was fairly sure the contras took her by mistake, not knowing she was an American citizen, and now were probably confused as to how to release her without generating too much bad publicity. He asked, had I called the President of the United States?
In the meantime, Hallie's letters still came to the Post Office box. I knew she had mailed them before she was kidnapped, but their appearance frightened me. They looked postmarked and cheerful and real, but they were ghosts, mocking what I'd believed was a solid connection between us. I'd staked my heart on that connection. If I could still get letters like this when Hallie was gone or in trouble, what had I ever really had?
I didn't read them. I saved them. I would open them all once I'd heard her voice on the phone. I wouldn't be fooled again.
At some point between Christmas and mid-January, Grace became famous. The several hundred pinatas planted in Tucson had grown into great, branching trees of human interest, which bore fruit in the form of articles with names like "This Art's Not for Breaking" and "What Pinatas!" in slick magazines all over the Southwest. The Stitch and Bitch Club's efforts in papier-mache became a hot decorator item in gentrified adobe neighborhoods like the one in Tucson that Hallie used to call Barrio Volvo.
It was the birds that caused the stir, but because it was there, people were also reading my urgent one-page plea for the life of Grace. Where Mayor Jimmy Soltovedas's repeated calls to the press had failed, Stitch and Bitch succeeded: our story became known. Hardly a day passed without some earnest reporter calling up to get a statement from Norma Galvez. The club designated her the media spokeswoman; Dona Althea was more colorful, but given to unprintable remarks. Ditto for Viola, who was even more unprintable because she spoke English.
But when a scout crew from CBS News came to town, they wanted the Donn. They sat in on a meeting at the American Legion hall and zeroed in on the Stitch and Bitch figurehead with her authority and charm and all she represented in the way of local color. They got some of the meeting on tape, but made an appointment to come back on Saturday with a crew to interview the Dona in her home. Norma Galvez would be (for safety's sake) her interpreter. By the time Saturday morning came, when CBS rolled into town in their equipment Jeeps like Jesus into Jerusalem on Palm Sunday, the whole town was anticipating the visit of what Viola had been calling "the B.S. News."
There were about fifty of us packed into Dona Althea's living room, just there to watch. The Dona looked as she always looked: tiny, imperious, dressed in black, with her long white braid pinned around her head like a crown. As a concession to the cameras she clutched an embroidered shawl around her shoulders.
She refused to close the restaurant, though, and it was lunchtime, so there were still comings and goings and much banging of pots. Cecil, the sound man, had to run his equipment off the outlet in the kitchen, since it was the only part of the house that had been wired in the twentieth century. "Ladies, we're just going to have to be cozy in here," he said, turning sideways and scooting between two Althea sisters to reach the plug.
"Son of a," he said, when one of the sisters tripped over his cord and unplugged it for the third or fourth time. The Althea in question stopped in her tracks and looked for a minute as if she might deck him, but decided to serve her customers instead. She was so burdened with plates it's lucky Cecil didn't get menudo in his amps.
The director of the crew had the Dona sit in a carved chair that normally stood in her bedroom and held the TV. Two men carried it out, sat her down in it, and arranged vases of peacock feathers at her feet. "Just cross your ankles," the director told her. Norma translated, and the Dona complied, scowling fiercely. She looked like a Frida Kahlo painting. "Okay," he said, wiping sweat off his forehead. He was a heavy man, dressed in Italian shoes and a Mexican wedding shirt, though his mood was not remotely festive. "Okay," he repeated. "Let's go."
There was a camera on the interviewer and two cameras were on Dona Althea: bright, hot lights everywhere. A crew member dabbed