Page 88 - Too Much and Never Enough - Mary L. Trump
P. 88

 speed, one of us invariably banging into a piece of furniture. Between the refrigerator and the pantry doorway, Gam generally gave us free rein, but when she was in the kitchen, she would lose her patience and yell at us to stop. She threatened us with the wooden spoon if we ignored her—the sound of the drawer opening was enough to give us pause. But if we were stupid enough to keep running around her and making a racket, the spoon came out, and whoever was closest at hand got whacked. Liz did her part to slow us down by grabbing our hair as we passed by.
After that Fritz, David, and I usually ran to the basement—adults passed through only on their way to the laundry room or the garage, so we were free to be loud and to kick around the soccer ball or take turns riding up and down on (or fighting over) Gam’s electric stair lift. We spent most of our time in the open space at the far end with all the lights on. With the exception of my grandfather’s life-sized wooden Indian chief statues that were lined up against the far wall like sarcophagi, it was a pretty typical basement: drop ceiling with fluorescent lighting, white-and-black linoleum tile, and an old upright piano that stood largely ignored because it was so badly out of tune it wasn’t even worth playing. Donald’s marching hat with the huge plume that he had worn during color guard at NYMA sat on top of it. Sometimes I put it on, though it slid down to the bridge of my nose, and fastened the strap beneath my chin.
When I was down there by myself, the basement—half illuminated, the wooden Indians standing sentinel in the shadows—became a weirdly exotic space. Across from the stairs, a huge mahogany bar, fully stocked with barstools, dusty glasses, and a working sink but no alcohol, had been built in the corner—an anomaly in a house built by a man who didn’t drink. A large oil painting of a black singer with beautiful, full lips and generous, swaying hips hung on the wall behind it. Wearing a curve-hugging gold- and-yellow dress with ruffles, she stood at the microphone, mouth open, hand extended. A jazz band made up entirely of black men dressed in white dinner jackets and black bow ties played behind her. The brasses glowed, the woodwinds glistened. The clarinetist, a sparkle in his eyes, looked straight out at me. I would stand behind the bar, towel slung over my shoulder, whipping up drinks for my imaginary customers. Or I would sit on one of the barstools, the only patron, dreaming myself inside that painting.
































































































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