the fried chicken. I remember Diana eating a chicken wing off one of them, a fleck of rosemary from the chicken the only blemish on her otherwise immaculate manicure. The perfect baby slept in one of her two long white christening dresses (she had two long white christening dresses because she had been given two long white christening dresses, one batiste, the other linen, another homage) in the Saks ba.s.sinette. John's brother Nick took photographs. I look at those photographs now and am struck by how many of the women present were wearing Chanel suits and David Webb bracelets, and smoking cigarettes. It was a time of my life during which I actually believed that somewhere between frying the chicken to serve on Sara Mankiewicz's Minton dinner plates and buying the Porthault parasol to shade the beautiful baby girl in Saigon I had covered the main "motherhood" points.

15.

There was a reason why I told you about Arcelia and the sixty dresses.

I was not unaware as I did so that a certain number of readers (more than some of you might think, fewer than the less charitable among you will think) would interpret this apparently casual information (she dressed her baby in clothes that needed washing and ironing, she had help in the house to do this washing and ironing) as evidence that Quintana did not have an "ordinary" childhood, that she was "privileged."

I wanted to lay this on the table.

"Ordinary" childhoods in Los Angeles very often involve someone speaking Spanish, but I will not make that argument.

Nor will I even argue that she had an "ordinary" childhood, although I remain unsure about exactly who does.

"Privilege" is something else.

"Privilege" is a judgment.

"Privilege" is an opinion.

"Privilege" is an accusation.

"Privilege" remains an area to which-when I think of what she endured, when I consider what came later-I will not easily cop.

I look again at the photographs Nick took at the christening.

In fact the afternoon these photographs were taken, the afternoon at St. Martin of Tours and Sara Mankiewicz's house, the afternoon when Quintana wore the two christening dresses and I wore one of the pastel linen Donald Brooks dresses I had bought under the misunderstanding that they would be needed in Saigon, was never what I considered her "real" christening. (One question: would you have called buying pastel linen dresses for Saigon a mark of "privilege"? Or would you have called it more a mark of bone stupidity?) Her "real" christening had taken place in a tiled sink at the house in Portuguese Bend, a few days after we brought her home from the nursery at St. John's Hospital in Santa Monica. John had christened her himself, and told me only after the fact.

I recall a certain defensiveness on this issue. What he said when he told me was not exactly along the lines of "I thought we might christen the baby, what do you think."

What he said when he told me was more along the lines of "I just christened the baby, take it or leave it."

It seemed that he had worried because the date I had arranged at St. Martin of Tours was two months away.

It seemed that he had not wanted to risk consigning our not yet christened baby to limbo.

I knew why he had not told me this before the fact.

He had not told me this before the fact because I was not a Catholic, and he had imagined objection.

Of the two of us, however, it was I who thought of that day in the tiled sink as the "real" christening.

The other christening, the christening at which the photographs were taken, was the "dress-up" christening.

Certain faces spring out at me from the photographs.

Connie Wald, wearing one of the several Chanel suits in evidence that afternoon, in her case one of blue-and-cream tweed lined in cyclamen-pink silk. It was Connie who gave Quintana one of the two long white dresses she wore at the church and after. Until Connie was in her nineties, when she developed a neuropathy, she still swam every day of her life. She cut back on the regimen of daily laps and stopped driving herself around Beverly Hills in an aged Rolls-Royce but otherwise continued exactly as before. She still wore the Claire McCardell dresses she had been given when she was a McCardell model in the 1940s. She still gave two or three dinner parties a week, cooked herself, mixed young and old in a way that flattered everyone present, lit huge fires in her library and filled the tables with salted almonds and fat pitchers of nasturtiums and the roses she still grew herself. Connie had been married to the producer Jerry Wald, who was said to have been Budd Schulberg's model for Sammy Glick in What Makes Sammy Run and who had died a few years before I met her. She once told me about the six weeks she spent in Nevada establishing the residency she needed to divorce her previous husband and marry Jerry Wald. She did not spend the six weeks in Las Vegas, because Las Vegas as we later knew it did not yet exactly exist. She spent the six weeks twenty miles from Las Vegas, in Boulder City, which had been built by the Bureau of Reclamation as the construction camp for Hoover Dam and in which both gambling and union membership were prohibited by law. I asked her what she had found to do for six weeks in Boulder City. She said that Jerry had given her a dog, which she walked, every day, through the identical streets lined with matching government bungalows that const.i.tuted Boulder City and on across the dam. I recall this striking me as the most intrepid story I ever heard about how someone did or did not stay in Las Vegas, a topic not entirely deficient in intrepid stories.

Diana.

Diana Lynn, Diana Hall.

Hers is another face that springs out from the photographs taken that day.

In this photograph she is holding a champagne flute and smoking a cigarette. It occurs to me as I look at her photograph that it was Diana who had made that day possible. It was Diana who had drawn me into the conversation about adoption over the New Year's weekend on Morty's boat. It was Diana who had talked to Blake Watson, it was Diana who had intuited how deeply I needed Quintana. It was Diana who had changed my life.

16.

Some of us feel this overpowering need for a child and some of us don't. It had come over me quite suddenly, in my mid-twenties, when I was working for Vogue, a tidal surge. Once this surge hit I saw babies wherever I went. I followed their carriages on the street. I cut their pictures from magazines and tacked them on the wall next to my bed. I put myself to sleep by imagining them: imagining holding them, imagining the down on their heads, imagining the soft spots at their temples, imagining the way their eyes dilated when you looked at them.

Until then pregnancy had been only a fear, an accident to be avoided at any cost.

Until then I had felt nothing but relief at the moment each month when I started to bleed. If that moment was delayed by even a day I would leave my office at Vogue and, looking for instant rea.s.surance that I was not pregnant, go see my doctor, a Columbia Presbyterian internist who had come to be known, because his mother-in-law had been editor in chief of Vogue and his office was always open to fretful staff members, as "the Vogue doctor." I recall sitting in his examining room on East Sixty-seventh Street one morning waiting for the results of the most recent rabbit test I had implored him to do. He came into the room whistling, and began misting the plants on the window sill.

The test, I prompted.

He continued misting the plants.

I needed to know the results, I said, because I was leaving to spend Christmas in California. I had the ticket in my bag. I opened the bag. I showed him.

"You might not need a ticket to California," he said. "You might need a ticket to Havana."

I correctly understood this to be intended as rea.s.suring, his baroque way of saying that I might need an abortion and that he could help me get one, yet my immediate response was to vehemently reject the proposed solution: it was delusional, it was out of the question, it was beyond discussion.

I couldn't possibly go to Havana.

There was a revolution in Havana.

In fact there was: it was December 1958, Fidel Castro would enter Havana within days. I mentioned this.

"There's always a revolution in Havana," the Vogue doctor said.

A day later I started to bleed, and cried all night.

I thought I was regretting having missed this interesting moment in Havana but it turned out the surge had hit and what I was regretting was not having the baby, the still unmet baby, the baby I would eventually bring home from St. John's Hospital in Santa Monica. What if you hadn't been home, what if you couldn't meet Dr. Watson at the hospital, what if there'd been an accident on the freeway, what would happen to me then. Not long ago, when I read the fragment of the novel written just to show us, the sc.r.a.p in which the protagonist thinks she might be pregnant and elects to address the situation by consulting her pediatrician, I remembered that morning on East Sixty-seventh Street. Now, they didn't even care any more.

17.

There are certain moments in those first years with her that I remember very clearly.

These very clear moments stand out, recur, speak directly to me, on some levels flood me with pleasure and on others still break my heart.

I remember very clearly for example that her earliest transactions involved what she called "sundries." She invested this word, which she used as a synonym for "possessions" but seemed to derive from the "sundries shops" in the many hotels to which she had already been taken, with considerable importance, dizzying alternations of infancy and sophistication. One day after she had asked me for a Magic Marker I found her marking off an empty box into "drawers," or areas meant for specific of these "sundries." The "drawers" she designated were these: "Cash," "Pa.s.sport," "My IRA," "Jewelry," and, finally-I find myself hardly able to tell you this-"Little Toys."

Again, the careful printing.

The printing alone I cannot forget.

The printing alone breaks my heart.

Another moment, not, on examination, dissimilar: I remember very clearly the Christmas night at her grandmother's house in West Hartford when John and I came in from a movie to find her huddled alone on the stairs to the second floor. The Christmas lights were off, her grandmother was asleep, everyone in the house was asleep, and she was patiently waiting for us to come home and address what she called "the new problem." We asked what the new problem was. "I just noticed I have cancer," she said, and pulled back her hair to show us what she had construed to be a growth on her scalp. In fact it was chicken pox, obviously contracted before she left nursery school in Malibu and just now surfacing, but had it been cancer, she had prepared her mind to be ready for cancer.

A question occurs to me: Did she emphasize "new" when she mentioned "the new problem"?

Was she suggesting that there were also "old" problems, undetailed, problems with which she was for the moment opting not to burden us?

A third example: I remember very clearly the doll's house she constructed on the bookshelves of her bedroom at the beach. She had worked on it for several days, after studying a similar improvisation in an old copy of House & Garden ("m.u.f.fet Hemingway's doll's house" was how she identified the prototype, taking her cue from the House & Garden headline), but this was its first unveiling. Here was the living room, she explained, and here was the dining room, and here was the kitchen, and here was the bedroom.

I asked about an undecorated and apparently unallocated shelf.

That, she said, would be the projection room.