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Brief Wondrous Life of Oscar Wao, The - Junot Diaz [100]

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to medicate herself with marijuana, and finally, after dreaming of her dead husband and as much to settle her own conscience as anything, La Inca asked her neighbor and number one dough-kneader, Carlos Moya (the man who had once kneaded her dough, before running off and getting married) to drive her to where this girl was supposed to live. If she is my cousin’s daughter I will know her just by looking at her, she announced. Twenty-four hours later La Inca returned with an impossibly tall, impossibly skinny half-dead Belicia in tow, La Inca’s mind firmly and permanently set against both campos and their inhabitants. Not only had these savages burned the girl, they proceeded to punish her further by locking her in a chicken coop at night! At first they hadn’t wanted to bring her out. She can’t be your family, she’s a prieta. But La Inca insisted, used the Voice on them, and when the girl emerged from the coop, unable to unbend her body because of the burn, La Inca had stared into her wild furious eyes and seen Abelard and Socorro staring back at her. Forget the black skin — it was her. The Third and Final Daughter. Thought lost, now found.

I am your real family, La Inca said forcefully. I am here to save you.

And so, in a heartbeat, by a whisper, were two lives irrevocably changed. La Inca installed Beli in the spare room in her house where her husband had once taken his naps and worked on his carvings. Filed the paperwork to give the girl an identity, called in the doctors. The girl’s burns were unbelievably savage. (One hundred and ten hit points minimum.) A monster glove of festering ruination extending from the back of her neck to the base of her spine. A bomb crater, a world-scar like those of a hibakusha. As soon as she could wear real clothes again, La Inca dressed the girl and had her first real photo taken out in front of the house.

Here she is: Hypatia Belicia Cabral, the Third and Final Daughter. Suspicious, angry, scowling, uncommunicative, a wounded hungering campesina, but with an expression and posture that shouted in bold, gothic letters: DEFIANT.

Darkskinned but clearly her family’s daughter. Of this there was no doubt. Already taller than Jackie in her prime. Her eyes exactly the same color as those of the father she knew nothing about.

FORGET ME NAUT


Of those nine years (and of the Burning) Beli did not speak. It seems that as soon as her days in Outer Azua were over, as soon as she reached Baní, that entire chapter of her life got slopped into those containers in which governments store nuclear waste, triple-sealed by industrial lasers and deposited in the dark, uncharted trenches of her soul. It says a lot about Beli that for forty years she never leaked word one about that period of her life: not to her madre, not to her friends, not to her lovers, not to the Gangster, not to her husband. And certainly not to her beloved children, Lola and Oscar. Forty years. What little anyone knows about Beli’s Azua days comes exclusively from what La Inca heard the day she rescued Beli from her so-called parents. Even today La Inca rarely saying anything more than Casi la acabaron.

In fact, I believe that, barring a couple of key moments, Beli never thought about that life again. Embraced the amnesia that was so common throughout the Islands, five parts denial, five parts negative hallucination. Embraced the power of the Untilles. And from it forged herself anew.

SANCTUARY


But enough. What matters is that in Baní, in La Inca’s house, Belicia Cabral found Sanctuary. And in La Inca, the mother she never had. Taught the girl to read, write, dress, eat, behave normally. La Inca a finishing school on fast-forward; for here was a woman with a civilizing mission, a woman driven by her own colossal feelings of guilt, betrayal, and failure. And Beli, despite all that she’d endured (or perhaps because of it), turned out to be a most apt pupil. Took to La Inca’s civilizing procedures like a mongoose to chicken. By the end of Sanctuary’s first year, Beli’s rough lines had been kneaded out; she might have cursed

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