Abuse Theme Analysis

Roy stored his ammunition in a metal box he kept hidden in the closet. As with everything else hidden in the apartment, I knew exactly where to find it. There was a layer of loose .22 rounds on the bottom of the box under shells of bigger caliber, dropped there by the handful the way men drop pennies on their dressers at night. I took some and put them in a hiding place of my own. With these I started loading up the rifle. Hammer cocked, a round in the chamber, finger resting lightly on the trigger, I drew a bead on whoever walked by—women pushing strollers, children, garbage collectors laughing and calling to each other, anyone—and as they passed under my window I sometimes had to bite my lip to keep from laughing in the ecstasy of my power over them, and at their absurd and innocent belief that they were safe.

At the end of every show the local station gave an address for Mousketeer Mail. I had begun writing Annette. At first I described myself in pretty much the same terms as I had in my letters to Alice, who was now very much past tense, with the difference that instead or owning a ranch my father, Cap'n Wolff, now owned a fleet of fishing boats. I was first mate, myself, and a pretty fair hand at reeling in the big ones. I gave Annette some very detailed descriptions of my contests with the friskier fellows I ran up against. I also invited her to consider the fun to be had in visiting Seattle. I told her we had lots of room. I did not tell her that I was eleven years old.

I got back some chipper official responses encouraging me to start an Annette fan club. In other words, to organize my competition. Fat chance. But when I upped the ante in my letters to her, they stopped sending me anything at all. The Disney Studio must have had a kind of secret service that monitored Mousketeer Mail for inappropriate sentiments and declarations. When my name went off the mailing list, it probably went onto some other list. But Alice had taught me about coyness. I kept writing Annette and began to

imagine a terrible accident in front of her house that would almost but not quite kill me, leaving me dependent on her care and sympathy, which in time would tum to admiration, love . . .

I wanted to do what Dwight expected me to do, but I couldn't. I stood where I was and stared at the beaver. Dwight came up beside me. "That pelt's worth fifty dollars, bare minimum." He added, "Don't tell me you're

afraid of the damned thing."

"No sir."

"Then pick it up." He watched me. "It's dead, for Christ's sake. It's just meat. Are you afraid of hamburger? Look." He bent down and gripped the tail in one hand and lifted the beaver off the ground. He tried to make this appear effortless but I could see he was surprised and strained by the beaver's weight. A stream of blood ran out of its nose, then stopped. A few drops fell on Dwight's shoes before he jerked the body away. Holding the beaver in front of him with both hands, Dwight carried it to the open trunk and let go. It landed hard. "There," he said, and wiped his hands on his pant leg.

Now I saw her only when Dwight agreed to drive me down with him. He usually had reasons for leaving me behind, the paper route or schoolwork or something I had done wrong that week. But he had to bring me sometimes, and then he never let me out of his sight. He stuck close by and acted jovial. He smiled at me and put his hand on my shoulder and made frequent reference to fun things we'd done together. And I played along. Watching myself with revulsion, aghast at my own falsity yet somehow helpless to stop it, I simpered back at him and laughed when he invited me to laugh and confirmed all his lying implications that we were pals and our life together a good one. Dwight did this whenever it suited his purpose, and I never let him down.

[The piano] was just a piece of furniture, so dark in all this whiteness that it seemed to be pulsing. You really couldn't look anywhere else.

I agreed that it stood out.

We went to work on it. Using fine bristles so our brush strokes wouldn't show, we painted the bench, the pedestal, the fluted columns that rose from the pedestal to the keyboard. We painted the carved scrollwork. We painted the elaborate inlaid picture above the keyboard, a picture of a girl with braided yellow hair leaning out of her gabled window to listen to a redbird on a branch. We painted the lustrous cabinet. We even painted the foot pedals. Finally, because the antique yellow of the ivory looked wrong to Dwight against the new white, we very carefully painted the keys, all except the black ones, of course.

We climbed up into the attic and worked our way down to where I'd put the boxes. It was cramped and musty. From below I could hear faint voices singing. Dwight led the way, probing the darkness with a flashlight. When he found the boxes he stopped and held the beam on them. Mold covered the cardboard sides and rose from the tops of the boxes like dough swelling out of a breadpan. Its surface, dark and solid-looking, gullied and creased like cauliflower, glistened in the light. Dwight played the beam over the boxes, then turned it on the basin where the beaver, also forgotten these two years past, had been left to cure. Only a pulp remained. This too was covered with mold, but a different kind than the one that had gotten the chestnuts. This mold was white and transparent, a network of gossamer filaments that had flowered to a height of two feet or so above the basin. It was like cotton candy but more loosely spun. And as Dwight played the light over it I saw something strange. The mold had no features, of course, but its outline somehow suggested the shape of the beaver it had consumed: a vague cloud-picture of a beaver crouching in the air.

After I got up [Arthur] rushed me, and without calculation I sidestepped and threw him an uppercut. It stopped him cold. He just stood there, shaking his head. I hit him again and the bell rang.

I caught him with that uppercut twice more during the final round, but neither of them rocked him like that first one. That first one was a beaut. I launched it from my toes and put everything I had into it, and it shivered his timbers. I could feel it travel through him in one pure line. I could feel it hurt him. And when it landed, and my old friend's head snapped back so terribly, I felt a surge of pride and connection; connection not to him but to Dwight. I was distinctly aware of Dwight in that bellowing mass all around me. I could feel his exultation at the blow I'd struck, feel his own pride in it, see him smiling down at me with recognition, and pleasure, and something like love.

Everyone liked Chuck. Sober, he was friendly and calm and openhanded. When I admired a sweater of his he gave it to me, and later he gave me a Buddy Holly album we used to sing along with. Chuck liked to sing when he wasn't in church. It was hard to believe, seeing him in the light of day, that he had spent the previous night throwing himself against a tree. That was why the Bolgers had so much trouble coming to terms with his wildness. They saw nothing of it. He lingered over meals in the main house, talked with his father about the store, helped his mother with the dishes. His little sisters fawned on him like spaniels. Chuck seemed for all the world a boy at home with himself, and at these times he was. It wasn't an act. So when the other Chuck, the bad Chuck, did something, it always caught the Bolgers on their blind side and knocked them flat.