When Marina Keegan died, tragically, at the age of twenty-two, in a car accident in May, she had just graduated from Yale University and was about to start a job on the editorial staff of The New Yorker. (She had interned in the magazine’s fiction department last summer.) She was also at the beginning of a promising career as a writer—of plays (one of which, “Independents,” was recently staged at the New York Fringe Festival), of journalism, and of fiction. That Marina was already exceptional in her accomplishments was made clear by the multitude of tributes and public expressions of grief that followed her death. It is also clear in the too-small body of writing she left behind, which offers a tantalizing taste of a literary voice still in development, yet already imbued with unusual insight, nuance, humor, and sensitivity. Her story “Cold Pastoral,” in which a college student is forced to reassess her relationship and herself when she reads her boyfriend’s diary after his death, has a skillfully controlled comedy to it: “A lot of time was spent being consciously romantic,” the narrator says. “Making sushi, walking places, waiting too long before responding to texts. I fluctuated between adding songs to his playlist and wondering if I should stop hooking up with people I was eighty per cent into and finally spend some time alone.” At the same time, it shows an acute, almost clinical understanding of the mixture of arrogance and vulnerability, of pretense and emotion, with which its twenty-something characters pursue and evade real attachment. It is published here for the first time.

—Deborah Treisman

Cold Pastoral

We were in the stage where we couldn’t make serious eye contact for fear of implying we were too invested. We used euphemisms like “I miss you” and “I like you” and smiled every time our noses got too close. I was staying over at his place two or three nights a week and met his parents at an awkward brunch in Burlington. A lot of time was spent being consciously romantic: making sushi, walking places, waiting too long before responding to texts. I fluctuated between adding songs to his playlist and wondering if I should stop hooking up with people I was eighty per cent into and finally spend some time alone. (Read the books I was embarrassed I hadn’t read.) (Call my mother.) The thing is, I like being liked, and a lot of my friends had graduated and moved to cities. I’d thought about ending things but my roommate Charlotte advised me against it. Brian was handsome and smoked the same amount as me, and sometimes in the morning, I’d wake up and smile first thing because he made me feel safe.

In March, he died. I was microwaving instant Thai soup when I got a call from his best friend, asking if I knew which hospital he was at.

“Who?” I said. “Brian,” he said. “You haven’t heard?”

I was in a seminar my senior year where we read poems by John Keats. He has this famous one called “Ode on a Grecian Urn,” where these two lovers are almost kissing, frozen with their faces cocked beneath a tree. The tragedy, the professor said, is in eternal stasis. She never fades, they never kiss; but I remember finding the whole thing vaguely romantic. My ideal, after all, was always before we walked home—and ironically, I had that now.

•

I watched as the microwave droned in lopsided circles, but I never took the soup out. Someone else must have. Charlotte, perhaps, or one of my friends that came over in groups, offering foods in imitations of an adult response and trying to decipher my commitment. I was trying, too. I’d made out with a guy named Otto when I was back in Austin over Christmas, and Brian and I had never quite stopped playing games. We were involved, of course, but not associated.

“What’s the deal?” people would shout over the music when he’d gone to get a drink, and I’d explain that there was no deal to explain.

“We’re hanging out,” I’d say, smiling. “We like hanging out.”

I think we took a certain pride in our ambiguity. As if the tribulations of it all were somehow beneath us. Secretly, of course, the pauses in our correspondence were as calculated as our casualness—and we’d wait for those drunken moments when we might admit a “hey,” pause, “I like you.”

“Are you O.K.?,” they asked now. Whispering almost, as if I were fragile. We sat around that first night sipping singular drinks, a friend turning on a song and then stopping it. I wish I could say I was shocked into a state of inarticulate confusion, but I found myself remarkably capable of answering questions.

“They weren’t dating,” Sarah whispered to Sam, and I gave a soft smile so they knew it was O.K. that I’d heard.

But it became clear very quickly that I’d underestimated how much I liked him. Not him, perhaps, but the fact that I had someone on the other end of an invisible line. Someone to update and get updates from, to inform of a comic discovery, to imagine while dancing in a lonely basement, and to return to, finally, when the music stopped. Brian’s death was the clearest and most horrifying example of my terrific obsession with the unattainable. Alive, his biggest flaw was most likely that he liked me. Dead, his perfections were clearer.

But I’m not being fair. The fact of the matter is I felt a strange but recognizable hole that grew just behind my lungs. There was a person whose eyes and neck and penis I had kissed the night before, and this person no longer existed. The second cliché was that I couldn’t quite encompass it. Regardless, I surprised myself that night by crying alone once my friends had left, my face pressed hard against my pillow.

•

The first time I saw Lauren Cleaver, she was playing the ukulele and singing in a basement lit by strings of plastic red peppers. I remember making two observations during the twenty minutes my friends and I hung around the concert and sipped beers: one, that I wanted her outfit (floral overalls shorts and a canvass jacket) and two, that she was skinnier than me, a quality which made her instantly less likable.

She was pretty apart from a very large nose, and I’d seen her around campus, riding her bike along Pear Street or smoking cigarettes outside the library. She had the rare combination of being quiet and popular; a code that made her intimidating to younger, fashionable girls and mysterious to older, confident boys. We moved in different circles and I hardly thought about her again until the morning after I first kissed Brian, whom she had dated intensely and inseparably for two years and nine months.

I’d never had an ex-girlfriend before and I didn’t like it. Adam and I were each other’s firsts, and I’d only had monthlong things since the two of us broke up. One thing I am is self-aware (to a neurotic fault), and I recognize that a massive percentage of my self-esteem depends on the attention of a series of smug boys at the University of Vermont. The problem is that I’m good at attracting them: verbally witty and successful at sending texts. I’m also well dressed, or try to be, and make fun of boys in the way that reads as I like you. Perhaps it’s not a problem so much as a crutch, but I have this pathetic fantasy that I’d be more productive if I was less attractive. Finally finish some paintings or apply for funding of some kind. The point is that Lauren Cleaver and I were not friends because Lauren Cleaver and I had all this in common. This, and Brian.

•

His parents arrived the morning after the accident—and his roommates e-mailed a few people they thought might want to stop by. I wanted to go, and felt like I had to go, so I put on a pair of black jeans, a black sweater, and asked Charlotte to borrow black boots.