Marrow
Page 3
Her laughter went first, then her smiles, which were so deep they showed more gum than tooth. The last thing to go was her eyes—her brilliantly expressive eyes. They stopped looking and gazed right through. They stared at walls, and cabinets, and floors. They stared at everything except me. In the early days I’d tried everything to get her to look at me: drop a bowl of cereal and milk on the floor, right in front of her so that her toes were flecked with milk, or scribble all over my arms and legs with marker until I was as deeply blue as a Smurf. With grim determination, I lied to her face, broke her trinkets, swore loudly, and sang songs she hated at the top of my lungs. Hateful attempts met with milky-eyed ambivalence. She’s slowly dying, and I’m not sure she knows it.
FOLD YOUR HANDS IN YOUR LAP. Smile. Don’t smile. Don’t look anyone in the eye. Pretend you don’t care. Study your shoes. Don’t smile … don’t ever smile. God.
I am fidgety and awkward. I never know what to do and when to do it. A boy smiled at me once; he was cute. He’d already passed by the time I smiled back. Too little too late. I couldn’t make my face move in time. School is a reprieve from home; home is a reprieve from school. I don’t belong anywhere, so I travel from place to place hoping no one notices me—but if they do, I hope they won’t be overly cruel. I think about the past. Days long gone.
Everything different, everything so strangely the same. People become different, I realize. It’s the landscape that never changes: the highway signs marred with graffiti, the pink and orange blended sunsets that kiss the top of the evergreens, even the line of cars waiting to turn into the Wal-Mart parking lot. That’s what jars me the most: same sky, same Bone, same house, different mother.
So I remember the old mother, tracing the past, recoloring the memories. The weight of bad memories blossoms and expands under the good memories. I try to think only of those—the good things that carve me into my childhood, not the ones that carve me out of it.
I think of the way my mother always had a leaf between her fingers. That’s what I remember most. She’d pull one from a bush or a tree and hold it between her fingers, compulsively rubbing little circles until the leaf was rubbed clean of its veins and membranes and her fingers were stained green. I liked when her fingers were green; it reminded me of the finger paints we used at school. It made her seem strange and fun, organically different from the other mothers who were always sour-faced and stiff. When we were outside, I’d study the way she’d examine the plants, mimicking her movements, wanting to be close to her, wanting to be her. And it was difficult because my mother carried her grace around her shoulders, a regal class that was almost impossible to imitate.
That was when I was real little and things were almost right. Before she lost her job at Markobs and Jacob, before she started smoking, before the men. Nowadays, my mother’s fingers are stained with nicotine. The smell rolls off her skin when she moves across a room—stale smoke and tobacco rot. Her shoulders hang from her neck like an old housecoat. When she stopped leaving the house a few years ago, she would send me out to buy cigarettes, the ones with the Indian chief on the carton, because they were healthier for you. Somewhere in between her smelling like the outdoors, and her smelling like an ashtray, I stopped wanting to be her. And during that same time, while she was shrugging off the mantle of parenting and becoming a stranger, she stopped saying my name.
At first I didn’t notice it. It wasn’t until a teacher said my name at school, calling me to the front of the class to solve an equation, that I realized I hadn’t heard it in some time. My mother still delivered commands, but at some point skimmed my name from the top of them. Margo. It took me a minute to recognize that it was me Mrs. Lerson was calling. The other students laughed as I made my way through the line of desks to stand in front of the blackboard. Margo, I thought. That’s me. And then, as I walked home from the bus, I tried to remember the last time I heard her say it, and I couldn’t.
My mother, a Perry Mason fan, named me after Margo Albert, an actress she once saw on his show, The Case of the Sad Sicilian. In Margo’s final role, before she died of brain cancer, she played a murderess named Serafina. My mother, stricken by her doleful eyes, vowed to name her first daughter Margo. It feels like a cruel joke to be named after a woman who was cast in tragic roles, and even more so to have the meaning of one’s name be something so beautiful and delicate when you yourself are anything but.
In the eating house, I remain nameless. White blonde hair, forgettable eyes, ugly, tattered clothes.
“Hey Margo!”
I spin around. The school bus is retracting its STOP sign, doors closing. Destiny comes barreling down the sidewalk toward me, slinging her backpack over her shoulder. I eye the cut of her jeans, and the way her shirt hangs fashionably off her shoulder. She’s even wearing the type of shoes the other girls are wearing: sparkly flats. She stopped speaking to me sometime around seventh grade, after the kids at school started calling me “the whore’s daughter.” I don’t know if it was by her parents’ command or self-preservation, but she just left me.
“You forgot this on the bus,” she says, handing me the paperback novel I’d been reading. I take it from her without meeting her eyes.
“Thank you.”
Her house is in the opposite direction, but she hesitates before leaving like she wants to say something. In the end, though, she just shrugs and walks away. I don’t watch her go. I know if I do, I will cry.
The eating house is still when I get home. It naps during the day while I am at school: a night house. I go straight to my room, because that’s what she likes me to do. It’s later in the afternoon that she emerges from her bedroom to begin her ritual for her night: the washing and applying of creams and makeup. In recent years, she hasn’t wanted me around, not even for her bath. And I don’t care. I hated watching her wrinkle in the chipped, rose-colored bath, pieces of paint peeling off and floating in the water around her. I pull out my box, choosing a candy bar and a warm can of Mountain Dew, and begin my homework as the eating house wakes up and creaks around me.
When the first of her visitors come, I pack up my notebooks and pencils and crawl to the wall that separates my bedroom from hers. This is the way I know her. She has not gone completely silent. I hear her speaking to them. I am so desperate for the sound of her voice; I spend nights pressing my ear between our walls. They tell her things—things about their lives, and their wives, and their jobs. They punch up their sentences with words like fiscal year, college tuition, and parole violations. She only speaks when they need her to. She’s perfected the art of the pause and response. A word here, a word there. Her voice never changes from an agreeable purr. They find it sexy, her willingness to listen and her reluctance to speak. A beautiful woman who does, and does not disagree. I am learning so much about men, the way they want and what they want. They pace her bedroom, their heavy steps a dull thud on the chipped and marred wood of the eating house. Once I hear her give advice: Sell the house, downgrade. You don’t need all of that space now that the kids are gone.
FOLD YOUR HANDS IN YOUR LAP. Smile. Don’t smile. Don’t look anyone in the eye. Pretend you don’t care. Study your shoes. Don’t smile … don’t ever smile. God.
I am fidgety and awkward. I never know what to do and when to do it. A boy smiled at me once; he was cute. He’d already passed by the time I smiled back. Too little too late. I couldn’t make my face move in time. School is a reprieve from home; home is a reprieve from school. I don’t belong anywhere, so I travel from place to place hoping no one notices me—but if they do, I hope they won’t be overly cruel. I think about the past. Days long gone.
Everything different, everything so strangely the same. People become different, I realize. It’s the landscape that never changes: the highway signs marred with graffiti, the pink and orange blended sunsets that kiss the top of the evergreens, even the line of cars waiting to turn into the Wal-Mart parking lot. That’s what jars me the most: same sky, same Bone, same house, different mother.
So I remember the old mother, tracing the past, recoloring the memories. The weight of bad memories blossoms and expands under the good memories. I try to think only of those—the good things that carve me into my childhood, not the ones that carve me out of it.
I think of the way my mother always had a leaf between her fingers. That’s what I remember most. She’d pull one from a bush or a tree and hold it between her fingers, compulsively rubbing little circles until the leaf was rubbed clean of its veins and membranes and her fingers were stained green. I liked when her fingers were green; it reminded me of the finger paints we used at school. It made her seem strange and fun, organically different from the other mothers who were always sour-faced and stiff. When we were outside, I’d study the way she’d examine the plants, mimicking her movements, wanting to be close to her, wanting to be her. And it was difficult because my mother carried her grace around her shoulders, a regal class that was almost impossible to imitate.
That was when I was real little and things were almost right. Before she lost her job at Markobs and Jacob, before she started smoking, before the men. Nowadays, my mother’s fingers are stained with nicotine. The smell rolls off her skin when she moves across a room—stale smoke and tobacco rot. Her shoulders hang from her neck like an old housecoat. When she stopped leaving the house a few years ago, she would send me out to buy cigarettes, the ones with the Indian chief on the carton, because they were healthier for you. Somewhere in between her smelling like the outdoors, and her smelling like an ashtray, I stopped wanting to be her. And during that same time, while she was shrugging off the mantle of parenting and becoming a stranger, she stopped saying my name.
At first I didn’t notice it. It wasn’t until a teacher said my name at school, calling me to the front of the class to solve an equation, that I realized I hadn’t heard it in some time. My mother still delivered commands, but at some point skimmed my name from the top of them. Margo. It took me a minute to recognize that it was me Mrs. Lerson was calling. The other students laughed as I made my way through the line of desks to stand in front of the blackboard. Margo, I thought. That’s me. And then, as I walked home from the bus, I tried to remember the last time I heard her say it, and I couldn’t.
My mother, a Perry Mason fan, named me after Margo Albert, an actress she once saw on his show, The Case of the Sad Sicilian. In Margo’s final role, before she died of brain cancer, she played a murderess named Serafina. My mother, stricken by her doleful eyes, vowed to name her first daughter Margo. It feels like a cruel joke to be named after a woman who was cast in tragic roles, and even more so to have the meaning of one’s name be something so beautiful and delicate when you yourself are anything but.
In the eating house, I remain nameless. White blonde hair, forgettable eyes, ugly, tattered clothes.
“Hey Margo!”
I spin around. The school bus is retracting its STOP sign, doors closing. Destiny comes barreling down the sidewalk toward me, slinging her backpack over her shoulder. I eye the cut of her jeans, and the way her shirt hangs fashionably off her shoulder. She’s even wearing the type of shoes the other girls are wearing: sparkly flats. She stopped speaking to me sometime around seventh grade, after the kids at school started calling me “the whore’s daughter.” I don’t know if it was by her parents’ command or self-preservation, but she just left me.
“You forgot this on the bus,” she says, handing me the paperback novel I’d been reading. I take it from her without meeting her eyes.
“Thank you.”
Her house is in the opposite direction, but she hesitates before leaving like she wants to say something. In the end, though, she just shrugs and walks away. I don’t watch her go. I know if I do, I will cry.
The eating house is still when I get home. It naps during the day while I am at school: a night house. I go straight to my room, because that’s what she likes me to do. It’s later in the afternoon that she emerges from her bedroom to begin her ritual for her night: the washing and applying of creams and makeup. In recent years, she hasn’t wanted me around, not even for her bath. And I don’t care. I hated watching her wrinkle in the chipped, rose-colored bath, pieces of paint peeling off and floating in the water around her. I pull out my box, choosing a candy bar and a warm can of Mountain Dew, and begin my homework as the eating house wakes up and creaks around me.
When the first of her visitors come, I pack up my notebooks and pencils and crawl to the wall that separates my bedroom from hers. This is the way I know her. She has not gone completely silent. I hear her speaking to them. I am so desperate for the sound of her voice; I spend nights pressing my ear between our walls. They tell her things—things about their lives, and their wives, and their jobs. They punch up their sentences with words like fiscal year, college tuition, and parole violations. She only speaks when they need her to. She’s perfected the art of the pause and response. A word here, a word there. Her voice never changes from an agreeable purr. They find it sexy, her willingness to listen and her reluctance to speak. A beautiful woman who does, and does not disagree. I am learning so much about men, the way they want and what they want. They pace her bedroom, their heavy steps a dull thud on the chipped and marred wood of the eating house. Once I hear her give advice: Sell the house, downgrade. You don’t need all of that space now that the kids are gone.
