My grandmother's boyfriend lives in the attic. The roof man said it was pretty common for the migrant workers to stay during these cold spells. Everyone's roofs are still splintered or soft enough for a grown man to climb in without being noticed. People think the noises are imaginations, he says. Flashbacks of the storm.
We sit in the living room with bowls of warm creamy soup. My grandmother makes it for me out of corn, hoping it will bring me home before dark. It works on the days I don't feel like smoking at the Olive Garden bar. I like to eat all of the soup to reveal the picture of a blue bridge and a blue boat and blue willows and two blue birds.
“Look at the yard,” I say. “There are a lot of squirrels here. They're waiting for peanuts.”
“I know it.” She cranes her head to look at the French door where eight squirrels are standing at the glass like pets. We sit on couches in the yellow blush of a single lamp. The dim light is both soft and unsettling. Everything in the room looks the color of honey, even her, as if we're encased in amber.
“A worker. He likes me. The one in my attic I mean, not the roof man. But he's nice, too.” Her painted toes are pointed towards each other, and her hands are folded over expensive knit pants. She is too stylish to be crazy, is what the migrant probably thinks. And he's right.
“He knows I'm smart. I left the completed Times puzzle on his lunch yesterday with a note that says I don't cheat.”
“But you do.”
“That would be undesirable.”
She gets up to fix cold-brewed iced coffee. I liked it on her breath when I was young enough to get close to her mouth. With her narrow back to me, she stirs milk and ice into glasses with long steel spoons.
“Did he write back?” I ask.
She hands me a glass. “Kept it. But he left the tomatoes. Like you do. Do you still hate tomatoes? He fixed the leak over there already. You see the water spot hasn't grown.” She re-folds a soggy napkin around her glass and says, “It finally does what it's supposed to.”
We make eye contact. She's waiting for me to object, but if I did, I would have to learn what she thinks of me.
“Don't you wonder what he looks like?”
My grandmother smiles.
Somewhere close, a dog howls. She says, “Did you hear that? You don't hear them that much anymore. Used to be the world was wilder.”
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This piece was shortlisted for Glimmer Train's Very Short Fiction Award in 2010, but was not published.
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i love this image, here:
I like to eat all of the soup to reveal the picture of a blue bridge and a blue boat and blue willows and two blue birds.
i have a bowl like that, somewhere. from italy. my blue period
gotta love this one--grandma love
star
Teeters wonderfully on the edge of Magic Realsim--with the man in the attic and the roofer and the matter-of-fact way grandmother accepts this, but stays in its wonderfully credible and lovely site. Hot soup and iced coffee and that amber light and these two. Cool.
Crisp, image-filled sentences. What makes this story powerful is what it doesn't explain.
Love it. "'Don't you wonder what he looks like?' My grandmother smiles." Fave.
used to be the world was wilder --
wonderful.
I love this, Elizabeth. A great piece.
I don't fish, but I'm gonna explain how this story worked on me by saying this:
THE HOOK:
"My grandmother's boyfriend lives in the attic."
THE TUG
“He knows I'm smart. I left the completed Times puzzle on his lunch yesterday with a note that says I don't cheat.”
THE LANDING
Somewhere close, a dog howls. She says, “Did you hear that? You don't hear them that much anymore. Used to be the world was wilder.”
You have a natural storytelling ability that shows through in this story. I have not read the sister story you mentioned in the note, but this stands on its own, for what it's worth.
Very good story with a terrific last line
Deju vu all over again. Did I read "this" (or something very much like it) on Fictionaut last year/earlier this year? I like this quite a bit. The migrant/attic part feels so familiar.
Wow, thank you all so much. I was afraid it sounded so incomplete...
Samuel, yeah, I posted a while back, but deleted, made a couple changes, and reposted because I wanted it to be viewed shortly after others had the chance to read "No One Can Say." Thanks for reading again. :)
And thank you all for the kind words. Very generous readers.
Still appreciate the kind words, but still think this piece needs a push into somewhere...
Thoughts?
Thanks, this was a pleasure to read--has so many natural bits. I like the warmth and earthiness of it.
Nice bit: "Her painted toes are pointed towards each other, and her hands are folded over expensive knit pants. She is too stylish to be crazy, is what the migrant probably thinks. And he's right."
The story is wonderful, and like the worn roof, there are places where you could easily slip in and camp out... if you catch my metaphor (you asked for ideas on where to push it)
Definitely one to play around with.
This is so wonderful, and I agree with what Sheldon said: this story exhibits a natural flow, a real way of drawing the reader in and keeping (me) there. The dialogue interspersed with the details (those long steel spoons, her narrow back, her painted toes, the way she does the crossword puzzle!) make this come alive. I can picture the scene, hear them talking, thinking, not saying some things. And the transition to that ending -- just love that, the wider world out there. Makes me want to know more. I feel like this could be a part of a larger work...
And by the way, reading "I know it" reminds me of Cormac McCarthy. He writes such sparse dialogue, and in All the Pretty Horses, his characters always answer with "I know it" rather than "I know" -- it captures a character so well. Something about that 'it' on there. Can't explain, but it really grabbed me the right way. But then again, I'm a sucker for McCarthy anyway, so seeing you use that expression made me SMILE. It's a small detail, but I wanted to share that.
Thanks so much, Michelle. Cormac McCarthy is a powerhouse, so double-thanks! Thanks for reading it so carefully.