My mother is from Cairo, Georgia. This makes everything she says sound like it went through a curling iron. Other people sound flat to my ear; their words just hang in the air. But when my mother says something, the ends curl.
Where is my father?
"Where is your father?" my mother says, checking her watch. It's a Timex, silver with a black leather strap. The face is small and round. There is no date. It ticks so loud that if the house is quiet, you can hear it.
The house is quiet. I can hear the ticking of my mother's watch.
Outside, the trees are dark and tall, they lean in toward the house, I imagine because the house is bright inside and the trees crave the light, like bugs.
We live in the woods, in a glass house surrounded by trees; tall pine trees, birch trees, ironwoods.
The deck extends from the house into the trees. You can stand on it and reach and you might n0 be able to pull a leaf off a tree, or a sprig of pine.
My mother is pacing. She is walking through the living room, behind the sofa to look out the large sliding glass door down to the driveway; she is walking around the dining-room table. She straightens the cubed glass salt and pepper shakers. She is walking through the kitchen and out the other door of the kitchen. Our house is very open. The ceilings are very high. There is plenty of room here. "I need high ceilings," my mother always says. She says this now. "I need high ceilings." She looks up.
There is the sound of gravel crackling beneath tires. Then, lights on the wall, spreading to the ceiling, sliding through the room like a living thing.
"Finally," my mother says.
My father is home.
He will come inside the house, pour himself a drink and then go downstairs and watch TV in the dark.
I will have the upstairs to myself. All the windows and the walls and the entire fireplace which cuts straight through the center of the house, both floors; I will have the ice maker in the freezer, the hexagonal espresso pot my mother uses for guests, the black deck, the stereo speakers; all of this contained in so much tall space. I will have it all.
I will walk around and turn lights on and off, on and off. There is a panel of switches on the wall before the hall opens up into two huge, tall rooms. I will switch the spotlights on in the living room, illuminating the fireplace, the sofa. I will switch the light off and turn on the spotlights in the hallway; over the front of the door. I will run from the wall and stand in the spotlight. I will bathe in the light like a star and I will say, "Thank you for coming tonight to my poetry reading."
I will be wearing the dress my mother didn't wear. It is long, black and 100 percent polyester, my favorite fabric because it flows. I will wear her dress and her shoes and I will be her.
With the spotlights aimed right at me, I will clear my throat and read a poem from her book. I will read it with her distinctive and refined Southern inflection.
I will turn off all the lights in the house and go into my bedroom, close the door. My bedroom is deep blue. Bookshelves are attached to the wall with brackets on either side of my window; the shelves themselves are lined with aluminum foil. I like things shiny.
My shiny bookshelves are lined with treasures. Empty cans, their labels removed, their ribbed steel skins polished with silver polish. I wish they were gold. I have rings there, rings from our trip to Mexico when I was five. Also on the shelves: pictures of jewelry cut from magazines, glued to cardboard and propped upright; one of the good spoons from the sterling silver my grandmother sent my parents when they were married; silver my mother hates ("God-awful tacky") and a small collection of nickels, dimes and quarters, each of which has been boiled and polished with silver polish while watching Donnie and Marie or Tony Orlando and Dawn.
Excerpt from Running with Scissors by Augusten Burroughs. Copyright © 2002 by Augusten Burroughs. Published in 2003 by Picador, LLC. All rights reserved.
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Southern Gothic fantasy with a contemporary flare set in Savannah
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