Jude, but she always makes me feel like Iâm her little brother. I hate it. âWho would you be kissing? Did you kiss someone?â
âIâll tell you if you tell me what happened yesterday. I know something did and thatâs why we couldnât walk to school the normal way this morning.â I didnât want to see Zephyr or Fry. The high school is next to the middle school. I donât ever want to see them again. Jude touches my arm. âIf someone did something to you or said something, tell me.â
Sheâs trying to get in my mind, so I close the shutters. Fast, slam them right down with me on one side, her on the other. This isnât like the other horror shows: The time she punched the boulder-come-to-life Michael Stein in the face last year during a soccer game for calling me a retard just because I got distracted by a supremely cool anthill. Or the time I got caught in a rip and she and Dad had to drag me out of the ocean in front of a whole beach of surftards. This is different. This secret is like having hot burning coals under my bare feet all the time. I rise up from the couch to get away from any potential telepathyâwhen the yelling reaches us.
Itâs loud, like the house might break in two. Same as the other times lately.
I sink back down. Jude looks at me. Her eyes are the lightest glacier blue; I use mostly white when I draw them. Normally they make you feel floaty and think of puffy clouds and hear harps, but right now they look just plain scared. Everything else has been forgotten.
(P ORTRAIT:
Mom and Dad with Screeching Tea Kettles for Heads
)
When Jude speaks, she sounds like she did when she was little, her voice made of tinsel. âDo you really think thatâs why Grandma wants us to go to that school? Because she saw my flying sand women?â
âI do,â I say, lying. I think she was right the first time. I think itâs because of me.
She scoots over so weâre shoulder to shoulder. This is us. Our pose. The smush. Itâs 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. Itâs always: two rocks, two papers, two scissors. When I donât 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 weâre too old to still do this, but whatever. I can see her smiling even though Iâm 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 Momâs and Dadâs voices turn from mad to music, until weâre not only one age, but one complete and whole person.
â¢Â â¢Â â¢
A week later, everything changes.
Itâs Saturday, and Mom, Jude, and I are in the city at the museumâs rooftop café because Mom won the argument and weâre both going to apply to CSA in a year.
Across the table, Judeâs talking to Mom and at the same time sending me secret silent death threats because she thinks my drawings came out better than hers and weâre having a contest. Momâs the judge. And fine, maybe I shouldnât have tried to fix Judeâs for her. Sheâs sure I was trying to ruin them. No comment.
She eye-rolls at me on the sly. Itâs a 6.3 on the Richter scale. I think about giving her a dead leg under the table but resist. Instead, I drink some hot chocolate and covertly spy on a group of older guys to my left. As far as my eight-foot concrete dork