Chris Chambers Character Analysis

The most important things in life are the hardest to say. They are the things you get ashamed of, because words diminish them—words shrink things that seemed limitless when they were in your head to no more than living size when they’re brought out. But it’s more than that, isn’t it? The most important things lie too close to wherever your secret heart is buried, like landmarks to a treasure your enemies would love to steal away. And you may make revelations that cost you dearly only to have people to look at you in a funny way, not understanding what you’ve said at all, or why you thought it was so important that you almost cried when you were saying it. That’s the worst, I think. When the secret stays locked within not for want of a teller but for want of an understanding ear.

The year before, Chris had been suspended from school for three days. A bunch of milk-money disappeared when it was Chris’s turn to be room-monitor and collect it, and because he was a Chambers from those no-account Chamberses, he had to take a hike even though he always swore he never hawked that money. That was the time Mr. Chambers put Chris in the hospital for an overnight stay; when his dad heard Chris was suspended, he broke Chris’s nose and his right wrist. Chris came from a bad family, all right, and everybody thought he would turn out bad…including Chris. His brothers had lived up to the town’s expectations admirably.

“Paratroops over the side!” Vern bawled, and leaped halfway down the embankment in one crazy, clownish stride. Vern was nuts for playing paratroops anyplace the ground was soft—a gravel pit, a haymow, an embankment like this one. Chris jumped after him. The train was really loud now, probably headed straight up our side of the river toward Lewiston. Instead of jumping, Teddy turned in the direction from which it was coming. His thick glasses glittered in the sun. His long hair flopped untidily over his brow in sweat-soaked stringers.

“Go on, Teddy,” I said.

“No, huh-uh, I’m gonna dodge it.” He looked at me, his magnified eyes frantic with excitement. “A train-dodge, dig it? What’s trucks after a fuckin train-dodge?”

“You’re crazy, man. You want to get killed?”

So up he went, and he actually made it […] He stood there, clutching the top of the pine in one tar-gummy hand […] and then there was a sickening, rotted crack as the branch he was standing on gave way and he plummeted. What happened next was one of those things that make you sure there must be a God. Chris reached out, purely on reflex, and what he caught was a fistful of Teddy Duchamp’s hair. And although his wrist swelled up fat and he was unable to use his right hand very well for almost two weeks, Chris held him until Teddy, screaming and cursing, got his foot on a live branch thick enough to support his weight. Except for Chris’s blind grab, he would have turned and crashed and smashed all the way to the foot of the tree, a hundred and twenty feet below.

“No, man,” Vern said earnestly. “A goocher, that’s really bad. You remember when Clint Bracken and those guys got wiped out on Sirois Hill in Durham? Billy tole me they was flippin for beers and they came up a goocher just before they got into that car. And bang! They all get fuckin totaled. I don’t like that. Sincerely.”

“Nobody believes that crap about moons and goochers,” Teddy said impatiently. “It’s baby stuff, Vern. You gonna flip or not?”

Vern flipped, but with obvious reluctance. This time he, Chris, and Teddy all had tails. I was showing Thomas Jefferson on a nickel. And I was suddenly scared. It was as if a shadow had crossed some inner sun. They still had a goocher, the three of them, as if dumb fate had pointed at them a second time.

“That’s a really fine story,” Chris said suddenly. “They’re just a little too dumb to understand.”

“No, it’s not that hot. It’s a mumbler.”

“That’s what you always say. Don’t give me that bullshit you don’t believe. Are you gonna write it down? The story?”

“Probably. But not for a while. I can’t write em down right after I tell em. It’ll keep.”

“What Vern said? About the ending being a gyp?”

“Yeah?”

Chris laughed. “Life’s a gyp, you know it? I mean, look at us.”

Chris Chambers was twelve when he said all that to me. But while he was saying it his face crumpled and folded into something older, oldest, ageless. He spoke tonelessly, colorlessly, but nevertheless, what he said struck terror into my bowels. It was as if he had lived that whole life already, that life where they tell you to step right up and spin the Wheel of Fortune, and it spins so pretty and the guy steps on a pedal and it comes up double zeroes, house number, everybody loses. They give you a free pass and then they turn on the rain machine, pretty funny, huh […]

He grabbed my naked arm and his fingers closed tight. They dug grooves in my flesh. They ground at the bones. His eyes were hooded and dead—so dead, man, that he might have just fallen out of his own coffin.

“People. People drag you down.”

“Who?” I asked, thinking he must mean the teachers, or adult monsters like Miss Simons, who had wanted a new skirt, or maybe his brother Eyeball who hung around with Ace and Billy and Charlie and the rest, or maybe his own mom and dad.

But he said: “Your friends drag you down, Gordie. Don’t you know that?” He pointed at Vern and Teddy, who were standing and waiting for us to catch up. They were laughing about something […] “Your friends do. They’re like drowning guys that are holding onto your legs. You can’t save them. You can only drown with them.”

“Come on, you fuckin slowpokes!” Vern shouted […]

“Yeah, comin!” Chris called and before I could say anything else, [Chris] began to run. I ran, too, but he caught up to them before I could catch up to him.

Keith must have seen something in my face because he said: “Not very pretty, are they?”

I only shook my head, wanting to tell him not to apologize, wanting to tell him that you didn’t have to come to the Apple and ride the ferry to see used rubbers, wanting to say: The only reason anyone writes stories is so they can understand the past and get ready for some future mortality; that’s why all the verbs in stories have -ed endings, Keith my good man, even the ones that sell millions of paperbacks. The only two useful artforms are religion and stories.

I was pretty drunk that night, as you may have guessed.

What I did tell him was: “I was thinking of something else, that’s all.” The most important things are the hardest things to say.

We looked into each others’ tired, sweaty faces. We were hungry and out of temper. The big adventure had turned into a long slog—dirty and sometimes scary. We would have been missed back home by now, too, and if Milo Pressman hadn’t already called the cops on us, the engineer of the train crossing the trestle might have done it. We had been planning to hitchhike back to Castle Rock, but four o’clock was just three hours from dark, and nobody gives four kids on a back country road a lift after dark.

I tried to summon up the cool image of my deer, cropping at green morning grass, but even that seemed dusty and no good, no better than a stuffed trophy over the mantle in some guy’s hunting lodge, the eyes sprayed to give them a phony lifelike shine.

Finally Chris said: “It’s still closer out going ahead. Let’s go.”

If [the idea of hitchhiking] had come up and hadn’t been shot down in flames, none of the things which occurred later would have happened. Maybe Chris and Teddy and Vern would even be alive today. No, they didn’t die in the woods or on the railroad tracks; nobody dies in this story except some bloodsuckers and Ray Brower, and if you want to be completely fair about it, he was dead before it even started. But it is true that, of the four of us who flipped coins to see who would go down to the Florida Market to get supplies, only the one who actually went is still alive […] If you sense a certain flipness on my part, you’re right—but [… at ] an age when all four of us would be considered too young and immature to be President, three of us are dead.

I looked in the direction Vern was pointing and saw a blue-white fireball bowling its way up the lefthand rail of the GS&WM tracks, crackling and hissing for all the world like a scalded cat. It hurried past us as we turned to watch it go, dumbfounded, aware for the first time that such things could exist. Twenty feet beyond us it made a sudden—pop!!—and just disappeared, leaving a greasy smell of ozone behind.

“What am I doin here, anyway?” Teddy muttered.

“What a pisser!” Chris exclaimed happily, his face upturned. “This is gonna be a pisser like you wouldn’t believe!” But I was with Teddy. Looking up at that sky gave me a dismaying sense of vertigo. It was like looking into some deeply mysterious marbled gorge.

Still, it’s mostly just the idea of holding that pail in my two hands, I guess—as much a symbol of my living as his dying, proof that I really do know which boy it was—which boy of the five of us. Holding it. Reading every year in its cake of rust and the fading of its bright shine. Feeling it, trying to understand the suns that shone on it, the rains that fell on it, the snows that covered it. And to wonder where I was when each thing happened to it in its lonely place, where I was, what I was doing, who I was loving, how I was getting along where I was. I’d hold it, read it, feel it…and look at my own face in whatever reflection might be left. Can you dig it?

Even if I’d known the right thing to say, I probably wouldn’t have said it. Speech destroys the functions of love, I think—that’s a hell of a thing for a writer to say, I guess, but I believe it to be true. If you speak to tell a deer you mean it no harm, it glides away with a single slip of its tail. The word is the harm. Love isn’t what these asshole poets like McKeun want you to think it is. Love has teeth; they bite; the wounds never close. No word, no combination of words, can close those lovebites. It’s the other way around, that’s the joke. If those wounds dry up, the words die with them. Take it from me. I’ve made my life from the words, and I know that it is so.

I didn’t care if Ace or Fuzzy and the rest of those assholes respected me or thought I was stupid or never thought about me at all. But there was Chris to think of. His brother Eyeball had broken his arm in two places and had left his face looking like a Canadian sunrise. They had to set the elbow-break with a steel pin. Mrs. McGinn from down the road saw Chris staggering along the soft shoulder, bleeding from both ears and reading a Richie Rich comic book. She took him to the CMG Emergency Room where Chris told the doctor he had fallen down the cellar stairs in the dark.

The most important things in life are the hardest to say. They are the things you get ashamed of, because words diminish them—words shrink things that seemed limitless when they were in your head to no more than living size when they’re brought out. But it’s more than that, isn’t it? The most important things lie too close to wherever your secret heart is buried, like landmarks to a treasure your enemies would love to steal away. And you may make revelations that cost you dearly only to have people to look at you in a funny way, not understanding what you’ve said at all, or why you thought it was so important that you almost cried when you were saying it. That’s the worst, I think. When the secret stays locked within not for want of a teller but for want of an understanding ear.

The year before, Chris had been suspended from school for three days. A bunch of milk-money disappeared when it was Chris’s turn to be room-monitor and collect it, and because he was a Chambers from those no-account Chamberses, he had to take a hike even though he always swore he never hawked that money. That was the time Mr. Chambers put Chris in the hospital for an overnight stay; when his dad heard Chris was suspended, he broke Chris’s nose and his right wrist. Chris came from a bad family, all right, and everybody thought he would turn out bad…including Chris. His brothers had lived up to the town’s expectations admirably.

“Paratroops over the side!” Vern bawled, and leaped halfway down the embankment in one crazy, clownish stride. Vern was nuts for playing paratroops anyplace the ground was soft—a gravel pit, a haymow, an embankment like this one. Chris jumped after him. The train was really loud now, probably headed straight up our side of the river toward Lewiston. Instead of jumping, Teddy turned in the direction from which it was coming. His thick glasses glittered in the sun. His long hair flopped untidily over his brow in sweat-soaked stringers.

“Go on, Teddy,” I said.

“No, huh-uh, I’m gonna dodge it.” He looked at me, his magnified eyes frantic with excitement. “A train-dodge, dig it? What’s trucks after a fuckin train-dodge?”

“You’re crazy, man. You want to get killed?”

So up he went, and he actually made it […] He stood there, clutching the top of the pine in one tar-gummy hand […] and then there was a sickening, rotted crack as the branch he was standing on gave way and he plummeted. What happened next was one of those things that make you sure there must be a God. Chris reached out, purely on reflex, and what he caught was a fistful of Teddy Duchamp’s hair. And although his wrist swelled up fat and he was unable to use his right hand very well for almost two weeks, Chris held him until Teddy, screaming and cursing, got his foot on a live branch thick enough to support his weight. Except for Chris’s blind grab, he would have turned and crashed and smashed all the way to the foot of the tree, a hundred and twenty feet below.

“No, man,” Vern said earnestly. “A goocher, that’s really bad. You remember when Clint Bracken and those guys got wiped out on Sirois Hill in Durham? Billy tole me they was flippin for beers and they came up a goocher just before they got into that car. And bang! They all get fuckin totaled. I don’t like that. Sincerely.”

“Nobody believes that crap about moons and goochers,” Teddy said impatiently. “It’s baby stuff, Vern. You gonna flip or not?”

Vern flipped, but with obvious reluctance. This time he, Chris, and Teddy all had tails. I was showing Thomas Jefferson on a nickel. And I was suddenly scared. It was as if a shadow had crossed some inner sun. They still had a goocher, the three of them, as if dumb fate had pointed at them a second time.

“That’s a really fine story,” Chris said suddenly. “They’re just a little too dumb to understand.”

“No, it’s not that hot. It’s a mumbler.”

“That’s what you always say. Don’t give me that bullshit you don’t believe. Are you gonna write it down? The story?”

“Probably. But not for a while. I can’t write em down right after I tell em. It’ll keep.”

“What Vern said? About the ending being a gyp?”

“Yeah?”

Chris laughed. “Life’s a gyp, you know it? I mean, look at us.”

Chris Chambers was twelve when he said all that to me. But while he was saying it his face crumpled and folded into something older, oldest, ageless. He spoke tonelessly, colorlessly, but nevertheless, what he said struck terror into my bowels. It was as if he had lived that whole life already, that life where they tell you to step right up and spin the Wheel of Fortune, and it spins so pretty and the guy steps on a pedal and it comes up double zeroes, house number, everybody loses. They give you a free pass and then they turn on the rain machine, pretty funny, huh […]

He grabbed my naked arm and his fingers closed tight. They dug grooves in my flesh. They ground at the bones. His eyes were hooded and dead—so dead, man, that he might have just fallen out of his own coffin.

“People. People drag you down.”

“Who?” I asked, thinking he must mean the teachers, or adult monsters like Miss Simons, who had wanted a new skirt, or maybe his brother Eyeball who hung around with Ace and Billy and Charlie and the rest, or maybe his own mom and dad.

But he said: “Your friends drag you down, Gordie. Don’t you know that?” He pointed at Vern and Teddy, who were standing and waiting for us to catch up. They were laughing about something […] “Your friends do. They’re like drowning guys that are holding onto your legs. You can’t save them. You can only drown with them.”

“Come on, you fuckin slowpokes!” Vern shouted […]

“Yeah, comin!” Chris called and before I could say anything else, [Chris] began to run. I ran, too, but he caught up to them before I could catch up to him.

Keith must have seen something in my face because he said: “Not very pretty, are they?”

I only shook my head, wanting to tell him not to apologize, wanting to tell him that you didn’t have to come to the Apple and ride the ferry to see used rubbers, wanting to say: The only reason anyone writes stories is so they can understand the past and get ready for some future mortality; that’s why all the verbs in stories have -ed endings, Keith my good man, even the ones that sell millions of paperbacks. The only two useful artforms are religion and stories.

I was pretty drunk that night, as you may have guessed.

What I did tell him was: “I was thinking of something else, that’s all.” The most important things are the hardest things to say.

We looked into each others’ tired, sweaty faces. We were hungry and out of temper. The big adventure had turned into a long slog—dirty and sometimes scary. We would have been missed back home by now, too, and if Milo Pressman hadn’t already called the cops on us, the engineer of the train crossing the trestle might have done it. We had been planning to hitchhike back to Castle Rock, but four o’clock was just three hours from dark, and nobody gives four kids on a back country road a lift after dark.

I tried to summon up the cool image of my deer, cropping at green morning grass, but even that seemed dusty and no good, no better than a stuffed trophy over the mantle in some guy’s hunting lodge, the eyes sprayed to give them a phony lifelike shine.

Finally Chris said: “It’s still closer out going ahead. Let’s go.”

If [the idea of hitchhiking] had come up and hadn’t been shot down in flames, none of the things which occurred later would have happened. Maybe Chris and Teddy and Vern would even be alive today. No, they didn’t die in the woods or on the railroad tracks; nobody dies in this story except some bloodsuckers and Ray Brower, and if you want to be completely fair about it, he was dead before it even started. But it is true that, of the four of us who flipped coins to see who would go down to the Florida Market to get supplies, only the one who actually went is still alive […] If you sense a certain flipness on my part, you’re right—but [… at ] an age when all four of us would be considered too young and immature to be President, three of us are dead.

I looked in the direction Vern was pointing and saw a blue-white fireball bowling its way up the lefthand rail of the GS&WM tracks, crackling and hissing for all the world like a scalded cat. It hurried past us as we turned to watch it go, dumbfounded, aware for the first time that such things could exist. Twenty feet beyond us it made a sudden—pop!!—and just disappeared, leaving a greasy smell of ozone behind.

“What am I doin here, anyway?” Teddy muttered.

“What a pisser!” Chris exclaimed happily, his face upturned. “This is gonna be a pisser like you wouldn’t believe!” But I was with Teddy. Looking up at that sky gave me a dismaying sense of vertigo. It was like looking into some deeply mysterious marbled gorge.

Still, it’s mostly just the idea of holding that pail in my two hands, I guess—as much a symbol of my living as his dying, proof that I really do know which boy it was—which boy of the five of us. Holding it. Reading every year in its cake of rust and the fading of its bright shine. Feeling it, trying to understand the suns that shone on it, the rains that fell on it, the snows that covered it. And to wonder where I was when each thing happened to it in its lonely place, where I was, what I was doing, who I was loving, how I was getting along where I was. I’d hold it, read it, feel it…and look at my own face in whatever reflection might be left. Can you dig it?

Even if I’d known the right thing to say, I probably wouldn’t have said it. Speech destroys the functions of love, I think—that’s a hell of a thing for a writer to say, I guess, but I believe it to be true. If you speak to tell a deer you mean it no harm, it glides away with a single slip of its tail. The word is the harm. Love isn’t what these asshole poets like McKeun want you to think it is. Love has teeth; they bite; the wounds never close. No word, no combination of words, can close those lovebites. It’s the other way around, that’s the joke. If those wounds dry up, the words die with them. Take it from me. I’ve made my life from the words, and I know that it is so.

I didn’t care if Ace or Fuzzy and the rest of those assholes respected me or thought I was stupid or never thought about me at all. But there was Chris to think of. His brother Eyeball had broken his arm in two places and had left his face looking like a Canadian sunrise. They had to set the elbow-break with a steel pin. Mrs. McGinn from down the road saw Chris staggering along the soft shoulder, bleeding from both ears and reading a Richie Rich comic book. She took him to the CMG Emergency Room where Chris told the doctor he had fallen down the cellar stairs in the dark.