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Photo by Hobart, taken from current road trip.
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Daddy (excerpt)
John Leary
This is how we implemented the first stage of plan, the Trap: we
stopped fixing the Broken Items. Soon they started to pile up on the
porch near the Back Door. A razor scooter, a stackable washer/dryer
combo, a DVD player, an electric candelabra, a Wonderbra, an
electronic singing Santa Claus -- we just left them there, listing
against each other in the rusting rain.
Some of us couldn't stand seeing the Broken Items piled and unattended
to. If we weren't fixing the Broken Items, we were mostly idle. One of
the Phyllises, a master of electrical engineering, was caught
tinkering with the broken DVD player one night, and Hiram directed
that he be banished to his tent.
When Daddy finally came outside, he didn't look as we had expected him
to look. We'd heard of a huge Daddy built like John Huston in
Chinatown, who would cause the sun to blaze off his bald dome and
blind us. We'd heard Daddy's eyes had grown weak; we'd heard of his
epic corpulence. We'd heard he was so fat and bald that his brow
sagged down over his eyes. We'd heard he used toothpicks covered in
felt to prop up the two mini-sausages of his brow to allow him to see.
But when he stepped out on the front porch to see Lilly, he actually
looked pretty good. Not Tom Cruise-good, but not bad. Better than Tom
Arnold, for example. He was taller than any of us, by at least two
feet. Whether he was bigger than normal or we were smaller, we have no
idea, as we have no way of knowing what normal is.
Our new strategy had made Daddy come out. When there was no hubbub
about the unfixed Broken Items, when the bean baskets and bandage
racks continued to come on Aid Day, we adopted a new strategy. We used
Lilly. We spread word to the Wives that Lilly was sick to the point of
dying. We placed her mock-festering body there on the back porch, and
waited.
Daddy came out and looked at Lilly. Most of us had never seen him before.
Who knows why he came out? He may have been motivated by mercy or
compassion, or the need to gloat or to wave his glory over us. Or
curiosity, or sadness. Ultimately, the emotion is not as important as
the fact, because everyone has a different interpretation of the
emotion and the facts are less refutable.
The fact that he picked Lilly up and "cradled" her is pretty
irrefutable, though some say there was no cradling; that he picked her
up like trash to get her off the porch, looking for a place to chuck
her seeping body, her skin dappled with sores and scabs. Others say
he, without a thought of contagion or infection cradled her in his
arms and sunk his face into her few remaining strands of golden hair.
Those same people saw tears drip from Daddy.
Then he turned as if maybe to take her inside with him but she pointed
No, there, down there, among the tents. It wasn't clear what she said
to him, though it is clear that he took two steps forward, stepping
right into the inertia skates. He must have felt himself stepping into
the skates, because he looked down – but of course he was holding
Lilly, so he could not see his feet. Instead, he saw Lilly peeling off
her cellophane skin on which we had painted seeping sores, peeling it
away like a Mission Impossible mask. Then the fun began.
Before Daddy had time to react to what he surely must have suspected
was danger, she delivered her line: "Hasta la vista, Da-deee!"
A hundred arms then tugged the ropes attached to the pulleys hung high
in the Lone Tree and the translucent wires attached to Lilly tightened
and she flew from Daddy's grasp, shooting toward the sky then stopping
and hovering just beyond his reach like Kim Greist in front of
Jonathan Pryce in Brazil. Behind her, the earth erupted into a bloom
of red - we were all, all 175 of us, wearing red capes, which we
twirled like torreadors, flashing with flair.
As Lilly fluttered before him, Daddy, probably against his better
judgment, leaned forward. The skates lost their hold, and Daddy
cascaded forward and down along the crude track we had built until he
smashed his toes into the pile of bricks, and pitched forward into the
blue cotton sheet hanging from the bandage racks set atop a small
platform. The blue cotton sheet was coated on both sides with a wonder
adhesive, and as Daddy flailed in the grasp of the sheet, his momentum
caused him to tumble off the platform and land face first in the two
plastic children's swimming pools we had cut and laid end to end. The
pools were filled with hair and feathers, which immediately clung to
all sides of the blue cotton sheet as Daddy struggled and roared. The
twelve members of the Red Cape Brigade ringed the pools, each member
holding a metal squeeze can of charcoal lighter fluid, which they
spritzed onto Daddy as he struggled to stand.
The Red Cape Brigade parted to allow Hiram to stand at the edge of the
pools. Hiram nonchalantly used one hand to expose his metal fly, and
the other hand to strike a blue-tip match across the fly. He tossed
the lit match at Daddy, just as Daddy regained his feet and stood.
Burning Daddy! Burning Daddy!
Hiram had written a burning Daddy song, which many of us sang:
Rip your eyes out screaming Daddy!
Wail and turn and flail!
Burn like hell you naughty baddie!
Your thunder falls like hail!
Beee-caaaaaa -uuuusssse. . . .
There's naught that you can do
O, there's naught that you can do
'Cause the burning's held on with Su--per Glue!
And there's a little dance that went with it, too.
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John Leary's "Daddy" can be read in its entirety in Hobart #3.
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