When We Were the Kennedys

Title Page

Table of Contents

Copyright

Dedication

Author's Note

Epigraph

Prologue: My Mexico

1. Morning

2. Wake

3. Hiding

4. Explorers

5. Too Much Stairs

6. Paper

7. Three Vanillas

8. Offer it Up

9. The Mystery of the Missing Man

10. Just Nervous

11. Widows' Instructions

12. Our Nation's Capital

13. Anniversary

14. I Hear Music

Epilogue: NewPage

Acknowledgments

Copyright © 2012 by Monica Wood

All rights reserved

For information about permission to reproduce selections from this book, write to Permissions, Houghton Mifflin Harcourt Publishing Company, 215 Park Avenue South, New York, New York 10003.

www.hmhbooks.com

Library of Congress Cataloguing in Publication Data
Wood, Monica.
When we were the Kennedys : a memoir from Mexico, Maine / Monica Wood.
p. cm.
ISBN
978-0-547-63014-4

1. Wood, Monica. 2. Authors, American—20th century—Biography. 3. Mexico (Me. : Town)—Biography. I. Title.

PS
3573.05948Z46 2012
813'.54—dc22 [
B
] 2011016069

Book design by Brian Moore

Printed in the United States of America

DOC
 10 9 8 7 6 5 4 3 2 1

Credit:
Gregory Orr, “This is what was bequeathed us” from
How Beautiful the Beloved.
Copyright © 2009 by Gregory Orr. Reprinted with the permission of Copper Canyon Press, www.coppercanyonpress.org.

For Denise Vaillancourt, who shared her father

This is a memoir: the truth as I recall it. You will find herein no composite or invented characters, no rearranged chronologies, no alterations in the character or appearance of the people I remember. I changed only one name. One chapter contains a blizzard that my sisters now inform me occurred on a different occasion; and indeed, when I looked up weather for November 1963 I found not only no blizzard, but—astonishingly—no snow to speak of. The inaccurate memory is so embedded in my psyche, however, so inextricable from the remembered events of that chapter, that in the end I decided to leave it alone. Otherwise, events or processes I could not remember with accuracy or was too young at the time to understand—for example, papermaking, strike politics, the specific character of my father's work—I filled out as accurately as I could through research, the venerable
Rumford Falls Times,
and the memories of others. The bulk of this story, however, results from my having been an observant child living in a vibrant place and time.

This Is What Was Bequeathed Us

BY GREGORY ORR

 

This is what was bequeathed us:

This earth the beloved left

And, leaving,

Left to us.

 

No other world

But this one:

Willows and the river

And the factory

With its black smokestacks.

 

No other shore, only this bank

On which the living gather.

 

No meaning but what we find here.

No purpose but what we make.

 

That, and the beloved's clear instructions:

 

   Turn me into song; sing me awake.

I
N MEXICO, MAINE
, where I grew up, you couldn't find a single Mexican.

We'd been named by a band of settlers as a shout-out to the Mexican revolutionaries—a puzzling gesture, its meaning long gone—but by the time I came along, my hometown retained not a shred of solidarity, unless you counted a bottle of Tabasco sauce moldering in the door of somebody's fridge. We had a badly painted sombrero on the
WELCOME TO MEXICO
sign, but the only Spanish I ever heard came from a scratched 45 of Doris Day singing “Que Sera, Sera.”

In fourth grade, after discovering that the world included a country called Mexico, I spent several befuzzled days wondering why it had named itself after us. Sister Ernestine adjusted my perspective with a pull-down map of the world, on which the country of Mexico showed up as a pepper-red presence and its puny namesake did not appear at all.

In high summer, when tourists in paneled station wagons caravanned through town on their way to someplace else, hankies pressed comically to their noses against the stench of paper being made, I sat with my friends on the stoop of Nery's Market to play License Plate. Sucking on blue Popsicles, we observed the procession of vehicles carrying strangers we'd never glimpse again, and accumulated points for every out-of-state plate. These people didn't linger to look around or buy anything, though once in a while a woman (always a woman, with the smiley red lips all women had then) popped out of an idling car to ask the posse of sun-burnished children,
Why Mexico?

We looked at one another. I was the one in the wrinkled tee shirt bought at the Alamo by my priest uncle, Father Bob, who loved to travel. Or maybe that was my little sister, Cathy, or my next-bigger sister, Betty, or one of our friends. Who could tell one kid from the next? White kids in similar clothes; Catholic children of millworkers and housewives. We lived in triple-decker apartment buildings—we called them “blocks”—or in nondescript houses that our fathers painted every few years. The only Mexico we knew was this one, ours, with its single main street and its one bowling alley and its convent and church steeples and our fathers over there, just across the river, toiling inside a brick-and-steel complex with heaven-high smokestacks that shot great, gorgeous steam clouds into the air so steadily we couldn't tell where mill left off and sky began.

Like most Irish Catholic families in 1963, mine had a boiled dinner on Sundays after Mass and salmon loaf on Fridays. We had pictures of Pope John and President John and the Sacred Heart of Jesus hung over our red couch, and on holidays my big brother, the frontman in a local band called the Impacts, came with his wife and babies and guitar to sing story songs packed with repentant jailbirds and useless regret and soldiers bleeding to death on heathery fields. In my friend Denise Vaillancourt's French Catholic family they ate meat pies—”
tourtières
”—on Christmas Eve and sang comic Québecois songs about mistaken identity and family kerfuffles. I had another friend, Sheila, who lived just our side of the Mexico-Rumford bridge, in a Protestant, two-child, flood-prone, single-family house; and another friend, Janet, who lived atop her parents' tavern, the regulars marshmallowed onto the barstools by three in the afternoon listening to Elvis on the jukebox. At St. Theresa's we greeted our teachers with a singsong
“Bonjooour, ma Soeur,”
diagrammed morally loaded sentences at flip-top desks, and drew flattering pictures of the Blessed Mother. We went to Mass on Sunday mornings and high holy days, singing four-part
Tantum Ergo
s from the choir loft in a teamwork reminiscent of our fathers sweating out their shifts in noisy, cavernous rooms. The nuns taught us that six went into twelve twice, that the Declaration of Independence was signed in 1776, that California exported avocados and Maine exported paper—tons and tons of paper, the kind our fathers made.

Though our elders in Mexico—who spoke French, or Italian, or Lithuanian, or English with a lilt—cherished their cultural differences, which were deep and mysterious and preserved in family lore, what bound us, the children, was bigger and stronger and far more alluring than the past. It was the future we shared, the promise of a long and bountiful life.

The unlikely source of that promise penetrated our town like a long and endless sigh: the Oxford Paper Company, that boiling hulk on the riverbank, the great equalizer that took our fathers from us every day and eight hours later gave them back, in an unceasing loop of shift work.

“The Oxford,” we chummily called it, as if it were our friend. From nowhere in town could you not see it.

The mill. The rumbling, hard-breathing monster that made steam and noise and grit and stench and dreams and livelihoods—and paper. It possessed a scoured, industrial beauty as awesome and ever-changing as the leaf-plumped hills that surrounded us. It made a world unto itself, overbearing and irrefutable, claiming its ground along the Androscoggin, a wide and roiling river that cracked the floor of our valley like the lifeline on a palm. My father made his living there, and my friends' fathers, and my brother, and my friends' brothers, and my grandfather, and my friends' grandfathers. They crossed the footbridge over the river's tainted waters, carrying their lunch pails into the mill's overheated gullet five, six, sometimes seven days a week.

In every household in town, the story we children heard—between the lines, from mothers, fathers, mémères and pépères, nanas and nonnas, implied in the merest gesture of the merest day—was this: The mill called us here. To have you.

This was one powerful story. Powerful and engulfing, erasing all that came before, just like the mill that had made this story possible. In each beholden family, old languages were receding into a multicultural twilight as the new, sun-flooded story took hold: the story of us, American children of well-paid laborers, beneficiaries of a dream. Every day our mothers packed our fathers' lunch pails as we put on our school uniforms, every day a fresh chance on the dream path our parents had laid down for us. Our story, like the mill, hummed in the background of our every hour, a tale of quest and hope that resonated similarly in all the songs in all the blocks and houses, in the headlong shouts of all the children at play, in the murmur of all the graces said at all the kitchen tables. In my family, in every family, that story—with its implied happy ending—hinged on a single, beautiful, unbreakable, immutable fact: Dad.

Then he died.

T
HE MORNING OF
my father's death begins like all other mornings: my mother stirring oatmeal at the stove, cats twining around her legs, parakeet jabbering on her shoulder. My oldest sister, Anne, who teaches English at the high school, is at work already; and Dad, who got up at five-thirty for first shift, is putting a crew together in the spongy air of the Oxford's woodyard. Or so we believe. Betty and Cathy and I, our hair starched from sleep, rouse ourselves after Mum's second call. We attend St. Theresa's, a French Catholic elementary school that we can see, over the rooftop of my friend Denise's block on Brown Street, from our third-floor kitchen window. I'm in fourth grade, Cathy in second. Betty—mentally disabled (we say “retarded” back then)—is also in second grade, for the third time; she sits at the desk next to Cathy, who lately has been teaching her to knit, a suggestion from Sister Edgar, who has just about run out of ideas.

Below us, on the second floor, come the muted morning sounds from the Hickeys: That's Norma leaving for work as a secretary at the power company. Her mother, the only one-armed person I know, scoops up the
Lewiston Daily Sun
and snaps it open in a nimble abracadabra, one of her most enthralling sleight-of-one-hand feats. Mr. Hickey—a sweet, frail man “let go” from the mill for his ailing eyes and lungs—stays inside, drinking tea from Mrs. Hickey's scalloped cups.

Below that, on the first floor, our Lithuanian landlady begins her daily cooking of cabbage and other root vegetables that smell more or less like the mill. The ancient Norkuses speak halting English, charge us seven dollars a week in rent, and engage in an intermittent skirmish with Mum over whether we kids should be allowed to bring our friends up to visit.
Too much stairs,
they say, which could mean almost anything.

In the Norkus block, where we live, the three apartments are identically laid out—four rooms, a screened porch in front, an open porch landing in back—but each has a separate, and separately revelatory, air of foreignness. The Norkus apartment, densely furnished, emanates a steamy, overdraped blurriness that I still associate with all Lithuanian households. The Hickeys' floor, quiet and tidy, seems like a trick, its scrubbed interior latitudes magically expanded. Every time I enter, I think of the Popeye cartoon in which Olive Oyl peers into a tiny tent and finds the inside of the Taj Mahal. Our top floor, full of girls and mateless socks and hair doodads and schoolbooks and cats and unlaced Keds and molted feathers, operates on the same principle, in reverse: When you open our door, the physical world shrinks.