Introduction

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In 1967, Fay Stonewell, a water tank escape artist in Florida, leaves for Vietnam to join the Amazing Humans—a jerry-rigged carnival there to entertain the troops—abandoning her disabled teenage son, Dickie, to the care of an abusive boyfriend.

Months after Fay’s departure, Dickie’s troubled home life ends in a surprising act of violence that forces him to run away. He soon lands in Manhattan, where he’s taken in by eccentric artist Laurence Jones. Fay, meanwhile, is also facing dangerous threats. From the night her plane jolts onto a darkened Saigon runway, she is forced to confront every bad decision she’s ever made as she struggles to return to her son. But the Humans owner is hell-bent on keeping her in Vietnam, performing only for war-injured children at a hospital, daily reminders of the son she’s left behind.

Decades later, Dickie is forty, living in a Massachusetts coastal town with a man who’s dying of AIDS, and doing everything he can to escape his past. But although Spin may be giving Dickie what he’s always wanted—a home without wheels—it seems that the farther Dickie runs, the tighter the past clings to him.

Ultimately, What We Give, What We Take is a deeply moving story of second chances and rising above family circumstances, however dysfunctional they may be.

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Excerpt

Chapter One

I was fifteen years old when my mother left me for Vietnam. I want to believe she did it for me. Fay was good at lying, though, and she didn’t lose any sleep over it. Unlike me. I lost my ability to lay my head down, close my eyes, and drift off to dreamland bliss. I lost my name too. Not right away. That would come later.

What I wouldn’t give to have my real name again. To start over at forty, living a life where people actually know you, a life in which you can sleep a solid eight hours per night. But I can’t. I continue to go by Pete Smith, the name I took out of precaution and self-preservation. They’re not qualities to brag about. They’re both born of fear. But they keep me out of trouble in Provincetown, Massachusetts, where most of the residents—the artists, the drug addicts, the drag queens—have one philosophy in common: To hell with the past. All you have is the present. Deal with it.

Provincetown is as far east as you can get without falling into the ocean. Because the Cape is shaped like an arm curled around, what you would ordinarily think was the west end of Provincetown is actually the east end and vice versa. Without your ordinary compass, a sense of vertigo prevails. Nothing is as it seems. A man with a fake name and dark circles under his eyes can easily disappear into a place like that.

Still, I worry that my disappearing act will come to a close as quickly as it began twenty-five years ago. Those are the nights when I end up letting myself back into the PO so I can surround myself with the calm of sorting through envelopes and packages that haven’t been collected. I like to keep my hands busy; if they’re moving, I tend to stare at them less. I make a pot of coffee, sit in the back, and allow myself one of those packages. I don’t just choose it willy-nilly. I have my rules. The package has to be unclaimed for over thirty days. There are more than you’d think to choose from. It has to be one of the small ones. Those packages have an intimacy I’ll never have. Small boxes can hold objects that require forethought or a deep connection, like an engagement ring.

One night I found two packages addressed to the same woman from the same man. I couldn’t help it, I opened both, making sure that I could easily reseal them without the woman knowing. I eased off the tape by holding each to my desk lamp. If you’re ambitious you can pick up some useful talents being a postal clerk. The first box held a stone. That was it. A common river stone that looked like it had been worried by someone’s thumb for some time. It was speckled black, smooth, and slightly sloped inward from the pressure. Inside the other box was a scrap of paper. “Come home,” was all it said. Nothing else. I felt like I’d seen an animal get hit by a car.

The next day I kept an eye on the rental boxes, waiting for Dorothy Smythe to come in and collect her mail. When I finally saw a woman slide a key in box 185, I opened the Dutch gate and went over to her. She was a tall, slightly paunchy woman with her hair tied back in a bandana. Normally she’d be exactly the type of woman I’d try to pick up at the A&P. But not this day. This day something else came over me.

“Excuse me,” I said in a low voice so that no one else would hear what I was about to say. “But you have two packages waiting for you.”

Dorothy Smythe stared at me as if I’d slapped her. She was just like me, wanting her anonymity and her life of not knowing anyone. It was my own worst fear of what could happen to me, and here I was doing the same thing to her. She ducked her head as if she didn’t want me to be able to remember her facial features. I knew the gesture well.

“I’m sorry,” I murmured. “I won’t bother you again.”

She didn’t say a word, just turned around and left. She never came back. Her stack of mail grew too large for the single box she’d rented. We never got a change of address card. Eventually, her mail stopped coming to the Provincetown PO. Dorothy Smythe was somewhere else now. Someplace where a minimum-wage postal clerk didn’t bother her with reminders of what she’d left behind. Someplace safe.

Earlier in the evening before my mother left, she and I had been sitting on the scratchy plaid couch in the living room of our mobile home in Key West. The evening news with Walter Cronkite was on the black-and-white television that had a bent clothes hanger for an antenna. It was April 19, 1967.

“Those poor boys,” Fay said.

“Who you talkin’ about?” Fay’s boyfriend asked. We’d moved to Key West with Johnson three months before. He was like an animal that had been caged too long: He chewed the inside of his mouth constantly, and his blue eyes seemed smaller than they actually were. Now he leaned against the archway into the galley kitchen, holding a half-eaten beef jerky. To the left of the living room were two small bedrooms separated by a spit of a bathroom with a shower stall the width of your waist. That was the extent of our home, a word I use loosely.

Fay pointed at the television. “There. Look.”

Walter Cronkite was standing in front of a map of Vietnam with a pointer in his hand, like a schoolteacher. “American forces in Vietnam have now topped the four hundred thousand mark,” he told us. “And forty-five thousand more troops are on their way.”

“There’s no end in sight,” Fay said, leaning as far toward the television as she could without falling off the couch. I tried to look interested, but every night the news showed the same footage of our soldiers trudging through thick bushes with huge packs on their backs and rifles in their hands. They always seemed to be walking in circles, like a bunch of Boy Scouts on a badge mission. Sometimes there were clips of Bob Hope and a couple of beautiful girls in bikinis on some stage, with thousands of soldiers cheering them on. Vietnam was another universe, though. I couldn’t get worked up about some guys I didn’t know in some country where it rained constantly, and the grunts were up to their eyeballs in mud. There were far too many things right in that mobile home I needed to worry about.

Johnson waved at the air with his beef jerky. It looked like a flattened turd. “Hey, remember me?” he asked Fay. She shushed him, turned up the volume on the TV, and sat back down on the couch next to me.

“Ginny’s over there now,” she said when the news went to a commercial. Ginny was a contortionist in the Amazing Humans Show, a carney that also featured Fay in a water tank escape routine. The year before, the Humans show had folded. Peace-loving hippies didn’t want to see someone swallow a sword or stick a head in a vise. But Ginny was still my mother’s best friend. I hated watching what she could do with her legs. She called Fay “babydoll,” although they were almost the same age. One time—I was four or so—I caught her kissing Fay in our trailer. She was holding my mother, but Fay’s hands were down alongside her own thighs. Even at four years old I saw what Fay would give and what she took.

“Ginny says it’s beautiful over there.” Fay turned to me.

“That right?” Johnson said. He cranked up a transistor radio he was holding in his palm. Baseball season had just started. He wanted to show Fay who was boss. He stood there, leaning against the wall, listening to that aquamarine-colored radio. Fay had bought it for me for fifty cents at a tag sale. Most of what came out of its quarter-sized speaker was static.

“Ginny’s in Vietnam?” I asked. I took every opportunity I could to show my mother I was better than Johnson—in this case, a better listener.

“Chuck’s got some line on the army. They’re willing to pay big bucks for the entertainment value. He’s already sent Ginny and a few of the old gang over for a couple of weeks to put on a show for the boys.”

Chuck was the owner of the Amazing Humans. He only smiled when he was causing someone grief. One of his front teeth was missing, but that didn’t stop him from smiling a lot. If Fay wasn’t around, he liked to hide my crutches whenever I put them down, and then he made me play a stupid hot/cold game, always shooting that gap-smile at me. I had a rotten time walking without my crutches. When I was two, I got polio. I wore leg braces and needed crutches for balance—what I called my sticks. The polio had paralyzed the nerves in my legs, especially in my shin muscles. My calf muscles overcompensated, tightening as if they were cramping, and pulled up my heels so badly that my toes permanently pointed to the ground. Under the strain, my ankles rolled inwards. The braces locked in my heels and kept me from walking on my toes. They made it possible to walk, but without my sticks I could only manage three steps before I pitched forward to the ground. My sticks were my rudders. Each of them had an aluminum cuff that gripped below my elbow, while my hands gripped the worn rubber handles. I no longer need the leg braces, but I still depend on those crutches.

Sometimes I’d be a hand’s length away from where Chuck had hidden them, and he’d lie and say, “Colder, colder, cold.” He loved seeing me stumble around like when Frankenstein first stood up from the operating table. You’d think it’d be hard to hide two metal crutches, but Chuck was resourceful: underneath a tent flap, between a couple of hay bales. He made the most of whatever was at hand. And though he loved to torment me, he never laid a hand on me. “No harm, no foul,” he’d say.

That wasn’t the case with Johnson. Soon after we arrived in Key West, he’d tripped me on purpose one day when I was jimmying past him in the living room. I’d gotten up from the couch in a hurry to switch the TV channel and left behind my sticks. For short distances, it was too much of a pain to deal with them. The television was only two steps away. But Johnson stuck out his foot and I went down like a shot water buffalo, as he would’ve said, and I almost broke my nose on the threadbare wall-to-wall. I knew I was too big to cry, knew I’d be in deeper with Johnson if I did, but the sheer pain of it caused my eyes to water. I angled my face away so he wouldn’t see. Fifteen years old and I was lying on the ground like a big baby, hoping to God that Fay would come out of the bathroom, where she was taking a shower, and see what kind of shitty mess she’d landed us in this time. My fingers picked at the shag rug as I willed myself not to cry and hated myself for wanting to.

“Get up,” Johnson snarled at me. “Stop screwing around.” He dug the toe of his work boot into my thigh until I struggled up.

After that, whenever Fay was doing her afternoon solo show on the pier, something inevitably made Johnson mad—I hadn’t tightened the ketchup lid enough, or I was watching too much TV—and he’d slap me across the face, ordering me not to cry.

“I’m doing you a favor. You better toughen up, boy,” he’d say. “Cryin’s for sissies. They’re gonna beat the crap outta you at school. You’re in the big city now.”

By the time Fay left for Vietnam, I’d learned how to do the exact opposite of whatever my natural physical reaction was every time Johnson started up his cryin’s for sissies routine. I’d built a vault of steel and locks and bolts, a vault no one could get out of, not even my mother, the master escape artist, and into this vault I stuffed my tears, shoved them in and stomped them down to make room for more. With each stinging cheek, I’d imagine the back of a garbage truck, the metal wall slamming down, crushing milk cartons and soup cans and cereal boxes into a flat nothingness. I imagined Johnson in there too, a look of horror smeared across his filthy face along with the rotten tomatoes as the metal wall shut him up. In some ways a slap is worse than if the person just hauls off and clocks you one. A slap is something a girl would do, but somehow it made me feel like I was the girl, not Johnson. You let someone punch you every day, well, that can be seen as a sign of your strength. You can take it. It shows what you’re made of. But a slap? A slap means you’re a lightweight. A wimp.

Sometimes I wondered, though, if Johnson was doing me a favor. I’d look down at my legs and see them for what they were: a weakness to take advantage of. I wasn’t like other fifteen-year-old boys at Key West High School in more ways too. They wore their dirty hair down to their shoulders, for one thing. Mine was always in a brush cut, the blond giving off a bristly sheen. It gave me a look of innocence, an altar boy ready to pass around the Sunday basket. Corduroy bellbottoms clung to the other boys’ hips, and their shirts had large kidney shapes that reminded me of the paramecia we studied in science. My standard outfit was a pair of Boy Scout shorts, a white underwear T-shirt, and a pair of old men’s oxford shoes. The other boys talked about screwing girls and getting high. I’d never really talked to a girl, let alone screwed one. Girls seemed untouchable because they were always giggling in the hallways about some secret joke that only they knew the punch line to, and I worried that the punch line was me and my legs and my crappy mobile home. I’d see them in the distance, huddled shoulder to shoulder, as impenetrable as a chain-link fence, and I’d wonder if Fay had been like them in high school, although if I stopped to think about it, I had no idea if Fay even went to high school. I knew nothing about Fay and her childhood. The one time I asked her what her parents were like, she said the past didn’t mean diddly-squat.

“What’s important, Dickie, is today and tomorrow. They’re the only things you can fix. If the past is broken, it’s shot to shit. Pack it in and move on.”

I never told Fay about Johnson using me as a slap bag. I could see that she still thought of the Amazing Humans as her family and that she missed them, and I worried that the friction between Johnson and me would make her leave us both. If I complained about him, she would be forced to choose sides. His beef wasn’t with Fay, it was with me. You’re not his kid, I’d tell myself after another episode with him. You’re in the way.

And now the Amazing Humans was in Vietnam, and Ginny was sending postcards that invited Fay to join them. For years I’d lived in fear that my mother would leave me behind. Sometimes she had, with her boyfriend of the moment, but not for long, a couple of days at most, just until the Humans set up in whatever new town I was about to become briefly acquainted with. But one day, when I was ten, I’d overheard Chuck telling Fay that as soon as he could, he’d sell the Humans and buy one of those charter fishing boats—that was the life. Tourists would pay anything for the thrill of landing a four-foot marlin.

“You’re out on the ocean all day, catching a tan, and getting paid for it,” he said.

“Sounds good to me,” she replied, surprising me. I’d never forgotten it. I stored that memory in my vault as well, sandwiched in there with all the tears and the slaps.

Now, sitting on the couch next to me, my mother rested her hand on my thigh. Her body was compact, all muscle. In Key West, she did two hundred sit-ups a day and swam a mile off the pier and back. “To control the mind, you have to control the body,” she told me. Every time she said it, I’d look down at my legs. As a boy, I couldn’t tell if she knew the effect her body had on people, especially men. Now I know better, especially if she sat right next to you, the cool skin of her arm touching yours, her long blond shag so close you could blow on it and feel the ends tickle your mouth.

Johnson was still pretending to listen to the game on the transistor. All I could hear was static, the buzz of a drill.

“I could earn twice, maybe three times what I make here. We need the money,” Fay said, standing up. “I want to get you a new pair of braces. Those are all banged up.”

“They’re fine,” I said right away.

Fay glared at me. “No. They’re. Not. I’m the worst mother in the world, letting her son go around in those things.” She walked across the small living room and disappeared behind the thin kitchen wall. I heard her open a cupboard and pull out the shoebox where she kept all her handcuffs and lucky picklocks and keys. She came back to me, extending an envelope that held a letter from Ginny. I opened it. “There’s a man here,” I read aloud, “who’ll pull your teeth out for ten cents. Is that why more Americans pile in every day? Chuck says he can get you on a plane with the Red Cross, he’s got some deal going. They’d really love your act, babydoll.”

“I hear they eat their own dogs,” Johnson said, staring at the transistor like it was showing a movie.

“You don’t know what you’re talking about,” Fay said.

“Mom?” I pushed up on my sticks to a standing position. “What does Ginny mean about—”

Fay quickly put her index finger to her mouth, glaring at me again. I shut up, though I knew exactly what Ginny had been saying. What I was dumb enough to believe was that my mother would take me with her. It was so far she’d have to take me.

She walked over to me and clamped her arm around my shoulders. Johnson rushed over, grabbed the letter out of my hands, and tore it in two, letting the pieces fall to the stained carpeting. I wanted to slug him with a stick. Then he stepped back across the room, closer to the screen door, as if he intended on blocking it.

“You’re going to leave me for a bunch of people who only come to see you because you’re half-naked?” His hands clenched at his sides.

Fay bent over, picked up the letter halves. “Don’t,” she said, fingering a torn edge. Letter in hand, she folded her arms across her chest and stared him down. The sounds of a truck rumbling by came through the screen door. A group of kids passed the front of our house. Fay kept looking at Johnson. Slowly his fists unclenched, and then his face got less cruel-looking, as if all the tension was being ironed out of him.

“Just tell me what you want me to do,” she said, standing next to me, with her eyes fixed on him.

“Fay . . .” Johnson stared down at his cracked work boots.

She held up her hands. “You tell me how to make it right. That’s all I want.”

When he didn’t say anything, I said, “He just wants to complain.”

Fay jerked her head back, shooting me a hard look. “Stop giving him lip when I’m at work. We’re lucky he’ll have us.” Suddenly I felt like I did when I fell flat on my face in front of Johnson. As soon as she said it, though, Fay looked down the skinny hall that led to our bedrooms. “You want a real home, don’t you? You want to get better?” she said so quietly only I could hear. I didn’t know what to say. Part of me, of course, wanted just that. But I didn’t want her to leave either. While I was thinking this over, she went and put the ripped letter back in her shoebox.

“Fay . . .” Johnson said again. But she wasn’t having it. Giving him a wide berth, she walked out of our mobile home and stood at the curb out front, staring at the passing cars. Johnson didn’t move. I went and joined him at the screen door. We watched her, afraid she’d hop in one of those cars and leave right then. Fay put her hand in the pocket of her miniskirt and pulled out what we knew would be a quarter. Holding up her left hand, she maneuvered the coin across the top of her knuckles by moving her fingers as if she were playing the piano. It was a favorite exercise of hers. She worked the left hand, then the right. After a few passes, she was concentrating so hard on the silver blurring across her hand that a truck could’ve come within inches of her and she’d never notice. “You lose your concentration and you drown,” she told me once.

“She only leaves because she doesn’t want to hurt my chances of getting better,” I finally said to Johnson as we stood there.

He turned toward me. “What’re you talking about?”

“Forget it. You don’t understand.”

“I understand. I understand you can’t avoid making mistakes in life. But that’s something your mother doesn’t understand, I can tell you that. She’ll still be here, no matter how far she goes.” He kept talking, but I stopped listening. In my mind, Fay came back in and asked me to join her in my cramped bedroom. She said, “I’ll get our things together, Dickie.” She packed my Boy Scouts and my T-shirts. She packed her flip-flops, her worn-out sequined show outfit, her shoebox of picklocks and handcuffs. I saw us leaving at nightfall, when Johnson was asleep. I saw it all.

I saw nothing. view abbreviated excerpt only...

Discussion Questions

From the author:

1. Loss, forgiveness, and survival are all themes in this novel. How do the losses suffered by Dickie, Fay, and Spin differ? How do each of them cope in relation to those losses? Is forgiveness possible for any of them? How do these themes apply to your own life?

2. In the story, Fay’s water tank becomes much more than just a prop to perform her escape routine in. What else does it represent for Fay? For Dickie? How does that change over time for each of them?

3. Fay and Dickie have a complicated mother-son relationship. How do they each view that relationship when they are separated and how does that differ when they are reunited at the story’s end?

4. In order to survive, several of the novel’s characters fantasize about different outcomes for their lives. What are some examples?

5. The number one thing Dickie wants is a home. The Red Cross motto, during the War, was A touch of home in the combat zone. How does that apply to the three homes Dickie lives in in Key West, Queens, and Provincetown? What does “home” mean?

6. Spin becomes increasingly sick with AIDS. Why does Dickie struggle with Spin’s illness and with, subsequently, being expected to take care of him?

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