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Raul Neves is one of the most famous chefs in the world. Born in the Portuguese coastal city of Aveiro, Raul is the ruggedly handsome son of a fisherman named Goncalo and a waitress named Beatrice. Goncalo was lost at sea when Raul was seven. A year later Beatrice married the owner of the restaurant where she worked, and Raul gravitated to the restaurant kitchen where he proved to be a culinary prodigy.

At fifteen Raul went to work in the kitchen of a fine restaurant in Lisbon, and at seventeen became sous chef in an excellent Paris restaurant. His rise to culinary stardom was only impeded by his uncontrollable temper, and when he was twenty-three his fight with two men in a bar was judged a felonious assault and resulted in Raul serving two years in a French prison.

Upon his release, he returned to Lisbon and underwent a year of intensive psychotherapy, the fruits of which were the cessation of his violent outbursts and a new way of thinking about life. He moved to London, established himself as a premiere chef, and then moved to San Francisco where his spectacular cuisine and his appealing persona made the restaurant estuaire famous and launched Raul’s second career as the paramour of movie actresses.

When Raul was fifty-two his mother died and he became severely depressed. He decided he had to get out of the city, any city, and accepted the offer of a wealthy couple to create a restaurant in the remote northern California coastal town of Mercy, the restaurant to be housed in an exquisitely restored two-story Victorian perched on the headlands overlooking Mercy Bay. That restaurant is the peerless Ocelot, the name coming to Raul in a dream.

*

On a fine spring day in the middle of May, Raul and the movie star Kristen Carlyle cruise two miles inland in Raul’s new red Tesla up a winding road to Ziggurat Farm, home of Philip and Lisa and Marcel and Andrea. Marcel and Philip are both part-time waiters at Ocelot, and Andrea and Lisa are masters of the Ziggurat Farm organic vegetable and flower garden, source of much of the produce and flowers used by Raul at his restaurant.

Raul and Kristen are going to lunch at the farm—Philip a superb cook, Marcel a maker of exquisite wine, Andrea also a fine cook, Lisa a charming hostess—forty people expected for Nathan’s eighty-fifth birthday party, Nathan’s life deeply entangled with the lives of those who live on the farm.

“What a beauty,” says Kristen, as they turn off the highway onto the farm drive. “Must be worth a fortune.”

Kristen, twenty-eight, a busty brunette known for her steamy sex scenes in violent thrillers, has enjoyed her brief affair with Raul but has no illusions about their liaison lasting much longer.

Raul, who is twice Kristen’s age, has never seen any of Kristen’s seventeen movies because he prefers books to movies, particularly the classics, his current endeavor A Tale of Two Cities.

“This is a farm of beauties,” says Raul, parking amidst the other vehicles. “Beautiful women, beautiful men, beautiful children, beautiful dogs, beautiful cats, beautiful flowers, and incomparable vegetables. I would live here if they’d let me, but I’m afraid to ask for fear they might say No.”

“Are you serious?” asks Kristen, wrinkling her famous nose.

“Always,” says Raul, tired of Kristen after their few days together, their intellects and senses of humor severely mismatched.

“I didn’t know that about you,” she says, thinking she’ll end things with Raul tomorrow or the next day so she can get home to Los Angeles and rest for a couple weeks before a long shoot in New York. “You seem so easy going.”

“I am seriously easygoing,” he says, smiling at her. “Come. Let us go consort with the beauties.”

*

Raul and Kristen are greeted at their car by a mellow old hound named Jung and a friendly Golden Retriever named Alexandra, the dogs followed by two girls in summery dresses: Vivienne, a darling nine-year-old with shoulder-length brown hair, and Irenia, twelve, her long black hair in a braid festooned with white carnations, her face so lovely to Raul he has to take a deep breath to calm himself every time he sees her.

“Bon jour Raul,” says Vivienne, avidly studying Kristen. “You remember Irenia, don’t you?”

“Of course,” says Raul, bowing to Irenia. “How are you?”

“Very well, thank you,” says Irenia, who is learning to speak in the manner of the children of Ziggurat Farm, their vocabulary and conversational style influenced by years of tutelage from two verbally flamboyant upper crust Brits. “May we perchance know the name of your most attractive companion?”

“This is Kristen,” says Raul, turning to Kristen. “Kristen this is Vivienne and Irenia.”

“Are you British?” asks Kristen, easily fooled.

“Alas, no,” says Vivienne, sighing dramatically as she thinks of Constance and Joseph who moved back to England several months ago. “We are but pale facsimiles.”

“We have come to inform you that hors d’oeuvres and wine and grape juice are being served in the garden,” says Irenia, admiring Kristen’s dangly diamond earrings. “Lunch to follow in the farmhouse.”

So the quartet of humans and the two dogs make their way along the path bordered by lilacs and lavender and rose bushes to the magnificent terraced vegetable and flower garden where the guests are gathered around two picnic tables in the dappled shade of a live oak, most of the women in dresses, most of the men wearing colorful shirts, Marcel and his ten-year-old son Henri playing accordions at a distance from the gathering to add ambience but not interfere with the myriad conversations.

Raul seeks out Andrea, the boss of the garden, and gives her a hug and a kiss before he gestures expansively to the burgeoning vegetables. “I cannot wait to pilfer from this magnificence. My God how things have grown since just last week.”

“I’ve got employees now,” says Andrea, pleased Raul came to her first. “The children all want to work in the garden now that Irenia works for me on weekends.”

“Raul,” says Philip, approaching with Irenia’s father and mother—Boris tall and big-bellied, Maria plump and a foot shorter than he. “I want you to meet Boris and Maria, Irenia’s parents.”

“A pleasure,” says Raul, shaking Boris’s hand, both men large and strong. “I recognize you from the garage. You revived my dying Mercedes and then I sold it and bought a Tesla.”

“Tesla,” says Boris, with a thick Russian accent. “I am just now learning to fix these electric cars. I am trained mechanic not electrician.”

“A pleasure to meet you,” says Raul, bowing to Maria. “May I present to all of you my dear friend Kristen.”

“Hi,” says Kristen, giving everyone a little wave. “This place is amazing.”

“You are movie star,” says Maria, gazing open-mouthed at Kristen. “We just see you in movie with Dylan James.” She looks at Boris. “What was name of movie?”

Madness?” guesses Kristen, having made three movies with Dylan, Madness their latest.

“Yes,” says Boris, emphatically. “Madness. You were… you were…” He frowns, his English vocabulary failing him.

“A psychotic prostitute,” says Kristen, matter-of-factly. “And it wasn’t the first time.”

“Yes, you are crazy person,” says Boris, growing uncomfortable. “Very crazy.”

“Wine?” says Philip, coming to the rescue. “Grape juice? Yummy nibbles, as we call hors d’oeuvres around here? Follow me.”

At the picnic table, Raul kisses Daisy on her forehead, Daisy a curvaceous gal with reddish brown hair in a summery yellow dress holding her two-month-old baby girl Jenna.

“May I?” asks Raul, miming rocking a baby.

“Of course,” says Daisy, carefully placing her baby girl in Raul’s big hands—Raul the reason Daisy and her husband Michael came to Mercy eight months ago, to dine at Ocelot, and now they own the house and property contiguous with the farm and hope to live here for the rest of their lives.

Raul gazes into the eyes of the infant and feels his life turn upside down.

*

As the fabulous luncheon draws to a close—the revelers seated at four large tables filling the farmhouse dining room and much of the living room—Nathan and Celia’s daughter Calypso stands up and clinks her wine glass with a spoon to ask for silence.

“Now is the time to say whatever you’d like to say to Nathan,” says Calypso, a nurse at Mercy Hospital where she helped deliver the farm children Arturo, Henri, Vivienne, and the new baby Jenna. “I’ll start.”

She turns to Nathan who is sitting at the head of a table with a view of all the guests. “Papa. When I was thinking about what to say today, I remembered when I was sixteen and you got angry with me for taking the car without asking permission. And I realized that was the only time you ever got angry with me. In fifty-two years.” She starts to cry. “You are the kindest person I’ve ever known. Right after Mama.”

When the applause dies down, Celia’s brother Juan, a portly fellow in his seventies, stands up. “Amigo. I want to tell everyone how you hired me to prune trees with you fifty years ago when I really needed a job. We had two little kids and no money and the rent was due. After my first day of work you gave me four hundred dollars and said, ‘This is your signing bonus. I’ll want you to play shortstop and third base.’ So… after you saved us, what could I do? I had to introduce you to my sister.”

When the laughter dies down, Henri stands up.

“Every week,” says Henri, who is ten and not the least flustered by speaking in front of forty people, “the thing Arturo and Vivienne and I look forward to most is going to your house after school to write with you and have piano lessons with Delilah.” He looks at Arturo, who is eleven, and Vivienne, nine. “Now we’d like to recite a poem we wrote for you.”

Vivienne and Arturo join Henri, the trio standing shoulder to shoulder.

Arturo: One day Henri asked you ‘What exactly is a poem?’ and you said exactly is a tricky word, and asked us the question, only without exactly and ending with to you.

Henri: ‘A poem,’ said Arturo, ‘is words telling stories or describing something.’ And you replied, ‘How is that not prose?’

Vivienne: ‘A poem is poetic,’ said Henri. ‘You know. More musical than plain prose and less concerned with punctuation.’

Arturo: Then Vivienne said, ‘Though lines of poems don’t have to rhyme with each other, they usually do inside themselves.’

Vivienne: ‘So maybe,’ you said, smiling your biggest smile, ‘a poem is lines of words sounding sweetly to the poet.’

The children sit down to loud applause, after which Delilah, one of Mercy’s great beauties, her brown hair very short, her green Ziggurat Farm T-shirt tucked into baggy brown trousers, goes to the upright piano at the far end of the living room and says before playing, “Dear Nathan, I could never put into words what you and Celia mean to me, so I thought I’d play the story of meeting you and coming to live with you twelve years ago.”

A virtuoso pianist, Delilah plays three minor chords to begin, expresses the chords again with their separate notes played in quick succession, plays those separate notes again and again until they begin to vary and grow into a rapturous melody supported by an intricate rhythmic pattern of bass notes, the song resolving into single notes and ending with three comically major chords.

Amidst shouts of Bravo, Delilah hurries back to her seat next to Celia who is sitting next to Nathan, and when the applause subsides, Philip stands up and says, “An impossible act to follow, but someone must, so…” He gazes at Nathan and takes a moment to quell his rising tears. “As of today we’ve gotten seventeen good reviews of my cookbook, and nearly all of them use the words poetic and lyrical when speaking of the writing, which is entirely due to your helping me rewrite my original text. You will deny this and say you merely helped me see what was already there, to which I say, ‘No, Nathan, you breathed magic into my words just as you breathe magic into our lives every day.’”

*

After the many accolades for Nathan, the party continues and Raul leaves Kristen speaking to Delilah and sits down beside Nathan at the dining table.

“I would like to give you a birthday gift of supper at Ocelot for you and Celia and Delilah,” says Raul, who had no idea Nathan was so important to so many people in the community.

“I won’t say no to that,” says Nathan, who is greatly relieved to just be one of the partygoers again and no longer the center of attention. “Philip tells us the food is quite good, and he’s no slouch of a cook.”

“He’s brilliant,” says Raul, enjoying Nathan’s jest. “I can assure you I will steal several things I learned from eating his food today.”

“My wife Celia is quite the cook, too,” says Nathan, his eyes twinkling. “We’ll have you over for chicken enchiladas and fish tacos some time.”

“Nothing would make me happier,” says Raul, taking a deep breath. “May I tell you something that happened to me today?”

“Yeah,” says Nathan, who hears the beginning of a poem that goes something changed him today, something he never expected.

“When I took Daisy’s baby in my hands,” says Raul, feeling he might cry, though he hasn’t cried since he was a young man, “and I looked at her face, she wasn’t seeing me at first, you know, but then she focused on me and our eyes met, and I felt certain I was holding the container of a soul who lived before. And whether this is true or not, in that moment I realized the folly of living alone as I do, save for sexual liaisons that never last, and I felt desperate to find a wife and have a child and live with them until I die.” He laughs incredulously. “Or maybe I’m just losing my mind.”

“Or maybe the universe was showing you what love is,” says Nathan, liking the sound of that.

“And what is love?” asks Raul, his heart pounding in anticipation of Nathan’s reply.

“Love is devotion to the miraculous nature of the other, whether the other is a baby or a tree or a woman or a wave breaking on the shore.”

*

Three weeks later, on a sunny day in early June, Raul and his assistant Maurice, a large man with a shaved head, are in the vegetable garden at Ziggurat Farm with Andrea seeing what they might harvest for the restaurant today and what will soon be ready to harvest. As they consider the burgeoning broccoli, a small blue pickup truck pulls up to the barn and a woman jumps out and strides to the garden gate.

“Hello,” she calls, her voice deep and confident. “I’m Caroline Darling, Michael’s sister. Daisy said if I missed their driveway, which I apparently did, I should come here and someone would help me find my way to their house.”

“Oh Caroline. Welcome,” says Andrea, turning to Raul and Maurice. “Excuse me a moment. I’ll be right back.”

Raul guesses Caroline is in her thirties, though she is forty, and he finds her enchanting. Tall and athletic with short brown hair, she’s wearing a sleeveless blue T-shirt showing off muscular arms, khaki shorts revealing long muscular legs, and leather sandals—an amazon with only a spear missing from her ensemble.

*

A few mornings later, Raul comes alone to Ziggurat Farm to get lettuce and eggs and cases of wine for his restaurant. But before he loads his truck with produce, he walks the path to Daisy and Michael’s house to visit baby Jenna as he does every week now in his newly acquired role as Jenna’s godfather.

On the path, he meets Caroline walking with Daisy and Michael’s new Golden Retriever pup on a leash, on their way to the farmhouse where the pup—Figaro—will play with the farm dogs while Caroline has tea with Lisa and Philip.

“Bon jour Caroline,” says Raul, bowing to her before kneeling to receive the puppy’s kisses. “How nice to see you again. Have you joined the collective?”

“At least for the summer,” she says, finding him formidably attractive.

He stands up and looks at her, finding her surpassingly lovely. “And after the summer?”

“Not sure,” she says, wondering if they might have a fling. “Did Daisy tell you I’m on sabbatical from the University of New Hampshire? I’m a botanist. We’re a family of scientists, Michael and I and our brother Thom, our parents entomologists.”

“Insects?” he says, hoping he’s guessing right.

“My mother butterflies,” she says, nodding. “My father beetles.”

“My father was a fisherman, my mother a waitress,” he says, liking everything about her. “Scientists, too, in their own way, and I suppose I am a scientist of food.”

“So I’ve heard,” she says, feeling pleasantly dizzy.

They part ways saying they hope to see each other again, both feeling hopeful of sex with the other.

*

In the many-windowed living room of Daisy and Michael’s house, Raul sits in a rocking chair holding baby Jenna and listening to Daisy talk about her novel she’s planning to rewrite.

“I wrote three novels before this one,” says Daisy, taking yet another picture of Raul with her baby. “I know the first three were practice and nothing anyone would want to publish, but this one… I think the story is so compelling and…” She frowns. “I don’t know. Something’s missing, something I can’t figure out.”

“Have you shown your book to Nathan?” says Raul, making a goofy face at Jenna and waggling his head to make her gurgle in delight.

“What a good idea,” says Daisy, feeling daft she didn’t think of that.

“I would be happy to read your book, but I know nothing about writing,” says Raul, looking up from the baby. “I dictated my memoir to a writer who concocted the book, and I pay people to write my recipes from my scribbles and then I polish them before they go to the publisher. But you’d better hurry. Nathan is eighty-five. Time does not go backwards.”

“I can’t tell you how happy we are that you’re our friend,” says Daisy, gazing in wonder at Raul. “We came here to eat at Ocelot, and now…”

“Now I am your daughter’s doting godfather,” says Raul, feeling he has finally arrived, to paraphrase Stevie Wonder, exactly where God wanted him to be placed.   

fin

Here Somewhere

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