The Glass Castle_ A Memoir - Jeannette Walls [103]
T HAT FALL, TWO GUYS showed up in Welch who were different from anyone I’d ever met. They were filmmakers from New York City, and they’d been sent to Welch as part of a government program to bring cultural uplift to rural Appalachia. Their names were Ken Fink and Bob Gross.
At first, I thought they were joking. Ken Fink and Bob Gross? As far as I was concerned, they might as well have said their names were Ken Stupid and Bob Ugly. But Ken and Bob weren’t joking. They didn’t think their names were funny at all, and they didn’t smile when I asked if they were putting me on.
Ken and Bob both talked so fast—their conversation filled with references to people I’d never heard of, like Stanley Kubrick and Woody Allen—that it was sometimes hard to follow them. Although they had no sense of humor about their names, Ken and Bob did like to joke a lot. It wasn’t the sort of Welch High humor I was used to—Polack jokes and guys cupping their hand under their armpit to make fart noises. Ken and Bob had this smart, competitive way of joking where one would make a wisecrack and the other would have a comeback and the first would have a retort to the comeback. They could keep it up until my head spun.
One weekend Ken and Bob showed a Swedish film in the school auditorium. It was shot in black and white, and had subtitles and a plot heavy on symbolism, so fewer than a dozen people came, even though it was free. Afterward, Lori showed Ken and Bob some of her illustrations. They told her she had talent and said if she was serious about becoming an artist, she needed to go to New York City. It was a place of energy and creativity and intellectual stimulation the likes of which we’d never seen. It was filled with people who, because they were such unique individuals, didn’t fit in anywhere else.
That night Lori and I lay in our rope beds and discussed New York City. The things I had heard always made it sound like a big, noisy place with a lot of pollution and mobs of people in suits elbowing one another on the sidewalks. But Lori began to see New York as a sort of Emerald City—this glowing, bustling place at the end of a long road where she could become the person she was meant to be.
What Lori liked most about Ken and Bob’s description was that the city attracted people who were different. Lori was about as different as it was possible to be in Welch. While almost all the other kids wore jeans, Converse sneakers, and T-shirts, she showed up at school in army boots, a white dress with red polka dots, and a jean jacket with dark poetry she’d painted on the back. The other kids threw bars of soap at her, pushed one another into her path, and wrote graffiti about her on the bathroom walls. In return, she cursed them out in Latin.
At home she read and painted late into the night, by candlelight or kerosene lamp if the electricity was turned off. She liked Gothic details: mist hanging over a silent lake, gnarled roots heaving up from the earth, a solitary crow in the branches of a bare tree on the shoreline. I thought Lori was amazing, and I had no doubt she would become a successful artist, but only if she could get to New York. I decided I wanted to go there, too, and that winter we came up with a plan. Lori would leave by herself for New York in June, after she graduated. She’d settle in, find a place for us, and I’d follow her as soon as I could.
I told Lori about my escape fund, the seventy-five dollars I’d saved. From now on, I said, it would be our joint fund. We’d take on extra work after school and put everything we earned into the piggy bank. Lori could take it to New York and use it to get established, so that by the time I arrived, everything would be set.
Lori had always made very good posters,