ChrisGibson
JUB Addict
“But I’m so young. And I have my whole life ahead me. I can’t do this,” the girl standing on the stage, under the spotlight declared.
“I’m scared. My friends are right. My body is my body. I’m not going to have this baby.”
Suddenly a high note was pinged from a piano.
In the darkened auditorium, Swann Portis looked at Jill Montgomery, the two of them playing their old game of holding a serious face until one of them broke.
From the stage they heard plaintive voice cry: “Mama?”
They both turned from each other, knowing they would burst into gales.
On stage, senior class president of Saint Anne’s, Victoria Sanders, turned around, her blond hair sweeping about her like some fantastic curtain.
“Hello?”
“Mama,” the plaintive voice continued as the piano began to play. “I’m your baby. I love you. Don’t you love me?”
“I do!” the girl, who was Mama, wailed to the unseen baby. “I do. But… I’m all alone, and I’m scared to have a baby, and it’s so hard.”
“I love you, Mama!” the voice said while Swann threw his hands over his mouth to stifle laughter, and Sister Crucifixion stared daggers at him.
“Then if you love me:” the little voice chimed, “let me live!”
And then, as the blackness beyond the stage began to lighten, the children’s choir from the day school in town run by the brothers and sisters began to sing:
“Let me live!
Mama, won’t you let me live
Mama, please, let me live
Oh, won’t you let me live!
In the intervening years, Swann and Jill added lyrics to it, but in their sophomore year, for reasons they could not quite understand they were… well, sophomoric, and as the play went on, all they could do was stop themselves from becoming even more obnoxious, giggling in fits.
“Let me live
Please
Mama, won’t you let me live
Give me the best that you can give
Woah woah mama, won’t you let me live!
Let me live,
Mama, com’on, com’on, com’on
and let me live
There’s not that much that rhymes with live!
(—except give!?)
Woah mama, won’t you let me live!
Over the years, memory made the musical increasingly dramatic. They added dancing fetuses in top hats, brandishing canes. There brassy trombones. The priests and nuns were getting up and dancing. Now the babies in diapers lifted up Victoria Sanders and spun her around as she raised her hands to the heavens and sang: “I’ll let you live.”
However, in the midst of the trombone solo and the fetal can-can line, Swann and Jill, who’d had the sense to be seated near the outside aisle of the auditorium, both slipped out, exiting into the day to smoke cigarettes and watch the cars pass. When Swann looked to his left he saw, not far off, the great brick expanse of Saint Francis. This was one of the rare times that, in their shared programs, the boys came to Saint Annes and not the other way around.
“Let me live!” Swann sang.
Jill snorted and coughed on her cigarette.
The door opened and Father Reed was looking impatient as usual.
“I need you all to come back in.”
“We can’t,” Swann said. “We’re smoking.”
“Put your cigarettes out and come in.”
“Yes, sir,” Swann said. “We’ll be in shortly.”
Father Reed glared at them through his glasses, and seemed to be debating how much he wanted to continue this fight, then he simple grunted and turned around, heading back to the auditorium.
“You don’t give a fuck, do you?” Jill said.
“Sort of,” Swann exhaled.
Then he said, “The Number Seven’ll take us to the mall. Wanna go?”
“We have to go back in…” Jill started, but Swann was already walking across the faded macadam and up the long driveway to the road where the bus would come.
“I’ve got money for us both!” he shouted.
When Swann did not stop walking, Jill realized he had planned this. That was why he said don’t bring your bookbag. This was why he already had money. She stood up, brushing dust from the back of her skirt, and ran to catch up with him. When she had he grinned at her and said, “There’s my girl!”
“I’m scared. My friends are right. My body is my body. I’m not going to have this baby.”
Suddenly a high note was pinged from a piano.
In the darkened auditorium, Swann Portis looked at Jill Montgomery, the two of them playing their old game of holding a serious face until one of them broke.
From the stage they heard plaintive voice cry: “Mama?”
They both turned from each other, knowing they would burst into gales.
On stage, senior class president of Saint Anne’s, Victoria Sanders, turned around, her blond hair sweeping about her like some fantastic curtain.
“Hello?”
“Mama,” the plaintive voice continued as the piano began to play. “I’m your baby. I love you. Don’t you love me?”
“I do!” the girl, who was Mama, wailed to the unseen baby. “I do. But… I’m all alone, and I’m scared to have a baby, and it’s so hard.”
“I love you, Mama!” the voice said while Swann threw his hands over his mouth to stifle laughter, and Sister Crucifixion stared daggers at him.
“Then if you love me:” the little voice chimed, “let me live!”
And then, as the blackness beyond the stage began to lighten, the children’s choir from the day school in town run by the brothers and sisters began to sing:
“Let me live!
Mama, won’t you let me live
Mama, please, let me live
Oh, won’t you let me live!
In the intervening years, Swann and Jill added lyrics to it, but in their sophomore year, for reasons they could not quite understand they were… well, sophomoric, and as the play went on, all they could do was stop themselves from becoming even more obnoxious, giggling in fits.
“Let me live
Please
Mama, won’t you let me live
Give me the best that you can give
Woah woah mama, won’t you let me live!
Let me live,
Mama, com’on, com’on, com’on
and let me live
There’s not that much that rhymes with live!
(—except give!?)
Woah mama, won’t you let me live!
Over the years, memory made the musical increasingly dramatic. They added dancing fetuses in top hats, brandishing canes. There brassy trombones. The priests and nuns were getting up and dancing. Now the babies in diapers lifted up Victoria Sanders and spun her around as she raised her hands to the heavens and sang: “I’ll let you live.”
However, in the midst of the trombone solo and the fetal can-can line, Swann and Jill, who’d had the sense to be seated near the outside aisle of the auditorium, both slipped out, exiting into the day to smoke cigarettes and watch the cars pass. When Swann looked to his left he saw, not far off, the great brick expanse of Saint Francis. This was one of the rare times that, in their shared programs, the boys came to Saint Annes and not the other way around.
“Let me live!” Swann sang.
Jill snorted and coughed on her cigarette.
The door opened and Father Reed was looking impatient as usual.
“I need you all to come back in.”
“We can’t,” Swann said. “We’re smoking.”
“Put your cigarettes out and come in.”
“Yes, sir,” Swann said. “We’ll be in shortly.”
Father Reed glared at them through his glasses, and seemed to be debating how much he wanted to continue this fight, then he simple grunted and turned around, heading back to the auditorium.
“You don’t give a fuck, do you?” Jill said.
“Sort of,” Swann exhaled.
Then he said, “The Number Seven’ll take us to the mall. Wanna go?”
“We have to go back in…” Jill started, but Swann was already walking across the faded macadam and up the long driveway to the road where the bus would come.
“I’ve got money for us both!” he shouted.
When Swann did not stop walking, Jill realized he had planned this. That was why he said don’t bring your bookbag. This was why he already had money. She stood up, brushing dust from the back of her skirt, and ran to catch up with him. When she had he grinned at her and said, “There’s my girl!”

















