Laura Nowlin holds a B.A. in English with an emphasis in Creative Writing from Missouri University. When she isn’t at home agonizing over her own novels, Laura works at the public library, where the patrons give her plenty of inspiration for her writing. She lives in St. Louis with her musician husband, neurotic dog, and psychotic cat.

1

I wasn't with Finny on that August night, but my imagination has burned the scene in my mind so that it feels like a memory.

It was raining, of course, and with his girlfriend, Sylvie Whitehouse, he glided through the rain in the red car his father had given him on his sixteenth birthday. In a few weeks, Finny would be turning nineteen.

They were arguing. No one ever says what they were arguing about. It is, in other people's opinions, not important to the story. What they do not know is that there is another story. The story lurking underneath and in between the facts of the one they can see. What they do not know, the cause of the argument, is crucial to the story of me.

I can see it―the rain-slicked road and the flashing lights of ambulance and police cars cutting through the darkness of night, warning those passing by: catastrophe has struck here, please drive slowly. I see Sylvie sitting sideways out of the back of the policeman's car, her feet drumming on the wet pavement as she talks. I cannot hear her, but I see Sylvie tell them the cause of the argument, and I know, I know, I know, I know. If he had been with me, everything would have been different.

I can see them in the car before the accident―the heavy rain, the world and the pavement as wet and slick as if it had been oiled down for their arrival. They glide through the night, regrettably together, and they argue. Finny is frowning. He is distracted. He is not thinking of the rain or the car or the wet road beneath it. He is thinking of this argument with Sylvie. He is thinking of the cause of the argument, and the car swerves suddenly to the right, startling him out of his thoughts. I imagine that Sylvie screams, and then he overcompensates by turning the wheel too far.

Finny is wearing his seat belt. He is blameless. It is Sylvie who is not. When the impact occurs, she sails through the windshield and out into the night, improbably, miraculously, only suffering minor cuts on her arms and face. Though true, it is hard to imagine, so hard that even I cannot achieve the image. All I can see is the moment afterward, the moment of her weightless suspension in the air, her arms flailing in slow motion, her hair, a bit bloody and now wet with rain, streaming behind her like a mermaid's, her mouth a round O in a scream of panic, the dark wet night surrounding her in perfect silhouette.

Sylvie is suddenly on Earth again. She hits the pavement with a loud smack and is knocked unconscious.

She lies on the pavement, crumpled. Finny is untouched. He breathes heavily, and in shock and wonder, he stares out into the night. This is his moment of weightless suspension. His mind is blank. He feels nothing, he thinks nothing; he exists, perfect and unscathed. He does not even hear the rain.

Stay. I whisper to him. Stay in the car. Stay in this moment.

But of course he never does.