Wardine cry. Wardine look like crazy she so scared. She say she
kill herself if me or Reginald tell our mommas. She say, Clenette, you my half Sister,
I am beg that you do not tell you momma on my momma and Roy Tony. Reginald tell Wardine
to hush herself and lie down quiet. He put Shedd Spread out the kitchen on Wardine
cuts on her back. He run his finger with grease so careful down pink lines of her
getting beat with a hanger. Wardine say she do not feel nothing in her back ever since
spring. She lie stomach on Reginald floor and say she aint got no feeling in her skin
of her back. When Reginald gone to get the water she asks me the truth, how bad is
her back look when Reginald look at it. Is she still pretty, she cry.
I aint tell my momma on Wardine and Reginald and Wardine momma and Roy Tony. My momma
scared of Roy Tony. My momma be the lady Roy Tony kill Columbus Epps over, four years
gone, in the Brighton Projects, for Love.
But I know Reginald tell. Reginald say he gone die before Wardine momma beat Wardine
again. He say he take his self up to Roy Tony and say him to not mess with Wardine
or breathe by her mattress at night. He say he take his self on down to the playground
at the Brighton Projects where Roy Tony do business and he go to Roy Tony man to man
and he make Roy Tony make it all right.
But I think Roy Tony gone kill Reginald if Reginald go. I think Roy Tony gone kill
Reginald, and then Wardine momma beat Wardine to death with a hanger. And then nobody
know except me. And I am gone have a child.
In the eighth American-educational grade, Bruce Green fell dreadfully in love with
a classmate who had the unlikely name of Mildred Bonk. The name was unlikely because
if ever an eighth-grader looked like a Daphne Christianson or a Kimberly St.-Simone
or something like that, it was Mildred Bonk. She was the kind of fatally pretty and
nubile wraithlike figure who glides through the sweaty junior-high corridors of every
nocturnal emitter’s dreamscape. Hair that Green had heard described by an overwrought
teacher as ‘flaxen’; a body which the fickle angel of puberty—the same angel who didn’t
even seem to know Bruce Green’s zip code—had visited, kissed, and already left, back
in sixth; legs which not even orange Keds with purple-glitter-encrusted laces could
make unserious. Shy, iridescent, coltish, pelvically anfractuous, amply busted, given
to diffident movements of hand brushing flaxen hair from front of dear creamy forehead,
movements which drove Bruce Green up a private tree. A vision in a sundress and silly
shoes. Mildred L. Bonk.
And then but by tenth grade, in one of those queer when-did-that-happen metamorphoses,
Mildred Bonk had become an imposing member of the frightening Winchester High School
set that smoked full-strength Marlboros in the alley between Senior and Junior halls
and that left school altogether at lunchtime, driving away in loud low-slung cars
to drink beer and smoke dope, driving around with sound-systems of illegal wattage,
using Visine and Clorets, etc. She was one of them. She chewed gum (or worse) in the
cafeteria, her dear diffident face now a bored mask of Attitude, her flaxen locks
now teased and gelled into what looked for all the world like the consequence of a
finger stuck into an electric socket. Bruce Green saved up for a low-slung old car
and practiced Attitude on the aunt who’d taken him in. He developed a will.
And, by the year of what would have been graduation, Bruce Green was way more bored,
imposing, and frightening than even Mildred Bonk, and he and Mildred Bonk and tiny
incontinent Harriet Bonk-Green lived just off the Allston Spur in a shiny housetrailer
with another frightening couple and with Tommy Doocey, the infamous harelipped pot-and-sundries
dealer who kept several large snakes in unclean uncovered aquaria, which smelled,
which Tommy Doocey didn’t notice because
Skye Malone, Megan Joel Peterson