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  We're All in This Together

  We're All

  in This

  Together

  A Novella and Stories

  Owen King

  BLOOMSBURY

  Copyright © 2005 by Owen King

  All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without written permission from the publisher except in the case of brief quotations embodied in critical articles or reviews. For information address Bloomsbury USA, 175 Fifth Avenue, New York, NY 10010.

  Published by Bloomsbury USA, New York Distributed to the trade by Holtzbrinck Publishers

  All papers used by Bloomsbury USA are natural, recyclable products made from wood grown in well-managed forests. The manufacturing processes conform to the environmental regulations of the country of origin.

  The Library of Congress has cataloged the hardcover edition of this book as follows:

  King, Owen.

  We're all in this together : a novella and stories / Owen King.—1st U.S. ed.

  p. cm.

  eISBN: 978-1-58234-588-8

  1. United States—Social life and customs—Fiction. 2. Grandparent and child—Fiction. 3. Mothers and sons—Fiction. 4. Teenage boys—Fiction. 5. Maine—Fiction. I. Title.

  PS3611.I5837W47 2005

  813'.6—dc22

  2005006926

  First published in the United States by Bloomsbury in 2005

  This paperback edition published in 2006

  1 3 5 7 9 10 8 6 4 2

  Typeset by Hewer Text Ltd, Edinburgh

  Printed in the United States of America

  by Quebecor World Fairfield

  CONTENTS

  We're All in This Together

  Frozen Animals

  Wonders

  Snake

  My Second Wife

  Acknowledgments

  For Kelly,

  the prettiest girl in Yuma

  Reports that say that something hasn't happened are always interesting to me, because as we know, there are known knowns; there are things we know we know. We also know there are known unknowns; that is to say we know there are some things we do not know. But there are also unknown unknowns—the ones we don't know we don't know. And if. one looks throughout the history of our country and other free countries, it is the latter category that tend to be the difficult ones.

  —Donald Rumsfeld on the question of

  Iraq and WMDs, February 12, 2002

  We're All in This Together

  DON'T MOURN!

  When you are a kid, adults are always telling you about their revelation, the moment when the mist cleared and they saw what it was they wanted, or finally understood what it was that never made sense before.

  For instance, my grandfather told me that he decided to be a union organizer after he saw the man who lived next door at the boardinghouse come home one morning after a late shift at the paper mill, remove his shoes at the door, and pass them off to his wife, who then slipped them on and continued out on her way to another job. As the man handed off his shoes, my grandfather realized that what the man was actually handing off was his dignity, and that a life without dignity was no different from a life without love—because how could a man without dignity bear to love another person, when he must hate himself so much?

  Dr. Vic claimed that he fell in love with my mother when he looked out his office window one sunny afternoon to see her striding up to the elderly Catholic priest who sometimes prayed on the sidewalk in front of the Planned Parenthood office for hours at a time. The old priest appeared to be swaying slightly; Emma helped him from his knees over to a bench. After that, she went back inside, and came out a minute later with a cold bottle of water for the holy man. Dr. Vic watched it all, and wondered how many times that old crank had warned my mother that she was on the path to hell, and there she was anyhow, doing the decent thing to save him from a case of sunstroke, or worse. Until then I only thought she was beautiful, said Dr. Vic, but that proved it.

  At a rally for striking longshoremen in Portland, my grandmother said she heard Papa relate the story about his neighbors who had to share a single pair of shoes, and while she felt compelled by his words, she didn't fully devote herself to the cause until after the meeting—when he came down from the platform and shook her hand. Nana had seen other union men talk, and dramatically whip off their coats, and stomp around in their braces while they railed against the bosses. She even met one of these big stomping sorts once, and it was like shaking hands with a liver. When she was introduced to my grandfather, though, Nana realized immediately that Papa was different: in spite of his suit, my grandfather wasn't a college boy, or a politician—he was an actual stevedore, just like her brother and her uncle. She could tell this by the fine dirt in the creases beneath his eyes, what her mother used to call "Working Man's Scars." Then Papa stuck out his hand, said, "How do," and Nana grasped it. He had clean hands, dry hands. She was moved to think of how hard he had worked to get himself clean. Finally, she thought, here was a young man who believed in something.

  What I take from these stories is the impression that until that certain moment—the awakening, the sign—each of us is waiting outside the life that we are meant for, like a stranger with nothing to do but sit on the steps until the Realtor arrives. Then she does appear, charging up the walk, a fury of possibility and jingling keys. She throws open the door, and hurries you inside, and you know, right then. This is the place, the one place you really belong.

  Except, I think now that for most people, it's more complex than that. In the moment of realization, maybe the mist doesn't actually clear, but thicken, taking on color, smell, and taste. Maybe the house is for sale because it's haunted; maybe every house is haunted.

  When Papa saw the man give his wife the pair of shoes, he saw that something was wrong, but maybe he summed too quickly, and underestimated the depth of a man's dignity. When my mother brought the old priest a bottle of water, maybe Dr. Vic bet too high on Emma's generosity, and too low on the hard-earned pessimism of a single mother and motivated activist, who undoubtedly worried a good deal more about the news stories that would follow the death of a priest on the sidewalk in front of the clinic, than she ever did about the man actually dying. And was there ever a time—years and years after she took the clean hand of the dirty soapboxer that day on the docks—that my grandmother wondered just what my grandfather's effort amounted to, now that they lived in a time and in a place where it seemed that the filthiest thing you could say about a person was that they were liberal, that they had a bleeding heart?

  Obviously, something was on Nana's mind when she died. After January, she never again left the guest bedroom, and one morning in early March, I found her cold. A sour, ponderous expression lay on her face, a grimace of real dissatisfaction, as if she had been expecting a surprise, but just maybe not the one she received. Her eyes were open, too, and fixed on the framed portrait of Joseph Hillstrom that hung on the wall.

  In those last seconds, what did she see in the eyes of labor's truest martyr? Did she see the cool expression of a sincere organizer? Or did she see the passionless stare of a killer?

  Four months later, in the middle of summer, and with the grass already grown full and burnt brown on Nana's grave, I saw something that surprised me, too. At the time, I understood it couldn't be real, that it was a hallucination. But, these days, I know better than to believe my eyes. Sometimes up really is down; sometimes the ground is the water, and the sky is a cliff.

  In the morning, before setting out, I eat a bowl of oatmeal and write my mother a quick note. Have a lovely day with your conscience. There's nothing unusual about this; my mother and I are regular corresponde
nts. Without knocking, I stride into the bathroom while she is in the shower and smack the yellow legal pad against the frosted glass so she can read it. I record her silence, the trickle of water down the drain, and the squeaking of her feet, as a minor victory.

  When I roll my bike out of the garage, Dr. Vic sticks his head out the window of his BMW and asks if I want a lift on his way to work. "Sorry, but I don't take rides from strange men," I say. I usher my mother's fiance on his way with a sweeping gesture.

  Dr. Vic responds to my challenge with perfect, maddening acquiescence: he gives a pleasant nod, and simply coasts down the driveway, when any normal person would slam on the gas and lay down a patch of screw-you-kid rubber.

  But I am feeling good as I pedal out onto Route 12, heading for the tall white house on Dundee Avenue where my mother grew up and Nana died. The wind and the summer smells of grass and tar make me feel fast, and on that marker less stretch of road I can pretend I am between almost any two places in the world. Leaving always gives me a high feeling, and the bad part—the coming back—is a whole day away. Route 12 dips and rises. I lean into a bend and the first sign of town comes into view. The Beachcomber, a beleaguered ranch motel, crouches across from the mouth of the interstate ramp, catering to late-night drivers who are too tired to make it south to Boston, or north to Bangor and Canada.

  That's when I see it—see them. I glance at the motel and there are three men standing on the boardwalk in front of a room, loading the trunk of a taxi. There is nothing distinct about these men: they are all white; they all appear to be in the normal range of weight and build; they are all dressed in suits and ties. In other words, they are three men, three normal men, boarding a taxi. The taxi is a member of the local fleet, a creaky-looking station wagon with plastic wood panels.

  When the trio climbs in, I observe the undercarriage of the cab sag slightly beneath their collective mass. Then I am around the corner and turning into town.

  I pass another block before I apprehend very clearly what it is that was so striking about the three strangers: that is, the three men weren't strangers at all. Those men were my mother's old boyfriends. They were Paul and Dale and Jupps, all of them, together. In another block, I work out the many reasons why this is not possible, not the least of which happens to be that none of my mother's boyfriends ever knew each other. Besides, Paul lives way up north, and this is tourist season, his busy time, and as far as we know, Jupps didn't even live in the United States anymore. On top of that, the only time I could ever recall having seen any of them wearing a tie was Dale at Nana's funeral, and that had been a bow tie.

  No, of course not. Of course, I didn't see them.

  What I saw didn't even qualify as a hallucination; it was too boring. My vision was more like some kind of sad little kid wish, like an imaginary friend, or your Real Father. Not the crazy drunk that your mother's ex-boyfriend once had to beat the shit out of with a snow shovel, not the jerk-off felon who never gave you anything in your whole life except a polydactyl toe and a five-dollar bill for your tenth birthday—not him, not that imposter—but your Real Father, the superhero. Your Real Father is sorry to have put you through all this, but he couldn't risk it, because if his enemies ever discovered his secret identity, his family would have been in terrible danger. But now everything can be different—because he needs your help—and the invisible spy plane is idling in a grassy field outside of town and it's go, go, go! The fate of the world may depend on it!

  In the time it takes to consider the matter logically and, in turn, dust off the old (but not that old) Real Father Fantasy, I have traveled another two blocks. I have also started to cry. I slam on the brakes and start back to the motel, standing on the pedals and pushing uphill. But the gravel parking lot is empty; the men and the taxi are somewhere up the road, out of sight.

  I am still sniffling when I reach my grandparents' house and find a small gathering in the front yard. My grandfather and the neighbors, Gil Desjardins and his wife, Mrs. Desjardins, stand before the 15 × 15-foot billboard that Papa has recently posted on the lawn, and which lists, succinctly, his deeply felt political beliefs concerning the most recent election, between Al Gore and George W. Bush.

  I roll onto the grass and pull up beside them. Between their shoulders I make out slashes of pink paint, and even before reading the latest accusation, the situation is evident: for the third time in a month, the vandal, the fascist paperboy, Steven Sugar, has attacked.

  "Somehow," says Gil, "that the paint is pink, that makes it worse, doesn't it?"

  Mrs. Desjardins flicks away a pink chip with her fingernail. She clucks sympathetically.

  Papa crosses his arms and contemplates the pink message in silence.

  Mrs. Desjardins purses her lips at me and gives my bicep a squeeze. She wears a kimono and a thin black ribbon fastened around her old woman's neck. It is accepted that Gil's wife is odd.

  "Whoever would have guessed a bourgeois newspaper could lead to such a rumpus?." Her gaze falls on me expectantly.

  I shrug.

  "Oh, for skit's sake, Lana," says Gil.

  "It is bourgeois. The New York Times is bourgeois."

  "That may be, but if you say 'bourgeois,'you sound like an asshole. In fact, I've been told that 'bourgeois' is a code word that assholes use to recognize each other when they're in unfamiliar places. If you even spell it in Scrabble, it makes you sound like an asshole."

  "I believe you're being obtuse again, Gilbert," she says, not sounding displeased.

  At the center of the group, Papa has hardly shifted. I see now that what the vandal has sprayed across the billboard this time is the inexplicable—and yet, somehow, terribly damning—epithet COMMUNIST SHITHEEL. Papa reaches out and uses his knuckle to trace the letter C. The thin-lipped expression on his face is unreadable. "It's enough to make a person think—" he starts, and lets the thought hang.

  My grandfather gently moves his knuckle around the letter O.

  "Well, Henry, don't kill yourself. I'm going home to read the dictionary and try to take a piss."

  Gil starts scraping his walker back in the direction of his house. When he reaches the edge of the driveway, he encounters some difficulty in trying to jerk the legs over the lip of the pavement, and I rush over to help. He throws his arm over my shoulder and I guide the walker up onto the driveway.

  "Thanks, George," he says, pausing to catch his breath. Then, seeming less to speak to me than to himself, "Man's too old to get wound up like this. Especially over this. As if there's any real difference between the two of them. One's a fool from Tennessee who wants to tell us how to live, and the other's a damn fool from Texas who wants to tell us how to live. Either way, we were going to end up with a fool. No difference." He crutches down to the sidewalk, his wife beside him and rubbing his back. They disappear around the hedge.

  I return to my grandfather. With his palm pressed gently against the billboard, he looks almost prayerful, not unlike the photograph in a recent newsmagazine I have happened to see, of a penitent at the Wailing Wall in Israel.

  "Papa," I say. I feel a sudden need to be reassured that I am not crazy. If there is anyone who can explain what I saw—what I thought I saw—it is Papa. "On the way here, I was on my bike, and I saw this cab

  He turns and blinks at me.

  Until now, I suddenly realize, Papa has not even been aware of my presence, does not even realize that the Desjardins have left, maybe doesn't even know they were here in the first place. Which is why, when he sees me now, sees my raw eyes and flushed cheeks, Papa construes their meaning in the only way that must seem possible to him.

  The old man steps forward and embraces me, hard. "Don't worry, George," he says, "the paint will come off."

  I open my mouth, close it.

  We spend an hour soaking the pink paint off the billboard, and then my grandfather and I drive to the sporting goods store and browse until we find the right weapon.

  1.

  For armor, I went loo
king in the junk closet in my grandparents' garage. When I opened the door a cascade of twenty-year-old Halloween decorations an

  d disassembled fishing poles poured out, along with a lot of other interesting things: moth-eaten life preservers, sheaves of ancient AFL-CIO newsletters wilted up like onion skins, a few ratty lures, a tire gauge with a cracked face, a Richard Nixon mask. I sat on a milk crate and put the mask on my hand, made it talk to me. I was in no hurry. "Maybe he'll just forget," said Tricky Dick. "McGlaughlins have long memories," I said. "But you're a Claiborne," said Dick, "I recognize you by the devilish toe." This surprised and silenced me. I sat in the cool dark of the garage and tried to think of some silly song for Nixon to sing. Maybe he had really forgotten, maybe he had come to his senses, I thought, but a moment later, through the wall, I heard the old man's voice calling for me.

  I sighed, shook off the mask, and dug the softball equipment out from the bottom of the closet, a too big chest protector and a pair of cracked shin guards that reeked of mold. There was, however, no catcher's mask and no jock.

  Around the back of the house, on the patio, I reported to my grandfather.

  "Well, there's nothing to be done about it," he said. "I'll just have to aim low."

  Papa was stoned, and eating peanuts. He took one salty piece at a time, rolling it between his fingertips, and finally plopping the peanut into his mouth. The automatic rifle lay balanced across the arms of his deck chair.

  Gil, who besides living next door was also my grandfather's best friend, made a disapproving noise from the back of his throat. He was attempting to fire the black stub of a roach held in a twisted paper clip, flicking a lighter and sucking wetly.