The Most Dangerous Thing - Laura Lippman [17]
Tim was the first to speak.
“Screw you, Go-Go,” he said. “The ball is ruined.” But his tone was admiring, almost reverential, his voice shaking.
The ball had been split by the truck’s wheels. We looked at the flattened red mass. “That could be Go-Go’s head,” Gwen said. We all nodded. He could be like one of the squirrels we saw in the road, a red smear with hair sticking out of it. We weren’t to touch the squirrels, or any other roadkill, lest we risk rabies.
Sean ran across the road and grabbed his brother by the arm, shaking him violently, angrily.
“Don’t ever do that again.”
“But Mickey said—”
“Mickey’s not the boss of you.”
“No one’s the boss of me,” he countered, pushing out his lower lip.
Without a ball, kickball was over. We couldn’t get a new ball unless we told a grown-up what had happened, and no one thought that was a good idea. And, although it was hard to envision on such a cold, gray April day, summer was coming, and not even our odd brand of kickball/dodgeball/rugby could fill those longer, emptier days. We needed a new game. Mickey suggested an explorer’s club. Sean and Tim said it was babyish, yet the next day we all ended up following her deeper and deeper into the woods, marveling at the things we found. Abandoned campsites, downed trees. Beer cans, garbage. “Teenagers did this,” Go-Go would say solemnly, as if Tim and Sean were not already teenagers, Mickey and Gwen both about to turn thirteen that autumn. Teenagers were fearsome creatures to Go-Go.
And then we met the man who lived in the woods.
Chapter Five
“What’s the point of this charade?” Karl asks Gwen the morning after Go-Go’s funeral as she arrives with only minutes to spare before Annabelle awakens and comes down to breakfast.
The question catches her short, her mind snagging on his choice of word, charade. What, exactly, is a charade? Where is the pretense? She puzzles through this as she sets breakfast in motion. She isn’t pretending to Annabelle that she spends the nights here. Her daughter knows that Gwen is staying at her grandfather’s house while he heals, but that she still wants to be here for meals, bedtime, and off-to-school. The charade, to use Karl’s word, is pretending that the household will return to normal after her father’s situation has been normalized.
Charade. The mothers had played charades that night, first with their husbands, then alone after the men left. How innocent they had seemed in the candlelit living room, making the familiar, exaggerated gestures. Paging through a book, running a movie camera, flipping channels. She and Sean had watched them from the steps, feeling more akin to them than they did to the others by that point. They—well, she—honestly believed that they would get married, that they would one day be a couple among other couples, laughing and clowning. They—again, maybe just she—had been preternaturally attracted to adulthood, eager for it, in a way that Tim, Mickey, and Go-Go weren’t. They were the normal ones, trying to grow up, be typical teenagers.
“I’m not sure what you mean,” she says, trying to be careful with Karl’s feelings but also her words. She doesn’t want to be drawn into making promises she can’t keep. But his eyes are sad and hurt. He clearly wants to ask other, softer, more vulnerable questions. Why did she leave? Doesn’t she love him? Doesn’t she want to be with him? But these are not the kind of questions that Karl will ask out loud because Karl does not know the answers and Karl never admits he doesn’t have answers. “That’s a surgeon’s personality,” her father, Karl’s onetime professor, told Gwen early in their courtship. “He’s used to being in charge, having authority.” Like most people in love, she ignored any observation that didn’t serve