Finch parks the Saturn and says, “We’re here.”
All the storefronts are dark, of course, and there is no one out. It’s easy to pretend that Finch and I are the only two people in the world.
He says, “I do my best thinking at night when everyone else is sleeping. No interruptions. No noise. I like the feeling of being awake when no one else is.” I wonder if he sleeps at all.
I catch sight of us in the window of the bakery, and we look like two homeless kids. “Where are we going?”
“You’ll see.”
The air is crisp and clean and quiet. In the distance, the Purina Tower, our tallest building, is lit up, and beyond it the bell tower of the high school.
Outside Bookmarks, Finch pulls out a set of keys and unlocks the door. “My mother works here when she’s not selling houses.”
The bookstore is narrow and dark, a wall of magazines on one side, shelves of books, a table and chairs, an empty counter where coffee and sweet things are sold during working hours.
He stoops behind the counter now and opens a refrigerator that’s hidden behind it. He digs around until he comes up with two sodas and two muffins, and then we move over to the kids’ area, which has beanbags and a worn blue rug. He lights a candle he found near the register, and the light flickers across his face as he carries it from shelf to shelf and trails his fingers along the spines of the books.
“Are you looking for something?”
“Yes.”
Finally, he sinks down beside me and runs his hands through his hair, making it go off in all directions. “They didn’t have it at the Bookmobile Park and they don’t have it here.” He picks up a stack of children’s books and hands me a couple. “They do, thank goodness, have these.”
He sits cross-legged, wild hair bent over one of the books, and immediately it’s as if he’s gone away and is somewhere else.
I say, “I’m still mad at you about getting me detention.” I expect some fast reply, something flirty and flip, but instead he doesn’t look up, just reaches for my hand and keeps reading. I can feel the apology in his fingers, and this takes the wind out of me, so I lean into him—just a little—and read over his shoulder. His hand is warm and I don’t want to stop holding it.
We eat one-handed and read our way through the stack, and then we start reading aloud from Dr. Seuss—Oh, the Places You’ll Go! We alternate stanzas, first Finch, then me, Finch, then me.
Today is your day.
You’re off to Great Places!
You’re off and away!
At some point, Finch gets to his feet and starts acting it out. He doesn’t need the book because he knows the words by heart, and I forget to read because it’s more fun watching him, even when the words and his voice turn serious as he recites lines about dark places and useless places and waiting places, where people don’t do anything but wait.
Then his voice turns light again and he is singing the words.
You’ll find the bright places
where Boom Bands are playing.
He pulls me to my feet.
With banner flip-flapping,
once more you’ll ride high!
Ready for anything under the sky.
The two of us are doing our own version of flip-flapping, which is a kind of leaping over things—the beanbags, the rug, the other books. We sing the last lines together—Your mountain is waiting. So … get on your way!—and end in a heap on the floor, candlelight dancing across us, laughing like we’ve lost our minds.
The only way up the Purina Tower is the steel ladder built into the side, and there seem to be about twenty-five thousand steps. At the top, we stand—wheezing like Mr. Black—beside the Christmas tree, which sits planted all year. Up close, it’s larger than it looks from the ground. Past it, there’s a wedge of open space, and Finch spreads out the blanket and then we huddle on top of it, arm to arm, pulling the rest of the cover around us.
He says, “Look.” On all sides of us, spread out below, are little white lights and black pockets of trees. Stars in the sky, stars on the ground. It’s hard to tell where the sky ends and the earth begins. I hate to admit it, but it’s beautiful. I feel the need to say something grand and poetic, but the only thing I come up with is “It’s lovely.”
“ ‘Lovely’ is a lovely word that should be used more often.” He reaches down to cover my foot, which has found its way out of the blanket. “It’s like it’s ours,” he says.
And at first I think he means the word, but then I know he means the town. And then I think, Yes, that’s it. Theodore Finch always knows what to say, better than I do. He should be the writer, not me. I feel jealous, just for a second, of his brain. In this moment, mine feels so ordinary.
“The problem with people is they forget that most of the time it’s the small things that count. Everyone’s so busy waiting in the Waiting Place. If we stopped to remember that there’s such a thing as a Purina Tower and a view like this, we’d all be happier.”
For some reason I say, “I like writing, but I like a lot of things. Maybe out of those things, I’m best at writing. Maybe it’s what I like best of all. Maybe it’s where I’ve always felt most at home. Or maybe the writing part of me is over. Maybe there’s something else I’m supposed to do instead. I don’t know.”
“There’s a built-in ending to everything in the world, right? I mean, a hundred-watt lightbulb is designed to last seven hundred and fifty hours. The sun will die in about five billion years. We all have a shelf life. Most cats can live to be fifteen, maybe longer. Most dogs make it to twelve. The average American is designed to last twenty-eight thousand days after birth, which means there’s a specific year, day, and time to the minute when our lives will end. Your sister’s happened to be eighteen. But if a human was to avoid all life-threatening diseases and infections and accidents, he—or she—should live to be a hundred and fifteen.”
“So you’re saying I may have reached my built-in ending to writing.”
“I’m saying you have time to decide.” He hands me our official wandering notebook and a pen. “For now, why not write things down where no one will see it? Write it on a piece of paper and stick it on the wall. Of course, for all I know, you may suck at it.” He laughs as he dodges away from me, and then he pulls out an offering—the Bookmarks napkins, the half-burned candle, a matchbook, and a lopsided macramé bookmark. We lock them into a flat Tupperware container he’s confiscated from his house and leave it sitting out in plain view for the next person who comes here. Then he’s up and standing at the edge, where only a knee-high metal guardrail keeps him from falling to the ground.
He throws his arms out over his head, fists clenched, and shouts: “Open your eyes and look at me! I’m right bloody here!” He shouts all the things he hates and wants to change until his voice is hoarse. Then he nods over at me. “Your turn.”
I join him at the edge, but he’s farther out than I am, as if he doesn’t care whether he falls off. I take hold of his shirt without him noticing, as if that will save him, and instead of looking down, I look out and up. I think of all the things I want to shout: I hate this town! I hate winter! Why did you die? This last thought is directed at Eleanor. Why did you leave me? Why did you do this to me?
But instead I stand there holding on to Finch’s shirt, and he looks down at me and shakes his head, and in a moment he starts singing Dr. Seuss again. This time I join him, and our voices drift together across the sleeping town.
When he drives me home, I want him to kiss me good night, but he doesn’t. Instead, he strolls backward to the street, hands shoved in pockets, eyes on me. “Actually, Ultraviolet, I’m pretty sure you don’t suck at writing.” He says it loud enough for the entire neighborhood to hear.
FINCH
Day 22 and I’m still here
The minute we walk into my dad’s house, I know something’s wrong. Rosemarie greets us and invites us into the living room, where Josh Raymond sits on the floor playing with a batter
y-operated helicopter that flies and makes noise. Kate, Decca, and I all stare, and I know they’re thinking what I’m thinking: toys with batteries are too loud. Growing up, we weren’t allowed to have anything that talked or flew or made a sound.
“Where’s Dad?” Kate asks. Looking through the back door, I can see the grill sitting closed. “He came home from the trip, didn’t he?”
“He got back Friday. He’s just in the basement.” Rosemarie is busy handing us sodas to drink straight out of the can, which is another sure sign that something’s wrong.
“I’ll go,” I tell Kate. If he’s in the basement, it can only mean one thing. He’s in one of his moods, as Mom calls them. Don’t mind your father, Theodore; he’s just in one of his moods. Give him time to settle down, and he’ll be fine.
The basement is actually nice and carpeted and painted, with lights everywhere and my dad’s old hockey trophies and framed jersey and bookshelves packed with books, even though he absolutely does not read. Along one entire wall is a giant flat screen, and my dad is planted in front of this now, enormous feet on the coffee table, watching some sort of game and shouting at the television. His face is purple, and the veins in his neck are hulking out. He’s got a beer in one hand and a remote in the other.
I walk over to him so I’m in his line of sight. I stand there, hands in pockets, and stare at him until he looks up. “Christ,” he says. “Don’t go sneaking up on people.”
“I’m not. Unless you’ve gone deaf in your old age, you had to hear me coming down those stairs. Dinner’s ready.”
“I’ll be up in a while.”
I move over so that I’m in front of the flat screen. “You should come up now. Your family’s here—remember us? The originals? We’re here and we’re hungry, and we didn’t come all this way to hang out with your new wife and child.”
I can count on one hand the times I’ve talked to my father like this, but maybe it’s the magic of Badass Finch, because I’m not one bit afraid of him.
He slams the beer so hard against the coffee table that the bottle shatters. “Don’t you come into my house and tell me what to do.” And then he’s off the couch and lunging for me, and he catches me by the arm and wham, slams me into the wall. I hear the crack as my skull makes contact, and for a minute the room spins.
But then it rights itself, and I say, “I have you to thank for the fact that my skull is pretty tough now.” Before he can grab me again, I’m up the stairs.
I’m already at the dinner table by the time he gets there, and the sight of his shiny new family makes him remember himself. He says, “Something smells good,” gives Rosemarie a kiss on the cheek, and sits down across from me, unfolding his napkin. He doesn’t look at me or speak to me the rest of the time we’re there.
In the car afterward, Kate says, “You’re stupid, you know that. He could have put you in the hospital.”
“Let him,” I say.
At home, Mom looks up from her desk, where she is attempting to go over ledgers and bank statements. “How was dinner?”
Before anyone else can answer, I give her a hug and a kiss on the cheek, which—since we’re not a family that likes to show affection—leaves her looking alarmed. “I’m going out.”
“Be safe, Theodore.”
“I love you too, Mom.” This throws her even more, and before she can start crying, I am out the door to the garage, climbing into Little Bastard. I feel better once the engine has started. I hold up my hands and they’re shaking, because my hands, like the rest of me, would like to kill my father. Ever since I was ten and he sent Mom to the hospital with a busted chin, and then a year later when it was my turn.
With the garage door still closed, I sit, hands on the wheel, thinking how easy it would be to just keep sitting here.
I close my eyes.
I lean back.
I rest my hands on my lap.
I don’t feel much, except maybe a little sleepy. But that could just be me and the dark, slow-churning vortex that’s always there, in me and around me, to some degree.
The rate of car exhaust suicides in the States has declined since the mid-sixties, when emission controls were introduced. In England, where emission controls barely exist, that rate has doubled.
I am very calm, as if I’m in science class conducting an experiment. The rumble of the engine is a kind of lullaby. I force my mind to go blank, like I do on the rare occasions I try to sleep. Instead of thinking, I picture a body of water and me on my back floating, still and peaceful, no movement except my heart beating in my chest. When they find me, I’ll just look like I’m sleeping.
In 2013, a man in Pennsylvania committed suicide via carbon monoxide, but when his family tried to rescue him, they were overcome by the fumes and every single one of them died before rescue crews could save them.
I think of my mom and Decca and Kate, and then I hit the opener, and up goes the door, and out I go into the wild blue yonder. For the first mile or so, I feel high and excited, like I just ran into a burning building and saved lives, like I’m some sort of hero.
But then a voice in me says, You’re no hero. You’re a coward. You only saved them from yourself.
* * *
When things got bad a couple months ago, I drove to French Lick, which sounds a helluva lot sexier than it is. The original name was Salt Spring, and it’s famous for its casino, fancy spa and resort, basketball player Larry Bird, and healing springs.
In November I went to French Lick and drank the water and waited for it to fix the dark, slow churning of my mind, and for a few hours I actually felt better, but that might have been because I was so hydrated. I spent the night in Little Bastard, and when I woke the next morning, dull and dead feeling, I found one of the guys who worked there and said to him, “Maybe I drank the wrong water.”
He looked over his right shoulder, then his left, like someone in a movie, and then he leaned in and said, “Where you want to go is Mudlavia.”
At first I thought he was high. I mean, Mudlavia? But then he said, “That up there’s the real deal. Al Capone and the Dillinger gang always went there after some sort of heist. Nothing much left of it now except ruins—it burned down in 1920—but them waters flow strong as ever. Whenever I get an ache in my joints, that’s where I go.”
I didn’t go then, because by the time I returned from French Lick, I was tapped out and that was it, and there was no more traveling anywhere for a long while. But Mudlavia is where I’m headed now. Since this is serious personal business and not a wandering, I don’t bring Violet.
It takes about two and a half hours to get to Kramer, Indiana, population thirty. The terrain is prettier here than in Bartlett—hills and valleys and miles of trees, everything snow covered, like something out of Norman Rockwell.
For the actual resort, I’m picturing a place along the lines of Middle Earth, but what I find is acres of thin brown trees and ruins. It’s all crumbling buildings and graffiti-covered walls overgrown with weeds and ivy. Even in winter, you can tell nature is on a mission to take it back.
I pick my way through what used to be the hotel—the kitchen, hallways, guest rooms. The place is grim and creepy, and it leaves me sad. The walls still standing are tagged with paint.
Protect the penis.
Insanity please.
Fuck all you who may see this.
This does not feel like a healing place. Back outside, I tramp through leaves and dirt and snow to find the springs. I’m not sure exactly where they are, and it takes standing still and listening before I go in the right direction.
I prepare to be disappointed. Instead, I break through the trees to find myself on the banks of a rushing stream. The water is alive and not frozen over, the trees here fuller than the others, as if the water is feeding them. I follow the creek bed until the embankment grows into rock walls, and then I wade right into the middle, feeling the water push past my ankles. I crouch down and form a cup with my palms. I drink. It’s cold and fres
h and tastes faintly of mud. When it doesn’t kill me, I drink again. I fill the water bottle I brought with me and then wedge it into the muddy bottom so it doesn’t float away. I lie down flat on my back in the middle of the stream and let the water cover me.
As I walk into the house, Kate is on her way out, already lighting a cigarette. As direct as Kate is, she doesn’t want either of my parents to know she smokes. Usually she waits till she’s safely in her car and down the street.
She says, “Were you with that girl of yours?”
“How do you know there’s a girl?”
“I can read the signs. Name?”
“Violet Markey.”
“The sister.”
“Yeah.”
“Do we get to meet her?”
“Probably not.”
“Smart.” She takes a long drag on the cigarette. “Decca’s upset. Sometimes I think this Josh Raymond situation is hardest on her since they’re practically the same age.” She blows three perfect smoke rings. “Do you ever wonder?”
“Wonder what?”
“If he’s Dad’s?”
“Yeah, except he’s so small.”
“You were small till ninth grade and look at you now, beanstalk.”
Kate heads down the walk and I head in, and as I’m shutting the door, she calls, “Hey, Theo?” I turn and she’s standing beside her car, nothing but an outline against the night. “Just be careful with that heart of yours.”
Once again: Just be careful.
Upstairs, I brave Decca’s chamber of horrors to make sure she’s okay. Her room is enormous, and covered with her clothes and books and all the strange things she collects—lizards and beetles and flowers and bottle caps and stacks and stacks of candy wrappers and American Girl dolls, left over from when she was six and went through a phase. All the dolls have stitches on their chins, like the ones Decca got at the hospital after a playground accident. Her artwork covers every inch of wall space, along with a single poster of Boy Parade.
All the Bright Places Page 12
