Light Green Gum

You remember how he arrived with a blue backpack and shoes that were too clean. How they squeaked on the linoleum. How your step mom said this is your new brother and your dad stood behind her, hands in his pockets, jingling keys like he was waiting for the meter to run out. How the boy—Caleb—just looked at the space above your head, at the light fixture where a dead moth was curled.

You remember the rules that came after. How the bathroom door couldn’t be fully shut. How a glass of water had to be left on the nightstand, filled to a line he’d drawn with a marker from your homework kit. How if you moved it, even an inch, he’d stare at the ring it left on the wood, his breathing going thin and papery. You didn’t know then what trigger meant. You thought it was something on a gun.

And how about the sounds from behind their door. Not the shouting you’d seen on TV, but the low, wet sounds of a struggle with no words. A mattress spring crying out once, sharply. The heavy silence after, like the house was holding its breath. How you’d press your ear to the wall and hear nothing but the hum of the fridge, and then, much later, the faint scratch of his pencil doing homework at 3 a.m. How you found one of his worksheets once, left on the kitchen table. Every answer was correct, but in the margins, he’d drawn perfect, intricate cubes, over and over, as if he were trying to build a wall with graphite.

Or maybe you remember the morning of the last day. How he was making toast. How your dad came in and said the bread was for sandwiches only, not for snacking. How Caleb just stood there, holding the warm slice, not eating it, not putting it down. How your dad took it from him and threw it, hard, into the sink. How it landed with a soft sound. How Caleb looked at it, then at the sink, then at his own empty hand, as if checking to see if it was still attached. How he didn’t cry. He never cried. He just walked out of the room.

Remember how they said runaway. How your dad’s voice was tight with a new kind of anger, the public kind. How the police officer asked you if he had a favorite place to go, and you said he didn’t have any places. How his room stayed exactly as it was, the glass of water on the nightstand evaporating slowly over weeks, the line from the marker fading, until one day your step mom took it away and washed the glass and put it back in the cabinet with a click.

Sometimes now, you’ll see a boy with a blue backpack and your heart will stall. But it’s never the right blue. His was the color of a faded bruise. The color of something healing, or something just beginning to hurt. You remember how, once, he showed you how to fold a paper airplane that could actually glide. His hands were steady, precise. He launched it and it sailed clean across the living room, over the couch, and landed silently on the carpet. He looked at it there, a little stunned, as if he’d expected it to crash. As if he’d expected everything to crash. Then he walked away and left it.

You left it, too. It sat there for days, a fragile, perfect thing on the floor. Your step mom finally went for it with the vacuum. The nozzle sucked up one wing, crumpling it, but the body jammed in the tube. The motor grinded, a high, pained whine, until she shut it off. She left it there, half-consumed, for another hour before carefully pulling it out, flattened and torn, and dropping it in the trash.

You recall the last sound from him—the squeak of his shoes down the hall, the flash of the light green gum stuck at the heel. And how you’d pointed it out to him, because he’d normally clean it off right away with a careful thumbnail and a Q-tip. But by then, he didn’t give a shit. He just walked out, leaving that small, defiant stain on every step he took away from you.

J.M.C. Kane is the author of Quiet Brilliance: What Employers Miss About Neurodivergent Talent and How to See It (CollectiveInk U.K.), a celebrated nonfiction work on cognitive patterning and inclusion in the workplace. He writes from this learned experience as an ASD-1. Kane was Shortlisted for the 2025 Letter Review Prize for Short-Fiction, Shortlisted for 32nd Annual Robert J. DeMott Short Prose Contest (2025), Shortlisted for the 2025 Welkin Award for Fiction, Longlisted for the L’Esprit Leopold Bloom Prize for Innovative Narration, and has recently been nominated for a Pushcart Prize. His most recent work, “After the Cut” was published in Palisades Review in December 2025. He lives in New Orleans, LA and works as an environmental attorney.