Marilou Is Everywhere

Marilou Is Everywhere

by Sarah Elaine Smith
Marilou Is Everywhere

Marilou Is Everywhere

by Sarah Elaine Smith

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Overview

Finalist for the L.A. Times Book Prize for First Fiction

One of NPR’s Favorite Books of 2019

A SKIMM READS PICK

A BELLETRIST BOOK CLUB PICK

"This novel reads like a miracle." —NPR

Consumed by the longing for a different life, a teenager flees her family and carefully slips into another — replacing a girl whose own sudden disappearance still haunts the town.


Fourteen-year-old Cindy and her two older brothers live in rural Pennsylvania, in a house with occasional electricity, two fierce dogs, one book, and a mother who comes and goes for months at a time. Deprived of adult supervision, the siblings rely on one another for nourishment of all kinds. As Cindy's brothers take on new responsibilities for her care, the shadow of danger looms larger and the status quo no longer seems tolerable.

So when a glamorous teen from a more affluent, cultured home goes missing, Cindy escapes her own family's poverty and slips into the missing teen's life. As Jude Vanderjohn, Cindy is suddenly surrounded by books and art, by new foods and traditions, and most important, by a startling sense of possibility. In her borrowed life she also finds herself accepting the confused love of a mother who is constitutionally incapable of grasping what has happened to her real daughter. As Cindy experiences overwhelming maternal love for the first time, she must reckon with her own deceits and, in the process, learn what it means to be a daughter, a sister, and a neighbor.

Marilou Is Everywhere is a powerful, propulsive portrait of an overlooked girl who finds for the first time that her choices matter.

Product Details

ISBN-13: 9780525535249
Publisher: Penguin Publishing Group
Publication date: 07/30/2019
Pages: 288
Sales rank: 1,162,587
Product dimensions: 9.30(w) x 6.10(h) x 1.30(d)

About the Author

Sarah Elaine Smith holds MFAs in fiction from the Iowa Writers' Workshop and poetry from the Michener Center for Writers. She is also a recipient of a Rona Jaffe Wallace fellowship.

Read an Excerpt

I used to think my troubles got legs the summer Jude Vanderjohn disappeared, but now I see how they started much earlier.

Before that summer, the things that happened to me were air and water and just as see-thru. They were real but I didn't care for them much. I did not care for the real. It didn't seem so special to me, whatever communion I could take with the dust spangles, or the snakes that spun in an oiled way along the rotting tractor tires stacked up by the shed, or the stony light that fell in those hills and made the vines and mosses this vivid nightmare green. None of it had a purpose to me. Everything I saw seemed to have been emptied out and left there humming. I watched the cars. I read catalogs, which I collected and which my family called Cindy's magazines. My life was an empty place. From where I stood, it seared on with a blank and merciless light. All dust and no song. Rainbows in oil puddles. Bug bites hatched with a curved X from my fingernails. Donald Duck orange juice in the can. Red mottles on my brother Clinton's puffy hands, otherwise so white they were actually yellow, like hard cheese. The mole on my belly button. You get to know things this way, by looking at yourself. You know the world by the shape of what comes back when you yell.

I had only ever been myself, and found it lacking. Even when the sun was shining, when the world was up, when I was born. And some days, I was really, really born. Most of my day I spent carving little pits in time where I could hide out in a texture of light or an idea. And then, that summer, I made a space between myself and all that. I guess how I could say it is, I began to see the other world, and it was not real and yet I could pull it across the real at will, like a thin cotton curtain. When I stood just far enough outside of it, my life, suddenly the blaring light resolved itself into a huge movie screen blooming out of the dark, a woman's jaw jutting into the abandoning tilt of a kiss. The beginning of romance came from that distance. Black and white, the sparkling velvet dark and always someone else is there in the mind, in the cavern above my head. But a stranger. But it doesn't matter, really. The point is that at that moment in my life, I would kill or die, die or kill, to be anyone else.

I wasn't trying to become Jude. Not exactly. But I wanted to disappear, and she had left a space. When I stepped into that space, I vanished from my senses. It changed me into someone who didn't have my actual mind. The same way it changed Jude, when Virgil called her Marilou as they walked the halls of our high school arm in arm, shining like magazine people you'd never see. She became that other girl, and it lit her up, and that is what I wanted.

Now, I know how that sounds: teenage, teenage. I was, and it brought me to wickedness. Except in wickedness, I loved the world, too, in a way so fierce I assumed no one could imagine. And I love it still. It was, quite simply, how I survived.

 

I

 

Jude Vanderjohn was last seen in the parking lot across from Burchinal's General Store in Gans, just over the West Virginia border, where she had been camping in Coopers Rock State Forest with four other girls from the newly graduated West Greene High School senior class. The quickest way back went through Morgantown, but they had gone instead through Fayette County. When asked why they took the long way, Kayla apparently said that they wanted a prettier drive, they weren't anxious to come back so soon. Then, when Detective Torboli asked again, she admitted they had wanted to smoke a blunt in the car, and Jude had a strict personal law against blunt smoking on interstates. Which did turn out to be true, but it wasn't the real reason either.

Eventually Crystal admitted that they had been followed, and took the other route because they were trying to lose the boys who had been hanging around their campsite. The boys had seemed vaguely related. They all had a similar smudge of mustache and they spoke in a brisk mystery language. At first, Shawn, B.D., and Caleb had loitered in a helpful way, starting the fire and sharing from their thirty racks, showing off places around the margins of Cheat Lake where the fish were so gullible you'd think they wanted to die in your hands.

The second night of the trip, the boys took them on a hike through some path that wound around the massive blocks of limestone stories below the lookout pavilion. They took secret avenues through the rock where slim light fell through, silvery and ancient. At the Ravens Rock Overlook, they had produced homemade blackberry wine in a three-liter Pepsi bottle. They were romance minded, of course. The girls didn't rebuff them too hard at first. It is sometimes nice to see a little attention. A little of that light lands on you, say, on a dizzy vista, and sweet wine is sweet, or so I'm told.

Thrill seekers prefer Ravens Rock Overlook because it is unfenced. The view isn't troubled by those coin-op lookie-loos. It feels likely, if you place a foot wrong, that you will spin off into the sky and never again trouble with gravity. So the boys dared to touch the girls in the dark, on the small of the back, the casual first declaration. It was romance. Apparently Kayla even held hands with Shawn, the tall one with the buff of his arms showing through his cut-up T-shirt. They talked about the souls of animals and the things the stars looked like, and they talked about their idiot worried parents and how they would all be just fine.

Shawn walked Kayla closer to the edge. He said he wanted to show her a place where you could see the river down below like a moving silver chain. Close to the drop, he kicked her in the back of the knee, sly, to make her stumble and grab on to him dearly. Kayla pantomimed this by pinwheeling her arms in dismay when she told me the story. Shawn had probably intended for her to swoon into his arms, but she instead shrieked and tore back up from the edge, and running blind in the dark she turned her ankle in a gopher hole. The boys carried her back to camp and bound her ankle with duct tape and even went to the Eagle Lodge Café to bring her ice, a Coke, a stack of cordwood to apologize.

But things had turned. Suddenly Kayla's absent boyfriend asserted himself a bit more firmly in her memory. She started to talk about him a lot. Maybe she was trying to remind herself as much as anything, but she did allude to Lyle's WPIAL wrestling trophies and bow-hunting expertise something on the heavy side. The musk wore down to a lean little smell. But the boys kept working their angle, saying how cold a night for May. Saying, man, what a lonely thing, to sleep alone on a night so cold. When the girls didn't respond they laid it down for a while and kept up the friendliness, but Jude had already heard the sour note. She said she didn't like their manners and they could go bang their dicks together if they were so fucking cold. The smallest of the boys, B.D., feint-stepped to her with his hand rared back, like he would slap her in the face, and they noticed then that he had a knife. It was nothing special, with a black plastic handle like for a kitchen, but he let it wave around meanly all the same. Jude brought out a canister of pepper spray-none of the others knew she even carried such a thing-and scorched B.D. right at the bridge of his nose.

Tia and Crystal and Kayla wanted to leave immediately, but it had already been dark for some time and they had left the cars outside the park limits to avoid the vehicle fee. Jude and Amber doubted the boys would come back, and with Kayla on one foot it would take forever to hike out in the dark. But the boys did pass through a few times in the night to thrash around in the underbrush and scare them, muttering under their breath in a simmering way: bitches, bitches, bitches. Crystal was sure someone had peed on her tent in the middle of the night.

In the morning, they broke camp as soon as the light started to change and hiked back out of the park. Jude's car was scratched up with key marks that bit down to the metal. They had not told the boys where they'd left their cars, but Jude realized one must have followed her when she had made the trek to get bug spray from the trunk. Still, she didn't seem scared, they said. Pissed off, though, like anyone would be.

Once they were loaded up and driving off, a shitty Chevy Corsica pulled out of the brush by the highway entrance and kicked up hard behind them on the turns, swinging out into the oncoming lane and passing them on blind curves, then slowing down to nothing so the girls would have to go around. Amber, who was driving the other vehicle, claimed the Corsica nipped her rear bumper a few times, and though they brought it in to gather evidence, nothing could be discerned from the condition of her car. Jude, who was driving in front, pulled off toward Uniontown. She said she knew a back way. The boys didn't follow

Jude's car was still in front. She didn't know her way so well as she thought-they were about to enter a toll road, and she swerved off at the last exit before the turnpike. Her vehicle was knocking and slugging to accelerate, and as they went through Gans, it slowed up and seemed to shake on the turns. On one hairpin she hit a pothole and limped it into the parking lot across from Burchinal's, where a hand-lettered sign advertised a pepperoni roll sale for the students of Ferd Swaney Elementary and the American flag hung rigid like it does everywhere. An old boy in greased coveralls and no undershirt was smoking in a watchful way on his porch, right up by the road, as they peeped the dark windows. Closed, Sunday morning, for church. He came out from behind a dismembered Honda Rebel to look at Jude's car. From what they described, he said it sounded like someone had put sugar in her gas tank and the fuel filter would have to be dumped. He offered his services, or she could use the phone inside to call AAA. Jude chose to call, even though it would take a few hours. She waved him off and called on her cell. She must have had it with friendly men by that point.

The other girls were getting anxious. They had a mutual friend who was getting married in Nineveh that afternoon, and while they didn't want to abandon Jude, it happened that Kayla, Crystal, Amber, and Tia were all in the wedding party, and Jude was not. Morgan, the bride, expected them at eleven to have their hair duded up with mini rhinestones and all that. More to the point, Morgan was a real grudge keeper and had already dis- and reinvited Amber multiple times, so they were relieved when Jude told them to go on. The old boy said Jude could wait inside the store. It just so happened to belong to his uncle. He fished a key out from the mailbox and let them into the unlit place already decided. He gave them Cokes to calm them down, and said he hoped they would all pass through again someday on happier errands.

It was not even clear whether he or his wife had been the last person to see Jude. His name was Denny Cogar and he advised that the tow truck arrived around two, many hours after it was supposed to come. He also advised that he had watched Jude hitch herself up into the cab and laugh with the driver about something. But Cheryl Cogar recalled that Jude had spent a long time on her cell phone, pacing along the crick behind the store, talking to someone, fighting, kind of, and hours before the tow truck arrived, she had gotten into a low little hat-shaped sedan that had skidded up from nowhere.

"And they was playing loud music about riding for the devil," Cheryl said. "Gangster music, I think it was."

"You saw Jude get into this car?"

"I heard it."

"What kind of car was it?" Detective Torboli asked.

"Red," she said.

"Nothing else?"

"It was red."

The interview pressed on along this line for hours. The detective named all types of cars in a soft, chanting voice.

 

II

 

The summer Jude disappeared, my brothers and I had turned basically feral since our mother had gone off for a number of months and we were living free, according to our own ideas and customs. Our mother disappearing was nothing new, but she usually came back within a few weeks. This time, we had not exactly been counting the days, but we had run out of food maybe a month past and been improvising ever since. I was fourteen and ruled by a dark planet. My brothers were grown, or seemed so to me at the time. In winter, they ate Steak-umms in front of the TV and made up theories about the New World Order while Clinton got lazy angry drunk around twilight. But in summer, Virgil lined up mowing jobs all over, and they were suddenly honest workingmen, and you couldn't tell them a single thing.

Our well was low from a dry spring, so we bathed in the pond. We called it Heaven Lake because we had grand imaginations and no sense, but it was really just a retainer pond. The family that owned it was called the Dukes and they had built a house, too, which looked like a blank face. They had made the pond, just scratched it right in and pulled the silver into it somehow with backhoes and a spillway of cinder blocks. They peopled it with catfish and bluegill. It was fenced in at the road with an eighteen-foot chain-link gate. The family kept it locked all the time except when they wanted to swim or fish, although they only came up a few times each year and the place was essentially ours.

Reading Group Guide

1. At the beginning, Marilou is Everywhere seems to fit the familiar trope of “girl goes missing in a small town,” and yet it ultimately develops into something more unusual. How does the author turn this premise on its head? Is Jude the only one to go “missing” from her regular life? Think about the other female characters: Cindy, Cindy’s mother, Bernadette. What about the male characters?

2. The novel is vividly set in rural Pennsylvania and highlights the poverty and neglect in this area. What, if anything, do you think the author means to say about life in small towns and rural communities throughout America? What does she suggest about the vulnerability of teenage girls and women in general here?

3. At the beginning of the novel the protagonist Cindy Stoat states, “I would kill or die, die or kill, to be anyone else” (2). What is Cindy giving up, in her quest to become someone else? Was there ever a point in your life when you felt similarly?

4. Jude Vanderjohn is biracial in a mostly white, rural town. She is described as “the only black person in school” (22). Do you think her race had anything to do with the town’s preoccupation (or lack thereof) with her and her disappearance? Would it have been different if Jude had been a white girl? Do you think Jude’s racial difference is part of what makes Cindy fascinated by her?

5. Virgil and Jude once had a private joke in which they called each other Cletus and Marilou. Do you think Jude wanted to be someone else in the way that Cindy did? What do you think the novel is saying about identity? What does it mean then, that "MARILOU IS EVERYWHERE", as Virgil wrote on the wall of the choir room (65)? How does it work as the title for the book?

6. Discuss Cindy’s relationships with her brothers. How do these relationships change over the course of the novel? Does Shayna’s appearance influence these relationships at all?

7. In Bernadette’s house Cindy is exposed to art and literature the likes of which she’d never seen before, and it changes her entire outlook on life. Why do you think that is? Does this exposure shape Cindy’s development, or her decisions about her life in the end?

8. Does Bernadette’s condition change over the course of the novel? If so, how? How does her state of mind contribute to Cindy’s actions? In a different way, consider how Cindy, too, changes over the course of the novel.

9. Several different mothers are portrayed in the novel, with different capacities for nurturing. What does Cindy get from each of them, and what is lacking? Do you see Cindy taking on any qualities of mothering at any point in the novel?

10. Discuss the pivotal phone call scene in Chapter 15. Why do you think it was so easy for Cindy to make the decision that she did? Does this make Cindy a bad person? If you were in her situation would you have done the same?

11. How is danger depicted in Marilou Is Everywhere? What kinds of dangers exist for Cindy? Which does she choose and which are forced on her? Are any of these dangers worth it?

12. Animals figure largely within the novel, particularly the goats. What do you think is their role, if any? Talk about the significance of the goat birthing scene. What does Cindy learn about herself at this moment, and how does it influence the choices she makes following this experience?

13. The story is told from Cindy’s perspective, but we’re given a glimpse of Jude’s perspective in her TV and news interviews in the final chapter. What do you learn from this shift in POV?

14. What do you think about the ethics of Cindy’s deceit of Bernadette, or the moral ambiguity of her role in Jude’s continued absence? Do you think Cindy is initially aware that her actions have ramifications that extend beyond herself, to her own family, or to Jude and her family? Does this awareness evolve over the course of the book? Do you think Cindy would make the same choices, given a chance to do it all over again?

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