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Before Yuna Hollander was a mother, she was a wife. And before she was a wife, she was a woman. Before a woman, a girl. Before Hollander, Tanaka. Part of her resents that she changed it; even if it had belonged to another man, at least that man was her father. But David is good and beautiful in a world that is so often neither, and she wanted to be his family. Even after he knocked her up by accident in a blasted out, prewar apartment hallway. Even after he convinced her she wanted to keep it. Him. To keep Shane.
Convince sounds mean. It didn’t take much at all, really. But Yuna has been alone for most of her life. The father whose name she threw away and the mother who gave her her sharp edges have been gone for so long she can’t remember their faces. Marrying David was one thing. A son was another, entirely.
(Yuna Hollander has raised a young man in the middle of a wasteland. He is so like her, and sometimes he feels like a stranger.)
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