Characters
- Custis – A 10-year-old homeless boy who escaped from a child pornography operation. Custis carries a loaded handgun (a "gat") with three bullets and a broken trigger. He suffers from a seizure-like condition that he refers to as "migration (sic) headaches" which cause him to black out and wake up in different locations. He has frequent dreams about a mysterious individual called Big Tiny, who was said to have been his mother.
- Curl – A 14-year-old girl from Bolingbrook, Illinois, who used to live with her disabled aunt Frisco who forced her to turn tricks in their apartment. Curl is kind-hearted, acting as an older sister to Custis, as well as extremely superstitious, believing that she had met Boobie because she sat on top of a pile of Chex cereal on the first of May. She expresses a desire to settle down and marry both Custis and Boobie.
- Boobie (Darrin Flowers) – A 17-year-old boy from Joliet, Illinois who is a violent pyromaniac. Boobie rarely speaks, choosing to express himself via his drawings. He is possessive of Curl and extremely protective of Custis, with whom he shares a special friendship. Boobie eventually murders his parents and abducts his infant brother, and goes on the run from the police in a stolen Buick Skylark.
- Boobie's brother – An unnamed infant who sleeps in a gutted Magnavox TV in the back of Boobie's car. He has blue eyes and an odd seam down his forehead, for which he is thought to be unintelligent or defective by the others. He is regarded as a likely source of income if he can be sold.
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Famous quotes containing the word characters:
“His leanings were strictly lyrical, descriptions of nature and emotions came to him with surprising facility, but on the other hand he had a lot of trouble with routine items, such as, for instance, the opening and closing of doors, or shaking hands when there were numerous characters in a room, and one person or two persons saluted many people.”
—Vladimir Nabokov (1899–1977)
“It is open to question whether the highly individualized characters we find in Shakespeare are perhaps not detrimental to the dramatic effect. The human being disappears to the same degree as the individual emerges.”
—Franz Grillparzer (1791–1872)
“To marry a man out of pity is folly; and, if you think you are going to influence the kind of fellow who has “never had a chance, poor devil,” you are profoundly mistaken. One can only influence the strong characters in life, not the weak; and it is the height of vanity to suppose that you can make an honest man of anyone.”
—Margot Asquith (1864–1945)