Educated(61)

Shawn had a gift for language, for using it to define others. He began searching through his repertoire of nicknames. “Wench” was his favorite for a few weeks. “Wench, fetch me a grinding wheel,” he’d shout, or “Raise the boom, Wench!” Then he’d search my face for a reaction. He never found one. Next he tried “Wilbur.” Because I ate so much, he said. “That’s some pig,” he’d shout with a whistle when I bent over to fit a screw or check a measurement.

Shawn took to lingering outside after the crew had finished for the day. I suspect he wanted to be near the driveway when Charles drove up it. He seemed to be forever changing the oil in his truck. The first night he was out there, I ran out and jumped into the jeep before he could say a word. The next night he was quicker on the draw. “Isn’t Tara beautiful?” he shouted to Charles. “Eyes like a fish and she’s nearly as smart as one.” It was an old taunt, blunted by overuse. He must have known I wouldn’t react on the site so he’d saved it, hoping that in front of Charles it might still have sting.

The next night: “You going to dinner? Don’t get between Wilbur and her food. Won’t be nothin’ left of you but a splat on the pavement.”

Charles never responded. We entered into an unspoken agreement to begin our evenings the moment the mountain disappeared in the rearview mirror. In the universe we explored together there were gas stations and movie theaters; there were cars dotting the highway like trinkets, full of people laughing or honking, always waving, because this was a small town and everybody knew Charles; there were dirt roads dusted white with chalk, canals the color of beef stew, and endless wheat fields glowing bronze. But there was no Buck’s Peak.

During the day, Buck’s Peak was all there was—that and the site in Blackfoot. Shawn and I spent the better part of a week making purlins to finish the barn roof. We used a machine the size of a mobile home to press them into a Z shape, then we attached wire brushes to grinders and blasted away the rust so they could be painted. When the paint was dry we stacked them next to the shop, but within a day or two the wind from the peak had covered them in black dust, which turned to grime when it mixed with the oils on the iron. Shawn said they had to be washed before they could be loaded, so I fetched a rag and a bucket of water.

It was a hot day, and I wiped beads of sweat from my forehead. My hairband broke. I didn’t have a spare. The wind swept down the mountain, blowing strands in my eyes, and I reached across my face and brushed them away. My hands were black with grease, and each stroke left a dark smudge.

I shouted to Shawn when the purlins were clean. He appeared from behind an I-beam and raised his welding shield. When he saw me, his face broke into a wide smile. “Our Nigger’s back!” he said.



* * *



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THE SUMMER SHAWN AND I had worked the Shear, there’d been an afternoon when I’d wiped the sweat from my face so many times that, by the time we quit for supper, my nose and cheeks had been black. That was the first time Shawn called me “Nigger.” The word was suprising but not unfamiliar. I’d heard Dad use it, so in one sense I knew what it meant. But in another sense, I didn’t understand it as meaning anything at all. I’d only ever seen one black person, a little girl, the adoptive daughter of a family at church. Dad obviously hadn’t meant her.

Shawn had called me Nigger that entire summer: “Nigger, run and fetch those C-clamps!” or “It’s time for lunch, Nigger!” It had never given me a moment’s pause.

Then the world had turned upside down: I had entered a university, where I’d wandered into an auditorium and listened, eyes wide, mind buzzing, to lectures on American history. The professor was Dr. Richard Kimball, and he had a resonant, contemplative voice. I knew about slavery; I’d heard Dad talk about it, and I’d read about it in Dad’s favorite book on the American founding. I had read that slaves in colonial times were happier and more free than their masters, because the masters were burdened with the cost of their care. That had made sense to me.

The day Dr. Kimball lectured on slavery, he filled the overhead screen with a charcoal sketch of a slave market. The screen was large; as in a movie theater it dominated the room. The sketch was chaotic. Women stood, naked or half naked, and chained, while men circled them. The projector clacked. The next image was a photograph, black and white and blurred with age. Faded and overexposed, the image is iconic. In it a man sits, stripped above the waist, exposing for the camera a map of raised, crisscrossing scars. The flesh hardly looks like flesh, from what has been done to it.

I saw many more images in the coming weeks. I’d heard of the Great Depression years before when I’d played Annie, but the slides of men in hats and long coats lined up in front of soup kitchens were new to me. When Dr. Kimball lectured on World War II, the screen showed rows of fighter planes interspersed with the skeletal remains of bombed cities. There were faces mixed in—FDR, Hitler, Stalin. Then World War II faded with the lights of the projector.

The next time I entered the auditorium there were new faces on the screen and they were black. There hadn’t been a black face on that screen—at least none that I remembered—since the lectures on slavery. I’d forgotten about them, these other Americans who were foreign to me. I had not tried to imagine the end of slavery: surely the call of justice had been heard by all, and the issue had been resolved.