Different Seasons(122)
She’s whipped him. That’s the end, all right.
He turns and heads for the door which leads first into the shed and then outdoors. As he opens it he looks back at Virginia, and she gazes at him tranquilly when he speaks her name.
“What is it, Ed?”
“The sheets are bloody.” He pauses. “I broke her in.”
He thinks something has stirred in her eyes, but that is probably only his wish. “Please go now, Ed. You’re scaring Billy.”
He leaves. The Buick doesn’t want to start and he has almost resigned himself to walking in the rain when the engine finally catches. He lights a cigarette and backs out onto 14, slamming the clutch back in and racing the mill when it starts to jerk and splutter. The generator light blinks balefully at him twice, and then the car settles into a ragged idle. At last he is on his way, creeping up the road toward Gates Falls.
He spares Johnny’s Dodge one last look.
Johnny could have had steady work at Gates Mills & Weaving, but only on the night shift. Nightwork didn’t bother him, he had told Chico, and the pay was better than at the Plains, but their father worked days, and working nights at the mill would have meant Johnny would have been home with her, home alone or with Chico in the next room . . . and the walls were thin. I can’t stop and she won’t let me try, Johnny said. Yeah, I know what it would do to him. But she’s . . . she just won’t stop and it’s like I can’t stop . . . she’s always at me, you know what I mean, you’ve seen her, Billy’s too young to understand, but you’ve seen her ...
Yes. He had seen her. And Johnny had gone to work at the Plains, telling their father it was because he could get parts for the Dodge on the cheap. And that’s how it happened that he had been changing a tire when the Mustang came skidding and skating across the infield with its muffler draggin up sparks; that was how his stepmother had killed his brother, so just keep playing until I shoot through, Blue, cause we goin Stud City right here in this shitheap Buick, and he remembers how the rubber smelled, and how the knobs of Johnny’s spine cast small crescent shadows on the bright white of his tee-shirt, he remembers seeing Johnny get halfway up from the squat he had been working in when the Mustang hit him, squashing him between it and the Chevy, and there had been a hollow bang as the Chevy came down off its jacks, and then the bright yellow flare of flame, the rich smell of gasoiine—
Chico strikes the brakes with both feet, bringing the sedan to a crunching, juddering halt on the sodden shoulder. He leans wildly across the seat, throws open the passenger door, and sprays yellow puke onto the mud and snow. The sight of it makes him puke again, and the thought of it makes him dry-heave one more time. The car almost stalls, but he catches it in time. The generator light winks out reluctantly when he guns the engine. He sits, letting the shakes work their way out of him. A car goes by him fast, a new Ford, white, throwing up great dirty fans of water and slush.
“Stud City,” Chico says. “In his new stud car. Funky.”
He tastes puke on his lips and in his throat and coating his sinuses. He doesn’t want a cigarette. Danny Carter will let him sleep over. Tomorrow will be time enough for further decisions. He pulls back onto Route 14 and gets rolling.
8
Pretty f**king melodramatic, right?
The world has seen one or two better stories, I know that—one or two hundred thousand better ones, more like it. It ought to have THIS IS A PRODUCT OF AN UNDERGRADUATE CREATIVE WRITING WORKSHOP stamped on every page . . . because that’s just what it was, at least up to a certain point. It seems both painfully derivative and painfully sophomoric to me now; style by Hemingway (except we’ve got the whole thing in the present tense for some reason—how too f**king trendy), theme by Faulkner. Could anything be more serious? More lit’ry?
But even its pretensions can’t hide the fact that it’s an extremely sexual story written by an extremely inexperienced young man (at the time I wrote “Stud City,” I had been to bed with two girls and had ejaculated prematurely all over one of them—not much like Chico in the foregoing tale, I guess). Its attitude toward women goes beyond hostility and to a point which verges on actual ugliness—two of the women in “Stud City” are sluts, and the third is a simple receptacle who says things like “I love you, Chico” and “Come in, I’ll give you cookies.” Chico, on the other hand, is a macho cigarette-smoking working-class hero who could have stepped whole and breathing from the grooves of a Bruce Springsteen record—although Springsteen was yet to be heard from when I published the story in the college literary magazine (where it ran between a poem called “Images of Me” and an essay on student parietals written entirely in lower case). It is the work of a young man every bit as insecure as he was inexperienced.
And yet it was the first story I ever wrote that felt like my story—the first one that really felt whole, after five years of trying. The first one that might still be able to stand up, even with its props taken away. Ugly but alive. Even now when I read it, stifling a smile at its pseudo-toughness and its pretensions, I can see the true face of Gordon Lachance lurking just behind the lines of print, a Gordon Lachance younger than the one living and writing now, one certainly more idealistic than the best-selling novelist who is more apt to have his paperback contracts reviewed than his books, but not so young as the one who went with his friends that day to see the body of a dead kid named Ray Brower. A Gordon Lachance halfway along in the process of losing the shine.