Three months after leaving, a client called me Reed. Not Sinclair. Not “Mrs. Sinclair” . Not any of the careful formulations I’d been navigating for two years in rooms where my husband’s name always arrived first, like something I’d borrowed and never quite made mine.Just Reed.I turned toward the window for two seconds. Not dramatically, just long enough to put my face back together before the stillness gave me away. The city moved outside, indifferent as always. I thought, ‘That’s still who I am. That’s who I’ve been the whole time.’ Then I turned back, answered his question, and kept going.That was how the rebuilding happened. Not one large moment. A series of small ones, each landing in the same place, accumulating into something solid.The project was Diana’s doing. She’d called three weeks after I left—not to ask how I was, though she’d done that first, briefly, and meant it, but to ask if I was ready to work.“There’s a restoration project,” she said. “Victorian conversion,
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