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1501165836 (ISBN13: 9781501165832)
Marriages of convenience are so…inconvenient.
Rescued by Calvin McLoughlin from a would-be subway attacker, Holland Bakker pays the brilliant musician back by pulling some of her errand-girl strings and getting him an audition with a big-time musical director. When the tryout goes better than even Holland could have imagined, Calvin is set for a great entry into Broadway—until he admits his student visa has expired and he’s in the country illegally.
Holland impulsively offers to wed the Irishman to keep him in New York, her growing infatuation a secret only to him. As their relationship evolves from awkward roommates to besotted lovers, Calvin becomes the darling of Broadway. In the middle of the theatrics and the acting-not-acting, what will it take for Holland and Calvin to realise that they both stopped pretending a long time ago?
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According to family legend, I was born on the floor of a taxi.
I’m the youngest of six, and apparently Mom went from “I have a bit of a cramp, but let me finish making lunch” to “Hello, Holland Lina Bakker” in the span of about forty minutes.
It’s always the first thing I think about when I climb into a cab. I note how I have to shimmy with effort across the tacky seat, how there are millions of neglected fingerprints and unidentifiable smudges clouding the windows and Plexiglas barrier—and how the floor of a cab is a really terrible place for a baby to meet the world.
I slam the taxi door behind me to block out the howling Brooklyn wind. “Fiftieth Street station, Manhattan.”
The driver’s eyes meet mine in the rearview mirror and I can imagine what he’s thinking: You want to take a cab to the subway in Manhattan? Lady, you could take the C train all the way there for three bucks.
“Eighth Ave. and Forty-Ninth Street,” I add, ignoring the clawing flush of awareness that I am absurd. Instead of taking the cab all the way home, I’m having the driver take me from Park Slope to a subway stop in Hell’s Kitchen, roughly two blocks from my building. It’s not that I’m particularly safety minded and don’t want this cabbie to know where I live.
It’s that it’s Monday, approximately eleven thirty, and Jack will be there.
At least, he should be. Since I first saw him busking at the Fiftieth Street station nearly six months ago, he’s been there every Monday night, along with Wednesday and Thursday mornings before work, and Friday at lunchtime. Tuesday he’s gone, and I’ve never seen him there on the weekend.
Mondays are my favorite, though, because there’s an intensity in the way he crouches over his guitar, cradling it, seducing it. Music that seems to have been trapped inside all weekend long is freed, broken only by the occasional metallic tumble of pocket change dropped into the open guitar case at his feet, or the roar of an approaching train.
I don’t know what he does in the hours he’s not there. I’m also fairly certain his name isn’t Jack, but I needed to call him something other than “the busker,” and giving him a name made my obsession seem less pathetic.
The cabbie is quiet; he isn’t even listening to talk radio or any of the other cacophonous car-filler every New Yorker gets used to. I blink away from my phone and the Instagram feed full of books and makeup tutorials, to the mess of sleet and slush on the roads. My cocktail buzz doesn’t seem to be evaporating as quickly as I’d hoped, and by the time we pull up to the curb and I pay the fare, I still have its giddy effervescence simmering in my blood.
I’ve never come to see Jack while drunk before, and it’s either a terrible or a fantastic idea. I guess we’re about to find out which.
Hitting the bottom of the stairs, I catch him tuning his guitar and stop a few feet away, studying him. With his head bowed, and in the beam of the streetlight shooting down the stairs, his light brown hair seems almost silver.
He’s suitably scruffy for our generation, but he looks clean, so I like to think he has a nice apartment and a regular, well-paying job, and does this because he loves it. He has the type of hair I can’t resist, neat and trimmed along the sides but wild and untamed on top. It looks soft, too, shiny under the lights and the kind of hair you want to curl a fist around. I don’t know what color his eyes are because he never looks up at anyone while he plays, but I like to imagine they’re brown or dark green, a color deep enough to get lost in.
I’ve never seen him arrive or leave, because I always walk past him, drop a dollar bill in his case, and keep moving. Then, covertly from the platform, I look over—as do many of us—to where he sits on his stool near the base of the stairs, his fingers flying up and down the neck of the instrument. His left hand pulls out the notes as if it’s as simple as breathing.
Breathing. As an aspiring writer, it’s my least favorite cliché, but it’s the only one that suits. I’ve never seen someone’s fingers move like that, as if he doesn’t even have to think about it. In some ways, it seems like he gives the guitar an actual human voice.
He looks up as I drop a bill into his case, squinting at me, and gives me a quiet “Thanks very much.”
He’s never done that before—looked up when someone dropped money in his case—and I’m caught completely off guard when our eyes meet.