Aurélie shrugged. The hyphen stretched.
It started small: a hesitation before speaking in class. A blank space where her voice used to be. M. Delacroix, the history teacher, called on her. Aurélie, explain the Maginot Line. She opened her mouth. The words stacked behind her teeth like cars in a traffic jam. She saw the other students turn. She saw Sophie Marceau’s double—a girl named Véronique with feathered hair and a swan’s neck—smirk. Aurélie closed her mouth. The hyphen sat in the air between question and answer, and nothing crossed it.
The next morning, she took her mother’s sewing scissors from the drawer. She stood before the bathroom mirror. She looked at the girl in the reflection—the wide-set eyes, the mouth that seldom smiled, the body she did not yet know how to inhabit. She cut her own hair. Not the feathered, lacquered style of Véronique. She cut it short at the nape, uneven, severe. Like a punk. Like a question mark. Les 14 Ans D--Aurelie -1983-
Aurélie turned fourteen. Not with a party, but with a single present: a Sony Walkman, silver and boxy, a hand-me-down from her cousin in Lille. She slid in a cassette— Synthés d’Or , volume 3—and pressed play. The first track was “Voyage, Voyage” by Desireless. She turned up the volume until the outside world dissolved.
That summer, the hyphen began to grow.
The hyphen in the title was not a typo. It was a stutter. A pause. The kind of breath a person takes before stepping off a cliff.
“You know,” Françoise said, “when I was fourteen, I thought I was invisible. I thought if I made myself small enough, the world would forget to hurt me.” Aurélie shrugged
“I said, you’re too quiet.”