Authors: Alexai Galaviz-Budziszewski
Painted Cities
Copyright © 2014 Alexai Galaviz-Budziszewski
Cover illustration and lettering by Joel Trussell
Some of this work appeared in different form in
Third Coast, Alaska Quarterly Review, Triquarterly, Ploughshares, Chicago Noir, Indiana Review, River Styx, Fourteen Hills, X Connect
, and
New American Writing
30.
All rights reserved, including right of reproduction in whole or in part, in any form.
McSweeney’s and colophon are registered trademarks of McSweeney’s, a privately held company with wildly fluctuating resources.
ISBN: 978-1-940450-38-4
Contents
So put me on a highway
And show me a sign
And take it to the limit one more time
—Eagles
M
y memories come in negative. My mother had a box of photographs, but I don’t recall ever seeing any of them. Instead, what I recall are her negatives: the orange-tinted strips of color film that she kept tucked in the developers’ envelopes. Some of these envelopes she’d labeled—
CHRISTMAS
1974;
FLORIDA
1972. Others she hadn’t, and she would lift these out of the photo box and say, “All right, let’s see what these are from.” She always went for the negatives, never the actual prints.
My memories compete with reality. I know my uncle Juan had a cream-colored Lincoln. We waxed it every fall, every spring. I used to sit in the backseat while my uncle cruised with his girlfriend, Letty. They hardly spoke a word, only listened to music: the O’Jays, Earth, Wind and Fire. Sometimes my uncle would look back at me. Then Letty would look back too, and then they would look at each other, and smile.
When it was dark and we had dropped Letty off, I used to sit in
the front seat and stare at the glowing dashboard. The warm smell of summer always poured in through the open windows, even when we stopped at a red light or stop sign. In the flood of streetlights, my legs would turn a bright orange and I would wonder if I was going to get a sunburn. We’d drive a little longer. I’d try to guess where we were by the tops of the apartment buildings. I never knew when we had actually returned home. My uncle would say, “Okay, man, let’s go.” And only then would I know that we had parked and that the ride was over.
I remember all this vividly, our summer nights, but really, all I can recall is what it
felt
like. I try to piece together
image
from that. When I try to think of image, what I see is the light blue of my uncle’s skin, the silver black of his Dago T-shirt. What comes to mind is a glaring white night sky, a glaring white dashboard, luminescent, bright opaque, an opaque so bright you want sunglasses, but then you realize anything dark is just as bright, and you’re helpless. What comes to mind are my uncle’s dark teeth as he smiles, frightening, outlined in white, like ghost images. And I can see through my uncle, his ice-blue skin. I can see the tuck-and-roll of the driver’s side door. I can see the darkness of the chrome door handle and window lever, all this in complete reverse, like an x-ray image.
When I was seven or eight, there was cotillion in my family. My cousin Irene had just turned fifteen. My sister, Delia, who was only a year older than me, was selected to participate as a
dama
, and my cousin on my father’s side, Little David, was selected as her escort, her
chambelán
.
The girls wore pink outfits. I don’t remember this, but in the basement of our old house, my sister’s pink gown hung in a plastic sheath throughout my childhood. My sister wore a corsage, and a pink headband to keep her hair back. These things I also don’t remember, but there was a negative, a photograph of my sister and Little David, together in front of the house we used to live in.
In the negative, her gown is purple. In the negative, everything pink is a deep, luscious purple, a purple I’ve never seen before or since, bright, yet at the same time thick and heavy. David, in his tuxedo, is only his reverse: wide lapels, black coat with tails. Stuck in his left lapel is a fat carnation, dark, like a bundle of black roses. And his teeth are glowing. In the negative, David’s teeth are glowing, the way my uncle’s used to late at night, when we cruised our neighborhood.
There was a shootout at the cotillion. My cousin Irene was dating a Morgan-Boy and a rival street gang had shown up, friends of one of the guests. I didn’t know where my father was. I didn’t know where my sister was, or David. But my mother took me underneath the table and held my head in her lap and covered my ears. I remember the gunshots. I remember the screaming.
Eventually my mother let me lift my head. The white tablecloth draped around us like long curtains. My mother opened her purse, and beneath the table, with gunshots ringing off the walls of the church basement, my mother pulled out an envelope of photographs. “All right,” she said. “Let’s see what these are from.” And against the glowing white of the tablecloth’s edge, we held up our orange strips of celluloid and saw things that weren’t there, colors that didn’t exist.
M
y sister and I used to pan for gold. We used to squat along the curb of May Street, with the frying pans our landlady, Betty, would let us use, and sift through the water that flowed from the fire hydrant that our upstairs neighbor, Joe, would open up whenever it was especially hot out. I can remember scooping up mounds of grit from the gutter and turning it over and over in small seesawing circles, convinced that I would one day strike it rich. I suppose, in all our days of panning, if Delia and I had turned in all the glass we collected, all the bottle tops and all the can tabs we found, we might have become millionaires, but probably not. Still, as we made up our separate mounds of would-be valuables, depositing our finds in coffee cans labeled
GOLD
,
SILVER
, and
DIAMONDS
, filling each one up with bottle tops, can tabs, and broken glass, respectively, we thought of how we could one day buy a mansion for my mother, a Jaguar for my father, and how we could leave our apartment to our uncle Pepe, who slept in our pantry along with the
chiles
and
frijoles
.
I don’t know where, on the South Side of Chicago, Delia and I got the idea to start panning. It did not seem instinctual, like I later realized looking behind my back every few steps was—something inherently South Side. But we panned for gold nonetheless, devoutly, often consuming entire afternoons sifting through the cold water that flowed like swift-moving streams down the gutters of May Street. Eventually our panning became so routine that when Joe from upstairs would crack open the fire hydrant on those sweltering days when the humidity weighed upon our heads like torture, Betty would simply leave the pans we used outside her first-floor apartment. The moment Delia and I were allowed out, we would race down our apartment building’s steps, scoop up our pans mid-stride, and burst out onto May Street, where we would take up our positions along the running water and begin to sift and pour.
Until our panning, the main attraction on such hot days was watching the older kids play in the huge domes of water they would create with the pumps. An utter mystery for me until well into my youth was what old tires were doing wrapped around all the fire hydrants. Then, early one summer, I caught the older kids of my block wedging a board between the tire and the mouth of our hydrant, creating a ramp, a deflector for the sheer rush of water. The result was an explosion, a cascading bloom of water that when done right could reach the other side of May Street. I realized suddenly the ingenuity of the kids in my neighborhood.