Back As If on Cue
Chapters (45)
  1. Cover
  2. Title Page
  3. Dedication
  4. CHAPTER ONE
  5. CHAPTER TWO
  6. CHAPTER THREE
  7. Happy Birthday in Jazz Clarinet
  8. CHAPTER FOUR
  9. CHAPTER FIVE
  10. CHAPTER SIX
  11. Natalie vs. Reid
  12. CHAPTER SEVEN
  13. CHAPTER EIGHT
  14. The First Chair Wars
  15. CHAPTER NINE
  16. CHAPTER TEN
  17. CHAPTER ELEVEN
  18. Outplayed
  19. CHAPTER TWELVE
  20. CHAPTER THIRTEEN
  21. CHAPTER FOURTEEN
  22. The Prank War
  23. CHAPTER FIFTEEN
  24. CHAPTER SIXTEEN
  25. CHAPTER SEVENTEEN
  26. The Setup
  27. CHAPTER EIGHTEEN
  28. CHAPTER NINETEEN
  29. CHAPTER TWENTY
  30. Aaron Jacobson’s Protégé
  31. CHAPTER TWENTY-ONE
  32. CHAPTER TWENTY-TWO
  33. CHAPTER TWENTY-THREE
  34. Anything But Music
  35. CHAPTER TWENTY-FOUR
  36. CHAPTER TWENTY-FIVE
  37. CHAPTER TWENTY-SIX
  38. CHAPTER TWENTY-SEVEN
  39. CHAPTER TWENTY-EIGHT
  40. CHAPTER TWENTY-NINE
  41. CHAPTER THIRTY
  42. Acknowledgments
  43. More from the Author
  44. About the Author
  45. Also by Marisa Kanter

“I’m fine,” I say.

“That… wasn’t fine,” Reid says.

Wow. Is Reid insinuating that I am… too serious?

I exhale. “Rehearsals just make everything feel more real. Mrs. Mulaney has made it sound like everything will go back to almost normal next year if we can fill the seats and convince the school committee. I want that.”

“Me too.”

I want a world where Dad’s job is secure and I am directing not-serious plays, the senior in charge. A world where Reid is wrapped up in band activities and conservatory auditions and we don’t have to keep renegotiating the terms of interacting with each other.

“I never thought I’d be the serious codirector,” I say.

“Natalie, this music is new to everyone except us. Learning it is supposed to be fun.”

“You’re… not wrong.”

Through the door window, I see everyone is back from break, so Reid and I should probably be back too. We walk toward the music room and Danica, Emerson, and Toby are sitting on the choir bleachers, Toby twisted around, his back to us, waving his arms animatedly.

Reid pushes the door to the music room open.

“—but Natalie doesn’t have to be such a Nazi about it.”

I blink, the shock of Toby’s words sending me backward. Toby is the quietest cast member. Toby doesn’t speak unless it’s a line. Toby… is a total asshole.

Reid slams the door closed behind us. “Excuse me?”

Toby whips around so fast his glasses fly off his face, landing on the chair he was previously kneeling on. His cheeks are flushed, embarrassed. “Um, I—” he stutters.

“What did you just say?” Reid asks.

“I, um. I understand that we’re on a tight turnaround. But I just think—” Toby inhales “—Natalie doesn’t have to be such a, um, Nazi about it.”

I am on fire. “Really, Toby? You’re going to call me, your Jewish director, a Nazi?”

“That’s fucked up, Toby,” Danica says, crossing her arms in my defense.

“I didn’t mean it like that,” Toby says dismissively. “It’s a figure of speech. You’re intense. You knew what I meant.”

“Just a figure of speech,” I say, turning toward the piano. “That doesn’t make it okay.”

It’s another casual Nazi reference in colloquial conversation, like words don’t matter. Nothing new in America, a country that has, you know, actual Nazis. I hate it. When you’re a Jewish person in America, when you have a name that identifies you as such, you listen to a lot of ignorant, triggering bullshit that no one even thinks twice about. I cringe every time a Twitter mutual casually refers to themselves as a grammar Nazi. No. Killing a comma does not equate to fascism and genocide.

Toby opens his mouth and… does not apologize.

He says, “Chill, Natalie.”

Yeah. No. I can’t do this right now.