Joseph Faria
1 3 M A I N S T R E E T
1. Newport Beach, 1939
The sky is crazy-white with clouds. Morning unfolds -- eyes like
wet stones.
You stand at the edge of the shore as dawn
cracks at the edge of the world.
Your feet turn green with kelp. You walk out
until the waves are taller than you. Your fists are rocks.
They are the first to drown. You tremble at the thought of losing
them to the sea.
“Timmy?” your mother shouts. “That’s
enough for today.”
Your father is reading the morning paper.
Bare feet in the sand.
“Fred?” she says, standing, staring.
“I can’t see him anymore.”
“Can you believe this shit? Look at
this: HITLER INVADES POLAND.
“What?”
“It says here...”
Turn to HITLER, Page A-3.
2. The 4th of July Parade, Bristol, 1940
Rockets blare.
She sleeps.
Marching bands bash.
She sleeps.
The clowns hand out balloons.
She sleeps.
A parade of soldiers salute.
She sleeps.
Your mother is sitting in a lawn chair, tilting
toward the sun. You’re wearing blue shorts and a red and white polo,
holding the arm of the chair. You’re frightened by the clown who
is handing you a bag of hard candy.
“Take the candy, kid,” the clown says.
_________
Cymbals clash.
She sleeps.
Batons whirl and girls cartwheel.
She sleeps.
Applause for the Mayor.
She sleeps.
You eclipse the sun. Your mother wakes,
startled by the shade of you standing in front of her, holding a torn paper
bag of candy.
She lifts a hand to wipe away the tiny tears.
“Aren’t you enjoying the parade, sweetie?”
she says.
3. Weekend in Vermont, 1942
Autumn leaves flash by in the windshield. You watch mama’s head
nod in the front seat. Papa uses his hands when he talks. You
sit in the back with your knees under your chin.
“Sit up straight,” Papa says.
“Leave the boy alone,“ Mama says.
You place your feet back on the floor, but
your feet don’t reach. They swing, bouncing off the car seat.
“You’re ruining the Goddamn . . .” Papa yells.
“Leave the boy alone,” Mama yells back.
She turns around and places a hand on your knees. You wish with all
your might that mama would keep her hand there. If she did you would
stop. You know you would, but she takes her hand away.
Your legs swing again. Wack, wack,
wack, on the car seat.
“You just missed the exit, Fred.”
4. Tarzan Summer, 1945
It’s not raining. There is no rain at all. Not even the
clouds speak of it.
It’s hot. It’s humid.
A maple tree sits at the end of the garden.
The tree is tall, wide and a blur of green. You have your trusty
steak knife slung at your hip. It takes you time to lift through
the thick branches. But you are Tarzan today. The tree is your
friend. It will not let you fall.
“Timmy!” your mother calls to you from a tree
hut, deep in the jungle of stone and clapboards.
It is a cry for help. You give your
best Tarzan yell and swing down from the tree. You run as fast as
you can. You palm your trusty knife at the door. You listen
for sounds of the beast. You sniff the air. Your muscles tight.
You crouch ready to pounce. Your mother opens the door.
“Timmy,” she says. “Put that knife away.”
“Jesus H. Christ,” your father roars.
“I told him not to play with those Goddamn steak knives.”
Your mother bends to one knee. She extends
her hand.
“Please,” she says.
You growl like a wind in the maple tree.
5. Christmas Eve, 1946
Snow falling. The sky is white with weight. Snowdrifts pile
up in the yard, like sand dunes. You sit on the edge of the bed.
Your mother is downstairs roasting chestnuts. Your words are softly
spoken, like the snowflakes melting on the windowpane.
“Dear Santa,” you whisper.
“Timmy?” your mother calls.
“Can I have some army men, and a Monopoly
game like my friend Tony. And checkers, too.”
“There is no Santa Claus,” your father says.
He is leaning against the door to your room. His hands are wide and
heavy against the wood. He rubs his chin. The wind hits the
window. The glass talks like thieves.
“I know,” you say.
“You know. You know. But you still
do it.”
“Just . . . in case,” you whisper.
“Timmy!” your mother yells.
You run past him and rush downstairs.
Santa Claus is real. Santa Claus is real.
“Santa Claus is real.”
Your mother scoops you up into her arms.
“Of course he’s real. But don’t say
it too loud, your father might hear you.”
6. Imagination, 1947
The car speeds at seventy. You shoot at trees with an imaginary
gun. Your father lights another cigarette. Your mother wheezes.
Mountains flash like swollen ticks in the distance.
“Bang. Bang.” Trees fall.
“Would you please slow down, Fred,” your mother
says.
“Bang. Bang.” Trees fall.
“Do you want to drive?” your father shouts.
“Bang. Bang.” Trees fall.
Your mother’s fingers tick on the dashboard.
“Timmy, please, mommy can’t think.”
“Bang. Bang.”
“Bang. Bang.”
Tires screech.
“JESUS CHRIST!”
Horns blare.
Your father turns and reaches over the back
seat.
“Will you stop that Goddamn racket,” he yells.
The car speeds at fifty, fifty-five, sixty.
The sun glares the windshield with bright, fat, yellow fingers. Your
father flips the vizor down and lights another cigarette. Fields
flash. Orange groves run toward the horizon. Your mother turns
and holds out her hand. You imagine a smile she once used.
A voice once rich with laughter.
“Timmy, give mommy the gun,” she grins, like the
trees falling.
Your mother puts the gun away in her make
believe pocket.
But you have another gun in your left hand. You raise the gun,
high over your head.
“Bang. Bang,” you whisper. You
close your eyes. The metal is cold against your cheek.
7. 13 Main Street
On Main Street, 13 sits in the back. The house is painted white,
with blue shutters and a black wrought-iron rail. There’s a dirt
driveway with clumps of yellow grass. Pink curtains part the windows.
In the backyard there’s a garden. Staked
tomatoes, carrots, three rows of corn, and parsley running along the edge
of a stone walk. Further back, a maple tree, and garbage cans.
In the driveway, there’s a young boy sitting
in the dirt holding a jar. His mother is in the basement washing
clothes. His father is working at a factory on Magnolia Street.
Most of the men in the neighborhood work there.
The boy lifts the jar and makes faces.
The sun is bright. It’s summer. It’s hot. He shakes the
jar. He stares at it and then shakes it again.
Dead fireflies hit the tin cover.
“Timmy!”
The startled boy looks up to see his mother
standing over him. She is slightly bent with the weight of wet laundry.
The boy stares at his mother’s face.
The noon day sun paints long shadows under her eyes. He drops
the jar. It rolls in the dirt.
“Want to help mommy hang out the clothes?”
Timmy stands and follows his mother to the
backyard.
“Get the clothes pins, okay?” she says, and
disappears around the back of the house.
Timmy runs back to the jar and picks it up.
He unscrews the cap and shakes the contents out. He screws cap on
tight and shoves it into his back pocket. He sprints to the door
smiling under his breath.
8. In the middle of the night, 1950
You wake with a feverish grin. You hear noises coming from the
other room: loud grunts, gasps, heaving, and the pulling of tissue paper
from a box of tissues.
Abrasive shadows climb into your head.
Rapid fire thoughts, like wicked witches of the east, conjure a bed of
sweating, naked flesh. You close your eyes and squeeze tight.
You try to imagine the scarecrow stuffing straw into his head: the tin
man thumping a metal beat on his chest; and the cowardly lion growling,
fierce tears of courage.
You click the heels of your bare feet.
“There’s no place like home. There’s
no place like home. There’s no place like home.”
A hush. Then you hear your father whisper.
“I thought he was sleeping.”
“He was.”
9. Baby Jesus, 1952
It’s dark. Moonlight slants over your shoulders. You’re
standing in your brother’s room. He’s sleeping. You touch his
face, his eyelids, his hair . . .
A light freezes your hand in mid-air.
“Timmy!” your mother shouts. “What are
you doing in your brother’s room?”
“Mama, is Billy the baby Jesus?’
“No. You march into your room right
now, young man.”
You climb into bed. She shuts the light
off. Several seconds of silence, then she walks pass your room.
“Mama, is he?”
“Do you know what time it is? Now you
go to sleep and stop asking silly questions.”
“I want to know.”
“Why?”
“Because, he never cries.”
10. The incident, 1958
“You stay there,” you scream. “Don’t you move.” And
when he tries to move, you kick him back under the bathroom sink.
“But Tim, I didn’t do anything,” he whimpers.
You poke your head under the sink and threaten
to kick him dead if he moves.
“Don’t you move out of there,” you shout until
your voice is another weapon.
“Please, Tim,” he cries.
The tears are the ones you want to see.
Those are the tears your father makes you cry.
The more your brother cries, the more you
want to hurt him. You kick under the sink. Wack. Wack. Wack.
_________
“Please let me out. Let me out. I won’t do it anymore.
I won’t cry anymore. I promise.” The basement door is locked.
Your father is on the other side breathing loud against the door.
“Please Daddy,” you cry.
_________
“Shut up. Shut up.” You grab your head before it hits the
mirror. You fall to your knees and grab you brother by the shirt.
He holds his belly like he’s been shot. You shake him until his eyes roll
up and down.
“Shut up. Shut the fuck up.”
He’s so small. He’s like a doll.
You can bang his head off the wall until he dies. But instead, you
let go of his shirt. He slides under the sink and rolls up into a
ball.
Silence.
You jump to your feet. The mirror has
teeth, lips, and eyes. You stumble out of the house. The sky
is black. The air is cold. You sit on the front stairs rubbing
your face, your arms, and your legs.
_________
The basement door is open. It takes you awhile before you can
move. There is no one behind the door. You run upstairs to
your room and scramble into bed with your clothes on. You wipe your
face on the sheets. Then he comes to you. A long shadow across
the ceiling. It stops and leans close to your ear. Fear
has hands and it chokes you. The animal pants the smell of tobacco
and bad breath. It speaks; iron, deliberate strokes. “If you
tell your mother.” A hand like the weight of mountains.
_________
A tiny hand on your shoulder. It’s your brother’s hand.
It’s trembling. You want to reach up and touch it. You want
to take it in your hand and touch it. Touch it. Touch it.
You want to say you're sorry, but you can’t. Your lips won’t move
that way.
“Leave me alone,” you shout.
Real tears fall. The kind you can’t
wipe away.
11. Ballroom Dancing, 1960
They were on the dance floor. She had her shoes off.
"Step on my feet, sweetie," she said.
"But it'll hurt, mama," he said.
She laughed almost as loud as the man playing
the trombone.
"But I don't want to dance, mama."
"Don't be a party-pooper."
He pressed his shoes to the floor.
She wiggled her toes. "Come on, hop
on," she said.
The man with the white-tailed coat pointed
the wand at Timmy and winked. The man's mouth was open. "Go
ahead son, dance with your mother."
Timmy's feet stepped up. His mother
grabbed his hand. He made a tight fist. She grabbed his fist and
pressed his face to her stomach.
He rested the other hand lightly on her hip.
"Hold on," she said.
The drums boomed as they moved across the
floor.
Timmy opened his fist. His mother squeezed
his hand. He felt her stomach tighten, and her body shake to another
rythm.
The music stopped.
"Let's give a big hand to this lovely couple,"
the man in the white-tailed coat shouted above the roar in Timmy's ears.
Timmy stepped down. His mother kneeled
in front of him, wiping her eyes.
"Why you crying, Mama?"
"Give me a big hug, sweetie," she said. "Tell
me you love me."
JOSEPH M. FARIA is the award-winning author of a book
of short stories, titled From a Distance, dealing with residents
of and immigrants from the Azorean island of São Miguel. He
has published poems and stories in Ishmael, Harbinger,
Aldeberan,
Rhode Islander Magazine and All
Story Extra. He also has fiction forthcoming in the In
Posse Review. Faria's story "The
Fearless" appeared in our Spring 2000 issue, and an excerpt
from his novel,
KATIA,
in Summer 2000. He lives in Rhode Island.
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