Steven, Catherine, and Michael came to Brookline almost every day. They brought contractors, designers, real estate agents. They walked through the house with measuring tapes and swatches, discussing renovations while Peggy still lived there like an inconvenient ghost.

They didn’t ask her to leave rooms. They didn’t apologize. They simply acted as if she wasn’t present.

One morning, Peggy sat at the kitchen table drinking coffee when Catherine swept through with a designer, gesturing at walls that held Peggy’s carefully arranged family photos.

“We’ll open this space up,” Catherine said. “Knock out this wall, make it open concept. That’s what sells.”

Peggy watched her finger trace the air where Peggy’s life had been framed and displayed—photos of Richard at events, of Sarah growing up, of holidays Peggy hosted. Soon, those walls would be bare, staged with generic art meant to appeal to strangers.

Another afternoon, Peggy sat reading in the living room while Steven toured an agent through the house.

The agent spoke three feet from Peggy’s chair as if she were furniture.