By Ron, Everett Public Library staff
When people call me a writer I get uncontrollable giggles, like when I’m walking around the grocery store and find that aisle where a weird guy’s been hanging out for fifteen minutes belting out The Best of Celine Dion even though there’s no Muzak playing. Or when someone gets on the elevator with you at the hospital and they immediately open up about their upcoming hemorrhoid surgery.
I don’t consider myself a writer. At all. It makes me feel like a fake even though I spend a couple of hours writing every day.
In Lauren Karcz’s The Gallery of Unfinished Girls, Mercedes Moreno knows exactly what I mean. She’s finishing out her senior year in high school and not sure if she even considers herself an artist or not because she hasn’t created anything since her last piece won first place in an art show. She’s in love with her best friend Victoria, her grandmother has had a stroke and is dying in a hospital in Puerto Rico and her mother leaves, sending back word that while sitting at her mother’s bedside she saw her hand move. Mercedes knows this is wishful thinking because things do not look good for her grandmother whom she and her sister Angela are close to, having spent whole summers with her.
Rex, their landlord and next door neighbor, checks in on them and feeds them. One morning, a piano shows up on their front lawn. Her fourteen year old sister Angela has always wanted to learn how to play the piano (me too if just to annoy my brothers by playing Chopsticks for three hours straight). Mercedes and Angela haul the piano inside and make room for it. Soon, Angela can barely be torn away from it. Mercedes is trying to come up with a painting that rivals her award-winning Food Poisoning #1 (that title alone is a winner with me) but she’s feeling less than artistic as she waits for news from her mother about their grandmother, deals with her unrequited crush on her best friend who will be auditioning for Julliard (and no doubt getting in because she’s that good of a ballet dancer) and wondering what she’s going to do with her own life after high school.
Go to art school? Go to a local university? She sees her future as pretty grim, never leaving home and “playing” at her art, never seeing her best friend Vic again (or even acting on the chance that there might be more to their friendship). Life, as Mercedes knows it, feels all lived up and worn out. Until Rex announces that he has a new renter, a young woman named Lilia Solis. “She’s a painter like you!” Rex announces (insert slow eye roll here). Since Mercedes and Angela are on their own, Rex invites them over to eat and get to know Lilia. Mercedes is taken with her at first sight, this woman who’s only a few years older than Mercedes and a painter, living her life exactly the way she wants.
Lilia shows some of her work to Mercedes and says there’s this building called the Red Mangrove Estate where many artists rent space to work: painters, musicians, anyone who needs a place to unleash their creativity. I like that idea. I normally write sitting in the middle of my bed with my writing music on shuffle and then spend 45 minutes changing songs because that song doesn’t fit with my current mood of writing and then I scrap writing altogether and watch Netflix. Mercedes goes with Lilia to the Estates. She hears bands in other rooms rehearsing and looks through partially open doors snatching glimpses of other writers in the throes of creation: that place all artists go to where time has no meaning and they often look up and breathe deeply as if they’ve been underwater and now have to resurface.
The ten foot thick steel door in Mercedes’s head that has been holding back her art creaks open and she begins to create losing time, losing herself, and losing her worry over her grandmother. Her head becomes clearer. But like most obsessions that seem fantastic at first, the Estate begins to take on a life of its own. It’s all Mercedes can think about. She unthinkingly takes Vic there one day, even though outsiders and hangers-on are not allowed. She kisses Vic. She kisses the best friend she’s in love with.
But she soon finds that the Estate is truly a world of its own, a different one. There’s the life lived and created in the Estate and there’s the world outside of it where Mercedes didn’t kiss Vic. These two worlds begin to perilously overlap, especially when Angela, who has become an amazing piano player, goes to the Estate and begins playing with a band who wants to take her on tour. Meanwhile, the news from Puerto Rico is not good. Their mother spends every minute in the hospital with their grandmother who is in a coma. She is slipping further away by the minute.
Mercedes must decide what to do: continue living two lives with one in the Estate where she can create mind-blowing art or come back to the real world and continue trying to create while secretly thinking she has not a talented bone in her body. In the end, she makes a choice that ripples through many lives, changing her own future.
There’s one part of the book near the end that blew my mind but I’m not into spoilers (thanks Internet for ruining The Walking Dead for me; yeah, I’m still bitter about that) so I won’t mess things up for you, reader. Let’s just say author Lauren Karcz weaves a tale full of Florida heat, cigarettes chain smoked, the NEED to create bursting through every vein and nervous system, and family. The Gallery of Unfinished Girls is about who we are and what we think we will become in the future. But of course, unless you’re psychic (if you are you should have seen this next sentence coming) you have to let life be lived as it unfolds.
Now, I gotta boogie. I have a favorite cardboard box in the driveway I like to write in. What? It’s all I could afford.