Russell Banks - Trailerpark

“You understand me, boy?”

“Yes, sir.”

“All right, then,” he said, and he got out of the car. He held the door open for a second, looking at the ground as if trying to remember something, then said to the boy, “Leave the trap out here in the barn, but bring the rest of the stuff inside to the shop. You set the trap tonight after supper. New snow’ll make a fox foolish and hungry at the same time.” Then he moved away, clumsily, wobbling slightly, with the door left wide open behind him.

The boy reached across his father’s seat and drew the door closed. He let the brake off and backed the car into the darkness of the barn.

WHEN YOUR CHILD SHOWS the first signs of illness — fever, lassitude, aching joints and muscles — you fear that he or she is dying. You may not admit it to anyone, but the sight of your child lying flushed and feverish in bed becomes for an instant the sight of your child in its coffin. The nature of reality shifts, and it’s suddenly not clear to you whether you are beginning to dream or are waking from a dream, for you watch the child’s breath stutter and stop, and you cry out and then struggle in vain to blow life back into the tiny, inert body lying below you. Or you see the child heave himself into convulsions, thrash wildly in the bed and utter hoarse, incoherent noises, as if he were possessed by a demon, and horrified, helpless, you back to the door, hands to mouth, crying, “Stop, stop, please, oh God, please stop!” Or, suddenly, the bed is sopped with blood pouring from the child’s body, blood seeping into the mattress, over the sheets, through the child’s tangled pajamas, and the child whitens, stares up pitifully and without understanding, for there is no wound to blame, there is only this blood emptying out of his body, and you cannot staunch its flow but must stand there and watch your child’s miraculous, mysterious life disappear before you. For that is the key that unlocks these awful visions — your child’s being simply alive is both miracle and mystery, and therefore it seems both natural and understandable that he should be dead.

Marcelle called her boys from the kitchen to hurry and get dressed for school. One of these mornings she was not going to keep after them like this and they would all be late for school and she would not write a note to the teacher to explain anything, she didn’t give a damn if the teacher kept them after school, because it would teach them a lesson once and for all, and that lesson was when she woke them in the morning they had to hurry and get dressed and make their beds and get the hell out here to the kitchen and eat their breakfasts and brush their teeth and get the hell out the door to school so she could get dressed and eat her breakfast and go to work. There were four of them, the four sons of Marcelle and Richard Chagnon. Joel was the oldest at twelve, and then, separated by little more than nine months, came Raymond, Maurice and Charles. The father had moved out, had been thrown out of the apartment by Marcelle’s younger brother Steve and one of Steve’s friends nearly nine years ago, when the youngest, Charles, was still an infant, and though for several years Richard had tried to convince Marcelle she should let him move back in with them and let him be her husband and the father of his four sons again, she had never allowed it, for his way of being a husband and father was to get drunk and beat her and the older boys and then to wake ashamed and beg their forgiveness. For years she had forgiven him, because to her when you forgive someone you make it possible for that person to change, and the boys also forgave him — they were, after all, her sons too, and she had taught them, in their dealings with each other, to forgive. If you don’t forgive someone who has hurt you, he can’t change into a new person. He is stuck in his life with you at the point where he hurt you. But her husband and their father Richard, after five years of it, had come to seem incapable of using their forgiveness in any way that allowed him to stop hurting them, so finally one night she had sent her oldest boy, Joel, who was then only four and a half years old, out the door and down the dark stairs to the street, down the street to the tenement where her brother Steve lived with his girlfriend, and Joel had found Steve sitting at the kitchen table drinking beer with a friend and had said to him, “Come and keep my daddy from hitting my mommy!” That night for Marcelle marked the end of the period of forgiveness, for she had permitted outsiders, her brother and his friend, to see how badly her husband Richard behaved. By that act she had ceased to protect her husband, and you cannot forgive someone you will not protect. Richard never perceived or understood that shift, just as all those years he had never perceived or understood what it meant to be protected and forgiven. If you don’t know what you’ve got when you’ve got it, you won’t know what you’ve lost when you’ve lost it. Marcelle was Catholic and even though she was not a diligent Catholic she was a loyal one, and she never remarried, which is not to say that over the years she did not now and again fall in love, once even with a married man, only briefly, however, until she became strong enough to reveal her affair to Father Brautigan, after which she had broken off with the man, to the relief of her sons, for they had not liked the way he had come sneaking around at odd hours to see their mother and talk with her in hushed tones in the kitchen until very late, when the lights would go off and an hour or two later he would leave. When in the morning the children got up and came out to the kitchen for breakfast, they would talk in low voices, as if the married man were still in the apartment and asleep in their mother’s bed, and she would have deep circles under her eyes and would stir her coffee slowly and look out the window and now and then quietly remind them to hurry or they’d be late for school. They were more comfortable when she was hollering at them, standing at the door to their bedroom, her hands on her hips, her dressing gown flapping open as she whirled and stomped back to the kitchen, embarrassing her slightly, for beneath her dressing gown she wore men’s long underwear, so that, by the time they got out to the kitchen themselves, her dressing gown would have been pulled back tightly around her and tied at the waist, and all they could see of the long underwear beneath it would be the top button at her throat, which she would try to cover casually with one hand while she set their breakfasts before them with the other. On this morning, however, only three of her sons appeared at the table, dressed for school, slumping grumpily into their chairs, for it was a gray, wintry day in early December, barely light outside. The oldest, Joel, had not come out with them, and she lost her temper, slammed three plates of scrambled eggs and toast down in front of the others and fairly jogged back to the bedroom, stalked to the narrow bed by the wall where the boy slept and yanked the covers away, to expose the boy, curled up on his side, eyes wide open, his face flushed and sweating, his hands clasped together as if in prayer. Horrified, she looked down at the gangly boy, and she saw him dead and quickly lay the covers back over him, gently straightening the blanket and top sheet. Then, slowly, she sat down on the edge of the bed and stroked his hot forehead, brushing his limp blond hair back, feeling beneath his jawbone as if for a pulse, touching his cheeks with the smooth backside of her cool hand. “Tell me how you feel, honey,” she said to the boy. He didn’t answer her. His tongue came out and touched his dry lips and went quickly back inside his mouth. “Don’t worry, honey,” she said, and she got up from the bed. “It’s probably the flu, that’s all. I’ll take your temperature and maybe call Doctor Wickshaw, and he’ll tell me what to do. If you’re too sick, I’ll stay home from the tannery today. All right?” she asked and took a tentative step away from the bed. “Okay,” the boy said weakly. The room was dark and cluttered with clothing and toys, model airplanes and boats, weapons, costumes, tools, hockey equipment, portable radios, photographs of athletes and singers, like the prop room of a small theater group. As she left the room, Marcelle stopped in the doorway and looked back. The boy huddled in his bed looked like one of the props, a ventriloquist’s dummy, perhaps, or a heap of clothes that, in this shadowy half-light, only resembled a human child for a second or two, and then, looked at from a second angle, came clearly to be no more than an impatiently discarded costume.