I am in a house with Mom and Dad. Mom and Dad are my mom and dad. I know that I’m at home, though it’s not a home I’ve ever resided in before. It is much bigger. I am emotionless about the size of the house. I just know it’s quite large. I have to read a bunch of articles. I don’t know the content in the articles. The articles are arranged in two large binders. The pages of the articles have sticky notes on them. I am sitting near a window.
Outside the window walks an old lady, hereafter Shuffling Aunt. Her hair is black, but I know that she is 87. She is frail and her back is curved. She shuffles through the garden, and I know that more than anything, she is an aunt, either normal or great. That matter influences me not. Trivial. As Shuffling Aunt passes by, I make a screw face. I know that she isn’t my aunt or great aunt. I do not, however, know why I chose to be an asshole.
Next door is Joey Laney’s house. Joey Laney exists, though possibly not living, and was our next-door neighbor for a number of years when we lived in the house on Sir Philip. I am not concerned with knowing the status of Joey Laney. In Joey Laney’s yard hangs a swing. I assume the swing was attached to a tree branch, though I can’t confirm the validity of such a claim.
Pushing the wooden swing, which is painted an ugly terra cotta color, is a fat kid, hereafter The Fat Kid. I know that he is a fat kid, not a fat boy nor a fat youth nor a fatso. The Fat Kid pushes the swing, which has no rider. He does this listlessly. He seems bored or melancholy. A fatso appears, hereafter The Fatso. The Fatso is a woman. I know that the fatso woman is The Fat Kid’s mommy. The pair of fatties sits on the steps of the house. The steps are few and lead to the front door of the house.
The Fatso puts The Fat Kid on her knee. She wears a moo-moo decorated with flowers. Its main color is navy blue and the flowers are mainly white. Her hair is yellowish orange. It has been dyed and her roots are black. Her hair is large and looks uncomfortable to touch or to own. Her face is coated with pale make up. It looks thick and uncomfortable to touch or own.
The Fatso asks The Fat Kid questions. The questions are of a hypothetical nature. She asks him what he should do if someone puts their hand down his pants. For each question, The Fat Kid answers with in a mechanical manner. I know that he has memorized the answers. I know that the pair of fatties has participated in this exercise before. The exercise makes me uncomfortable, and now I am watching this as a movie.
After asking a series of questions, probably 4, The Fatso begins to cry. Her tears I know represent her fear that her son, The Fat Kid, will encounter dangerous things in his life. She has begun to feel her control slipping away. The world is too large and scary for her dear Fat Kid. She knows that she can no longer protect him. This is what the tears say to me.
The Fatso then says something about Satan and evil. The camera that captures the moment pans to The Fat Kid’s brother, hereafter Sickly Brother. I know that he is The Fat Kid’s brother. He is a very frail boy. He looks sickly. He is atrophied. He has a wound on his lip. I know, given the above sequence, that Sickly Brother is the very embodiment of evil. The Fatso resents Sickly Brother and wants The Fat Kid to realize the possibilities that exist with regards to becoming evil.
The camera then pans along the fence of the yard. The fence, which is no more than a meter high, is made of wood. The wood is painted a dull grey color, and the paint has begun to chip off. Snow has nearly overtaken the fence. There is a human hand sticking a few inches out of the snow. It is purple. It is purple because it is frozen. To the hand belongs an entire human body. The human body belongs to Shuffling Aunt. She is dead. Frozen stiff in the snow by the fence.
Incidentally, the final thing Shuffling Aunt saw before she kicked the bucket was my screw face. I feel for her now.