Ruthie sees lovely things everywhere. I might be telling her a joke and she’ll stop and say: The moon is beautiful like a balloon. Or somebody might be singing and she’ll point to a few clouds: Look, Marlon Brando. Or a sphinx winking. Or my left shoe.
Once some friends of Edna’s came to visit and asked Ruthie if she wanted to go with them to play bingo. The car motor was running, and Ruthie stood on the steps wondering whether to go. Should I go, Ma? she asked the gray shadow behind the second-floor screen. I don’t care, says the screen, go if you want. Ruthie looked at the ground. What do you think, Ma? Do what you want, how should I know? Ruthie looked at the ground some more. The car with the motor running waited fifteen minutes and then they left. When we brought out the deck of cards that night, we let Ruthie deal.
There were many things Ruthie could have been if she wanted to. Not only is she a good whistler, but she can sing and dance too. She had lots of job offers when she was young, but she never took them. She got married instead and moved away to a pretty house outside the city. Only thing I can’t understand is why Ruthie is living on Mango Street if she doesn’t have to, why is she sleeping on a couch in her mother’s living room when she has a real house all her own, but she says she’s just visiting and next weekend her husband’s going to take her home. But the weekends come and go and Ruthie stays. No matter. We are glad because she is our friend.
I like showing Ruthie the books I take out of the library. Books are wonderful, Ruthie says, and then she runs her hand over them as if she could read them in braille. They’re wonderful, wonderful, but I can’t read anymore. I get headaches. I need to go to the eye doctor next week. I used to write children’s books once, did I tell you?
One day I memorized all of “The Walrus and the Carpenter” because I wanted Ruthie to hear me. “The sun was shining on the sea, shining with all his might …” Ruthie looked at the sky and her eyes got watery at times. Finally I came to the last lines: “But answer came there none—and this was scarcely odd, because they’d eaten every one …” She took a long time looking at me before she opened her mouth, and then she said, You have the most beautiful teeth I have ever seen, and went inside.
The
Earl of
Tennessee
Earl lives next door in Edna’s basement, behind the flower boxes Edna paints green each year, behind the dusty geraniums. We used to sit on the flower boxes until the day Tito saw a cockroach with a spot of green paint on its head. Now we sit on the steps that swing around the basement apartment where Earl lives.
Earl works nights. His blinds are always closed during the day. Sometimes he comes out and tells us to keep quiet. The little wooden door that has wedged shut the dark for so long opens with a sigh and lets out a breath of mold and dampness, like books that have been left out in the rain. This is the only time we see Earl except for when he comes and goes to work. He has two little black dogs that go everywhere with him. They don’t walk like ordinary dogs, but leap and somersault like an apostrophe and comma.
At night Nenny and I can hear when Earl comes home from work. First the click and whine of the car door opening, then the scrape of concrete, the excited tinkling of dog tags, followed by the heavy jingling of keys, and finally the moan of the wooden door as it opens and lets loose its sigh of dampness.
Earl is a jukebox repairman. He learned his trade in the South, he says. He speaks with a Southern accent, smokes fat cigars and wears a felt hat—winter or summer, hot or cold, don’t matter—a felt hat. In his apartment are boxes and boxes of 45 records, moldy and damp like the smell that comes out of his apartment whenever he opens the door. He gives the records away to us—all except the country and western.
The word is that Earl is married and has a wife somewhere. Edna says she saw her once when Earl brought her to the apartment. Mama says she is a skinny thing, blond and pale like salamanders that have never seen the sun. But I saw her once too and she’s not that way at all. And the boys across the street say she is a tall red-headed lady who wears tight pink pants and green glasses. We never agree on what she looks like, but we do know this. Whenever she arrives, he holds her tight by the crook of the arm. They walk fast into the apartment, lock the door behind them and never stay long.
Sire
I don’t remember when I first noticed him looking at me—Sire. But I knew he was looking. Every time. All the time I walked past his house. Him and his friends sitting on their bikes in front of the house, pitching pennies. They didn’t scare me. They did, but I wouldn’t let them know. I don’t cross the street like other girls. Straight ahead, straight eyes. I walked past. I knew he was looking. I had to prove to me I wasn’t scared of nobody’s eyes, not even his. I had to look back hard, just once, like he was glass. And I did. I did once. But I looked too long when he rode his bike past me. I looked because I wanted to be brave, straight into the dusty cat fur of his eyes and the bike stopped and he bumped into a parked car, bumped, and I walked fast. It made your blood freeze to have somebody look at you like that. Somebody looked at me. Somebody looked. But his kind, his ways. He is a punk, Papa says, and Mama says not to talk to him.
And then his girlfriend came. Lois I heard him call her. She is tiny and pretty and smells like baby’s skin. I see her sometimes running to the store for him. And once when she was standing next to me at Mr. Benny’s grocery she was barefoot, and I saw her barefoot baby toenails all painted pale pale pink, like little pink seashells, and she smells pink like babies do. She’s got big girl hands, and her bones are long like ladies’ bones, and she wears makeup too. But she doesn’t know how to tie her shoes. I do.
Sometimes I hear them laughing late, beer cans and cats and the trees talking to themselves: wait, wait, wait. Sire lets Lois ride his bike around the block, or they take walks together. I watch them. She holds his hand, and he stops sometimes to tie her shoes. But Mama says those kinds of girls, those girls are the ones that go into alleys. Lois who can’t tie her shoes. Where does he take her?
Everything is holding its breath inside me. Everything is waiting to explode like Christmas. I want to be all new and shiny. I want to sit out bad at night, a boy around my neck and the wind under my skirt. Not this way, every evening talking to the trees, leaning out my window, imagining what I can’t see.
A boy held me once so hard, I swear, I felt the grip and weight of his arms, but it was a dream.
Sire. How did you hold her? Was it? Like this? And when you kissed her? Like this?
Four Skinny Trees
They are the only ones who understand me. I am the only one who understands them. Four skinny trees with skinny necks and pointy elbows like mine. Four who do not belong here but are here. Four raggedy excuses planted by the city. From our room we can hear them, but Nenny just sleeps and doesn’t appreciate these things.
Their strength is secret. They send ferocious roots beneath the ground. They grow up and they grow down and grab the earth between their hairy toes and bite the sky with violent teeth and never quit their anger. This is how they keep.
Let one forget his reason for being, they’d all droop like tulips in a glass, each with their arms around the other. Keep, keep, keep, trees say when I sleep. They teach.
When I am too sad and too skinny to keep keeping, when I am a tiny thing against so many bricks, then it is I look at trees. When there is nothing left to look at on this street. Four who grew despite concrete. Four who reach and do not forget to reach. Four whose only reason is to be and be.
No Speak English
Mamacita is the big mama of the man across the street, third-floor front. Rachel says her name ought to be Mamasota, but I think that’s mean.
The man saved his money to bring her here. He saved and saved because she was alone with the baby boy in that country. He worked two jobs. He came home late and he left early. Every day.
Then one day Mamacita and the baby boy arrived in a yellow taxi. The taxi door opened like a waiter’s arm. Out stepped a tiny pink sho
e, a foot soft as a rabbit’s ear, then the thick ankle, a flutter of hips, fuchsia roses and green perfume. The man had to pull her, the taxicab driver had to push. Push, pull. Push, pull. Poof!
All at once she bloomed. Huge, enormous, beautiful to look at, from the salmon-pink feather on the tip of her hat down to the little rosebuds of her toes. I couldn’t take my eyes off her tiny shoes.
Up, up, up the stairs she went with the baby boy in a blue blanket, the man carrying her suitcases, her lavender hatboxes, a dozen boxes of satin high heels. Then we didn’t see her.
Somebody said because she’s too fat, somebody because of the three flights of stairs, but I believe she doesn’t come out because she is afraid to speak English, and maybe this is so since she only knows eight words. She knows to say: He not here for when the landlord comes, No speak English if anybody else comes, and Holy smokes. I don’t know where she learned this, but I heard her say it one time and it surprised me.
My father says when he came to this country he ate hamandeggs for three months. Breakfast, lunch and dinner. Hamandeggs. That was the only word he knew. He doesn’t eat hamandeggs anymore.
Whatever her reasons, whether she is fat, or can’t climb the stairs, or is afraid of English, she won’t come down. She sits all day by the window and plays the Spanish radio show and sings all the homesick songs about her country in a voice that sounds like a seagull.
Home. Home. Home is a house in a photograph, a pink house, pink as hollyhocks with lots of startled light. The man paints the walls of the apartment pink, but it’s not the same, you know. She still sighs for her pink house, and then I think she cries. I would.
Sometimes the man gets disgusted. He starts screaming and you can hear it all the way down the street.
Ay, she says, she is sad.
Oh, he says. Not again.
¿Cuándo, cuándo, cuándo? she asks.
¡Ay, caray! We are home. This is home. Here I am and here I stay. Speak English. Speak English. Christ!
¡Ay! Mamacita, who does not belong, every once in a while lets out a cry, hysterical, high, as if he had torn the only skinny thread that kept her alive, the only road out to that country.
And then to break her heart forever, the baby boy, who has begun to talk, starts to sing the Pepsi commercial he heard on T.V.
No speak English, she says to the child who is singing in the language that sounds like tin. No speak English, no speak English, and bubbles into tears. No, no, no, as if she can’t believe her ears.
Rafaela
Who Drinks
Coconut & Papaya
Juice
on Tuesdays
On Tuesdays Rafaela’s husband comes home late because that’s the night he plays dominoes. And then Rafaela, who is still young but getting old from leaning out the window so much, gets locked indoors because her husband is afraid Rafaela will run away since she is too beautiful to look at.
Rafaela leans out the window and leans on her elbow and dreams her hair is like Rapunzel’s. On the corner there is music from the bar, and Rafaela wishes she could go there and dance before she gets old.
A long time passes and we forget she is up there watching until she says: Kids, if I give you a dollar will you go to the store and buy me something? She throws a crumpled dollar down and always asks for coconut or sometimes papaya juice, and we send it up to her in a paper shopping bag she lets down with clothesline.
Rafaela who drinks and drinks coconut and papaya juice on Tuesdays and wishes there were sweeter drinks, not bitter like an empty room, but sweet sweet like the island, like the dance hall down the street where women much older than her throw green eyes easily like dice and open homes with keys. And always there is someone offering sweeter drinks, someone promising to keep them on a silver string.
Sally
Sally is the girl with eyes like Egypt and nylons the color of smoke. The boys at school think she’s beautiful because her hair is shiny black like raven feathers and when she laughs, she flicks her hair back like a satin shawl over her shoulders and laughs.
Her father says to be this beautiful is trouble. They are very strict in his religion. They are not supposed to dance. He remembers his sisters and is sad. Then she can’t go out. Sally I mean.
Sally, who taught you to paint your eyes like Cleopatra? And if I roll the little brush with my tongue and chew it to a point and dip it in the muddy cake, the one in the little red box, will you teach me?
I like your black coat and those shoes you wear, where did you get them? My mother says to wear black so young is dangerous, but I want to buy shoes just like yours, like your black ones made out of suede, just like those. And one day, when my mother’s in a good mood, maybe after my next birthday, I’m going to ask to buy the nylons too.
Cheryl, who is not your friend anymore, not since last Tuesday before Easter, not since the day you made her ear bleed, not since she called you that name and bit a hole in your arm and you looked as if you were going to cry and everyone was waiting and you didn’t, you didn’t, Sally, not since then, you don’t have a best friend to lean against the schoolyard fence with, to laugh behind your hands at what the boys say. There is no one to lend you her hairbrush.
The stories the boys tell in the coatroom, they’re not true. You lean against the schoolyard fence alone with your eyes closed as if no one was watching, as if no one could see you standing there, Sally. What do you think about when you close your eyes like that? And why do you always have to go straight home after school? You become a different Sally. You pull your skirt straight, you rub the blue paint off your eyelids. You don’t laugh, Sally. You look at your feet and walk fast to the house you can’t come out from.
Sally, do you sometimes wish you didn’t have to go home? Do you wish your feet would one day keep walking and take you far away from Mango Street, far away and maybe your feet would stop in front of a house, a nice one with flowers and big windows and steps for you to climb up two by two upstairs to where a room is waiting for you. And if you opened the little window latch and gave it a shove, the windows would swing open, all the sky would come in. There’d be no nosy neighbors watching, no motorcycles and cars, no sheets and towels and laundry. Only trees and more trees and plenty of blue sky. And you could laugh, Sally. You could go to sleep and wake up and never have to think who likes and doesn’t like you. You could close your eyes and you wouldn’t have to worry what people said because you never belonged here anyway and nobody could make you sad and nobody would think you’re strange because you like to dream and dream. And no one could yell at you if they saw you out in the dark leaning against a car, leaning against somebody without someone thinking you are bad, without somebody saying it is wrong, without the whole world waiting for you to make a mistake when all you wanted, all you wanted, Sally, was to love and to love and to love and to love, and no one could call that crazy.
Minerva
Writes Poems
Minerva is only a little bit older than me but already she has two kids and a husband who left. Her mother raised her kids alone and it looks like her daughters will go that way too. Minerva cries because her luck is unlucky. Every night and every day. And prays. But when the kids are asleep after she’s fed them their pancake dinner, she writes poems on little pieces of paper that she folds over and over and holds in her hands a long time, little pieces of paper that smell like a dime.
She lets me read her poems. I let her read mine. She is always sad like a house on fire—always something wrong. She has many troubles, but the big one is her husband who left and keeps leaving.
One day she is through and lets him know enough is enough. Out the door he goes. Clothes, records, shoes. Out the window and the door locked. But that night he comes back and sends a big rock through the window. Then he is sorry and she opens the door again. Same story.
Next week she comes over black and blue and asks what can she do? Minerva. I don’t know which way she’ll go. There is nothing I can do.
B
ums
in the Attic
I want a house on a hill like the ones with the gardens where Papa works. We go on Sundays, Papa’s day off. I used to go. I don’t anymore. You don’t like to go out with us, Papa says. Getting too old? Getting too stuck-up, says Nenny. I don’t tell them I am ashamed—all of us staring out the window like the hungry. I am tired of looking at what we can’t have. When we win the lottery … Mama begins, and then I stop listening.
People who live on hills sleep so close to the stars they forget those of us who live too much on earth. They don’t look down at all except to be content to live on hills. They have nothing to do with last week’s garbage or fear of rats. Night comes. Nothing wakes them but the wind.
One day I’ll own my own house, but I won’t forget who I am or where I came from. Passing bums will ask, Can I come in? I’ll offer them the attic, ask them to stay, because I know how it is to be without a house.
Some days after dinner, guests and I will sit in front of a fire. Floorboards will squeak upstairs. The attic grumble.
Rats? they’ll ask.
Bums, I’ll say, and I’ll be happy.
Beautiful & Cruel
I am an ugly daughter. I am the one nobody comes for.
Nenny says she won’t wait her whole life for a husband to come and get her, that Minerva’s sister left her mother’s house by having a baby, but she doesn’t want to go that way either. She wants things all her own, to pick and choose. Nenny has pretty eyes and it’s easy to talk that way if you are pretty.
My mother says when I get older my dusty hair will settle and my blouse will learn to stay clean, but I have decided not to grow up tame like the others who lay their necks on the threshold waiting for the ball and chain.
The House on Mango Street Page 6