She had four days in Queens after that. Kurt took time off work and drove her around. They ate at the Astoria diner, as they had as kids, when they used to order fries and gravy and squirt on heaps of ketchup and vinegar, creating a mouth-puckering slop. As adults, they could order whatever they liked. So they ordered fries and gravy.

The whole family wanted to see her, sought her opinions and advice. "Aunt Ruby, tell Bill, the so-called great chef, what real Italian food is like." And: "Rube, have a word with Kelly about backpacking around Europe. I don't trust this kid she's going with."

Ruby kept hugging everyone. She stroked the little ones' chins, sat them on her knee, heard stories confided in whispers, warm on her ear. Everyone thought she was so smart and cosmopolitan. It made her scared to ever move home to Queens-if she did, they'd figure her out, see what a lie all this was, how ordinary she was.

During that trip, she spent her last day buying thank-you presents for everyone. Her gifts were acts not simply of generosity but of attention-she had listened to them all. For Kurt, it was the dashboard Global Positioning System, the only model that fit his Toyota truck; for Kelly, it was a long-coveted white Nikon Coolpix II, plus a money belt to be safe in Europe; and all the little nieces and nephews got the right video games and books and DVDs. The kids didn't want her to leave, and the adults asked when she was moving home to New York.

On the plane back to Rome, she resolved to digitize the old photos Kurt had given her and email him copies-someone in the photo department at work could show her how. She prepared an email message in her head: "Big brother, even though you don't want these now, maybe you will later. And you'll thank me! The kids will appreciate them maybe. All my love, Rube. P.S. Write back when you get this."

While Pap's funeral in New York had inflated her, the office punctured that soon enough. She returned to an avalanche of emails from the culture department (still run by Clint Oakley back then) over an edit she'd done before leaving. Clint had copied in Kathleen on all the complaints, to humiliate Ruby. Couldn't he have handled it privately, like a decent human being? Misery at work bled into her sleeping hours-she woke in the dark from anger. Pap haunted her, too, in images Ruby hadn't seen in years: Pap opening the closet to show her the cup where he kept human teeth; Pap heating a spoon on the stovetop; Pap telling the priest, "Look, my girl is sprouting."

The family photos in Ruby's lap make her want to wash her hands. It has been almost six months since she left New York, and she still hasn't had them digitized.

"Can't Kurt even call?" How hard can it be? She doesn't want to nag him. But it's like he doesn't care about sticking together, wouldn't care if they vanished from each other's lives. Says he doesn't like travel. But he took his wife to London. "Could have told me." She could have met them there.

Fireworks explode outside, though it's hours before midnight. She hides the photos on a kitchen shelf. She scrubs her hands with pumice till they are raw.

The taxi drops her in front of the Nettuno, a three-star hotel just outside the Vatican walls, whose peach facade has been hidden under scaffolding for years, the owners having run out of money and ambition halfway through a blast-cleaning in 1999.

Another firecracker bangs, and she jumps with fright.

The receptionist greets her in Italian, but she responds in English and hands him her American passport. "Hate flying during the holidays," she says. "Hate being away from my kids. But the bosses didn't want to reschedule the meeting. Which I didn't buy."

He takes a credit-card imprint.

"That's my personal card, not the company one," she tells him. "It's so I get the air miles."

He nods without interest.

She never stays at home on New Year's Eve. Every December 31, she becomes an American businesswoman stuck overseas during the holiday; each year, it's a different hotel.

The window of her room overlooks air-conditioning ducts, which suits her-less street noise. She drops her coat on the bed, takes a Peroni from the minibar, and flicks on the TV to check the pay-per-view. She watches a few minutes of a pornographic film, not aroused but dispirited. She changes to a music-video station but can't shake the feeling of pollution. "Who does that appeal to?" She fetches a Kit Kat from the minibar. "It's-" She takes a bite and stands before the mirror. "It's discouraging." She gets another beer and a packet of peanuts. "You know?" Next, she drinks a minibottle of Johnnie Walker Red, swirling it with mashed pretzels in her mouth. "No?" She has the mini of Absolut next, blended with a can of orange juice.

The guys at work are gonna celebrate when she gets fired. "And I'll be popping the champagne." She twists the cap off a half bottle of Calabrian red and rips into a packet of chocolate wafers. The combination is infelicitous, but she's too drunk to care. On the TV, Toto is impersonating a doctor. The minibar is empty. She closes her eyes, yanks the covers up. She is asleep.

A thunder of blasts-she jumps up, breathless. After a terrible instant, she orients herself: the hotel. Television, on. Outside, fireworks. She checks her watch. It's a few minutes before midnight. The paper is going to fire her.

She goes out into the hall to watch the explosions from a window that gives onto the street. The sky sparkles. The bangs are ceaseless. All around the city, choruses rise:

"Sei!"

"Cinque!"

"Quattro!"

"Tre!"

"Due!"

"UNO!"

On a rooftop across the street, teenagers scream-no one can stop them tonight. From the roof's edge, they fling champagne flutes, which tinkle in the gutter. A distant ambulance siren whines. A man in a trench coat hurries down the sidewalk, studying the screen of his cellphone. Smoke from the fireworks rises up the street lamps like phantoms.

She knows the minibar is empty but checks it again. She tries to sleep. The noises peter out, but she can't drift off. She's wide awake. They're definitely going to fire her. Fan-fucking-tastic.

Herman Cohen said, "One more mess-up, Ruby, and it's curtains." They're looking to cut staff. Everybody knows who's next. The question is when they're going to do it.

She looks at her cellphone. She could call Kurt in Queens and wish him Happy New Year. But then he'd ask what she was doing, what sort of party she'd gone to.

From her toilet bag she fetches the Drakkar Noir, drips it on her hands, rubs it on her cheeks. She closes her eyes and inhales. It was months earlier that she bumped into Dario on Via dell'Umilta; it had been years since they'd seen each other. He laughed that she still remembered him using Drakkar Noir. "Haven't used that in ages," he said.

She opens her mobile and brings up his number. She doesn't dial, but holds the phone to her ear. "Hello," she says to the dead air. "May I please speak with Dario? Hi, Dario, it's me. If you want to drop by, you're totally welcome." My hotel is nice. Seriously, I don't want to cause trouble. But I enjoyed getting that drink with you. "What about if you were to drop by? Just for a few minutes?" I'm pretty tired anyhow.

She calls him using the hotel phone so he won't recognize the number.

He answers. "Pronto?"

She doesn't respond.

"Pronto?" he repeats. "Chi e?… Pronto?" He pauses. "Non rispondi?" He hangs up.

She calls back.

"Chi e?" he says. "Che vuoi?"

"Don't scream at me," she replies in English. "It's Ruby."

He sighs. "It's the middle of the night. It's New Year's. Why are you calling me?"

She's silent.

"Fifty calls from you in the last few weeks, Ruby. Fifty."

"I'm sorry."

"Why are you calling me?"

"It's just."