A Spool of Blue Thread by Anne Tyler Read Free Book Online Page B

poke forth here and there like a brier. She didn’t sound entirely charmed by this trait.
    Junior’s few photos revealed a face that was just a little too fine-boned—a look that people back then felt no compunction about referring to as “poor white trash.” In coloring he was pure Whitshank, black-haired even in his sixties with very white skin and squinty blue eyes, and he had the rangy, gaunt Whitshank body. He wore a stiff dark suit every day of the year, Abby said, but here Red would interrupt to say that the suits were a later development, when all Junior had to do was tour his work sites checking on things. Most of Red’s childhood memories featured his father in overalls.
    At any rate, Junior’s first recorded appearance in Baltimore was as the employee of a building contractor named Clyde L. Ward. This came to light in a typewritten letter that was found among Junior’s papers after his death, telling Whom It May Concern that J. R. Whitshank had worked for Mr. Ward from June of 1926 through January 1930 and had proved an able carpenter. But he must have been more than merely able, because by 1934, a tiny rectangle in the
Baltimore Post
was advertising the services of Whitshank Construction Co., “Quality and Integrity.”
    It was not the best era for starting a business, heaven knows, but apparently Junior flourished, first remodeling and then building from scratch various stately houses in the neighborhoods of Guilford, Roland Park, and Homeland. He acquired a Model B Ford pickup with an interlaced “WCC” painted on both doors above atelephone number—no mention of the company’s full name or its function, as if everyone who counted surely must know, by now. In 1934 he had eight employees; in 1935, twenty.
    In 1936, he fell in love with a house.
    No, first he must have fallen in love with his wife, because he was married by then. He had married Linnie Mae Inman at some point. But he never had much to say about Linnie, whereas he had a great deal to say,
reams
to say, about the house on Bouton Road.
    It was nothing but an architect’s drawing the first time he laid eyes on it. Mr. Ernest Brill, a Baltimore textile manufacturer, had unfurled a roll of blueprints while standing in front of the lot where he and Junior had arranged to meet. And Junior glanced first at the lot (full of birds and tulip poplars and sprinkles of white dogwood) and then down at the drawing of the front elevation, which showed a clapboard house with a gigantic front porch, and the words that popped into his head were “Why, that’s
my
house!”
    Not that he said this aloud, of course. “Hmm,” he said aloud. And “I see.” And he took the blueprints from Mr. Brill and studied the elevation. He turned to the sheets beneath to look at the floor plans. He said, “Mm-hmm.”
    “What do you think?” Mr. Brill asked.
    Junior said, “Well …”
    It was not a grand house, of the sort that you might expect a man like Junior to covet. It was more, let’s say, a
family
house. A house you might see pictured on a thousand-piece jigsaw puzzle, plain-faced and comfortable, with the Stars and Stripes, perhaps, flying out front and a lemonade stand at the curb. Tall sash windows, a fieldstone chimney, a fanlight over the door. But best of all, that porch: that wonderful full-length porch. “It hit me,” was how Junior would put it later. “I don’t know; it just hit me.”
    So he told Mr. Brill, “I reckon I could do it.”
    Why hadn’t he simply built an identical house for himself? Red’s children used to ask. Copied the blueprints and built his own? Redtold them he couldn’t say. Then he said that maybe it had had something to do with the site. Bouton Road was prime real estate, after all, and by 1936 most of the lots there had been bought up. In those days of no air conditioning, houses in Baltimore wore thick, dark awnings that shrouded the windows nearly to the sills from May to October of every year, but awnings