it.â
âSure, sure,â Gus says, because heâs a sweet guy. Heâd never in a million years tell someone that their junk is too junky, even for a trash hauler.
As Burton disappears back into his house, I smile at Gus. âLook,â I say, riffling through the box. âThis toaster still gleams, even if it canât toast a piece of bread anymore.â
Gus whistles as he slides the toaster from the box and holds it to the sun. âSure does, Little Sister,â he agrees. âAlmost need a pair of sunglasses to look at it.â
He frowns as he thinks. âThereâs only so much you can do with an old thing like this,â he admits. âItâs not like we can cut it up like the stained glassââ
Suddenly, Gus stops talking. He flashes a smile so wide and full, it swallows the rest of him right up. âCanât cut it up,â Gus chuckles through that Cheshire cat grin, âunless youâve got the tools to cut it with.â
âLike, say, an old welding torch lying around in a shed?â Now Iâve got my own Cheshire grin.
Burton and his white undershirt appear again, along with the last of his promised boxes.
âYou sure you want this, Gus?â Burton asks, still embarrassed.
âYou bet we do,â Gus says, taking the box out of Burtonâs arms with such care, youâd think it was filled with about fifty eggs.
âAnd if you find anything else in there, anything at all, even so much as a pencil thatâs been snapped in two, you give us a call,â I add.
Gus winks at me, his dark eyes shining brighter than the side of the toaster.
â¢Â â¢Â ⢠19 â¢Â â¢Â â¢
The door of the shed where Gus keeps his welding tools actually lets out a gasp when we open it. Like itâs been holding its breath waiting for us to arrive.
I know exactly how that old shed feels. I can barely remember to breathe as Gus lowers one of his masks over my face and puts some fireproof gloves on my hands. I feel myself fidgeting anxiously as he pulls Burtonâs toaster out of the box. âWhen you look at this,â Gus says, âwhat can you see?â
âA flower,â I say. âWith big pointy petals, like a daisy. If a daisy could be silver, that is.â
Gus smiles. âYou got it,â he says. He puts a cutting tip on his torch, flips his own welding mask down over his eyes, and motions for me to stand back. Once I take a few backward steps, he angles the torch, slices the toaster in half, removes the guts, and cuts the outline of a daisy head.
I watch for a little while, then turn back to the big cardboard box. I pull out an old curling iron. âHere, Gus,â I say. âWe can use this as the stem.â I open the iron and point to the part that clamps hair down. âCan you bend this like a leaf?â
âYou bet,â Gus says. He uses his torch to remove the metal barrel from the handle. He exchanges his cutting torch for a welder that uses a flame to melt the daisy head to the stem. And he heats up the clamp on the old curling iron enough that he can bend it the way I described.
As quickly as Mrs. Pike can pull her twins apart when they start to fight, Gus and I have a whole flowerâa silver daisy.
When weâre done, we rush outside, where Gus holds the daisy up to the sun.
âGus!â I shout. But I have so many thoughts swarming inside me, itâs hard to pull the words apart to make sense of it all.
I grab some loose-leaf paper from my backpack and some old crayons from my room. I sit down on our front step and start to draw the wild pictures that are exploding in my mind like popcorn kernels.
I draw a giant rose that hasnât completely opened. The petals are all swirly and tight, like a family hugging each other at the bus station, crying because none of them want to let go. On the stem, I draw giant thorns so big, they look like nails. I draw a
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