worry had been how to survive his parents and the legacy of the Haven family. He came from a long line of entertainers dating back generations, to Edvard Haszczak, a circus acrobat who stowed away on a freighter from the Baltic Sea. Upon arrival in America, Edvard had changed his unspellable last name and founded a family of performers. Eddie’s great-grandparents had been vaudeville singers; his grandparents were borscht-belt crooners and Eddie’s parents were a semifamous couple who had starred in a cheesy variety show in the 1960s called Meet the Havens when they were just teenagers themselves.
During their counterculture years, they’d dropped out of everything, but trying to bring up a child woke them up to the reality that they couldn’t always depend on the commune for everything. They couldn’t raise money for doctor visits and clothes for a growing child in the communal garden. So at a young age, too young to be consulted about it, the youngest Haven carried on the family tradition of show business. After appearing in a couple of commercials, including one featuring him as a bare-bottomed baby, he scored a box office hit which had become the Christmas movie that would not die. His delivery of an unforgettable line, and his performance of an iconic song—“The Runaway Reindeer”—ensured his fame for decades to follow.
Although he landed a couple more movie roles—a horror flick, a stupid musical, voicing a cartoon—Eddie never cared that much for acting and the projects flopped or never made it to release. Yet no matter how many hats he subsequently tried on—serious music student, edgy grunge rocker, soulful singer/songwriter—the child-starpersona stuck to him like melted candy. He grew up in the shadow of a little kid who had no idea what he was saying when he mouthed the lines that defined him for a generation of viewers.
His parents continued to perform, featuring Eddie in an act designed to cash in on his popularity. “Meet the Havens,” as the trio became known, spent every Christmas season on the road. This left Eddie with little more than a blur of unpleasant memories of the holiday season. His parents insisted Christmas was the ideal time of year for a traveling ensemble. People tended to get nostalgic, and in the grip of the holiday spirit, they opened their pockets. From the time he was very small, he’d been obliged to head out with his parents the day after Thanksgiving, playing a different small venue every night, right up to New Year’s Day. They stayed in nondescript motels and ate their meals on the fly, often skipping dinner because it was too close to showtime.
Eddie had hated it, yet every single night when he stepped out in front of an audience, he did so with a smile on his face and a song on his lips. But it left a bad taste in his mouth about Christmas.
He didn’t let on to the three Veltry boys, though. He honestly wanted them to regard Christmas with the benign good spirits that seemed to emanate from those who, this evening, had left their warm homes to help build the church’s nativity scene—an elaborate, detailed and life-size frieze that attracted fans from all over the upper part of the state. This was one of the most popular sights in Avalon this time of year, and the church, in cooperation with the Chamber of Commerce, went all out.
A number of volunteers were there already, organizing the components of the display—structures and figures, heavy-duty cables and lights, lumber and power tools.The boys approached their task with a cocky swagger that was lost on the church people. What was not lost was the boys’ sagging jeans and oversize hoodies with tribal-looking symbols.
Ray Tolley came over to greet them. “Not your usual suspects,” he murmured to Eddie. Ray was one of Eddie’s closest friends, though they couldn’t be more different. Ray came from a solid, stable background. He’d been born and raised right here in Avalon. He was a good keyboard
Alan Cook
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