She’s getting naked. Something either very bad or very good is happening. Happening to me. Whatever it is, my parents can’t find out. I’m at a friend’s house. Nothing strange there. But my new friend, half gringa, half local, is taking off her uniform, her sports bra, her thong, her shoes. She leaves on her socks, short ones, with a little pink ball at the heel. She’s naked, her back to me, staring at her closet.
It’s awkward and dazzling. Painful. My head down like an ashamed dog, an ugly, short-legged dog, I try to look the same as I did a moment before, when we were both dressed, when that image, the one of her body, hadn’t exploded like a thousand fireworks in my brain. Diana Ward-Espinoza. Sixteen years old. A meter eighty tall. Star player on the volleyball team at her school in the United States. Radioactive green cat eyes. The bright white smile of the people from up there.
Diana, pronounced Dayana in gringo, talks and talks, always, nonstop, mixing English and Spanish or making up a third language, very funny, making me squeal with laughter. With her, I laugh as if there were nothing wrong at my house, as if my dad loved me like a dad. I laugh as if I weren’t me, but a girl who sleeps peacefully. I laugh as if brutality didn’t exist.
She repeats the words the teachers say like tongue twisters and never gets them right. Maybe it’s because of this, because they think she’s dumb, or because she lives in a little apartment and not in a majestic house, or because her mom is the English teacher at the school and so she doesn’t pay tuition or because she jogs through the neighborhood in tiny shorts, blue with a white line that makes a V on her thighs. Because of all that, or for some other obscure hierarchical logic of the popular girls, no groups have accepted her. She’s blonde, white, she has green eyes, her tiny nose is dotted with golden freckles, but no group has accepted her.
They haven’t accepted me either, but with me, it’s the same as always: fat, dark, glasses, hairy, ugly, strange.
One day our last names are paired up in computer class. One right next to the other. That’s everything. I learn that BFF means Best Friends Forever.
Then we’re best friends forever. Then she invites me to her house to study. Then I tell my mom I’m going to spend the night at Diana’s. Then we’re in her tiny room and she’s naked. She turns around to cover her cream-colored body with a denim dress. She turns on music. She dances. Behind her, the gigantic American flag on her wall.
Covered in a fine white fuzz, her skin has the appearance, the delicacy, of a peach. She talks about boys, she likes my brother, about the exam we have the next day, philosophy, about the teacher, he’s funny, but what the fuck is being? About how she’s never going to understand things like I do, about how I’m the smartest person she’s ever met and about how she, okay, let’s be honest, she’s good at sports.
She stops in front of the mirror, less than a meter away from me, on her bed, pretending to be absorbed in the philosophy textbook. If I wanted to, and I do, I could reach out my index finger and touch her hipbones, sliding down to where her pubic hair starts, I’ve never seen golden pubes, and find out if what glimmers there is wetness.
She ties up her ringlets, like Mary had a little lamb, she paints her lips with a gloss that smells like bubble gum and she criticizes her hair, her ears, a pimple I say I can’t see. But I can’t look at her and she notices and she complains: you’re not even looking at me, stop studying, you already understand what being is.
She grabs my chin and raises my head to make me look at her. I smell the bubble gum on her lips. I hear my heart beating. I stop breathing.
“See this pimple? Here? Do you see it?”
My tongue is stuck to the roof of my mouth. I swallow sand. I nod.
We have lunch with her brother Mitch, her twin, who is so handsome that my jaw falls open when I have to talk to him. He’s had football practice. He takes off his sweaty shirt and doesn’t put on a new one. We eat alone, like a family of three. Diana sets the table, I pour the Coca-Cola, and Mitch mixes the pasta with sauce and heats it in a pot.
I suppose that their parents, both of them, are working. I know that Miss Diana, her mom, my English teacher, has another job in the afternoon at a language school. I don’t know anything about the dad. I don’t ask. I never ask about dads. They tell me that Miss Diana leaves food for them in the morning, that she isn’t a good cook. It’s horrible. We cover our plates in Kraft parmesan cheese and we laugh hysterically.
Mitch has an exam too, but he doesn’t want to study. In the dining room, which is also the living room, there are photos on the walls. Mitch and Diana, little, dressed as sunflowers. Miss Diana, thin and young, in front of a house with a mailbox. A black dog, Kiddo, next to a baby, Mitch. The kids at Christmas, surrounded by presents. Miss Diana pregnant. Diana, in white, at her First Communion.
There’s something sad in these photos, it’s in the lighting, typical of gringo photos from the seventies: maybe too many pastel colors, maybe the distance, maybe everything that isn’t pictured. I feel a sadness that doesn’t belong to me. Mine is there, but this is a different one. This life—the sunflower children, the beautiful baby beside the black dog, everything that looks so perfect—isn’t going to turn out so well. No. Despite their blond heads, their athletic bodies, their pink cheeks and their bright eyes, it’s not going to turn out so well.
There’s something desperate, somber, about Diana, about Mitch, about me, about this little apartment where three teenagers are sitting on the floor listening to music.
We play records: The Mamas & The Papas, The Doors, Fleetwood Mac, Creedence Clearwater Revival, Hendrix, Bob Dylan, Simon and Garfunkel, The Moody Blues, Van Morrison, Joan Baez.
Diana tells me how her parents went to Woodstock and she pulls out a photo album where, finally, there’s a picture of her father. Mr. Mitchell Ward: red mustache, long hair tied with a headband. Ultra gringo, as big and beautiful as his kids, looking at a girl, Miss Diana, almost unrecognizable so smiling, so natural.
Then, behind that page, there’s another photo that makes us all go silent: the dad, dressed as a soldier: Lieutenant Mitchell Ward.
He went to Vietnam.
The two of them, Diana and Mitch, say the words at the same time, like a single person with a voice that is both masculine and feminine.
He went to Vietnam.
He went to Nam.
The shadow reemerges, that suffocating lack of light, a silence like an angry sea. The three of us hug our knees and look at the record player. The Doors play, we like them. We sing a little and Diana translates: People are strange when you’re a stranger / faces are ugly when you’re alone. Mitch puts on Van Morrison’s Astral Weeks and during the song “Madame George” I lie down across Diana’s legs. Mitch rests his head on my stomach. We play with each other’s hair.
No one studies that afternoon. We listen to Mr. Mitchell Ward’s music, we take turns changing the records and putting them carefully back into their plastic sleeves, into their album covers and into their spots on the shelf. The movement is slow and sacramental. I imagine that the kids hadn’t been able to say goodbye to their father and that this, lying on the floor and listening to his beloved records, is the prettiest goodbye in the world. And I’m part of it and my heart bursts.
When “Mr. Tambourine Man” comes on Diana cries. I feel for her hand and I kiss it with a love so intense that I feel like it’s going to kill me. She bends down, she rocks me, she finds my mouth and just like that, listening to Bob Dylan, and through tears, I give, I am given, my first kiss.
Mitch watches us. He sits up, he leans over, he kisses me and he kisses his sister. The three of us kiss desperately, like orphans, like castaways. Hungry puppies licking up the last drops of milk in the universe. The harmonica plays Hey Mr. Tambourine Man play a song for me. We sit in the twilight. This is happening. There’s nothing more important in the world.
We are the world.
We’re almost naked when, from the other side of the door, Miss Diana rummages in her purse, looks for her key, rings the bell, calls to her kids in English.
Diana and I run to her room. Mitch goes into the bathroom. We’ve grabbed all our clothes, but the record is still playing. Miss Diana, brutally, removes the needle and the apartment goes silent. When she opens the bedroom door, Diana and I are pretending to study. Mitch comes out of the bathroom, wrapped in a towel, with his hair wet. No one admits to having put the record on. Their father’s record. The records of Lieutenant Ward, who was in Nam.
Shouting in English. Miss Diana is very red and looks like she’s about to cry or to burst into a thousand pieces. I hear words I don’t understand and others that I do know the meaning of, words like fucking and fuck and records and father. The kids deny everything and she walks over to Diana. Her hand is open, she’s about to hit her, and I, desperate with love, shout for Miss to stop, that it was me, I put the record on. She doesn’t know what to do or say. Her hand is frozen in the air like the Statue of Liberty without a torch and she remembers that she’s my teacher and that I’ve seen her do something she shouldn’t have done, something that stays within the walls of houses, something parents do to their kids when no one is looking.
She leaves without a word.
Diana looks at me. I look at her. I want to hug her, to kiss her, to take her away from there.
She pulls back her hair and says:
“We’d better start studying for philosophy.”
We stay up all night studying or pretending to study. She, who doesn’t understand any of it, falls asleep in the early morning and I, in the dim light, study her. She looks like Ophelia, from the painting, and also like She-Ra, He-Man’s sister. I pull off the covers to look at her whole body: I wish I were so tiny I could crawl through her half-open lips and live inside her forever. Even the chipped nail polish on her toenails moves me, it excites me, it captivates me. I’d kiss her every pore.
I’m no longer me.
I fall asleep. I dream that Diana is being chased by some black dogs, that she asks me for help and I can’t do anything. I hear screams, a man’s screams. Even with my eyes open I still hear them. I want to get up, but Diana hugs me tightly and whispers: It’s okay. It’s okay.
Daylight arrives with its sounds. Clinking dishes, cleaning up, and, finally, the door slamming behind the mother. Diana gets dressed without showing me her body, but as I’m putting on my uniform she turns around, lowers the zipper a little, and writes on my back with the tip of her finger then zips me back up. She smiles. I wear an I love you on my back.
I tell Diana that I have to go to the bathroom. She tells me that I’ll have to wait to go at school. That’s impossible. I got my period in the night, I need to pee, my stomach is upset. I can’t wait.
I have to go.
The apartment has two bathrooms. One, for guests, is in the living room, and the other is through the master bedroom, behind the door that’s always closed. Mitch is in the front bathroom and Diana says that her brother takes a long time and I’m too embarrassed to ask him to hurry up. I can’t do it, much less after yesterday, I can still feel Mitch Ward’s lips on my loser neck and my loser belly. I’d rip off my hand before I knocked on that door.
But I can’t wait any longer, I’m cold, I break out in a cold sweat, I have goosebumps. My legs feel weak.
I have to go.
Diana insists: I should go at school, that I can’t use her parents’ bathroom, that even she isn’t allowed in there, but I know I won’t make it, that I’ll shit my pants on the way to school and the uniform is white and I’ll die.
It’s urgent. I can’t wait any more. I’m not well.
I have to go.
She pulls me out of the house. Let’s go, there are bathrooms at school, we’ll be there in just a minute. My forehead is drenched in sweat. It’s about to happen, I’m going to shit myself. I tell her that I forgot my book and I go back into the house. I press my legs together, god, help me. The only thing I can think about is getting to a bathroom to keep from shitting myself, so that Diana and Mitch won’t see me stained with my own excrement. I have to get to a bathroom or I’ll die. If I shit myself I’ll never love or be loved again.
I open the door to the master bedroom. Inside it looks like an aquarium filled with thick water, embalming fluid. Threads of dust float in the air and there’s a smell that’s stifling, itchy. Sour and sweet and rotten, tear gas, a thousand cigarettes, urine, lemons, bleach, raw meat, milk, hydrogen peroxide, blood. A smell that does not come from an empty room, from a master bedroom.
I’m about to soil my underwear, this is the only thing that gives me courage, the only reason I take another step into that smell that’s now like a living creature violently slapping me. Another step. Another. Now I’m feeling nauseated, now it smells like when there’s a dead animal on the side of the road, but I’m already tangled in the guts of that animal, inside it.
I’m dizzy. I grab onto something and that something is a table and that table has a lamp on it which falls and breaks to pieces on the floor. Then, springing up from the bed, with the speed and force of a wave, a lump knocks me to the ground. I can’t see. The light is weak, sickly. I don’t know what’s on top of me. Some shapeless, terrifying thing has fallen on top of me. It’s on my chest and I can’t move. I try to scream but no sound comes out.
It has a head, it’s a monster. Its face, with angry yellow teeth, is stuck to mine. It smells like carrion. It mutters things I don’t understand, makes animal noises, grunts, snorts, it drools on me. It paws at my neck and squeezes and I see in those red eyes that it’s going to kill me, that it hates me and I’m going to die. I’m going to die.
Please, I say inside my head, please.
Then Diana comes to the door, Diana She-Ra, He-Man’s sister, my savior, comes to the door and shouts something I can’t understand and the beast that’s strangling me raises its head toward her and lets go of me.
I start to scream, I vomit, I piss myself and empty my bowels, there, on the carpet.
The light that comes in through the open door lets me see what was on top of me, killing me. Lying on the floor, it looks like a panting pillow.
She approaches it. She doesn’t even look at me. She picks him up and I see stumps waving just below his thighs and under his left elbow. Diana tucks him in bed like some atrocious child, who in reality is an emaciated, bald man, with bulging eyes and waxy skin. His right arm, the veins of his right arm, are covered in scabs and red wounds. She rocks him and comforts him and kisses his forehead, as he cries and they both repeat over and over I’m sorry, I’m so sorry.
I stand up as best I can. Mitch is in the door, looking at me hatefully. I go out into the living room, I dial the number to my house. My dad answers. I hang up the phone.
I walk to my grandma’s house. There, I lie, I tell her I’m sick, that I couldn’t hold it, that I shit my pants at school. Yes, that’s what happened. As I shower, I cry so hard my chest hurts.
Philosophy is the last exam of our last year of high school. My mom writes an excuse for my absence so I can retake the test another day. I get the highest score. I find out that Diana won’t be graduating with us, she didn’t show up for the exam. They say she’s going back to the United States.
I call her. She doesn’t answer my calls.
I wait by the telephone. She doesn’t call.
I never hear anything else about her. Until recently. I open my Facebook page and find a message from a former high school classmate:
“Hello, I’m sorry to give you this news, but, did you know that Diana Ward was killed in an attack in Afghanistan? She and her wife were in the U.S. Army. I wanted to let you know because I remember that you were good friends. How sad, isn’t it?”