Annabel - Kathleen Winter [39]
Treadway took his socks off. He was always peeling his socks off and leaving them inside out on the floor. “We didn’t have cake. We didn’t have cups with flowers on them.”
“It’s only a few cracked mugs.”
Treadway held a judgement in his body. He moved his body with unnecessary precision, his face rigid with purpose. He became unreachable but his body spoke, and Jacinta hated this. She wanted words to come out of his mouth but they came out of his bones. His bones said, You may be lenient or blind, but I am neither.
Wally Michelin and Wayne created a temporary cover for the bridge out of rope and blankets and a waterproof tarp. The bridge was not the same as the snow forts Wayne had made. Snow forts were all about construction. At no time were they complete. Once you had carved a mound and fitted it with windows and an entrance, you connected it, by tunnel, to a new mound; an endless, interconnected complex of frozen interiors infused with quiet blue light. You were underneath the snow, whereas on the bridge you were suspended over the water of the creek. Wally brought her music and practised singing her scales, while Wayne brought paper and drew designs for other kinds of walls and latticework and coverings for the bridge itself. He brought Thomasina’s postcards in their Peek Freans shortbread tin and studied the bridges of London, Edinburgh, Paris, and Florence. The bridges had the same symmetry he loved in synchronized swimming. Wayne looked at their arches and interlacings and copied them on paper.
Wally Michelin had a little radio and she listened to music on it continually, then sang what she had just heard. “It’s a way of training your memory. You listen to something just one time, then you copy it. You have to remember every note.”
“But how do you know you got it right?”
“It’s like hunting for new kinds of wild mushrooms. My dad says you have to peel your senses. You don’t let anything get in the way or you’ll die.”
“But you won’t die if you don’t get the music right.”
“But I am going to get it right.”
“But if you didn’t you wouldn’t die.”
“If you were on a concert stage and you sang the wrong note, it would be dying. I’m going to do my dying right now, before anyone can hear it except us.”
Wally stole her brother Tyrone’s xylophone and brought it onto the bridge. “Play six notes. Then I’m going to sing them, and you tell me if I sang them right. Then we’ll do twelve notes, and then sixteen.”
“I don’t know myself which are the right ones. By the time you start singing them I forget what they were.”
“I’ll bring my mother’s tape recorder and play them into the tape, then we’ll have a record.”
Wayne told his father he wanted to make the top of his bridge like the Ponte Vecchio. “I like the way things are going on in it all the time. People aren’t just going across it. They have shops full of gold. They stay on it and they play music.”
“All you need to do to make arches, son, is join and brace those posts. Then you cover them with Masonite, or some of that corrugated fibreglass I’ve got left over from the greenhouse. Put that on the roof and the light will still shine in. Come on.” He found two hammers and a box of screws and showed Wayne how to use a drill and set the screws straight. He made a big compass out of string and an old broom and got Wayne to draw his arches on the Masonite, then he showed him how to cut with a jigsaw.
“It looks just right, Dad. It looks like the bridge on Thomasina’s card.”
“It looks pretty good, son. Not what I’d put on top of that base if I were doing it, but it’s what you wanted.”
“It is, Dad, it’s great. Can we borrow your big extension cord?”
“Why do you want that?”
“To put lights up.”
Wayne strung Christmas lights along the arches. He read reclining on boughs and cushions while Wally Michelin did her voice exercises and wrote in her diary. They ate lettuce sandwiches with cans of Sprite. Every time Wally learned a new bar of Fauré’s “Cantique de Jean Racine” she underlined it in green ballpoint. Wayne was amazed at how slowly