Dwight Quotes in This Boy’s Life
I wanted to do what Dwight expected me to do, but I couldn't. I stood where I was and stared at the beaver. Dwight came up beside me. "That pelt's worth fifty dollars, bare minimum." He added, "Don't tell me you're
afraid of the damned thing."
"Then pick it up." He watched me. "It's dead, for Christ's sake. It's just meat. Are you afraid of hamburger? Look." He bent down and gripped the tail in one hand and lifted the beaver off the ground. He tried to make this appear effortless but I could see he was surprised and strained by the beaver's weight. A stream of blood ran out of its nose, then stopped. A few drops fell on Dwight's shoes before he jerked the body away. Holding the beaver in front of him with both hands, Dwight carried it to the open trunk and let go. It landed hard. "There," he said, and wiped his hands on his pant leg.
Now I saw her only when Dwight agreed to drive me down with him. He usually had reasons for leaving me behind, the paper route or schoolwork or something I had done wrong that week. But he had to bring me sometimes, and then he never let me out of his sight. He stuck close by and acted jovial. He smiled at me and put his hand on my shoulder and made frequent reference to fun things we'd done together. And I played along. Watching myself with revulsion, aghast at my own falsity yet somehow helpless to stop it, I simpered back at him and laughed when he invited me to laugh and confirmed all his lying implications that we were pals and our life together a good one. Dwight did this whenever it suited his purpose, and I never let him down.
[The piano] was just a piece of furniture, so dark in all this whiteness that it seemed to be pulsing. You really couldn't look anywhere else.
I agreed that it stood out.
We went to work on it. Using fine bristles so our brush strokes wouldn't show, we painted the bench, the pedestal, the fluted columns that rose from the pedestal to the keyboard. We painted the carved scrollwork. We painted the elaborate inlaid picture above the keyboard, a picture of a girl with braided yellow hair leaning out of her gabled window to listen to a redbird on a branch. We painted the lustrous cabinet. We even painted the foot pedals. Finally, because the antique yellow of the ivory looked wrong to Dwight against the new white, we very carefully painted the keys, all except the black ones, of course.
I also missed my father. My mother never complained to me about him, but sometimes Dwight would make sarcastic comments about Daddy Warbucks and lord High-and-Mighty. He meant to impugn my father for being rich and living far away and having nothing to do with me, but all these qualities, even the last, perhaps especially the last, made my father fascinating. He had the advantage always enjoyed by the inconstant parent, of not being there to be found imperfect. I could see him as I wanted to see him. I could give him sterling qualities and imagine good reasons, even romantic reasons, why he had taken no interest, why he had never written to me, why he seemed to have forgotten I existed. I made excuses for him long after I should have known better.
We climbed up into the attic and worked our way down to where I'd put the boxes. It was cramped and musty. From below I could hear faint voices singing. Dwight led the way, probing the darkness with a flashlight. When he found the boxes he stopped and held the beam on them. Mold covered the cardboard sides and rose from the tops of the boxes like dough swelling out of a breadpan. Its surface, dark and solid-looking, gullied and creased like cauliflower, glistened in the light. Dwight played the beam over the boxes, then turned it on the basin where the beaver, also forgotten these two years past, had been left to cure. Only a pulp remained. This too was covered with mold, but a different kind than the one that had gotten the chestnuts. This mold was white and transparent, a network of gossamer filaments that had flowered to a height of two feet or so above the basin. It was like cotton candy but more loosely spun. And as Dwight played the light over it I saw something strange. The mold had no features, of course, but its outline somehow suggested the shape of the beaver it had consumed: a vague cloud-picture of a beaver crouching in the air.
After I got up [Arthur] rushed me, and without calculation I sidestepped and threw him an uppercut. It stopped him cold. He just stood there, shaking his head. I hit him again and the bell rang.
I caught him with that uppercut twice more during the final round, but neither of them rocked him like that first one. That first one was a beaut. I launched it from my toes and put everything I had into it, and it shivered his timbers. I could feel it travel through him in one pure line. I could feel it hurt him. And when it landed, and my old friend's head snapped back so terribly, I felt a surge of pride and connection; connection not to him but to Dwight. I was distinctly aware of Dwight in that bellowing mass all around me. I could feel his exultation at the blow I'd struck, feel his own pride in it, see him smiling down at me with recognition, and pleasure, and something like love.