Don't Ever Change Read online

  CONTENTS

  Preface to a Classic

  1. What Do I Know

  2. Standing In It

  3. The Usual

  4. Here’s a Door and It’s Open

  5. Great

  6. Austen’s Darcy, Milne’s Pooh

  7. Chinese Bombs

  8. Jennifer at Bat

  9. What’s Up

  10. Sad Story

  11. Go Ahead, Check

  12. Two Very Important Conversations In Between Two Very Disappointing Texts

  13. We’re Going to Have a Motto

  14. Nightmaring

  15. There You Are

  16. Second Course

  17. Lonely Gets Lonelier

  18. Sobtown, Mass

  19. The Whole Thing

  20. Incentive

  21. Gchatting with Lindsay

  22. Idea for a Play

  23. Rep

  24. The Fifty-First State

  25. So What

  26. We Should’ve Stayed on the Hill

  27. Foreshadowed

  28. Frenching Foster

  29. Not the Only One

  30. Just Regular Pressing

  31. Jobs

  32. Ringtones

  33. “The Toaster” by Eva Kramer

  34. Elephants

  35. Those Who Can’t Do, Get Taught

  36. Good Counselor, Bad Counselor

  37. Reading Things

  38. Scrutin’ Eyes

  39. Style War

  40. Pediatricks

  41. The Finalist

  42. Jokes

  43. Vancouver

  44. It’s Zack

  45. Passport

  46. Deadja Vu and the Curse of the Coyote

  47. I Am in Trouble

  48. Crying Through Confetti

  49. A Break

  50. VHS

  51. Christy and the Case of the Missing Clipboard

  52. Another Idea for a Play

  53. Different Types of Camps

  54. Dropping It

  55. Black-and-White

  56. Check Her

  57. Muddy Wisdom

  58. Upon Meeting Lindsay

  59. You Without Me

  60. Imagine All the People

  61. Postcard from the Islands

  62. The Weirdest Date in the World

  63. The Roush Solution

  64. Not Always

  65. Thorough

  Acknowledgments

  Back Ad

  About the Author

  Books by M. Beth Bloom

  Credits

  Copyright

  About the Publisher

  PREFACE TO A CLASSIC

  AMERICA, I, AMERICA is a play about freedom and being an American girl, and it’s the first thing I ever wrote. I was in the sixth grade. For my middle school’s Fourth of July celebration, I picked Erica Bordofsky to play the lead role, which she accepted with a bit too much humility, and that made me question her star power. “You’ve got to sell it,” was what I told her. “It’s about America!”

  But ultimately, the final production turned out totally shallow and historically inaccurate and extremely disappointing. At that age, when we’re still so young that we can do anything—be nurses or astronauts or princesses or cops—I chose to do this: write. So I began thinking of myself as a writer, but a frustrated one, because Erica insisted on mispronouncing her final line as “America, I am Erica,” over and over, to a confused assembly of students and teachers.

  That’s the first thing you learn: being misunderstood.

  The second thing is all those old, “classic” books they make you read. They’re all about the same themes—the Plight of Man, Man’s Epic Nature, Man Versus Society, and whatever else—and there’s always some depressing metaphor like a river or a war. The overall message I learned about Coming of Age is that if it’s a true “classic,” then only a boy is allowed to do it, and that’s why I hate Holden Caulfield and I hate Huck Finn.

  If I’m either going to be left out because I’m a girl, or I’m going to be misunderstood, then I’d much rather be misunderstood; I’d rather have Erica Bordofsky bombing onstage, missing the entire point.

  And I’d rather it be because I wrote it. Because it’s my story.

  1.

  WHAT DO I KNOW

  IT’S ONE OF my last classes of my last week of high school. So I don’t know why Mr. Roush even has to get into it.

  “It’s not that your story isn’t good,” he says. “It is good. Better than most.”

  “Okay,” I say.

  “But honestly, the truth is there are other subjects you might be better at writing about. Things you know more about. Things you’ve actually experienced.”

  “But what I know is just . . . it isn’t dramatic,” I say. “I don’t want to write about mean girls in chem class, or babysitting.”

  “I’m not telling you to,” Mr. Roush says.

  “I don’t want to write about high school.”

  “Why not?”

  “Because it’s kind of . . . trite,” I say.

  “The rest of my students don’t think so.”

  “Exactly.”

  “What are you saying?”

  “Nothing, Mr. Roush. I’m saying they don’t think it’s trite, that’s all.”

  But they should. Most of the stories in class this semester were about fairy-tale proms or teen geniuses or cliques of high school vampires, while mine touched on divorce and cervical cancer and domestic baby adoption. I don’t quite consider myself a Teacher’s Pet, but I do think of myself as a Star Student. I also think when you’re a writer everyone’s life and everyone’s story is what they call Fair Game, so it doesn’t make sense to limit yourself to your own boring reality when there’s so much good material just a search engine or magazine article away.

  Mr. Roush sighs, and hands me the printout of my story. On the inside of the cover page is a single word written in red ink. The word is WHY.

  “Do you know why I’ve written this?” Mr. Roush asks.

  “Because you want to know why?”

  “I wanted to know why you chose to write this specific story.”

  I shrug. “It was just an idea. I tried to think of something kind of sad and, you know, moving.”

  “There’s nothing wrong with that. But it has to go deeper,” he says. “This story doesn’t have . . . depth. It doesn’t feel real.”

  “When we were workshopping it, I thought you said you liked it.”

  “I do like it, Eva. It’s well written. But that’s all it is.” He pauses, choosing his words. “There’s a difference between writing that’s fictional, and writing that’s false,” Mr. Roush continues. “Does that make sense?”

  “You think my story is fake,” I say.

  “Eva, listen.”

  “You want me to write what I know,” I say.

  “It’s clichéd advice, I admit.”

  “But nothing around here inspires me.”

  “Well, what about a boy?” He raises his eyebrows, smiles. “A love story.”

  “What? No.”

  “Just a suggestion,” Mr. Roush says. “There’s a million suggestions. You just have to ask yourself: what do I know?”

  I stand there, trying to look like I’m pondering the question. I do all the crucial gestures: slow head nodding, fingernail nibbling, even straightforward head scratching (not on top like “A Thinker,” that’s too goofy, just gently behind the ear, “A Thoughtful Person”), but what I’m really doing is counting. I decide if Mr. Roush doesn’t dismiss me by the time I get to twenty then I’ll say something respectful, like “I’ll think about it over the summer.” But if he hasn’t said anything by the time I’m at forty then it’ll actually be a
wkward, so I’ll just interrupt with an upbeat “See you at graduation, Mr. Roush,” and cruise.

  Eleven, what do I know, twelve, what do I know, thirteen, what do I know.

  I make it to fifteen when Mr. Roush sighs and stands with a distant, foggy look in his eyes, like he’s just remembered something he hasn’t thought about in a really long time. For a moment he holds that pose, gazing past me at the empty room full of little personal desks, each with their own little personal writing tray. I wonder if he’s picturing all the fake writers like me who have flooded in and out of his class over the years.

  “It’s a lot to process,” he says, still sort of daydreaming. “There’s so much a writer can draw from. Every life is rich. Just because you’ve read books about adult dramas doesn’t mean those are the only subjects worth writing about.”

  “Don’t serious writers write about serious things?”

  Mr. Roush’s eyes refocus. He smiles at me, warmer than before. “It doesn’t work like that. You just write and then you’re a writer. And you’re a good writer, Eva.”

  “Thanks. You’re a good teacher, Mr. Roush.”

  “Well, thank you. And congraduation, by the way,” he says, amused by his pun.

  I smile at him and turn to leave, but something catches in my thoughts that makes me pause, and it isn’t just the fact that at that exact moment Mr. Roush says, “Oh, and one more thing.” It hits me that this whole conversation, what’s happening right now, could be a scene, part of a story. Since it’s not fictional, it can’t be false.

  “Can I give you a tip for future writing workshops?” Mr. Roush asks, without waiting for my answer. “You might want to ease up a bit on your peer-editing notes.”

  “Why, what’s wrong with them?”

  “They’re a little harsh.” Mr. Roush reaches for some stapled papers stacked on his desk. “See, here you wrote, ‘There’s something missing from this story, and that something is everything.’”

  “Right. That’s just how I felt about it.”

  “That’s not the point. The point is to be constructive in your criticism.”

  “But Foster has a death in every one of his stories,” I say. “It’s like every story’s a dream where it ends with a murder and then the narrator saying, ‘And it was all just a dream.’ Isn’t that fake, Mr. Roush?”

  “Well, there are gentler ways to express that feeling is all I’m saying.”

  I start to say more but Mr. Roush leans over, pats my shoulder, picks up his briefcase, and strolls out the door, as if all this time I had been keeping him, and not the other way around. But once he’s gone, I realize I have nowhere to be anyway. This was my last class of the day—one of my last classes in high school, ever. I linger in the doorway, wondering what to do. The cafeteria closed hours ago. I’m not in the mood to try on my cap and gown, or prewrite thank-you notes for incoming graduation checks from relatives, and I definitely have zero desire to go study for my European history final tomorrow.

  So instead I stand there, letting time drain away.

  Just for the sake of whatever, let’s say I don’t know anything about anything I’ve written. But if that’s true, then what do I know that I can write about? I scan around the classroom for inspiration, and this is all I see: seventeen personal desks on which to write personal (but not too harsh) constructive criticisms; an oversize hand-painted Shakespeare quote hanging above the door (THE PLAY IS THE THING); a hardback thesaurus, fat and old, perched on Mr. Roush’s desk like a movie prop.

  This is all I know: that I’m young and I’m about to finish high school and I write.

  But what else, what else.

  2.

  STANDING IN IT

  COURTNEY’S STRETCHED IN a crazy yoga position when I go into her bedroom, but my entrance breaks her concentration. She looks up at me, concerned.

  “Your vibes are seriously heavy right now,” she says.

  “Roush hated my story,” I tell her. “He thinks I’m a phony.”

  “Is he right?”

  “Are you asking if he’s right that I’m a phony?”

  “Yeah.”

  “How can I even answer that?”

  “Well, do you feel like a phony?”

  “No,” I say. “I don’t know. I feel like a regular person.”

  “There you go then,” Courtney says.

  Then she closes her eyes and lowers her head to the carpet, her legs crossed under her in a complicated way. She’s facing the wall with windows, but she could be facing any direction, she could be facing her stupid mini-fridge, because the blinds aren’t open, the windows aren’t open, and it’s almost nighttime anyway. Once my sister turned twenty-one, she suddenly decided she was “deep,” even though she still lives at home and only enrolled in community college so she could major in ceramics (or “pot,” as my dad calls it) in hopes of eventually switching to an actual university, where she can study agriculture (or “grass,” as my dad likes to say). At least we don’t share a room anymore, which makes me think of our old bunk bed, which then makes me wonder about the new bunk bed I’ll have this coming fall.

  The college roommate questionnaire my school sent me last month asked mostly about your intended major and study habits and one’s basic overall level of cleanliness. But the first question was about sex, as in which gender you are, and the last question was about location, as in where you’re from. It made me realize that if the pairings had been chosen solely based on people’s answers to the first and last questions, then I could’ve potentially been matched with someone like my sister. She’s a girl, like me, and she’s from Los Angeles, also like me. But that’s where the similarities stop and the differences begin.

  “Courtney.”

  “What?”

  “Are you already meditating?” I ask. “Has it started?”

  “I’m in the middle of trying to do it.”

  “Can we talk?”

  “You always want to talk,” Courtney says.

  “So?”

  “So try to stop sometimes. Try to just stop talking, stop doing anything for a few minutes.”

  “But I’m a Virgo.”

  “Well, stop being a Virgo too. At least for a little bit.”

  Courtney pats the carpet next to her, and I go and sit down. I cross my legs like hers and stare ahead at the closed blinds without moving, holding my back straight, mimicking her posture. I glance at her out of the corner of my left eye but keep my right eye shut because both of her eyes are closed.

  If every girl can be described as having the face of a particular animal, then you’d say Courtney has a mouse’s face and I have a cat’s or kitten’s. That’s one of our differences. She’s also the only Californian I’ve ever known who acts like a stereotypical “Californian,” like she’s from the Land of Fruits and Nuts. She calls Beverly Hills “the nine-oh,” like the beginning of its zip code, and she calls Malibu “the Boo,” or sometimes even “Downtown Boo,” which I think is just embarrassing.

  “Keep your eyes closed, Eva,” she warns.

  “Okay, sorry.”

  “Visualize the number five,” Courtney says. “Not just five things, but the number itself, like the icon five. Okay . . . now let five slowly fade. Now create it in your mind two more times. Five. Five. Do the same with the numbers four, three, two, one, and finally zero. Make the zero three times. Picture them big and bold and defined, one at a time, three tall rings, Oh, Oh, Oh. Now hold the last one and picture yourself standing inside the zero.”

  “Okay, yeah,” I say, my eyes closed tight. “I see it.”

  “Are you standing in it?” she asks.

  “I’m standing in it, yeah.”

  “Now breathe.” Courtney breathes. “Whoooooooo.”

  I do it too: “Whoooooooo.”

  I listen to Courtney’s breath and imitate her, until we’re breathing together. Long inhales and long exhales. In one part of my mind I can still see the zero encircling me, hugging my body, but in another I start t
o think about what I usually think about when my mind wanders: Making It.

  Most of the time when people say they want to Make It, what they mean is that they want to become famous and successful. People like to say to me, “Well, what if your life takes a turn? What if you stop writing, then what?” Well, then nothing. I don’t want anything else. Since forever, since always, even right now, it’s Making It as a Real Writer or else it’s me inside a big, bold, defined zero.

  “Whoooooooo.”

  A Writer. A Virgo. A Vegan. Two months ago I went vegan after having been vegetarian for about a year and macrobiotic for two months. I know it’s sort of shallow, but labels like Vegan and Virgo and Writer comfort me because they help distinguish me not just from other people, but also from other versions of myself that I could have become, or could one day be. Like how I used to consider Straight Edge another one of my labels because I thought I was abstaining from drugs and alcohol, but then I realized I just wasn’t being offered any to abstain from.

  “Whoooooooo.” I breathe.

  “Let’s go deeper,” Courtney says.

  “Okay.”

  “So there’s your perfect self, and your injured self. Can you envision them?”

  “I’ll try.”

  “Don’t picture the injured you getting better, because that only feeds energy to your problems. Instead see the two selves as distinct, separate things. Now gradually overlap them so your perfect self consumes your injured self, becoming one. Until you’re healed, and always have been.”

  “Um, okay.”

  “It’s called visual healing,” Courtney says. “Are you feeling it?”

  “I think so. . . .”

  I don’t know what I used to imagine college was going to be like before I actually applied, but the one thing I do remember is that for some reason I always pictured my roommate as being a blonde. And then when I finally got the letter telling me my roommate had been selected and I Google Imaged her name, she was. Is. But she’s also from San Diego, which annoys me because I want her to be from somewhere far away, somewhere I know nothing about, like how Courtney’s best friend in community college is from New Hampshire. Now my roommate situation feels like just another part of the Roush Problem. She doesn’t expand what I know; she’s what I already know.

  “Do you see it, Eva?” Courtney says.