by Trent Dalton
When he finishes writing five full sentences he licks the tip of his forefinger like he’s inking a quill, then he plugs back into whatever mystical source is pushing the invisible pen that scribbles his invisible writing. Slim rests his arms on the steering wheel, takes a long drag of his rollie, not taking his eyes off August.
‘What’s he writin’ now?’ Slim asks.
August’s oblivious to our stares, his eyes only following the letters in his personal blue sky. Maybe to him it’s an endless ream of lined paper that he writes on in his head, or maybe he sees the black writing lines stretched across the sky. It’s mirror writing to me. I can read it if I’m facing him at the right angle, if I can see the letters clear enough to turn them round in my head, spin them round in my mirror mind.
‘Same sentence over and over this time.’
‘What’s he sayin’?’
The sun over August’s shoulder. White hot god of a thing. A hand to my forehead. No doubt about it.
‘Your end is a dead blue wren.’
August freezes. He stares at me. He looks like me, but a better version of me, stronger, more beautiful, everything smooth on his face, smooth like the face he sees when he stares into the moon pool.
Say it again. ‘Your end is a dead blue wren.’
August gives a half-smile, shakes his head, looks at me like I’m the one who’s crazy. Like I’m the one who’s imagining things. You’re always imagining things, Eli.
‘Yeah, I saw you. I’ve been watching you for the past five minutes.’
He smiles wide, furiously wiping his words from the sky with an open palm. Slim smiles wide too, shakes his head.
‘That boy’s got the answers,’ Slim says.
‘To what?’ I wonder.
‘To the questions,’ Slim says.
He reverses the LandCruiser, takes her back three metres, brakes.
‘Your turn now.’
Slim coughs, chokes up brown tobacco spit that he missiles out the driver’s window to our sun-baked and potholed bitumen street running past fourteen low-set sprawling fibro houses, ours and everybody else’s in shades of cream, aquamarine and sky blue. Sandakan Street, Darra, my little suburb of Polish and Vietnamese refugees and Bad Old Days refugees like Mum and August and me, exiled here for the past eight years, hiding out far from the rest of the world, marooned survivors of the great ship hauling Australia’s lower-class shitheap, separated from America and Europe and Jane Seymour by oceans and a darn pretty Great Barrier Reef and another 7000 kilometres of Queensland coastline and then an overpass taking cars to Brisbane city, and separated a bit more still by the nearby Queensland Cement and Lime Company factory that blows cement powder across Darra on windy days and covers our rambling home’s sky-blue fibro walls with dust that August and I have to hose off before the rain comes and sets the dust to cement, leaving hard grey veins of misery across the house front and the large window that Lyle throws his cigarette butts out of and I throw my apple cores out of, always following Lyle’s lead because, and maybe I’m too young to know better, Lyle’s always got a lead worth following.
Darra is a dream, a stench, a spilt garbage bin, a cracked mirror, a paradise, a bowl of Vietnamese noodle soup filled with prawns, domes of plastic crab meat, pig ears and pig knuckles and pig belly. Darra is a girl washed down a drainpipe, a boy with snot slipping from his nose so ripe it glows on Easter night, a teenage girl stretched across a train track waiting for the express to Central and beyond, a South African man smoking Sudanese weed, a Filipino man injecting Afghani dope next door to a girl from Cambodia sipping milk from Queensland’s Darling Downs. Darra is my quiet sigh, my reflection on war, my dumb pre-teen longing, my home.
‘When do you reckon they’ll be back?’ I ask.
‘Soon enough.’
‘What’d they go see?’
Slim wears a thin bronze-coloured button-up cotton shirt tucked into dark blue shorts. He wears these shorts constantly and he says he rotates between three pairs of the same shorts but every day I see the same hole in the bottom right-hand corner of his rear pocket. His blue rubber thongs are normally moulded to his old and callused feet, dirt-caked and sweat-stunk, but his left thong slips off now, caught on the clutch, as he slides awkwardly out of the car. Houdini’s getting on. Houdini’s caught in the water chamber of Brisbane’s outer western suburbs. Even Houdini can’t escape time. Slim can’t run from MTV. Slim can’t run from Michael Jackson. Slim can’t escape the 1980s.
‘Terms of Endearment,’ he says, opening the passenger door.
I truly love Slim because he truly loves August and me. Slim was hard and cold in his youth. He’s softened with age. Slim always cares for August and me and how we’re going and how we’re going to grow up. I love him so much for trying to convince us that when Mum and Lyle are out for so long like this they are at the movies and not, in fact, dealing heroin purchased from Vietnamese restaurateurs.
‘Lyle choose that one?’
I have suspected Mum and Lyle are drug dealers since I found a five-hundred-gram brick of Golden Triangle heroin stowed in the mower catcher in our backyard shed five days ago. I feel certain Mum and Lyle are drug dealers when Slim tells me they have gone to the movies to see Terms of Endearment.
Slim gives me a sharp look. ‘Slide over, smartarse,’ he mumbles from the corner of his mouth.
Clutch in. First. Steadily on the pedally. The car jolts forward and we’re moving. ‘Give it some gas,’ Slim says. My bare right foot goes down, leg fully extended, and we cross our lawn all the way to Mrs Dudzinski’s rosebush on the kerbside next door.
‘Get onto the road,’ Slim says, laughing.
Hard right on the wheel, off the gutter onto the Sandakan Street bitumen.
‘Clutch in, second,’ Slim barks.
Quicker now. Past Freddy Pollard’s place, past Freddy Pollard’s sister, Evie, pushing a headless Barbie down the street in a toy pram.
‘Should I stop?’ I ask.
Slim looks in the rearview mirror, darts his head to the passenger side mirror. ‘Nah, fuck it. Once round the block.’
Slip into third and we’re rumbling at forty kilometres an hour. And we’re free. It’s a breakout. Me and Houdini. On the run. Two great escapologists on the lam.
‘I’m driiiiving,’ I scream.
Slim laughs and his old chest wheezes.
Left into Swanavelder Street, on past the old World War II Polish migrant centre where Lyle’s mum and dad spent their first days in Australia. Left into Butcher Street where the Freemans keep their collection of exotic birds: a squawking peacock, a greylag goose, a Muscovy duck. Fly on free, bird. Drive. Drive. Left into Hardy, left back into Sandakan.
‘Slow her down,’ says Slim.
I slam the brakes and lose footing on the clutch and the car cuts out, once again parallel to August, who is still writing words on thin air, lost in the work.
‘Did ya see me, Gus?’ I holler. ‘Did ya see me driving, Gus?’
He doesn’t look away from his words. Boy didn’t even see us drive away.
‘What’s he scribblin’ now?’ Slim asks.
The same two words over and over again. The crescent moon of a capital ‘C’. Chubby little ‘a’. Skinny little ‘i’, one descending stroke in the air with a cherry on top. August sits in the same spot on the fence that he usually sits on, by the missing brick, the space two bricks along the fence from the red wrought-iron letterbox.
August is the missing brick. The moon pool is my brother. August is the moon pool.
‘Two words,’ I say. ‘A name starting with “C”.’
I will associate her name with the day I learned to drive and, forever more, the missing brick and the moon pool and Slim’s Toyota LandCruiser and the crack in Slim’s windscreen and my lucky freckle, and everything about my brother, August, will remind me of her.
‘What name?’ Slim asks.
‘Caitlyn.’
Caitlyn. There’s no doubt about it. Caitlyn. Tha
t right forefinger and an endless blue sky sheet of paper with that name on it.
‘You know anyone named Caitlyn?’ asks Slim.
‘No.’
‘What’s the second word?’
I follow August’s finger, swirling through the sky.
‘It’s “spies”,’ I say.
‘Caitlyn spies,’ Slim says. ‘Caitlyn spies.’ He drags on his cigarette, contemplatively. ‘What the fuck does that mean?’
Caitlyn spies. No doubt about it.
Your end is a dead blue wren. Boy swallows universe. Caitlyn spies.
No doubt about it.
These are the answers.
The answers to the questions.
Boy Makes Rainbow
This room of true love. This room of blood. Sky-blue fibro walls. Off-colour paint patches where Lyle has puttied up holes. A made-up queen bed, tightly tucked white sheet, an old thin grey blanket that wouldn’t have been out of place in one of those death camps Lyle’s mum and dad were escaping from. Everybody running from something, especially ideas.
A framed Jesus portrait over the bed. The son and his jagged crown, reasonably calm for all the blood dripping down his forehead – so cool under pressure that guy – but frowning like always because August and I aren’t supposed to be in here. This still blue room, the quietest place on earth. This room of true companionship.
Slim says the mistake of all those old English writers and all those matinee movies is to suggest true love comes easy, that it waits on stars and planets and revolutions around the sun. Waits on fate. Dormant true love, there for everybody, just waiting to be found, erupting when the thread of existence collides with chance and the eyes of two lovers meet. Boom. From what I’ve seen of it, true love is hard. Real romance has death in it. It has midnight shakes and flecks of shit across a bedsheet. True love like this dies if it has to wait for fate. True love like this asks lovers to cast aside what is meant to be and work with what is.
August leads, boy wants to show me something.
‘He’ll kill us if he finds us in here.’
Lena’s room is out of bounds. Lena’s room is sacred. Only Lyle enters Lena’s room. August shrugs. He grips a flashlight in his right hand, passes Lena’s bed.
‘This bed makes me sad.’
August nods knowingly. It makes me sadder, Eli. Everything makes me sadder. My emotions run deeper than yours, Eli, don’t forget it.
The bed sags on one side, weighed down on one half for the eight years that Lena Orlik slept alone on it without the balancing weight of her husband, Aureli Orlik, who died of prostate cancer on this bed in 1968.
Aureli died quiet. Died as quiet as this room.
‘Reckon Lena’s watching us right now?’
August smiles, shrugs his shoulders. Lena believed in God but she didn’t believe in love, or at least the kind written in stars. Lena didn’t believe in fate because if her love of Aureli was meant to be then the birth and the whole unholy and deranged headfuck adulthood of Adolf Hitler was also meant to be because that monster, ‘that filthy potwor’, was the only reason they met in 1945 in an American-run displaced persons holding camp in Germany where they stayed for four years, long enough for Aureli to collect the silver that formed Lena’s wedding ring. Lyle was born in the camp in 1949, spent his first night on earth sleeping in a large iron wash bucket, wrapped in a grey blanket like the one right here on this bed. America wouldn’t take Lyle and Great Britain wouldn’t take Lyle, but Australia would and Lyle never forgot this fact, which is why, during a wildly misspent youth, he never burned or vandalised property marked Made in Australia.
In 1951 the Orliks arrived at the Wacol East Dependants Holding Camp for Displaced Persons, a sixty-second bike ride from our house. For four years they lived among two thousand people sharing timber huts with a total of three hundred and forty rooms, with communal toilets and baths. Aureli landed a job pegging sleepers for the new rail line between Darra and neighbouring suburbs, Oxley and Corinda. Lena worked in a timber factory in Yeerongpilly, in the south-west, cutting sheets of plywood alongside men twice her size and with half her pluck.
Aureli built this room himself, built the whole house on weekends with Polish friends from the railway line. No electricity for the first two years. Lena and Aureli taught themselves English by kerosene lamp light. The house spread, room by nailed room, short stump by short stump, until the smell of Lena’s Polish wild mushroom soup and potato and cheese pierogi and cabbage golabki and roasted lamb baranina filled three bedrooms, a kitchen, a living room, a lounge room, a laundry off the kitchen, a bathroom and a stand-alone flushable toilet beneath a wall hanging of Warsaw’s white three-nave Church of the Holiest Saviour.
August stops, turns to the room’s built-in wardrobe. Lyle built this wardrobe himself using all those woodcraft skills he learned watching his dad and his dad’s Polish friends piece this house together.
‘What is it, Gus?’
August nods his head right. You should open the wardrobe door.
Aureli Orlik lived a quiet life and was determined to die quietly too, with dignity, not to the sound of heart monitors and rushing medical staff. He wouldn’t make a scene. Every time Lena returned to this death room with an empty pisspot or a fresh towel to wipe her husband’s vomit from his chest, Aureli would apologise for causing such trouble. His last word to Lena was ‘Sorry’, and he didn’t stick around long enough to clarify what exactly he was sorry for, and Lena could only be sure he did not mean their love because she knew there was hardship in this true love and endurance and reward and failure and renewal and, finally, death, but never regret.
I open the wardrobe. An old ironing board standing up. A bag of Lena’s old clothes on the wardrobe floor. A hanging row of Lena’s dresses, in single colours: olive, tan, black, blue.
Lena died loud, a violent cacophony of crashing steel and a Frankie Valli high note, returning from Toowoomba’s Carnival of Flowers along the Warrego Highway at twilight, eighty minutes out of Brisbane, her Ford Cortina meeting the front steel grille of a semitrailer hauling pineapples. Lyle was down south in a Kings Cross drug rehab with his old girlfriend, Astrid, on the second of three attempts to kick a decade-long heroin habit. He was jonesing all the way through a subsequent meeting with police officers from the highway town of Gatton who attended the scene. ‘She wouldn’t have suffered,’ said a senior officer, which Lyle took as the officer’s tender way of saying, ‘The truck was fuckin’ huuuuge.’ The officer handed over the only possessions of Lena’s they were able to prise from the Cortina’s wreckage: Lena’s handbag, a set of rosary beads, a small round pillow that she sat on to see better above the steering wheel and, miraculously, a cassette tape recording ejected from the car’s modest stereo system, Lookin’ Back by Frankie Valli and The Four Seasons.
‘Fuck,’ Lyle said, holding the tape, shaking his head.
‘What?’ said the officer.
‘Nothing,’ Lyle said, realising an explanation would delay the smack fix that was dominating his thoughts, the physical need for drugs and their beautiful daydream – for what I heard Mum once call ‘the siesta’ – creating an emotional levee that would break a week later, flooding him with the notion that there was no longer a single person left on earth who loved him. That night, on a small sofa bed in the Darra basement of his childhood best friend Tadeusz ‘Teddy’ Kallas, he shot his left arm up to the thought of how romantic his mum was, how deeply she loved her husband, and how the soaring high notes of Frankie Valli made every human on earth smile except his mother. Frankie Valli made Lena Orlik weep. In a heroin haze, Lyle placed The Four Seasons cassette into Teddy’s basement tape deck. He pressed play because he wanted to hear the song that was playing when she smashed into the semitrailer full of pineapples. It was ‘Big Girls Don’t Cry’, and in that moment Lyle remembered, as sure as Frankie Valli’s first high note, that accidents never happened to Lena Orlik.
True love comes hard.
*
&nbs
p; ‘What is it, Gus?’
He puts a forefinger to his lips. He silently shifts aside the bag of Lena’s clothes, slides Lena’s dresses across the wardrobe’s hanging pole. He pushes against the rear wall of the wardrobe space and a sheet of white painted timber, a metre by a metre, clicks against a compression mechanism behind the wall and falls forward into August’s hands.
‘What are you doing, Gus?’
He slides the timber sheet along the back of Lena’s hanging dresses.
A black void opens behind the wardrobe, a chasm, a space of unknown distance beyond the wall. August’s eyes are wide, elated by the hope and possibility in the void.
‘What is that?’
*
We met Lyle through Astrid, and Mum met Astrid in the Sisters of Mercy Women’s Refuge in Nundah, on Brisbane’s north side. We were all dipping bread rolls into beef stew – Mum, August and me – in the refuge dining room. Mum says Astrid was at the end of our table. I was five years old. August was six and kept pointing at a purple crystal tattooed beneath Astrid’s left eye, shaped so it looked like she was crying crystals. Astrid was Moroccan and beautiful and permanently young and always so bejewelled and mystical that I’d come to think of her and her exposed coffee-coloured belly as a character from Arabian Nights, a keeper of magical lamps and daggers and flying carpets and hidden meanings. At the refuge dining table Astrid turned and stared into August’s eyes and August stared back, smiling for long enough that it inspired Astrid to turn to Mum.
‘You must feel special,’ she said.
‘For what?’ Mum asked.
‘Spirit chose you to watch over him,’ she said, nodding at August.
Spirit, we would later discover, was an all-encompassing term for the creator of all living things who visited Astrid on occasion in three manifestations: a mystical white-robed goddess spirit, Sharna; an Egyptian Pharaoh named Om Ra; and Errol, a farting, foul-mouthed representation of all the universe’s ills, who spoke like a small drunk Irishman. Lucky for us, Spirit liked August and Spirit soon made some miraculous communication with Astrid about how her path to enlightenment included arrangements to have us stay for three months in the sunroom of her grandmother Zohra’s house in Manly, in Brisbane’s eastern suburbs. I was only five years old but I still called bullshit, but Manly’s a place where a boy can run barefoot across the low-tide mudflats of Moreton Bay for so long he can convince himself he’s running all the way to the edge of Atlantis, where he might live forever, or until the smell of crumbed cod and chips calls him home, so I made like August and shut my trap.