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The Red Pencil

Page 8

by Andrea Davis Pinkney


  in a healthy season.

  A red pencil!

  Yellow sheets for writing!

  A happy quick-beat drums in me,

  deep.

  PARTING GLANCE

  Miss Sabine gathers her pouches,

  now empty.

  The children are busy,

  fanning their tablets,

  playing with pencils.

  This ginger-skinned lady glances at me,

  her starshine eyes warm with kindness,

  with encouragement.

  With permission.

  When the intake man escorts Miss Sabine away,

  I say good-bye with a single wave,

  wishing she would stay forever.

  Next to Miss Sabine’s

  lean elegance,

  the intake man

  is a bloated goat.

  A safari suit with many pockets

  is too tight

  for his squat body.

  Green-dark sunglasses

  mask his eyes.

  STRAIGHT AND SHINY

  Something about the red pencil

  begs me to hold it tightly.

  When I do,

  it feels strange

  between my thumb

  and three of my fingers.

  It’s nothing like my twig.

  It’s straight and shiny,

  and short.

  I press its pointed end

  to the yellow tablet’s

  paper face.

  The pencil is not only red

  on the outside.

  It’s red inside, too!

  I force a mark

  no bigger than the

  skin crease in my bent fingers

  that grip this strange,

  shiny,

  pointed thing that is not a twig.

  The red half-a-dash

  I’ve struck on the page

  is enough drawing for

  today.

  I do not like this pencil.

  I thought I would,

  but somehow

  I don’t.

  This pencil is hard to hold,

  and much too skinny.

  BLOCKED

  My pencil tries to draw

  what I remember of Nali.

  But something in me

  will not let

  the red

  shape her face,

  ears,

  nose.

  Nali’s nose.

  Always nuzzling me at night,

  always waking me,

  warm

  with its prodding.

  Nali, always tickling me,

  wanting to play.

  This I miss most about Nali.

  Why can’t I make

  my pencil

  shape

  a picture

  of Nali’s body,

  plump as a feed sack

  stuffed with grain?

  OLD ANWAR’S LAMENT

  He speaks to me gently,

  as if I’m his baby lamb.

  “Precious Amira,

  if I could,

  I would chase off the pain

  that has robbed your beautiful voice.

  “I would replace the missing part

  that has fallen from your heart.

  “I would pull your voice

  from inside my pocket,

  lift it out,

  present it to you with open hands.

  “If I could,

  I would stitch

  that missing patch

  back to your very essence.

  “I would sprinkle magic goz

  to summon your speaking.

  “Precious Amira,

  if I could,

  I would mend

  what has been snipped

  from your soul.”

  Old Anwar, if only you could.

  WIFE

  The girl with the rude husband

  is ahead of us in the water line.

  She sits on the ground,

  waiting her turn,

  edging forward.

  At the front,

  she stands up,

  gets two gallons,

  trudges off the line,

  panting.

  Later, women gather to wash clothes.

  I’m helping Muma.

  The girl

  is holding up a man’s wet underpants.

  They are stained

  with what looks like remnants

  of smeared plop.

  She pounds at the plop with a rock.

  Wrings out the underpants,

  sets them on a mat to dry.

  Muma says,

  “That is a wife’s love.”

  There is nothing to love about a rude man’s plop.

  INSIDE THE FLICKER BOX

  Leila’s bad dreams

  and Gamal’s grief

  have rubbed their anguish

  onto me.

  Now I am the one

  overcome.

  I wake,

  chilled,

  even though the night is warm.

  My mind

  is filled with

  demon dreams

  of the flicker box.

  The teethy people

  inside that loud,

  lighted thing

  are trying to

  bite my knuckles!

  Halima is there, too,

  inside the flicker box,

  smiling,

  waving fast,

  so glad to see me!

  I shimmy high up

  on the pole where

  the flicker box lives.

  Tear off the front

  of the flicker-box face.

  Climb inside.

  Hug Halima.

  We play dizzy donkey!

  We talk, talk, talk,

  and sing,

  and spin all day.

  STIRRING A POT

  Old Anwar has found a wheelbarrow

  for collecting firewood.

  Its hinges are rusted,

  creaking a tired groan.

  He’s loaded the wheelbarrow’s

  dented well with a teetering mound

  of split-open logs.

  The sure hands

  of this old man

  prepare a cooking pit

  for stirring a pot.

  Our meal is a makeshift mix

  of greens,

  salt,

  rice,

  and onions,

  going stale.

  Old Anwar boils and sips from

  a warped spoon.

  His cook’s flame

  licks the bottom

  of the pot,

  set in the center of

  our tiny dome-home.

  Old Anwar has enhanced

  the meal with lentils.

  Old Anwar gathers us.

  We pray,

  then eat.

  We scoop with

  cupped fingers,

  holding crusts of bread.

  The food is good,

  soothing.

  It is made tasty

  by Old Anwar’s proclamation:

  “We are now a family.”

  NEEDLE NOSES

  They are quick.

  They stick

  to the too-small net

  that does not stretch far enough

  to fully protect us

  from their needle noses.

  For them,

  this is a party.

  They are gathered

  and glued to the sheer,

  flimsy veil.

  I tuck the net in at each rice-bag corner,

  pin its open flaps to the sand

  with flat stones.

  I might as well be trying to cover

  the whole desert

  with my foot’s shadow.

  Their celebration continues

  as dusk brings more hungry guests

  who slip under,

  around,

  in.

  Now
the fun really begins—for them.

  For us, it’s a fight.

  Swatting!

  Whacking!

  Bothered by these pests, now singing.

  Vzzzz-vzzzz-vzzzz!!!

  Needle noses want one thing—

  our warm blood.

  For them,

  our blood is delicious juice.

  As much as we swat

  and fling,

  they still win.

  Leaving itchy welts

  in their wake.

  Leaving us swollen

  and scratching

  all night long.

  For them,

  paradise!

  Why did Allah make mosquitoes?

  SESAME OIL

  Every mosquito

  in all of Sudan

  must be rejoicing today.

  Their blood-sucking party

  was a grand celebration.

  Muma slathers me,

  Leila,

  and Gamal

  with sticky sesame oil.

  “It will keep mosquitoes away,”

  she claims.

  I hope she’s right.

  Those pointy-nosed pests

  have blotched my skin

  with their ugly designs.

  This is why

  I let Muma

  turn me

  into a greased girl.

  QUESTIONS

  My voice,

  still silenced,

  is buried.

  Still, I do not speak.

  Still, I cannot speak.

  Yet,

  there are many questions

  I want to ask my mother.

  But I do not ask.

  I cannot ask.

  Perhaps it is good

  that I do not,

  cannot.

  My questions would vex Muma.

  Yet,

  I want to ask my mother

  why she bothers to sweep

  the dirt floor

  of our dirty hut.

  I want to ask my mother

  what she prays for each morning,

  and at dusk.

  I want to ask my mother

  if she saw my father fall.

  There are so many questions

  I do not,

  cannot,

  ask my mother.

  I do not

  want to vex my mother.

  NEW NEIGHBOR

  Who are you, bushy bundle?

  Waddling with a will

  through the crevice

  that separates our hut

  from the one next door.

  I see you nosing your way

  past trash

  and dirt-caked paths

  that have carved themselves

  between

  half-baked homes,

  hungry

  for anything

  that will change them

  from makeshift

  to livable.

  Bushy bundle,

  what brings you here

  to the cruddy gutters

  of Kalma?

  I never saw a creature

  like you on our village farm.

  It’s only when Old Anwar

  spots your waddle

  that I learn of the proper name

  chosen for you by Allah,

  when the Almighty was molding creatures.

  Old Anwar greets you with

  the same respect

  he shows all living things.

  He bows to address you.

  “Hello, hedgehog.”

  WITHERING

  What is happening

  to my strong-as-a-tree mother?

  Muma is shriveling,

  like a dried-up hibiscus flower.

  On our farm,

  Muma could stretch tall enough

  to meet a mango

  hanging from the fingertips of a branch,

  ripe for picking.

  Here,

  Muma stoops.

  Here,

  she has nothing to reach for.

  SAD-QUIET

  Leila’s new ditty

  is a tinny whisper.

  “My sister can’t sing.

  My sister can’t shout.

  My sister’s voice,

  it won’t come out.

  My sister, so sad.

  My sister, so quiet.

  My sister’s sad-quiet

  will not go away.

  My sister’s sad-quiet

  will not let her say,

  ‘Sister Leila,

  let’s go play!’

  My sister’s sad-quiet

  makes me sad-quiet, too.”

  FENCES

  Who planted these blue

  rows

  on my yellow paper’s face?

  Why these lines?

  They are ugly wire fences

  preventing

  my pencil

  from roaming.

  My sparrow

  is trying to

  fly,

  but struggling.

  She cannot

  lift.

  The up-jumpy bird

  inside me,

  the spirit-wings that soar

  when I draw,

  are trapped behind

  these blue-bar barricades.

  When the papermakers

  were making paper,

  did anyone ask,

  Why these lines?

  NO BLUE BOUNDARIES

  Today the red pencil does more

  than beg for my hand.

  It makes me a promise.

  It tells me to try.

  Ignore these blue lines.

  Just draw.

  This pencil

  must somehow know

  that by gripping tightly,

  while letting it wander,

  I can free the pictures

  raging through my memory.

  AWAKENED

  Today my sparrow starts to flutter.

  My soul’s bird wakes,

  calling me

  to draw

  a wicked helicopter

  with the face of a camel,

  spitting big bullets.

  Below are tiny people,

  powerless.

  Running for cover

  like ants in a rainstorm.

  Dando is among them,

  dying.

  DRENCHED

  A downpour

  of bloodshed,

  falling fast,

  like rain,

  after bullets fly.

  Dot! Dot!

  Dot! Dot!

  Dot.

  Dot! Dot!

  Dot!

  Dot!

  Dot! Dot! Dot!

  Dot!

  Dot! Dot! Dot!

  Dot! Dot!

  Dot!

  Dot!

  Dot! Dot!

  Dot! Dot!

  Dot!

  Dot!

  Dot! Dot!

  LISTENING

  There’s a distant call,

  something muffled,

  coming from a locked place.

  It’s bumping against

  the sides of a box,

  wanting to be freed.

  Ya… ya… it tells me.

  Listen.

  The voice is a little bit familiar.

  But still, I must strain to

  fully make it out.

  Ya… ya… ya…

  My pencil helps.

  It crafts the sound.

  Ya… ya…

  the pencil’s music.

  It plays on paper,

  shows me highs,

  lows,

  in-betweens.

  Ya… ya…

  my pencil sings.

  My sparrow springs!

  A quick-rush—ya… ya.

  Suddenly I see.

  Suddenly—ya… ya—I hear

  clearly.

  The muffled,

  bumping,

  more-faint-than-a-whisper,

 
; aching-for-sound,

  is me,

  preparing to speak.

  FREEING MUMA

  Another night of Muma’s silent pain.

  This time I won’t let her cry alone.

  I can’t do that to Muma.

  It’s cruel to ignore her.

  It’s unkind to pretend I don’t hear my mother

  aching.

  I know Muma wishes I didn’t see her

  when she weeps.

  But too bad.

  She’ll just have to face the shame.

  I go to her pallet,

  gently put both hands at her back.

  Muma sits up quickly,

  turns to me,

  her eyes tired.

  Then it happens.

 

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