A Summer to Die

by Lois Lowry

  Now good things are happening to all of us. Well, it's hard to tell with my mother; she's the kind of person who always enjoys everything anyway. Molly and Mom are a lot alike. They get so enthusiastic and excited that you think something wonderful has happened; then, when you stop to think about it, nothing has really happened at all. Every morning, for example, Mom puts fresh birdseed in the bird feeder outside the kitchen window. Two minutes later the first bird stops by for breakfast, and Mom jumps up, says "Shhh" and goes to look, and you forget that 400 birds were there the day before. Or a plant in the kitchen gets a new leaf and she almost sends out birth announcements. So it always seems as if good things are happening to Mom.

  Dad is more like me; he waits for the truly good things, as if getting excited about the little ones might keep the big ones from coming. But the book is going well for Dad, and he says it was coming here that did it.

  He goes into the little room each morning, closes the door, and sets a brick against it so that it won't fall open while he's working. He's still there when Molly and I get home from school at four, and Mom says he doesn't come out all day, except every now and then when he appears in the kitchen and pours himself a cup of coffee without saying a word, and goes back upstairs. Like a sleepwalker, Mom says. We can hear the typewriter going full speed; every now and then we hear him rip up or crumple a piece of paper, and then roll a fresh one into the typewriter and start clattering away again. He talks to himself, too—we can hear him muttering behind the door—but talking to himself is a good sign. When he's silent, it means things aren't going well, but he's been talking to himself behind the door to the little room ever since we came here.

  Last night he came to dinner looking very preoccupied, but smiling to himself now and then. Molly and I were talking about school, and Mom was telling us how she had decided to make a patchwork quilt while we're living in the country, using scraps of material from all the clothes Molly and I wore when we were little. We started remembering our old dresses—we don't even wear dresses anymore; I don't think I've worn anything but jeans for two years. Molly said, "Remember that yucky dress I used to have that had butterflies on it? The one I wore at my sixth birthday party?" I didn't remember it, but Mom did; she laughed, and said, "Molly, that was a beautiful dress. Those butterflies were hand-embroidered! It's going into a special place on the quilt!"

  Dad hadn't heard a word, but he'd been sitting there with a half-smile on his face. All of a sudden he said, "Lydia, I really have a grip on Coleridge!" and he jumped up from his chair, leaving half a piece of apple pie, and went back to the study, taking the stairs two at a time. We could hear the typewriter start up again.

  Mom looked after him with that special fond look she gives to things that are slightly foolish and very lovable. She smiles, and her eyes look as if they can see back into her memory, into all the things that have gone into making a person what they are. With Dad, I think she looks back to when she knew him as a student, when he must have been serious and forgetful and very kind, the way he still is, but young, which he isn't anymore. With me, I know her memories go back to all sorts of frustrations and confusions, because I was never an "easy" child; 1 remember that I questioned and argued and raged. But her look, for me, is still that same caring look that goes beyond all that. As for Molly? I've seen her look at Molly that way, too, and it's a more complicated thing; I think when Mom looks at Molly, her memories go back farther, to her own self as a girl, because they are so alike, and it must be a puzzling thing to see yourself growing up again. It must be like looking through the wrong end of a telescope—seeing yourself young, far away, on your own; the distance is too great for the watcher, really, to do anything more than watch, and remember, and smile.

  Molly has a boyfriend. Boys have always liked Molly. When she was little, boys in the neighborhood used to come to repair her bike; they loaned her their skate keys, brought her home when she 18 skinned her knees and waited, anxious, while she got a Band-Aid; they shared their trick-or-treat candy with Molly at Halloween. When I was down to the dregs in my paper bag, two weeks later, down to eating the wrinkled apples in the bottom, Molly always had Mounds bars left, gifts from the boys on the block.

  How could boys not like a girl who looks the way she does? I've gotten used to Molly's looks because I've lived with her for thirteen years. But every now and then I glance at her and see her as if she were a stranger. One night recently she was sitting in front of the fire doing her homework, and I looked over because I wanted to ask her a question about negative numbers. The light from the fire was on her face, all gold, and her blond hair was falling down across her forehead and in waves around her cheeks and onto her shoulders. For a second she looked just like a picture on a Christmas card we had gotten from friends in Boston; it was almost eerie. I held my breath when I looked at her for that moment, because she looked so beautiful. Then she saw me watching her, and stuck her tongue out, so that she was just Molly again, and familiar.

  Boys, I think, probably see that part of her all the time, the beautiful part. And now suddenly this one boy, Tierney McGoldrick, who plays on the basketball team and is also president of the junior class, is hanging around her every minute in school. They're always together, and he lets her wear his school jacket with a big MV for Macwahoc Valley on the back. Of course, because we live out here in the middle of the woods, so far from everything, they can't actually date. Tierney's not old enough to drive, even if he wanted to drive all the way from where he lives; half the distance is a dirt road that's usually covered with snow. But he calls her up every single night. Molly takes the phone into the pantry, so that the long cord is stretched all across the kitchen, and my mother and I have to step over it while we're putting the dinner dishes away. Mom thinks it's quite funny. But then Mom has curly hair too, and was probably just as beautiful as Molly once. Maybe it's because I have straight stringy hair and glasses that the whole thing makes me feel a little sad.

  So Dad has a grip on Coleridge, whatever that means, and Molly has a grip on Tierney McGoldrick. Me, I can't actually say I have a grip on anything, but good things have been happening to me here, too.

  I have a new friend.

  Just after New Year's, before school vacation ended, I went out for a walk. It was a walk I'd been meaning to take ever since we moved to the house, but things had been so busy, first with school and fixing up the house, then Christmas, then settling down after Christmas—I don't know, the time just never seemed right for it. I guess I like to think that it was fate that sent me out for this particular walk on this particular day. Fate, and the fact that the sun finally came out after weeks of grayness and snow.

  I took my camera—the first time I'd taken my camera out since we came to the country—and went, all bundled up in my down jacket and wearing heavy boots, down the dirt road beyond our house. I walked toward the abandoned house that I could see across the fields from the upstairs window.

  The snow kept me from getting close to it. The house is a long distance back from the road and of course the driveway, really a narrow road in its own right, hadn't been plowed. But I stood, stamping my feet to keep warm, and looked at it for a long time. It reminds me of a very honest and kind blind man. That sounds silly. But it looks honest to me because it's so square and straight. It's a very old house—I know that because of the way it's built, with a center chimney and all the other things I've learned about from living in our old house—but its corners are all square like a man holding his shoulders straight. Nothing sags on it at all. It's a shabby house, though, with no paint, so that the old boards are all weathered to gray. I guess that's why it seems kind, because it doesn't mind being poor and paintless; it even seems to be proud of it. Blind because it doesn't look back at me. The windows are empty and dark. Not scary. Just waiting, and thinking about something.

  I took a couple of photographs of the house from the road and walked on. I know the dirt road ends a mile beyond our house, but I had never gone to the end
. The school bus turns around in our driveway, and no other cars ever come down this road except for one beat-up truck now and then.

  That same truck was parked at the end of the road, beside a tiny, weatherbeaten house that looked like a distant, poorer cousin of the one I'd passed. An elderly cousin, frail but very proud. There was smoke coming out of the chimney, and curtains in the two little windows on either side of the door. A dog in the yard, who thumped his tail against a snowbank when he saw me coming. And beside the truck—no, actually in the truck, or at least with his head inside it, under the hood, was a man.

  "Hi," I called. It would have been silly to turn around and start walking home without saying anything, even though I've promised my parents all my life that I would never talk to strange men.

  He lifted out his head, a gray head, with a bright red woolen cap on it, smiled—a nice smile—and said, "Miss Chalmers. I'm glad you've come to visit."

  "Meg," I said automatically. I was puzzled. How did he know who I was? Our name isn't even on the mailbox.

  "For Margaret?" he asked, coming over and shaking my hand, or at least my mitten, leaving a smear of grease on it. "Forgive me. My hands are very dirty. My battery dies in this cold weather."

  "How did you know?"

  "How did I know Meg for Margaret? Because Margaret was my wife's name; therefore, one of my favorite names, of course. And I called her Meg at times, though no one else did."

  "They call me Nutmeg at school. I bet no one ever called your wife Nutmeg."

  He laughed. He had beautiful blue eyes, and his face moved into a new pattern of wrinkles when he laughed. "No," he admitted, "they didn't. But she wouldn't have minded. Nutmeg was one of her favorite spices. She wouldn't have made an apple pie without it."

  "What I meant, though, when I said, 'How did you know?' was how did you know my name was Chalmers?"

  He wiped his hands on a greasy rag that was hanging from the door handle of the truck. "My dear, I apologize. I have not even introduced myself. My name is Will Banks. And it's much too cold to stand out here. Your toes must be numb, even in those boots. Come inside, and I'll made us each a cup of tea. And I'll tell you how I know your name."

  I briefly envisioned myself telling my mother, "So then I went in his house," and I briefly envisioned my mother saying, "You went in his house?"

  He saw me hesitate, and smiled. "Meg," he said, "I'm seventy years old. Thoroughly harmless, even to a beautiful young girl like you. Come on in and keep me company for a bit, and get warm."

  I laughed, because he knew what I was thinking, and very few people ever know what I'm thinking. Then I went in his house.

  What a surprise. It was a tiny house, and very old, and looked on the outside as if it might fall down any minute. For that matter, his truck was also very old, and looked as if it might fall down any minute. And Mr. Banks himself was old, although he didn't appear to be falling apart.

  But inside, the house was beautiful. Everything was perfect, as if it were a house I'd imagined, or dreamed up with a set of paints. There were only two rooms on the first floor. On one side of the little front hall was the living room: the walls were painted white, and there was an oriental rug on the 24 floor, all shades of blues and reds. A big fireplace, with a painting that was a real painting, not a print, hanging over the mantel. A pewter pitcher standing on a polished table. A large chest of drawers with bright brass handles. A wing chair that was all done in needlepoint — all done by hand, I could tell, because my mother does needlepoint sometimes. Sunlight was pouring in the little windows, through the white curtains, making patterns on the rug and chairs.

  On the other side of the hall was the kitchen. That's where Mr. Banks and I went, after he had shown me the living room. A wood stove was burning in the kitchen, and a copper kettle sat on top of it, steaming. A round pine table was laid with woven blue mats, and in the center of it a blue and white bowl held three apples like a still life. Everything was scrubbed and shiny and in the right place.

  It made me think of a song that we sang in kindergarten, when we sat at our desks and folded our hands. "We're all in our places with bright shiny faces," we used to sing. I could hear the words in my mind, the little voices of all those five-year-olds, and it was a good memory; Mr. Banks' house was like that, a house warm with memories, of things in their places, and smiling.

  He took my jacket and hung it up with his, and poured tea into two thick pottery mugs. We sat at the table, in pine chairs that gleamed almost yellow from a combination of old wood, polish, and sunlight.

  "Is yours the little room at the top of the stairs?" he asked me.

  How did he know about the little room? "No," I explained. "I wanted it to be. It's so perfect. You can see the other house across the field, you know" —he nodded; he knew "—but my father needed that room. He's writing a book. So my sister and I have the big room together."

  "The little room was mine," he said, "when I was a small boy. Sometime when your father isn't working there, go in and look in the closet. On the closet floor you'll find my name carved, if no one's refinished the floor. My mother spanked me for doing it. I was eight years old at the time, and I'd been shut in my room for being rude to my older sister."

  "You lived in my house?" I asked in surprise.

  He laughed again. "My dear Meg," he said, "you live in my house.

  "My grandfather built that house. Actually, he built the one across the field, first. Then he built the other one, where you live. In those days families stuck together, of course, and he built the second house for his sister, who never married. Later he 26 gave it to his oldest son—my father—and my sister and I were both born there.

  "It became my house when I married Margaret. I took her there to live when she was a bride, eighteen years old. My sister had married and moved to Boston. She's dead now. My parents, of course, are gone. And Margaret and I never had children. So there's no one left but me. Well, that's not entirely true—there's my sister's son, but that's another story.

  "Anyway, there's no one left here on the land but me. There were times, when I was young, when Margaret was with me, when I was tempted to leave, to take a job in a city, to make a lot of money, but—" He lit his pipe, was quiet for a minute, looking into the past.

  "Well, it was my grandfather's land, and my father's, before it was mine. Not many people understand that today, what that means. But I know this land. I know every rock, every tree. I couldn't leave them behind.

  "This house used to be the hired man's cottage. I've fixed it up some, and it's a good little house. But the other two houses are still mine. When the taxes went up, I just couldn't afford to keep them going. I moved here after Margaret died, and I've rented the family houses whenever I come across someone who has reason to want to live in this wilderness.

  "When I heard your parents were looking for a place, I offered the little house to them. It's a perfect place for a writer—the solitude stimulates imagination, I think.

  "Other people come now and then, thinking it might be a cheap place to live, but I won't rent to just anyone. That's why the big house is empty now—the right family hasn't come along."

  "Do you get lonely here?"

  He finished his tea and set the cup down on the table. "No. I've been here all my life. I miss my Margaret, of course. But I have Tip"—the dog looked up at his name, and thumped his tail against the floor—"and I do some carpentry in the village now and then, when people need me. I have books. That's all I need, really.

  "Of course," he smiled, "it's nice to have a new friend, like you."

  "Mr. Banks?"

  "Oh please, please. Call me Will, the way all my friends do."

  "Will, then. Would you mind if I took your picture?"

  "My dear," he said, straightening his shoulders and buttoning the top button of his plaid shirt. "I would be honored."

  The light was coming in through the kitchen window onto his face: soft light now; it had become late afternoon, when all the
harsh shadows are gone. He sat right there, smoked his pipe, and talked, and I finished the whole roll of film, just shooting quickly as he gestured and smiled. All those times when I feel awkward and inept—all those times are made up for when I have my camera, when I can look through the viewfinder and feel that I can control the focus and the light and the composition, when I can capture what I see, in a way that no one else is seeing it. I felt that way while I was taking Will's picture.

  I unloaded the exposed film and carried it home in my pocket like a secret. When I looked back from the road, Will was by his truck again, waving to me; Tip was back by his snowbank, thumping his tail.

  And deep, way deep inside me somewhere was something else that kept me warm on the walk home, even though the sun was going down and the wind was coming over the piles of snow on either side of the road, blowing stinging powder into my eyes. It was the fact that Will Banks had called me beautiful.

  3.

  February is the worst month, in New England. I think so, anyway. My mother doesn't agree with me. Mom says April is, because everything turns to mud in April; the snow melts, and things that were buried all winter—dog messes, lost mittens, beer bottles tossed from cars—all reappear, still partly frozen into icy mixtures that are half the gray remains of old snow and half the brown beginnings of mud. Lots of the mud, of course, ends up on the kitchen floor, which is why my mother hates April.

  My father, even though he always recites a poem that begins "April is the crudest month" to my mother when she's scrubbing the kitchen floor in the spring, agrees with me that it's February that's worst. Snow, which was fun in December, is just boring, dirty, and downright cold in February. And the same sky that was blue in January is just nothing but white a month later—so white that sometimes you can't tell where the sky ends and the land begins. And it's cold, bitter cold, the kind of cold where you just can't go outside. I haven't been to see Will, because it's too cold to walk a mile up the road. I haven't taken any pictures, because it's too cold to take off my mittens and operate the camera.