We Need to Talk About Kevin_ A Novel - Lionel Shriver [78]
“You see,” I proceeded, “by the time he was eleven or twelve, this was all too late. The no-gun rules, the computer codes ... Children live in the same world we do. To kid ourselves that we can shelter them from it isn’t just naive, it’s a vanity. We want to be able to tell ourselves what good parents we are, that we’re doing our best. If I had it all to do over again, I’d have let Kevin play with whatever he wanted; he liked little enough. And I’d have ditched the TV rules, the G-rated videos. They only made us look foolish. They underscored our powerlessness, and they provoked his contempt.”
Although allowed a soliloquy in judicial terms, in my head I’d cut it short. I no longer suffer the constraints of jurisprudential impatience, so allow me to elaborate.
What drew Kevin’s contempt was not, as I had seemed to imply, our patent incapacity to protect him from the Big Bad World. No, to Kevin it was the substance and not the ineffectuality of our taboos that was a joke. Sex? Oh, he used it, when he discovered that I was afraid of it, or afraid of it in him, but otherwise? It was a bore. Don’t take offense, for you and I did find great pleasure in one another, but sex is a bore. Like the Tool Box toys that Kevin spurned as a toddler, the round peg goes in the round hole. The secret is that there is no secret. In fact, plain fucking at his high school was so prevalent, and so quotidian, that I doubt it excited him much. Alternative round holes furnish a transient novelty whose illusoriness he would have seen right through.
As for violence, the secret is more of a cheap trick.
You remember, once we gave up on the rating system to see a few decent films, watching a video of Braveheart as, dare I say it, a family? In the final torture scene, Mel Gibson is stretched on a rack, all four limbs tied to the corners of the compass. Each time his English captors pulled the ropes tauter, the sisal groaned, and so did I. When the executioner thrust his barbed knife into Mel’s bowel and ripped upward, I squeezed my palms to my temples and whinnied. But when I peeked through the crook of my arm at Kevin, his glance at the screen was blasé. The sour half cock of his mouth was his customary expression at rest. He wasn’t precisely doing the Times crossword, but he was absently blacking in all the white squares with a felt-tip.
Cinematic carve-ups are only hard to handle if on some level you believe that these tortures are being done to you. In fact, it’s ironic that these spectacles have such a wicked reputation among Bible thumpers, since gruesome special effects rely for their impact on their audience’s positively Christian compulsion to walk in their neighbors’ shoes. But Kevin had discovered the secret: not merely that it wasn’t real, but that it wasn’t him. Over the years I observed Kevin watching decapitations, disembowelments, dismemberments, flayings, impalements, deoculations, and crucifixions, and I never saw him flinch. Because he’d mastered the trick. If you decline to identify, slice-and-dice is no more discomfiting than watching your mother prepare beef stroganoff. So what had we tried to protect him from, exactly? The practicalities of violence are rudimentary geometry, its laws those of grammar; like the grade-school definition of a preposition, violence is anything an airplane can do to a cloud. Our son had a better than average mastery of geometry and grammar both. There was little in Braveheart—or Reservoir Dogs, or Chucky II—that Kevin could not have invented for himself.
In the end, that’s what Kevin has never forgiven us. He may not resent that we tried to impose a curtain between himself and the adult terrors lurking behind it. But he does powerfully resent that we led him down the garden path—that we enticed him with the prospect of the exotic. (Hadn’t I myself nourished the fantasy