Noah Sweetwine Quotes in I’ll Give You the Sun
[Jude] scoots over so we’re shoulder to shoulder. This is us. Our pose. The smush. It’s even how we are in the ultrasound photo they took of us inside Mom and how I had us in the picture Fry ripped up yesterday. Unlike most everyone else on earth, from the very first cells of us, we were together, we came here together. This is why no one hardly notices that Jude does most of the talking for both of us, why we can only play piano with all four of our hands on the keyboard and not at all alone, why we can never do Rochambeau because not once in thirteen years have we chosen differently. It’s always: two rocks, two papers, two scissors. When I don’t draw us like this, I draw us as half-people.
The calm of the smush floods me. She breathes in and I join her. Maybe we’re too old to still do this, but whatever. I can see her smiling even though I’m looking straight ahead. We exhale together, then inhale together, exhale, inhale, in and out, out and in, until not even the trees remember what happened in the woods yesterday, until Mom’s and Dad’s voices turn from mad to music, until we’re not only one age, but one complete and whole person.
Mom says Jude acts the way she does now on account of hormones, but I know it’s on account of her hating me. She stopped going to museums with us ages ago, which is probably a good thing, because when she did, her shadow kept trying to strangle mine. I’d see it happening on the walls or on the floor. Sometimes lately, I catch her shadow creeping around my bed at night trying to pull the dreams out of my head. I have a good idea what she does instead of coming to the museum, though. Three times now, I’ve seen hickeys on her neck. Bug bites, she said. Sure. I heard while spying that she and Courtney Barrett have been riding bikes down to the boardwalk on weekends, where they see who can kiss more boys.
(Portrait: Jude Braiding Boy After Boy into Her Hair)
He points to my pad. “So I guess you just talk in there, is that it?”
“Pretty much,” I say. We’re under a streetlamp and I’m trying not to stare but it’s hard. I wish the world would stick like a clock so I could look at him for as long as I want. There’s something going on in his face right now, something very bright trying to get out—a dam keeping back a wall of light. His soul might be a sun. I’ve never met anyone who had the sun for a soul.
I want to say more so he doesn’t leave. I feel so good, the freaking green leafy kind of good. “I paint in my head,” I tell him. “I was the whole time.” I’ve never told anyone I do this, not even Jude, and I have no idea why I’m telling him. I’ve never let anyone into the invisible museum before.
“When Castor died,” he says, “Pollux missed him too much, so he made a deal to share his immortality with him and that’s how they both ended up in the sky.”
“I’d do that,” I say. “Totally.”
“Yeah? Must be a twin thing,” he says, misunderstanding. “Though you’d never know it from that Death by Window Maneuver.” I feel my face flush because I’d meant him, duh, I’d share my immortality with him. I meant you, I want to holler.
After a while, she picks up her fist. I do the same. “One two three,” we say at the same time.
“Yes!” she cries. “We still got it, yes we do!” She jumps to her feet. “We can watch the Animal Channel tonight. Or a movie? You can pick.”
“I want to—”
“Me too,” I reply, knowing what she was going to say. I want to be us again too.
(Portrait, Self-portrait: Brother and Sister on a Seesaw, Blindfolded)
She smiles, touches my arm. “Don’t be sad.” She says it so warmly, it makes the air change color. “It came right through the wall last night.” This was worse when we were younger. If one cried, the other cried even if we were on different sides of Lost Cove. I didn’t think it happened anymore.
“I’m fine,” I say.
She nods. “See you tonight then if Mom and I don’t kill each other.” She gives a salute and is off.
I don’t know how this can be but it can: A painting is both exactly the same and entirely different every single time you look at it. That’s the way it is between Jude and me now.
A week after Dad’s forgotten birthday, with the rain beating the crap out of the house, Mom and Dad seat Jude and me in the frozen part the living room no one ever sits in to inform us that Dad’s temporarily moving down to the Lost Cove Hotel. […] Mom tells us he’ll be renting a studio apartment by the week until they can work out some issues they’re having.
Even though we haven’t spoken in forever, I can feel Jude’s heart clenching and unclenching inside my chest with mine.
“What issues?” she asks, but after that the rain gets so loud I can’t hear what anyone’s saying anymore. I’m convinced the storm’s going to bust down the walls. Then it does and I’m remembering Dad’s dream because it’s happening. I watch as the wind sweeps everything off the shelves: knickknacks, books, a vase of purple flowers. No one else notices. I grip the armrests of the chair tight.
(Family Portrait: Assume the Crash Position)
I can hear Mom’s voice again. It’s calm, too calm, yellow fluttering birds that don’t belong in this life-bucking tempest. “We still love each other very much,” she says. “We just both need some space right now.” She looks at Dad. “Benjamin?”
[Mom] gets up, walks over to me, puts her hand under my chin, and lifts my face so I’m forced into the earnest hold of her eyes. “Listen to me. It takes a lot of courage to be true to yourself, true to your heart. You always have been very brave that way and I pray you always will be. It’s your responsibility, Noah. Remember that.”
“This afternoon I teach you to use the power tools. With these you must be so, so careful. The chisel, like life, allows for second chances. With the saws and drills, often there is no second chance.”
I stop walking. “You believe that? About second chances? In life, I mean.” […]
“Of course, why not? Even God, he have to make the world twice.” His hands take to the air. “He make the first world, decide it is a very terrible world he made, so he destroy with the flood. Then he try again, start it all over with—”
“With Noah,” I say, finishing his sentence.
“Yes, so if God can have two tries, why not us? Or three or three hundred tries.” He laughs under his breath. “You will see, only with the diamond blade circular saw do you have one chance.” He strokes his chin. “But even then sometimes you make a catastrophic mistake, you think I am going to kill myself because the sculpture is ruined, but in the end it come out more incredible than had you not made the mistake. This is why I love the rocks. When I sculpt with clay, it feel like cheating. It is too easy. It has no will of its own. The rocks are formidable. They stand up to you. It is a fair fight. Sometimes you win. Sometimes they win. Sometimes when they win, you win.”
Dad drove us to the post office to mail off the applications. We couldn’t find a parking spot so Dad and Noah waited in the car while I went in. That’s when I did it. I just did it.
I only mailed mine.
I took from my brother the thing he wanted most in the world. What kind of person does that?
Not that it matters, but I went back to the post office the next day, ran all the way there, but the garbage had been emptied. All his dreams got taken out with the trash. Mine went straight to CSA.
I kept telling myself I would tell Noah and Dad. I would tell them at breakfast, after school, at dinner, tomorrow, on Wednesday. I would tell Noah in time so he could reapply, but I didn’t. I was so ashamed—the kind that feels like suffocating—and the longer I waited, the more the shame grew and the more impossible it got to admit what I’d done. Guilt grew too, like a disease, like every disease. There weren’t enough diseases in Dad’s library. Days kept passing, then weeks, and then, it was too late. I was too scared if I confessed, I’d lose Dad and Noah forever, too cowardly to face it, to fix it, to make it right.
This is why my mother destroys everything I make. This is why she can’t forgive me.
I go outside and ask [Guillermo] to teach me how to use the diamond blade circular saw. He does.
It’s time for second chances. It’s time to remake the world.
Knowing I only have one shot to get it right with this tool, I wrap the cord around my shoulder, position the circular saw between Noah’s shoulder and my own, and turn on the power. The tool roars to life. My whole body vibrates with electricity as I split the rock in two.
So that NoahandJude becomes Noah and Jude.
“You kill them?” Guillermo says in disbelief.
“No, I saved them.”
“[Oscar] didn’t save my life and it doesn’t matter how high it is.” [Noah is] getting drunker by the minute, talking with two tongues now. “It’s Mom who keeps me up. It’s like I have a parachute on. Like I can practically fly.” He makes a slow swoosh with his hand through the air. “I sail all the way down so incredibly slowly. Every time.”
My mouth falls open. Yes, he does. I’ve seen it.
This is why he keeps jumping then, so Mom will break his fall?
“Okay. So once upon a time, I saw this cubist portrait my brother did of you and had to have it.” I look at him. “Had to have it. It was love at first sight.” He smiles. “He and I were always playing this game where we’d swap parts of the world for others in a quest for universe domination. He was winning. We’re . . . competitive, that’s the nice way of putting it. Anyway, he didn’t want me to have you. I had to give up almost everything. But it was worth it. I kept you here.” I show him the spot where the picture hung by my bed. “I would stare and stare at you and wish you were real and imagine you coming to that window, just like you did tonight.”
He bursts out laughing. “That’s incredible! We’re absolutely split-aparts.”
“I don’t know if I want a split-apart,” I say honestly. “I think I need my own soul.”
I take him by the shoulders. “Noah.” My voice has returned. “It wasn’t your fault. It wasn’t.” I repeat the words until I’m sure he’s heard them, believes them. “It wasn’t anyone’s. It just happened. This terrible thing happened to her. This terrible thing happened to us.”
And then it’s my turn. I’m being shoved forward, shoved right out of my skin with just how terrible—Mom ripped out of my life the very moment I needed her the most, the bottomless unconditional shielding sheltering love she had for me taken forever. I let myself feel the terrible, surrender to it finally instead of running from it, instead of telling myself it all belongs to Noah and not to me, instead of putting an index of fears and superstitions between me and it, instead of mummifying myself in layers of clothing to protect myself from it, and I’m falling forward with the force of two years of buried grief, the sorrow of ten thousand oceans finally breaking inside me—
I let it. I let my heart break.
And Noah is there, strong and sturdy, to catch me, to hold me through it, to make sure I’m safe.
“Let’s go,” Noah says, and we’re running together into the woods like we used to, and I can see how he’ll draw it later, with the redwoods bowing, the flowers opening like houses for us to enter, the creek following behind us in winding wending color, our feet inches above the ground.
Or maybe he’ll do it like this: the forest a blur of green over our heads while we lie on our backs, playing Rochambeau.
He picks rock. I pick scissors. I pick paper. He picks scissors. He picks rock. I pick paper. We give up, happily. It’s a new age. […]
I roll on my side to face him. “So can you believe how weird I’ve gotten and how normal you’ve gotten?” “It’s astounding,” he says, which cracks us both up. “Except most of the time,” he adds, “I feel like I’m undercover.”
“Me too.” I pick up a stick, start digging with it. “Or maybe a person is just made up of a lot of people,” I say. “Maybe we’re accumulating these new selves all the time.” Hauling them in as we make choices, good and bad, as we screw up, step up, lose our minds, find our minds, fall apart, fall in love, as we grieve, grow, retreat from the world, dive into the world, as we make things, as we break things.
“How do you feel about moving? Not out of Lost Cove but to another house. […] A houseboat.” I can’t decide what’s more amazing: the words coming out of Dad’s mouth or the expression on his face. […] “I think we need an adventure. The three of us together.”
“You want us to live on a boat?” I ask.
“He wants us to live on an ark, ” Noah answers, awe in his voice.
“I do!” Dad laughs. “That’s exactly right. I’ve always wanted to do this.” Really? News to me. Um, who is this man? “I just did some research and you will not believe what’s for sale down by the marina.” He goes to his briefcase and pulls out some pictures he must’ve printed from the Internet.
“Oh wow,” I say. This is no rowboat. It is an ark.
“An architect owned it previously,” Dad tells us. “Renovated the whole thing, did all the woodwork and stained glass herself. Incredible, isn’t it? Two stories, three bedrooms, two baths, great kitchen, skylights, wraparound decks on both floors. It’s a floating paradise.”
Noah and I must register the name of the floating paradise at the exact same moment, because we both blurt out, imitating Mom, “Embrace the mystery, Professor.”
The name of this houseboat is The Mystery.
I glance around the room, sensing Mom so much, certain this is what she wanted. She knew we each held an essential part of the story that needed to be shared. She wanted me to know she saw the sculptures and only Guillermo could tell me that. She wanted Guillermo and Dad to hear the truth from Noah. She wanted me to tell Noah about CSA and maybe I wouldn’t have found the courage if I hadn’t come to Guillermo, if I hadn’t picked up a chisel and hammer. She wanted us in Guillermo’s life, and he in ours, because we are, each one of us for the other, a key to a door that otherwise would’ve remained locked forever.