An Arsonist's Guide to Writers' Homes in New England_ A Novel - Brock Clarke [11]
But these stores were just an introduction to what had really changed: what had really changed were the subdivisions beyond the stores, the subdivisions where ten years before there had been only broadleaf tobacco and corn fields, subdivisions with signs at the gated entrances that said MONACO ESTATES and STONEHAVEN, and with streets named Princess Grace Way and Sheep Meadow Circle. I drove around these subdivisions, looking for a FOR SALE sign and not finding one until we turned into a subdivision named Camelot ― so said the wooden sign carved into the shape of a castle.
Camelot was beautiful. There were no trees anywhere ― it was as though Camelot had been nuked or had been the brainchild of the logging industry maybe ― and each house was exactly the same except that some had powder blue vinyl siding and others had desert tan. There were elaborate wooden playgrounds in the backyards and mini-satellite dishes on every roof, and each driveway was a smooth carpet of blacktop and there wasn't a sidewalk crack to trip over because there were no sidewalks, and each house had a garage that was so oversized it could have been its own house. There was the constant, soothing hum of lawn maintenance coming from somewhere, everywhere, even though the grass seed in front of most houses hadn't matured yet and I couldn't spot a lawn mower anywhere, and the sprinkler systems were all activated even though it was late September and too late for grass watering, the spray arcing and dancing in the streetlights, of which there looked to be about 150, all of them on even though it was the middle of the afternoon.
"Wow," I said.
"Wow what?" Anne Marie said. "Are you talking about that?" She pointed at a tan house that was exactly like the others except that there was that FOR SALE sign on the lawn. Anne Marie and I got out of the van; the kids were sitting in their seats, screaming about something, everything, but the windows were rolled up and their screaming noises were as soft and welcome as rain on the roof.
"What are you thinking?" Anne Marie said finally. There was a weary, sighing quality to her voice, which I took for simple human fatigue, but which might have been resignation. I wish I'd paid more attention to Anne Marie back then, but I didn't. Oh, why didn't I? Why don't we listen to the people we love? Is it because we have only so much listening in us, and so many very important things to tell ourselves?
"Sam, what are you thinking?" Anne Marie asked again, because I hadn't answered her, because I was still thinking about Camelot and the house.
"Hello, life," I said back.
"Are you crying?" she asked me.
"Yes," I said. I was crying, because I was so happy, because this was my new home, and because it was clean and perfect and I couldn't imagine anyone knowing me here, anyone wanting to know me. My neighbors, were they ever to introduce themselves, and upon hearing that I was an arsonist and a murderer, would start talking about the virtues of Bermuda grass as opposed to Kentucky blue. I could not be normal in Amherst, but I could be normal in Camelot. I felt so happy, so grateful. I wanted to thank somebody. If there were any neighbors visible,