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Mirage Man

An Illusion of Perfection

By Lizz ChambersPublished 5 months ago Updated 5 months ago 3 min read
Mirage Man
Photo by Derek Owens on Unsplash

He was always in the same corner of the marina pool—shirtless, golden, and impossibly composed. One Miller Lite after another, never slurring, never stumbling, never laughing too loud. His sun-bleached hair, tanned skin, and startling blue eyes made him look like he’d been plucked from one of those senior dating site ads. Even his teeth—white and symmetrical—seemed to defy time. He had to be in his late sixties, but nothing about him hinted at age or erosion. From a distance, he was practically perfect.

He spoke only when he had something to say, and that wasn’t often. But when he looked at me, it was with a quiet intensity that made me feel seen. I’d heard the whispers—his wife had died over the holidays. A sudden loss. A quiet grief. That explained the shadow that lingered behind his eyes, the way he sometimes stared into the water like it held answers. His availability hadn’t gone unnoticed. The single women of the marina hovered, their interest thinly veiled. I found their pursuit unseemly, too eager, too soon.

But when he called me—me, not one of them—I felt chosen. I’d never dated a widower before. I wasn’t sure if I should ask about his late wife, but he brought her up easily. He spoke of her with tenderness, recalling her laugh, her stubbornness, her way of making even boxed macaroni taste like a gourmet meal. I believed he had loved her. I believed he could love again.

We started spending time together. Walks by the water. Quiet dinners. Conversations that felt like they were building something real. I let myself fall. Slowly, cautiously. But I fell.

He was generous to a fault. He’d pick up the check for the whole table—whether it was two people or ten. He didn’t even have to know them. If they were friends of mine, or even friends of friends, that was enough. He’d wave off protests with a smile and a casual “I’ve got it.” People admired that about him. I did too.

But later, when the table was cleared and the guests were gone, the generosity soured. He’d list every little thing that irritated him about each person—the way one laughed too loudly, the way another interrupted, the clothes, the accent, the perceived lack of class. He’d dissect them with surgical precision, always finding fault, never grace. “Not our kind,” he’d say. “Let’s not invite them again.”

It began to wear on me. The warmth he extended in public was a performance. Behind closed doors, he was judgmental, rigid, and cruel in ways that felt quietly corrosive. Then came the comments—offhand, muttered—about a Black family at the marina. I blinked, unsure I’d heard him right. Then came the jokes, the slurs, the casual cruelty dressed up as “just how things are.” He refused to go to certain restaurants because “the gays hang out there.” He scoffed at my job in HR and the diversity training of which I was very proud, calling it “liberal nonsense.” I tried to challenge him, gently at first. He dismissed me, said I was “too sensitive,” “too modern,” “too naive,” "too woke."

The man I saw from a distance was a mirage. Up close, he was something else entirely. His charm had been a mask, his grief a cloak that made him seem deeper than he was. He had shown me only what he wanted me to see: the tan, the teeth, the tragic backstory. But beneath it all was a man shaped by prejudice, hardened by entitlement, and unwilling to change.

I ended it. Quietly, firmly. And when I saw him again—back in his corner at the marina pool, Miller Lite in hand—looking like God's gift to womankind, I realized he hadn’t changed at all. He was still absolutely perfect from a distance.

But still I grieved. Not for him, but for the mirage I had fallen in love with. The version of him I had imagined. The man who never truly existed.

Love

About the Creator

Lizz Chambers

Hunny is a storyteller, activist, and HR strategist whose writing explores ageism, legacy, resilience, and the truths hidden beneath everyday routines. Her work blends humor, vulnerability, and insight,

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