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There's a particular sound that marks the end of childhood-not a dramatic crash but something quieter, more insidious. For the Carette sisters, it's the metallic rumble of the dawn streetcar outside their new, smaller apartment on Rue Cherrier. Their father is dead. Their mother, only twenty-seven, has moved them from comfort to survival. In the bedroom they now share, Berthe invents elaborate stories to calm her frightened younger sister Marie, spinning fantasies that serve as both distraction and shelter. What makes this moment so devastating isn't the grief itself but how it manifests: in the unfamiliar echoes of cramped rooms, in the intrusive sounds their old home had been too far away to hear, in the way their mother breaks down at dinner while trying to maintain the polished brass and pressed linens of their former life. This is how loss actually works-not in grand gestures but in the thousand small adjustments we make to accommodate absence. The children don't philosophize about death; they simply notice that everything sounds different now, that shadows fall in unfamiliar patterns, that their mother's hands shake while she sews for families who once invited her as a guest.