Sheldon Compton QA–The Same Terrible Storm

sheldonShel­don Lee Comp­ton is the author of the col­lec­tion, The Same Ter­ri­ble Storm, recent­ly nom­i­nat­ed for the Thomas and Lil­lie D. Chaf­fin Award. His work has been pub­lished wide­ly and been four times nom­i­nat­ed for the Push­cart Prize, and was a final­ist in 2012 for the Still Fic­tion Award as well as a final­ist for the Gertrude Stein Award in Fic­tion the fol­low­ing year. He is also Edi­tor in Chief of Fox­head Books, and sur­vives in East­ern Kentucky.

I know you work in genre fic­tion as well as lit­er­ary. Is it too lim­it­ing to be defined as an Appalachi­an writer?

I’ve writ­ten a lot of short-short sto­ries, flash, prose poet­ry and the like, and a lot of that as his­tor­i­cal fic­tion, for sure, but most of my work is set in East Ken­tucky.  In fact, both my col­lec­tion and the nov­el I’m work­ing on now, and I imag­ine any­thing I write most like­ly, will be set in East Ken­tucky.  But I’ve nev­er made the delib­er­ate deci­sion in that direc­tion.  It’s my nat­ur­al posi­tion as a writer.  I think there is a rich­ly deep well of sto­ries here and peo­ple absolute­ly swelled with per­son­al­i­ty and char­ac­ter.  I’m more than lucky to be from and live in a region where that’s the case.  That said, I am occa­sion­al­ly curi­ous why my work is at times referred to as Appalachi­an lit­er­a­ture and then oth­er times South­ern lit­er­a­ture.  Then, more often as not, sim­ply lit­er­a­ture.  But that’s where it ends for me, I think.  The labels, after all, will cre­ate no change in the way I approach the sto­ries I hope to tell.  That said, labels can be lim­it­ing and I wouldn’t wel­come any­thing, label or oth­er­wise, that made any attempt to place blind­ers on my work.

Who are your role mod­els in writing?

2A. I’m a gen­er­a­tion removed, I think, in this respect.  I look to writ­ers in whose work I find hon­esty rather than for­ward momen­tum in respect to form or the­o­ry or oth­er con­cerns.  And I say removed because I don’t spend time study­ing pas­sages from Fitzger­ald, Faulkn­er, Joyce or any­one else many may believe need to be looked at as role mod­els, espe­cial­ly in the begin­ning of one’s own career as a writer.  My gen­er­a­tion, though writ­ing beau­ti­ful­ly and wild and in new voic­es and look­ing to works from the likes of Wal­lace and Eggers for direc­tion after hit­ting the big names first, are doing fine.  But I’m in it for the sto­ry, with a healthy obses­sion for lan­guage.  My role mod­els devel­oped in this way and I land­ed on two writ­ers I will always point to – a per­fect mar­riage for me – in Michael Ondaat­je and Breece Pan­cake.  And I can go so far as to nar­row Ondaat­je to a sin­gle work, Com­ing Through Slaugh­ter, just as, sad­ly, Pan­cake has only the one.  But then Pan­cake gave us more hon­esty in that one and only col­lec­tion than I’ve seen any­where else with­in any­thing I’ve read.  So I have two books as role mod­els.  I like books that way…role mod­els, friends, lovers, teach­ers.  Show me what oth­er thing in the world can be so ver­sa­tile.  Oh, and aside from this, Emi­ly Dick­in­son is my first and fore­most role mod­el, my favorite writer.  The only writer of renown who wrote not for pub­li­ca­tion, but for her­self.  No one can beat that today, and prob­a­bly nev­er will with the result­ing suc­cess and admiration.

Your expe­ri­ence with Fox­head must have been good, as you’re now edit­ing for them. Tell me how you end­ed up pub­lish­ing and edit­ing there.

I have a won­der­ful rela­tion­ship with Fox­head, yes.  And, hon­est­ly, how could I not?  Stephen Mar­lowe is a force, and Fox­head had a clear and dis­tinct vision for where they want­ed to be now and in the future.  They did well by me when I was an author in their sta­ble and now that I’ve been made Edi­tor in Chief, I’m eager to do the same for writ­ers com­ing up.  My col­lec­tion, The Same Ter­ri­ble Storm, was pub­lished by Fox­head after a few cor­re­spon­dences between myself and Stephen Mar­lowe, the Fox.  And I can say that from the moment on I knew that Steve was inter­est­ed in tru­ly bring­ing good work to peo­ple.  He’s a giant who hasn’t been spot­ted yet through the trees.  Or maybe he has, now.  I cer­tain­ly hope so.

Since the first of the year I’ve been work­ing as close­ly as I can with authors com­ing in.  It’s great.  There is so much flex­i­bil­i­ty I’m able to give a great amount of atten­tion to my own work while being able to have the chance to see work from oth­ers, talk with them – by phone when pos­si­ble, as my grand­fa­ther instilled in me the sense that true busi­ness in done face to face.  Well, face to face is dif­fi­cult, but a phone call is one step removed from emails back and forth and no sense of the per­son you’re tak­ing to in the meantime.

stormcoverI like the way the short­er sto­ries were inter­spersed in your book. Did you have a plan in mind for the order of sto­ries, or is it more or less random?

Oth­er than try­ing to vary the longer sto­ries and the short­er ones in the hope it would be pleas­ing for the read­er, I didn’t put any more thought into it than get­ting the sto­ries in that I thought were best.

In the sto­ry ‘First Timers’, you write of some young folks that maybe aren’t ready to take those first steps into true adult­hood, by way of a hog-killing gone slight­ly awry. The end­ing is true great­ness. How did you come to that image?

First off, thanks very much.  I had this final scene in my head before I start­ed writ­ing the sto­ry.  I knew those guys were going to be under the tree sort of laugh­ing at these boys, but I didn’t know until I got there that there would be the “pound for pound” moment that draws the com­par­i­son between the boys and the hog.  It was one of those instances for me as a sto­ry­teller where it seemed to come nat­u­ral­ly, and I sim­ply wrote it down before I lost it.  I sup­pose some­where in the back of my mind I had the boys and the hog all tied up togeth­er and that last scene was my brain’s way of let­ting me know that.  It was a cool moment.  I like those times when the sto­ry takes over, and I espe­cial­ly like it when it takes over for the end­ing or beginning.

Pur­pose’ is an excel­lent lead­off sto­ry. I noticed Brown Bot­tle, from your nov­el, makes an appear­ance here. Do you pub­lish many out­takes from it, or is this kind of anomaly?

Since begin­ning Brown Bot­tle I have pub­lished a cou­ple chap­ters here and there, your­self being one who was kind enough to include a chap­ter at Fried Chick­en and Cof­fee.  Many chap­ters can stand alone as sto­ries.  That said, “Pur­pose” was the only chap­ter pub­lished before I start­ed the nov­el.  That sounds weird as I answer, but I sup­pose it makes more sense when I explain that “Pur­pose” was the sto­ry I knew I would revis­it and want to explore in a longer work.  Brown is a char­ac­ter close to my heart, my favorite cre­ation.  The sto­ry works as the first chap­ter to the novel.

Where did the cov­er image come from?

What a great ques­tion!  So glad you asked, Rusty.  In the town where I grew up – Vir­gie, Ken­tucky – there’s a train tun­nel very sim­i­lar to the one on the cov­er.  It was like a car­ni­val attrac­tion for myself and oth­ers grow­ing up in Vir­gie.  It is one of the emo­tion­al hubs of my child­hood in terms of mem­o­ries and a ground­ing of place.  I knew I want­ed that tun­nel on the cov­er.  The boy, graph­ic artist’s Logan Rogers’ son, was includ­ed to fore­shad­ow the sto­ry “Go Get Your Hon­or”.  This sto­ry con­cludes with Man Dodge sit­ting on the tracks and wait­ing for a train to come.  The image was a pow­er­ful one for me, this young boy try­ing to become tougher, more coura­geous, by wait­ing as long as pos­si­ble before get­ting up from the tracks.  I was great­ly appre­cia­tive that Steve and com­pa­ny at Fox­head gave me so much cre­ative input on the cover.

How does the gui­tar func­tion in your cre­ative life?

Ah, yes.  The gui­tar plays a huge role, actu­al­ly.  I’ve played since I was five so it’s some­thing that enters into many aspects of my life.  In gen­er­al, it’s most often a sound­ing board for me when I find myself stuck on a sto­ry, some­thing cre­ative I can pick up and con­tin­ue to keep the wheels mov­ing.  How­ev­er, I’ve also promi­nent­ly placed the gui­tar with­in my work, as well.  Music in gen­er­al, real­ly.  There’s some­thing about music that offers a reflec­tion of sto­ry­telling for me.  I first saw this done per­fect­ly in Com­ing Through Slaugh­ter, and, lit­tle by lit­tle, allowed myself to incor­po­rate music into my own work.  And there’s the prac­ti­cal part of it all, too.  If I couldn’t pick up the gui­tar and play when stuck, I might have to change my answer about writer’s block.  I like being able to say it doesn’t exist.

Can you give us advance info on any of Foxhead’s upcom­ing titles?

We have sev­er­al books in the works right now.  We recent­ly accept­ed a book from Michael Wayne Hamp­ton that I’m excit­ed about called The Geog­ra­phy of Love.  It’s Mike’s sto­ry col­lec­tion, and it’s sol­id.  He sub­mit­ted it to Fox­head before I was named edi­tor and I was hap­py to see it when I arrived.  I like Mike’s work and have since grad school.  It’s strange how things work out. One minute you’re sit­ting in the lob­by of the Brown Hotel in Louisville talk­ing about craft and the next you’re embark­ing on the editor/writer rela­tion­ship.  As for oth­er projects, there’s plen­ty brew­ing.  But the thing I’m most excit­ed about now is the pos­si­bil­i­ty that we will be adding poet­ry to the imprint, and bring­ing in a poet­ry edi­tor to head that up.  Good things ahead and full of steam.  It’s all pret­ty excit­ing, to be honest.

What new projects do you have in mind? What’s your cur­rent obsession?

 After work­ing for near­ly the past two years on my nov­el, I’ve final­ly decid­ed to set it aside for a time.  I’m teach­ing more this semes­ter than before so that requires more of my atten­tion, and there’s the added ben­e­fit of giv­ing those pages time to sim­mer for a bit.  I hope when I approach it again, I’ll see things to work on I might have over­looked before tak­ing the break.  I’ve also been enjoy­ing a renewed love of read­ing late­ly.  For too long I had read only as a sto­ry­teller, pick­ing apart sen­tences, para­graphs, look­ing for sto­ry arcs, study­ing craft in gen­er­al.  About a month back, I picked up a Cor­mac McCarthy nov­el I’d been want­i­ng to read and just decid­ed I was going to read for enjoy­ment.  And then there it was, the love of read­ing I hadn’t even real­ized was sup­pressed until then.  Don’t get me wrong, I love to study the craft of writ­ing, but the two things are dif­fer­ent.  My cur­rent obses­sion is my old obses­sion reborn – the enjoy­ment of the writ­ten word.

 

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Court Merrigan Q&A–Moondog over the Mekong

merriganCourt Mer­ri­g­an is the author of the short sto­ry col­lec­tion Moon­dog Over The Mekong (Snub­nose Press) and he's got short sto­ries out or com­ing soon in Nee­dle, Weird Tales, Plots With Guns, Shot­gun Hon­ey and Noir Nation. He is cur­rent­ly shop­ping a nov­el, The Bro­ken Coun­try, a postapoc­a­lyp­tic West­ern. Links at http://​court​mer​ri​g​an​.com . He also runs the Bareknuck­les Pulp Depart­ment at Out of the Gut­ter and is an Edi­tor at Gut­ter Books. He lives in Wyoming with his family.

Court sez: I lived in East Asia for a decade and have an MA in Japan­ese. Now I'm back in Wyobras­ka (I could append a map if you'd like) and that MA comes in for lit­tle use. I've been slog­ging up writ­ing trail in seri­ous fash­ion for a good 12 years now, and just a cou­ple months ago final­ly — final­ly- got an agent, Adri­ann Ranta of WolfLit. I've racked up more than 500 rejec­tions for short sto­ries and nov­el man­u­scripts along the way, some of which I used to tal­ly on my blog. Now I do some reject­ing of my own as an edi­tor at Out of the Gut­ter Online and Gut­ter Books, which isn't near­ly as much fun as I thought I'd be. Sucks to turn peo­ple down.

While my cur­rent nov­el is being shopped, I'm work­ing on anoth­er nov­el, some hard­core coun­try noir ten­ta­tive­ly enti­tled The Three Days & Nights of Lamar Tilden. I work on this when my kids (5 & 2) are asleep in the ear­ly morn­ings or late evenings. Bour­bon helps, but not as much as you'd think.

 

Do you con­sid­er your­self a writer of lit­er­ary fic­tion or crime fic­tion? Why?

Can I answer nei­ther? I like to think what I write is pulp – aimed at main­tain­ing the fic­tive dream, and all else sub­or­di­nate to that.

Hav­ing said that, I wrote lit­er­ary fic­tion for a long time, and I still like the turn of a good sentence.

The set­tings in Moon­dog over the Mekong vary wide­ly where most fic­tion is set in a gener­ic pre­sum­ably sub­ur­ban  place. Was this a delib­er­ate choice? How impor­tant did you con­sid­er locale?

Oh, total­ly delib­er­ate. Main­ly because the locales I write about – the rur­al Moun­tain West, South­east Asia and Japan – these are the places I’ve lived near­ly my whole life, with a brief stint back east in Oma­ha for col­lege. I wouldn’t feel qual­i­fied to write about the sub­urbs. I’ve only ever vis­it­ed there, briefly. I don’t know how the sub­urbs work. I don’t under­stand them.

Locale means a great deal to me. I’m a region­al­ist. To take one exam­ple, once you cross that 100th Merid­i­an, you’re no longer in the Mid­west! In Japan, I lived for two years in the west­ern Kan­sai region, where peo­ple take region­al pride very seri­ous­ly – they have their own dialect, and point­ed­ly do not speak like the suits in Tokyo. In Thai­land, too, peo­ple are very proud of their region­al iden­ti­ties and I always found that real­ly fas­ci­nat­ing. Peo­ple are peo­ple, sure; but you’re going to act dif­fer­ent­ly out in the open of a howl­ing Wyoming bliz­zard than a snow­storm in Toledo.

My favorite sto­ry is ‘Our Mutu­al Friend,’ which fea­tures expert use of mul­ti­ple per­spec­tives. How did you come to the deci­sion to label each nar­ra­tive with char­ac­ter names?

I’ve always jeal­ous­ly admired Faulkner’s mas­ter­work As I Lay Dying, which is the best exam­ple of mul­ti­ple, first-per­son points of view that I know. I’ve been try­ing to imi­tate that nov­el ever since I read it, to vary­ing degrees of fail­ure. “Our Mutu­al Friend” is my lat­est stab at it.

Some sto­ries, I think, are just bet­ter told when we get to hear more than one side of the sto­ry. I do wish, now, that I had includ­ed the point of view of the bad father in the sto­ry, though. He’s got some­thing to say, too, even if it might be loath­some to hear.

mekongThe Scabrous Exploits of Cyrus & Gali­na Van’ (a West­ern!) sur­prised the sheey­it out of me as com­pared with the oth­er sto­ries. Where did this one come from?

Man, I’ve been work­ing on var­i­ous drafts of that sto­ry for sev­en years. It’s actu­al­ly the first chap­ter of the nov­el that real­ly recent­ly land­ed me an agent. The full man­u­script is a post-apoc­alpyt­ic West­ern, but real­ly, I start­ed with one of the old­est tropes of them all: lone mys­te­ri­ous out­law rid­ing down a dark trail. You know all kinds of shoot­ing and may­hem are going to fol­low and I just can’t resist writ­ing it out.

I assume you’ve seen a bit of cock­fight­ing. What’s your opin­ion of that sport, or sports in gen­er­al like foot­ball and box­ing and MMA, the ones Har­ry Crews called blood sports?

Cock­fight­ing is some bru­tal shit, man. It may be a sport for the spec­ta­tors and for the bet­tors, but it’s dead­ly seri­ous for the birds. Birds are sup­posed to have evolved from dinosaurs, right? The cou­ple of times I watched them fight over in Thai­land, you could real­ly see that rep­til­ian side of the cocks, just slash­ing and slay­ing. I mean, roost­ers in amaz­ing­ly stu­pid ani­mals, but it’s still hard to see them in pain, espe­cial­ly when that pain is inflict­ed by the stim­uli they have no con­trol over. It’s not like they’re fight­ing for hens or some­thing, you know? I don’t think I could real­ly be a fan.

Hav­ing said that, I am a fan of the “blood sports.” Foot­ball in par­tic­u­lar. Grow­ing up in Nebras­ka, Husker foot­ball is reli­gion, and while I know intel­lec­tu­al­ly that big-time col­lege foot­ball is cor­rupt­ing to insti­tu­tions of high­er edu­ca­tion and that big-time foot­ball play­ers are, for the most part, exploit­ed in glad­i­a­tor-like fash­ion (what is foot­ball if not America’s glad­i­a­tor sport?), I love the hell out of it any­way. Sat­ur­day morn­ings in the fall, man, I wake up jan­g­ly, know­ing I’m going to be scream­ing at the TV in a few hours. I can’t jus­ti­fy it and I’ve giv­en up trying.

What’s the sto­ry of your book’s pub­li­ca­tion? How did you end up at Snub­nose Press?

I only ever got on Twit­ter because of Snub­nose. When they first start­ed out, I couldn’t fig­ure out how to get a hold of them except on Twit­ter, so I made an account and start­ed tweet­ing at Bri­an Lin­den­muth, who runs the press. Even­tu­al­ly I got an email address where I could send a query, and we went from there.

I had var­i­ous iter­a­tions of what ulti­mate­ly became Moon­dog Over The Mekong out at as many places as I could think of, but Snub­nose came through first. The whole crew there, espe­cial­ly Bri­an and Eric Beet­ner, who designed the cov­er, have been a great plea­sure to work with.

How has your work as an edi­tor affect­ed the way you write?

Absolute­ly. Here’s the main thing I’ve learned: Every. Sin­gle. Word. Counts. I stop read­ing plen­ty of sub­mis­sions mid­stream at Out of the Gut­ter and for­mer­ly at PANK because the fic­tive dream was bro­ken (admit­ted­ly, there is a dif­fer­ent cal­cu­lus involved with poet­ry). I learned, too, that the writer is not par­tic­u­lar­ly impor­tant in the sto­ry: the read­er is. Else­wise there’s no point in writ­ing. Unless you’re writ­ing a diary. If you can’t keep a read­er engaged, lit­tle else you do on the page matters.

What projects do you have in the pipeline?

My agent, Adri­ann Ranta, is shop­ping my nov­el, called The Bro­ken Coun­try, the first chap­ter of which you can find in my Moon­dog Over The Mekong. (Can I just say here that I only got an agent, like, six weeks ago, and it still gives me a lit­tle shiv­ery thrill to type “my agent”?) So I’m hope­ful that will find a home some­where rel­a­tive­ly soon. In the mean­time, I’m work­ing on two oth­er nov­els, one a his­tor­i­cal fan­ta­sy set in pro­to-South­east Asia, tena­tive­ly called Strid­er, the oth­er a rur­al noir thriller set in Wyobras­ka called The Three Days & Nights of Lamar Tilden. Hope to get both of those done in the next sev­er­al months, with hopes that Adri­ann will find them mar­ketable and so will some edi­tors out there.

Haven’t been work­ing much on short sto­ries recently.

Would you like to bring atten­tion to some of your work online, or some­thing else you think deserves attention?

I just had a sto­ry called “The Last Lad­der” go up in Plots With Guns ( http://www.plotswithguns.com/PWGDecember2012/stories/Story-merrigan‑1.html) which I’m real­ly fond of – there aren’t enough sto­ries set in the rur­al Moun­tain West, in my opin­ion, so I’m try­ing to, you know, fill in the gap. I also have a postapoc­a­lyp­tic sci-fi piece com­ing out soon in Big Pulp, and a reprint of a sto­ry that orig­i­nal­ly appeared in Grift called “City of Screams” com­ing out in a Press 53 anthol­o­gy called Home of the Brave. It’s about a wound­ed Native Amer­i­can vet­er­an of Afghanistan return­ing home to the reser­va­tion, where he takes on the bull­shit he finds there with a limp and an auto­mat­ic rifle. Not based on a true sto­ry by any means, but if you google “White­clay, Nebras­ka” you’ll get an idea of the kind of bull­shit I’m talk­ing about.

I’d also like to men­tion that Gut­ter Books is up and run­ning and we’re look­ing for the hard­est-hit­ting pulp you can throw at us. Find details at http://​www​.gut​ter​books​.com/​2​0​0​9​/​0​1​/​s​u​b​m​i​s​s​i​o​n​s​-​r​e​a​d​i​n​g​-​p​e​r​i​o​d​-​i​s​-​f​r​o​m​.​h​tml And we’re always look­ing for good flash fic­tion and short fic­tion for Out of the Gut­ter Online. Sub at https://​out​ofthegut​teron​line​.sub​mit​table​.com/​s​u​b​mit

Thanks, Rusty, for the chat. You gave my stuff a shot both here at FC&http://​www​.fried​chick​e​nand​cof​fee​.com/​2​0​1​1​/​0​8​/​1​1​/​f​i​r​s​t​-​w​a​t​e​r​-​f​i​c​t​i​o​n​-​b​y​-​c​o​u​r​t​-​m​e​r​r​i​g​an/) and at the (now sad­ly defunct) Night Train ( http://​www​.night​train​magazine​.com/​c​o​n​t​e​n​t​s​/​m​e​r​r​i​g​a​n​_​1​1​_​1​.​php) , and both times it was a real shot in the arm, you know? I was going through a rough peri­od then, writ­ing-wise, and you were some­one out there in the wide world who didn’t think the sto­ries I was kid­nap­ping pix­els for were just crap. Can’t thank you enough for that.

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Two Poems by John Dorsey

Box­car Poem #6

on hal­loween
some­one in the trail­er park
put razor blades
in a few can­dy apples

after that we stayed in

to this day
i still won’t shave

look­ing like
griz­zly adams
just seems
more wholesome

 

Box­car Poem #7

we watched as a woman
stabbed her husband
five times
in the throat

when they loaded him
onto the stretcher
he was still
smok­ing a cigarette
and telling her
to play his numbers

that he felt lucky

to be alive

 

photobycaseyrearick

pho­to by Casey Rearick

John Dorsey is the author of sev­er­al col­lec­tions of poet­ry, includ­ing Teach­ing the Dead to Sing: The Outlaw's Prayer (Rose of Sharon Press, 2006), Sodomy is a City in New Jer­sey (Amer­i­can Met­tle Books, 2010), Leaves of Ass (Unadorned Press, 2011). and Tomb­stone Fac­to­ry (Epic Rites Press, 2013). These pieces are from his forth­com­ing book with Lead Graf­fi­ti Let­ter­press, BOXCAR POEMS.  His work has been nom­i­nat­ed for the Push­cart Prize. He may be reached at archerevans@​yahoo.​com.

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The Androgynous Coat, fiction by Nathan Graziano

I fin­ished my beer, took a hit off the bowl Toby left packed on the cof­fee table and grabbed my car keys. “Let’s hit the bar,” I called to Toby, who was in his bedroom.

Come here for a sec­ond,” he said.

Toby lived in a small sec­ond floor apart­ment, not far from the room I rent­ed after split­ting with my wife. Dev­as­tat­ed and still in love, I had resumed the behav­iors I had stopped when I got mar­ried and had a family—bar-dwelling and bare­ly eat­ing and a wide vari­ety of drugs. Like a stum­bling beast ris­ing from the ash­es of a cal­en­dar, in less than month, I had become some­thing unrec­og­niz­able to me. Toby told me that he went through the same meta­mor­pho­sis the year before, when he found out his ex-wife was sleep­ing with his cousin. Despite the fact that Toby—a for­mer body-builder—was short and wide-shoul­dered while I was the out­line of an aver­age mid­dle-aged man, we now shared the same shadow.

When I walked into his bed­room, Toby had crushed up a Val­i­um and cut it into two lines of fine blue pow­der on his dress­er. He hand­ed me a rolled dol­lar bill, and I went for it.

Look at this coat,” Toby said and held up a red and black-check­ered flan­nel jack­et that, at first glance, appeared to be a hunt­ing coat. “I picked it up at a yard sale,” he said, tak­ing the bill from my hand and snort­ing the sec­ond line. “What do you think?”

You’re ask­ing the wrong guy. Fash­ion-wise, I nev­er got over grunge.”

Look at this,” he said and put on the jack­et and raised his arms. “Look at the pock­ets on this thing. There are pock­ets under the sleeves, by my ribs, and four pock­ets on the front.”

That’s a lot of pockets.”

Fuck­ing right that’s a lot of pock­ets. The oth­er night, I put it on when Erin was here, and she told it was a girl’s coat.”

No shit,” I said and lit a cigarette—another bad habit I’d resumed. Erin, a twen­ty year-old junky who had been sleep­ing with Toby in exchange for pain pills,  had left a pair of silky black panties on Toby’s bed­room floor, and I picked them up and used them to clean my glass­es. “She would know bet­ter than either of us.”

But why would they make a coat that fits me if it’s for a girl? It doesn’t make sense. What type of girl fits into this coat?”

A big girl,” I said. As the Val­i­um mas­saged my tem­ples with its feath­ery hands, I sat down on Toby’s bed, closed my eyes then fell back. My cell phone buzzed in the front of pock­et of my jeans, a mil­lion tiny pins vibrat­ing down my leg. I grabbed the phone and saw a text mes­sage from my wife and opened it. ru @ the bar????

"Fuck it, I’m wear­ing the coat to the bar,” Toby said. “You ready to go?”

Melt­ed into the mat­tress, I nod­ded my head. While in no con­di­tion to dri­ve, I reached for my keys, not both­er­ing to respond to my wife.

#

 Toby and I took the two stools at the far end of the bar, beside a machine that played triv­ia if you fed it a buck. Toby kept the coat on, every now and then slip­ping his hand in a new pock­et. As I drank more, my head began to nod, and I was almost asleep on my stool when Toby punched me in the arm.

Oh shit, Ray. This is not fuck­ing good.”

At the entrance to the bar, my wife stood with a man. The guy looked younger than us—my wife, Toby and I were all forty years old—and he had a full head of black hair, com­pared to my thin­ning dome washed gray. He wore a styl­ish black pea coat and a scarf. My wife, on the oth­er hand, had on a blue and black check­ered flan­nel coat, Toby’s coat but a dif­fer­ent col­or. My wife and I looked at each oth­er. Hers were cold blue ice.

When I turned to Toby, he was tak­ing off his coat. “I guess that answers that,” he said.

I stared at my mug, want­i­ng to hurl it across the bar at the head of the fuck­wad in the pea coat. “It cer­tain­ly does,” I said and reached for my beer.
bio12Nathan Graziano lives in Man­ches­ter, New Hamp­shire. He is the author of three col­lec­tions of poet­ry—Not So Pro­found (Green Bean Press, 2003), Teach­ing Metaphors (Sun­ny­out­side Press, 2007) and After the Hon­ey­moon (Sun­ny­out­side Press, 2009)—a col­lec­tion of short sto­ries, Frost­bite (GBP, 2002), and sev­er­al chap­books of fic­tion and poet­ry. A chap­book of short prose pieces titled Hang­over Break­fasts was recent­ly pub­lished by Bot­tle of Smoke Press. For more infor­ma­tion, vis­it his web­site at http://​www​.nathangraziano​.com/.

 

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The Yellow World, fiction by Wesley Browne

 

When my fin­gers came off, I didn’t so much feel pain as the sen­sa­tion of some­thing touch­ing my hand, which then became much lighter. I didn’t know they were gone at first; I threw my arm behind my back before I raised it. When I did, I found my hand abbre­vi­at­ed and darkened.

The chip­per rat­tled and roared as its maw chewed and swal­lowed oak and my depart­ed dig­its. Those won’t go back on, I thought.

The deep red that enrobed the ragged remains of my cal­lused hand had a yel­low cast. So did the green chip­per. So did the oaks, the poplar and the ash—the moss on the ground and the rocks peek­ing up from the dirt. The tint of my safe­ty glass­es made the hill­side a yel­low, sun­ny place, even at a moment so dark.

I don’t know how it smells when most peo­ple lose fin­gers, but when I did, it smelled like hot, cut wood—burning with­out smoke. It was a smell I always enjoyed. I enjoy it less now.

The din and my earplugs drowned out the sound of my broth­er hit­ting the ground. I imag­ine a thud or a thump, but who knows; it could have been a whack. You don’t find out who is most sus­cep­ti­ble to shock until some­thing tran­spires wor­thy of it.

I thought of the emer­gency shut-off, but it was moot. Let­ting the gaso­line burn was as good as any oth­er way. I also thought of try­ing to rouse the crum­pled lump of caramel Carhartt that was Dustin, but he was of no use to me. We had worked the hill­side togeth­er, but now I was on my own. And the pain was on its way. I knew this. And I had to stem the bleed­ing. I knew this too. It ran down my right arm and col­lect­ed at the elbow of my flan­nel shirt sleeve, mak­ing it droop. I knew to keep the dam­aged hand high, keep my arm bent, but the blood surged up and out any­way, like the water in the foun­tain at the cour­t­house square in town.

I scanned the hill­side for some­thing I could use, then knelt beside my broth­er and took the red and black pais­ley ban­dana from his damp brow. When I stood, my head emp­tied, and I near­ly went down. I straight­ened my fal­ter­ing knees and remained upright. I knew, if I faint­ed, I most like­ly would go alto­geth­er. I can’t say whether I did it to try to raise him, or out of mean­ness, or both, but I kicked Dustin in the shoul­der hard as I could, a kick that would leave evi­dence of the toe of my boot for weeks. His body shud­dered, then was static.

I knew what I need­ed was a tourni­quet, but I also knew I couldn’t tie it with one hand, espe­cial­ly my left. It was the first of the many times I’ve rued stick­ing the too-short push stick down the feed chute with my right arm.

Before my hand went into the cut­ting knives, I was singing John Prine in a voice I could scarce­ly hear, wish­ing for an extra sea­son to fig­ure out the oth­er four. The chip­per caught and ate the stick and shred­ded the end of my hand in a sin­gle instant. I can’t remem­ber if I cried out, but my singing stopped.

The gris­ly yel­low world was about to grow a shade worse. Since I couldn’t tourni­quet the arm, I would have to squeeze the wound. The throb was begin­ning to set in, and behind it was a whole chaos of pain. The squeeze, I knew, would has­ten the chaos’ arrival. There was noth­ing for it. I start­ed toward the house before I did it, think­ing the act of walk­ing would dis­tract me.

I drew a deep breath and tucked my chin before I grasped the pul­sat­ing wound. When I touched it, the dev­il unleashed his hell on the ragged place where once there were fin­gers. The poi­so­nous pain ran all through my body and buck­led me again. White light flashed inside the yel­low lens­es. My legs did their job. They held, then car­ried me off the yel­low hill, down the end of the yel­low holler, and out its mouth to the yel­low path toward the old house.

I’ve nev­er been so glad to see my mama in all my life as when I spot­ted her on the back porch. She had her straw hat on and held her green water­ing can. She was giv­ing a drink to the mid­dle one of the five hang­ing bas­kets burst­ing with hot pink impa­tiens. The porch, the hat, the bas­kets, the flow­ers spilling out, my mama—they were all a lit­tle on the yel­low side.

She didn’t see me at first, con­sumed as she was by her flow­ers. I got with­in fifty yards before I called, “Mama! I made a mistake!”

She turned to me with the han­dle of the plas­tic can in one hand and her oth­er under it. Her expres­sion was placid, uncom­pre­hend­ing. I raised my man­gled hand with the oth­er pressed to it, my lone­ly right thumb pok­ing up as if it were giv­ing its approval. Her jaun­diced face became a plate of noo­dles, all lines and squig­gles. The can hit the con­crete at her feet, and the water first jumped, then poured out. Her mouth moved and there were words, but with my plugs in I hadn’t any notion what they might be. I drew ever clos­er, but for some rea­son she made no move toward me. Her mouth moved again, and the sound was loud­er, but still I didn’t get it.

Once I was up on her I was shak­ing like a scared rab­bit, but I couldn’t do any­thing about it. I said, “I need an ambu­lance, Mama. I need an ambu­lance bad.”

The first move­ment she made since drop­ping the can was to pluck the ear plug from my right ear. The air and the nois­es it car­ried rushed in. She put her ter­ri­fied face inch­es from it and said, “Where’s Dustin?”

I drew my head back and gnashed my teeth. “Sleepin’. Now you gonna call me an ambu­lance or not?”  I stuck my ruined hand in the sat­u­rat­ed lit­tle rag under her nose. “I can’t dial!”

She shook her head, like she was com­ing up out of a dream, took my upper arms and helped me to my back­side on the con­crete porch and leaned me against one of the gray six by six posts that sup­port­ed the roof. While she did she said, “I’ll go, I’ll go, I’ll go,” all breathy and fast. I’ve got to give her cred­it I can’t give Dustin: at least she didn’t pass out.

I sat look­ing at the yel­low rock face where Granpaw’s crew blast­ed the hill­side to make a flat place for Mama and Daddy’s house. It was some years after that they got in the mood to make me. I looked at the yel­lowed saplings grow­ing in the cracks and wondered—like I always did—what they were think­ing sprout­ing there. There was no future in it.

Then I was tired of it. Tired of the yel­low world. Tired of sit­ting in the expand­ing shad­ow of my leak­ing flu­id. I was as hap­py not being in the world at all as to be in that awful yel­low one where I had only half a right hand and a thou­sand rations of pain. I closed my eyes and the yel­low world was gone. Wasn’t long before I was too.

* * *

I didn’t see the world again for anoth­er day, but when I did it wasn’t yel­low any­more. It was most­ly beige and bor­ing, like a hos­pi­tal should be. For that, I was glad.

Dustin felt awful, like it was his fault. I told him it wasn’t—and that was true—though it would have been nice if he’d stayed upright and helped.

They brought a doc­tor to my room who want­ed to cut off my toe and make me a new index fin­ger, said it would “increase the func­tion” of my hand. I got the feel­ing he was excit­ed to try it out. I just let him talk. I knew right away I didn’t want a toe cob­bled on my hand. It was hard enough to see the way peo­ple react­ed to it. I sure didn’t want to make it look like some kind of patch­work sci­ence project.

I left the hos­pi­tal with my lit­tle hand sewed up and an orange bot­tle of white pills, pills a man could make a nice prof­it on if he was the sort. I took a few, but the rest went down the commode.

There are times when my bud­dies gig me, the way bud­dies can, about my mas­tur­ba­tion prac­tices and how I can only count to six. I always laugh along. Dustin nev­er does. He nev­er even smiles. He just sits like there’s a tack on his chair until the jokes pass.

I soon found out, some girls can’t deal with the fact I’m maimed. Oth­ers can get used to it. My dad­dy says it’s an advan­tage. “Sorts the good from the bad real quick. The bad ones aren’t worth foolin’ with.” That may be so, but I might have liked to spend a lit­tle time fool­ing with some of the bad ones anyway.

Some­times I get down. My dad­dy always tells me the same thing, “It does no good to dwell on the past.” My mama’s the worst for that, and he can’t abide it.

I try hard, but I’d be lying if I said I don’t miss my fin­gers. There are times when I stare at the mean­der­ing scar where they once lived, at the places where the knit skin sits up like a rouged mole trail. Think­ing about the loss knots my stom­ach, but those knots get incre­men­tal­ly small­er each day.

The morn­ing I made Dustin go back up the holler with me, he did so under protest. I prod­ded him. “You afraid you’re gonna have anoth­er faint­ing spell?”

I stood at the foothill’s crease while Dustin fired up the chip­per. It roared awake, then trem­bled in hunger. “Hush,” I said, work­ing my earplugs in with my left hand. “You already bit me once. You won’t get me again.”

The foliage on the brush and limbs we cleared had died and turned crispy brown while I con­va­lesced. The leaves on the trees had begun their change, but weren’t too far along just yet.

Dustin put his clear safe­ty glass­es on and looked it over. “So, how you wan­na work this?” he said, over the chipper’s fury.

I con­tem­plat­ed a moment before I reached in my front pock­et for my yel­low-lensed safe­ty glass­es. I took a step near­er the eager chip­per. I looked down the chute at the cut­ting knives. Their motion was so fast that they were noth­ing more than a sil­ver blur. With my left hand, I tossed the glass­es inside. The rat­tle was brief, and they were gone.

I shrugged. “I bet­ter haul and let you load. I don’t got any glasses.”

Dustin nod­ded. He moved to the chipper’s mouth while I made my way to one of the brush piles. We set about fin­ish­ing our work.

Wes_ Wes­ley Browne owns a small piz­za shop, prac­tices law, and lives with his wife and two sons in Rich­mond, Ken­tucky. His prose has appeared in Appalachi­an Jour­nal and Chaf­fin Jour­nal. The Yel­low World was pre­vi­ous­ly pub­lished in the Anthol­o­gy of Appalachi­an Writ­ers, Ron Rash Vol­ume IV. He is a mem­ber of the Hell of Our Own Writ­ers Group and has twice attend­ed the Appalachi­an Writ­ers Work­shop at Hind­man Set­tle­ment School in Hind­man, Kentucky

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Whorehopper, fiction by Liz Frazier

I ain’t nev­er seen the beat, her liv­ing up there like that. Her and Woody both.

They ain’t got no toi­let paper. No wash rags. The bed­spreads have got dog shit on them. I’m telling you, it’s a won­der they don’t end up with some kind of dis­ease liv­ing like that.”

You know Sue. Said she’s had every dis­ease in the book except for AIDS and the Clap. 

I called the Wel­fare on them, her lay­ing up there like that—stinking to high heav­ens. She ain’t had a bath—hell, she ain’t been out of that bed in over two years. Her hair’s so filthy you could wring out enough grease to fry a dozen eggs in it. Her fin­ger­nails are so long that when she goes to clean that colosto­my bag, they said poop gets up and under­neath of them, and she just lets it go. But, she lays right there, and Woodrow waits on her, hand and foot.”

She called me Roto-Root­er until I was near­ly twelve. 

She pre­ferred one to the oth­er, and sneaked me Lit­tle Deb­bies and can­dy bars when I wasn’t sup­posed to have them. 

I went up there to try and see if she’d let me clean her up, but that house smelled so bad that I couldn’t stay, and I had to get up and leave. I said, “Sue, let me cut your hair. I’ve brought you a whole bag of stuff here…” And, before I could fin­ish what I had to say, she said, “Thay ain’t no damn way under the sun that I’m cut­ting my hair. I promised Mom­my before she died that I wouldn’t cut it, and by God, I ain’t doing it. I keep my hair short on the top so’s I can run a wet wash rag over it when it needs it, by God, and that’s enough.”

Ain’t nev­er not too hot to trot. 

Ain’t nev­er not too hot to trot. 

So, I just left her alone. Lord, those dogs was up on the table, they was up on the sink, eat­ing out of the garbage cans, bark­ing and car­ry­ing on. She was clean­ing that colosto­my bag while I was there, and she had to smack them dogs away from it just so she could clean it. She don’t wash her face. Nev­er did. Still don’t. Just rubs more make-up on over top of it.”

She was a cage dancer at cock fights, 

But under this light, ain’t nobody beautiful. 

She bought her­self a mas­tur­bat­ing mon­key when she turned 55. 

Said some­body pawned it to her for some Lortabs. 

They’re putting her in a nurs­ing home, I reck­on. But she’s talked her­self into it. All these years of pre­tend­ing. She’s pre­tend­ed to be sick for so long, and she’s laid up there in that bed for so long, say­ing she can’t walk, she can’t walk, that now, she real­ly can’t walk. I don’t feel sor­ry for her none, nei­ther. When I called that woman at the Wel­fare office, they want­ed to know how I came to know about all of this, and I said, “Do I have to tell you?” And they said it would help them inves­ti­gate, so I told them that she’s my late husband’s sis­ter. She’s the only one of them left, and I just hate to see her lay­ing up there like that.”

The bot­tom dol­lar dropped out of a hat. 

That Wel­fare woman asked me what else did I know about the sit­u­a­tion. They’ll make her cut off that Jheri-curl when she gets in there. I told them that she was rent­ing a place for a lit­tle while, spend­ing all of her mon­ey on dope and cig­a­rettes for her and Woody, and when it came around to the time to pay the rent, she’d go and check her­self into the nut ward over at the hos­pi­tal for a few days at a time until time for her check to come in. She can’t man­age mon­ey. Can’t live on dope and cig­a­rettes and noth­ing else. I told them, I said, “She ain’t been right since her ex-hus­band divorced her. Said he was just tired of her. She was all the time com­plain­ing about one thing or the oth­er, act­ing like she was sick all the time. Her mom­my was lay­ing over there dying of can­cer, and she’d lay back there in that lit­tle bed­room act­ing like she was sick. When Goldy was dying, Woody done the same thing, too. Told that nurse to leave a lit­tle bit of that mor­phine in the nee­dle so he could have it when she was done. I swear on to goodness.”

We divide our­selves to chemicals. 

They’ll have to fumi­gate that place when they go up there and see what kind of con­di­tion they’ve been liv­ing in. I told her, though. I told her about them dogs—eighteen dogs in one lit­tle olé rinky dink two bed­room trailer—and I said, “I believe that nurs­ing home would be the best thing for Sue. She’d have peo­ple to wait on her, hand and foot, and she wouldn’t have to wor­ry about dogs eat­ing the shit out of her colosto­my bag, and she’d have to get off of all that dope she’s been on here late­ly. I said, "I real­ly believe it would do her some good.”

They want­ed to know if she had any oth­er fam­i­ly she could live with. I said, “I’ve got Me and Sarah to take care of right now. My husband’s just died not two months ago, and I just couldn’t do it.” Woodrow hain’t got much sense. Sue lays right there and uses them vibra­tors right in front of him, and he acts like it ain’t a thing in the world. Lin­da, that’s her daugh­ter that’s old­er than Woody, I asked her if she’d take her.  But she said she ain’t home long enough. She’s off get­ting coked up all the time. That’s what her prob­lem is. She don’t even take care of lit­tle Bo-Bo, and he’s got some girl knocked up now, they said. And, Sue hain’t got no boyfriends she can live with. Ain’t had but one that was worth any­thing. He divorced her about ten years ago. The one she had before last was… I believe it was “Ham­burg­er,” you know, Don­nie Robin­son. And, the one before that was “Fa-Fa” Fos­ter. He got put in the pen for rap­ing some­body. That last one, boy. I’ll tell you what. They called him “Bat­man.” He put on capes—I’m telling you the truth now—he’d put on capes and act like Bat­man and chase the ceil­ing fan with Sue’s old douche bags try­ing to stop it. I ain’t lying.  He wasn’t right, now, I’m telling you.” If you think about it, she ain’t right, nei­ther. You’d think she’d be glad to get out of that shit-hole after all she’s been through. She just lays right there and laughs like it ain’t a thing in the world. Lord, have mercy!”

She was always one of those bal­le­ri­na types who liked to whis­tle at boys. 

A brown on brown sand­pa­per dream 

Rust

In the pit of the stomach 

Lord says, you get what you give. She had that sex store down town there. You seen what hap­pened. They caught Lin­da for smok­ing dope in the bath­room. Police walked right in. She was walk­ing in high heels on some old codger’s back right there in the store. Said she was try­ing to get him to buy some­thing or oth­er. Any­how, she used to sit there on that barstool in the store all dyked up in them mini-skirts, the back of her hair teased, flirt­ing with them young fellers. The Lord puts you in your place. Ain’t gonna get to heav­en sell­ing them dil­dos and all that.”

But, Woody dress­es her. She tells him what she wants to wear, and he goes and gets it for her. Cleans her false teeth and every­thing. He used to wear Goldy’s bloomers out to the mail­box over in Bill King Hol­low, so I reck­on he knows what he’s doing.”

Bzzz. Bzzz. Bzzz. 

She stares and stares and stares. 

And waits.

A whore­hop­per, as if for a date. 

I don’t like to see nobody go into a nurs­ing home, but you know Woody ain’t going to get rid of them dogs. Shit. He’d put her on the street any-a-day before he’d do that. That’s what he moved up there on Hur­ri­cane for, just so he could keep them dogs.  Remem­ber?  They was that law­suit because six or sev­en of them attacked that lit­tle girl. It was all over the news­pa­pers and the T.V. a while back.  He was afraid they was gonna take them. Well, now he’s got all them dogs up there liv­ing in that lit­tle old trail­er with him and Sue. I ain’t nev­er seen the beat. The Lord’s gonna get them, you just wait.”

Metham­phet­a­mine flows through her like bad birthing water—heavy, brown, sedate. 

Ain’t nev­er not too hot to trot. 

Ain’t nev­er not too hot to trot. 

 

Liz Fra­zier is the Appalachi­an Dostoyevsky.

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Girls of Michigan, by Gary V.Powell

It was an era of inci­vil­i­ty; a mean time when lines were drawn and peo­ple picked sides. A few lived large while most teetered on the precipice. In those days, I ran with a rough crowd, row­dy guys who played pick-up rug­by on week­ends, drank until they puked, and got into fights. We attend­ed com­mu­ni­ty col­lege part-time and worked at cor­po­rate dives like Wal-Mart, Apple­bees, and Best Buy. Some of the guys lived at home with par­ents lack­ing the for­ti­tude to kick their sor­ry ass­es onto the street. Butch and I rent­ed the upper floor of a dilap­i­dat­ed house on South Main. Most nights, after work or class­es, we cruised the drag from the old rail­road sta­tion to the turn-around. Sun­days, Butch and I drove north out of Indi­ana, into the dark­ness on the edge of town, cross­ing the line into Michi­gan where the girls were eas­i­er, the beer cheap­er, and the back roads lonelier.

We were shoot­ing nine-ball at Zimmy’s the first time I saw Lila. The game paid on the three, five, sev­en, and nine, and we were into two fam­i­ly men for more than they could afford. Between racks, the younger of our two oppo­nents, a skin­ny, ner­vous dude with greasy black hair, retreat­ed to the bath­room to snort the bal­ance of his pay­check up his nose. The old­er guy—I guessed him for ear­ly forties—smoked cig­a­rettes and checked out a gag­gle of hard-edged women con­gre­gat­ing around the fireplace.

Every­one turned to look, even the old farts and floozies tilt­ing against the bar, when the three girls flounced into the place. None of them was knock-out pret­ty, but they were young, curvy, and most­ly unblem­ished. They wore five-inch heels, tight jeans, and sweaters that bunched around their breasts. Lila’s long blonde hair, blue eyes, and tough-girl stance caused her to stand out from her two home­li­er friends.

The bar­tender, an over­weight ex-cop who went by the name of Ham­mer, checked their IDs and served up beers. When she leaned in for a sip, Lila’s thong crept above her waist­band, reveal­ing a gar­ish tat­too that ranged from one shape­ly hip to the oth­er. There was some­thing vul­ner­a­ble and taint­ed about her, under­scored by that tat­too. I want­ed to lick it, like a dog lick­ing a wound.

Fresh meat,” the old­er guy said with a wink, and even in a joint like Zimmy’s it sound­ed crude, the kind of com­ment that sucked the soul out of every per­son there.

Your shot, man,” Butch told him in a monot­o­ne. Tall and rangy with a scrag­gly beard and long hair peek­ing out from under his Cubs’ base­ball cap, Butch had no patience for ban­ter while play­ing pool. He drank Wild Turkey, changed his own oil, and fought with­out fear.

You like that?” the younger guy asked.

He’d caught me look­ing and read my mind. I felt like he’d stolen some­thing pre­cious from me. “I can take it or leave it.”

He thrust his hand into his jeans’ pock­et, leav­ing his wed­ding ring behind. “Yeah, me too.”

I want­ed to wipe that leer off of his face as much as I want­ed to shut his part­ner up.

Will you fuck­ing shoot?” Butch said.

The old­er guy gave a “what­ev­er” shrug, lined up his shot, and missed, leav­ing Butch with a duck on the two. After tap­ping it into the side pock­et, he dropped the three, four, and five. Then, snook­ered by his own hand, he tucked the cue ball against the rail at the far end of the table from the sev­en, the six hav­ing fall­en on the break. The younger guy couldn’t even see the sev­en much less make it. After he missed, I ran out the table, putting us up three hun­dred dol­lars for the night.

The fam­i­ly men paid, then asked to play again. I explained that since they were broke and we didn’t shoot for plea­sure our brief encounter had run its course. The old­er guy protest­ed, say­ing they could be trust­ed for it. Butch reset his base­ball cap on his head and said he wouldn’t trust him to shov­el shit with Chi­na­men. The two glared at each oth­er until I tossed a ten on the table as a peace offer­ing. The younger guy swept it up, took his part­ner by the elbow, and steered him to the bar. Butch and I found a spot on the oppo­site side of the fire­place from the hard women, ordered drinks, and wait­ed for the next suck­ers to show. The fam­i­ly men sidled up next to Lila and her girls, buy­ing them a round with my ten.

I guessed her to be eigh­teen to twen­ty. She prob­a­bly lived at home and wait­ressed at a restau­rant on the lake. Or maybe she was a col­lege girl, slum­ming with friends who hadn’t been lucky enough to escape these parts. Maybe she had a boyfriend who treat­ed her like an angel, or was a back­woods farm girl who’d nev­er even been felt up in the back seat of a car. When the door opened and a cold north wind blew in, Lila’s nip­ples strained against the fab­ric of her sweater. The younger guy’s hand slid down her back and over her but­tocks. She squirmed away, but he was back at her a few min­utes lat­er. I caught her eye and nod­ded. She returned my nod before look­ing away.

While the old­er guy chat­ted up Lila’s friends, Butch salut­ed them from across the bar.  He stuck cig­a­rettes up his nose and into his ears. The girls gig­gled, watch­ing his act over the old­er guy’s shoul­der. Butch bal­anced a spoon on the end of his nose. The girls gig­gled again, and the old­er guy turned to see what was so fun­ny. Butch scratched between his eyes with an index fin­ger, sur­rep­ti­tious­ly flip­ping the guy off, and caus­ing the girls to gig­gle even more.

The younger guy tried to work a knee between Lila’s legs. He whis­pered into her ear and rubbed his chest against hers. He brushed her hair aside and stuck his tongue in her ear. She wrig­gled away only to have him do it again. After a while, I’d seen all I could take. I fin­ished my beer, crossed the room, and pushed my way between them.

What the fuck?” he said.

C’mon, man, she doesn’t want your hands all over her.”

He took a step back, grinned, and said I should mind my own damn business.

Why don’t we ask her?”

Lila stared at the floor. “I guess I rather not be pawed,” she said, her voice bare­ly audi­ble against the back­drop of music, chat­ter, and laughter.

Humil­i­at­ed for a sec­ond time that night, the younger guy’s face burned. He was pissed and high, a volatile com­bi­na­tion, and it wasn’t hard to see what was com­ing next. Not believ­ing in fair fights, if I could avoid them, I sur­prised him with a short, quick jab to the heart. He dou­bled over, and I hit him again, this time across the back of his neck. He dropped to his knees, clutch­ing at my thighs. I tore loose and kicked him in his bony ribs. When the old­er guy start­ed for me, Butch laid a pool cue upside his ear, open­ing a long, deep slash along his cheek. He sagged like an old barn.

I grabbed Lila by the hand and head­ed for the door about the time Ham­mer cleared the bar. Butch held the fat man off with his cue stick and ush­ered the oth­er two girls out behind Lila and me. We made a run for it across the park­ing lot. Butch dropped his Mus­tang into gear, popped the clutch, and roared into the night, snow drifts as high as the car’s roof on both sides of the road. Lila’s friends snug­gled togeth­er in the passenger’s seat up front, squeal­ing. Lila sat next to me on the bench in the back.

Are you total­ly crazy?” she asked.

I sank into the nau­gahyde. “We’re not crazy. We’re bad asses.”

She looked me over. Michi­gan moon­light streamed in through the rear win­dow, reveal­ing a sick­le-shaped scar at the cor­ner of her mouth. “You’re not such a bad ass,” she said.

***

I might not have been the bad ass I thought I was, but she was no wait­ress, col­lege stu­dent, or farmer’s daugh­ter. She lived in a run-down mobile home on a cul de sac at the end of a grav­el lane with her father and two old­er broth­ers, Lar­ry and Dwight. They were rarely around, work­ing days as tree trim­mers, yard men, and house painters, and fish­ing and hunt­ing on week­ends. They grew mar­i­jua­na, dried it in a shed behind the trail­er, and used a machine to roll tight, lit­tle bogies, which they sold to oth­er locals lack­ing the indus­tri­ous­ness to raise and roll their own. Lila washed their clothes, cooked their meals, and picked up after them, the wife and moth­er hav­ing long since fled the scene. I couldn’t blame her. I’d seen the old man, gnarly as an aged tree, teeth miss­ing up front, and a bro­ken nose. He came to the door instead of Lila once, hitch­ing his over­hauls over bare shoul­ders as he strode across the dark­ened room and ask­ing what he could do me for. I told him I was lost and need­ed directions.

Ear­ly on, she con­fessed to being a high school drop-out, clos­er in age to six­teen than eigh­teen. So far as I could tell, there was no facile intel­li­gence lurk­ing behind those pale blue eyes, no clever con­ver­sa­tion wait­ing to bub­ble forth from that soft, will­ing mouth. She pre­ferred soap operas to sit­coms, and the only books she read were trashy romance nov­els with busty babes on the cov­er. In a t‑shirt and jeans, hair pulled back, and lack­ing make-up, she was plain­er than she’d appeared that night at Zimmy’s. She lived on ice cream, can­dy, and root beer, mak­ing her soft around the mid­dle and prone to tooth decay. It wasn’t hard to imag­ine what mid­dle-age held for her.

We didn’t date in the reg­u­lar sense of the word, but as win­ter turned to spring and spring to sum­mer I spent more and more time at Lila’s. I’d blow off class­es or call in sick at work. I’d show up in the mid­dle of the morn­ing or ear­ly after­noon, when her old man and broth­ers were out.

We both knew what I was look­ing for.

She wasn’t dou­ble-joint­ed or kinky, wasn’t a moan­er or scream­er; but she was capa­ble, even skilled in the ordi­nary maneu­vers of sex. She nev­er asked to be tak­en out, didn’t expect to have mon­ey lav­ished on her, and wasn’t inter­est­ed in the least in how I spent my time away from her. Not once did she ask, “Randy, where do you see this going?”

Part of me knew I was tak­ing advan­tage. Anoth­er part of me was like a crack addict who denies his addic­tion each time he torch­es a rock. Besides, she was as grate­ful for the atten­tion as a pup­py hav­ing its bel­ly scratched. For three months, I kept Lila secret from Butch and my oth­er so-called friends, much as anoth­er man might have secret­ed an online affair from his wife.

Then, one evening in August, I came home from class to find Lila sit­ting on our front porch stoop. She wore a cheap cot­ton dress, the five-inch heels I’d seen her in that first night at Zimmy’s, and too much make-up. Across her shoul­der was a bling-encrust­ed purse, and sit­ting next to her was a leather suit­case that looked like it had been stowed in someone’s attic since 1950.

***

She can­not stay,” Butch said.

Lila remained on the stoop while we talked it through. I argued for one night, see­ing it as a rea­son­able accom­mo­da­tion to an awk­ward situation.

Butch remained adamant. “No way in hell,” were his exact words.

I asked what she’d told him.

You know what she told me.” His voice was laced with dis­gust, maybe even con­tempt, aris­ing, no doubt, from the self-knowl­edge that while he’d nev­er have fall­en into this par­tic­u­lar mess, he could just as eas­i­ly have found trou­ble in anoth­er realm. We both knew he pre­ferred fight­ing to fucking.

It just sort of hap­pened,” I said in my defense.

There was no mov­ing him. “Make it unhap­pen. She’s jail­bait, and I’m not going to jail over this.”

I fetched two beers from our aging Frigidaire and went out to the stoop. Cars cruised by with shirt­less guys hang­ing out the win­dows. The dri­vers played their music too loud­ly and called out to pedes­tri­ans in the cross­walk. The neigh­bor­hood had been tak­en over by His­pan­ics, and the air smelled like burn­ing oil and tacos. There was a Wash N’ Dry on the cor­ner next to a red­neck bar. Blood stained the side­walk out front.

How’d you find me?” I asked.

Copied your address off your driver’s license when you were in the bath­room. I walked out to the coun­ty road and caught a ride from a farmer.”

Maybe she had more on the ball than I’d thought. “So, why did you run away?”

She set her jaw. “I don’t like how they treat me. I do and do and do and nothing’s ever enough. They didn’t appre­ci­ate Mom­ma, and now they don’t appre­ci­ate me.”

This had been build­ing over the sum­mer, a crescen­do of com­plaints I’d cho­sen to ignore.

You need to work this out with your dad.”

No. I need a place to stay until I find a job.”

Well, you can’t stay here. You’re underage.”

You weren’t wor­ried about that when you were hump­ing me.”

I stared at the cement between my knees. I watched a cock­roach crawl in front of us before stomp­ing out its life. “I can’t, Lila. Butch won’t allow it, and this is his place as much as mine.”

She took a tone she’d nev­er used before. “And I can’t go back. I’ll nev­er have a life if I don’t get out of there. I want to earn my GED, maybe become a beautician.”

I con­ced­ed that the world could nev­er have enough beauticians.

And, you know what? I want to trav­el. I’d like to go to France or Italy or even Belgium.”

Bel­gium?”

Well, why not? You think I nev­er heard of Belgium?”

Her tone made me squirm. In all the hours we’d spent togeth­er, there had been no rea­son to acknowl­edge that Lila might have dreams beyond that mobile home on the cul de sac. But now her future lay before us like a hol­i­day din­ner, fra­grant with hope and expectation.

There’s noth­ing wrong with Bel­gium,” was all I could think of to say.

I mean, what do you want to do, Randy? Stay here, shoot pool with your bud­dies, and slip around with teen-aged girls for the rest of your life?”

I turned to look into a face I no longer rec­og­nized; no more the face of some emp­ty-head­ed slut picked up in a bar, but the earnest face of a girl try­ing to become a woman. “Don’t wor­ry about me, I have a plan.”

She fin­ished her beer. “I thought there was more to you than this.”

I slapped my thighs and stood, unable to remain sit­ting. I offered her fifty dol­lars, the remain­der of my win­nings from the week before.

What am I sup­posed to do with that?” she asked. “That won’t last a week, if I have to rent a room and buy my own food.”

Take it. It’s all I have.”

Well, it’s not enough.”

So, what do you want me to do?”

She placed her elbows on her knees and cupped her chin in her hand. “My dad­dy keeps cash in a cof­fee can. It’s what he makes sell­ing dope. I didn’t take it before, because I knew he’d come after me if I did. But, now, I got no choice. You have to dri­ve me out there, so I can steal that money.”

Tonight?”

Damn straight tonight. We need to get this done, so I can get on with my life.”

What about your dad and your brothers?”

"They’ll be out frog­gin’ until daylight.”

Maybe they will and maybe they won’t.”

She shrugged. “What dif­fer­ence does it make? If they’re around, you can beat ‘em up. You’re a bad ass aren’t you?”

There were plen­ty of things I could have said or done, but at the time my options seemed few. I gath­ered up our beer bot­tles and head­ed inside. “Give me a minute,” I told Lila.

I laid it out to Butch and asked to bor­row his car, his Mus­tang being more reli­able and faster than my used Volk­swa­gen. I told him I’d be back as soon as I could, in and out, clean with the mon­ey, in no time at all.

They’re out all night?” he asked from under the brim of his base­ball cap.

That’s what she says.”

He con­sid­ered it—the sit­u­a­tion rife with con­flict and pos­si­bil­i­ty. “Maybe, I bet­ter come along. You know, watch your back.”

I wasn’t about to refuse his company.

The deal we cut with Lila was that she’d nev­er show her face again.

Butch slipped his trust­ed leather bil­ly club through a belt loop on his jeans and I tucked a tire iron under the driver’s seat.

Just in case.

***

We parked on the shoul­der of the coun­ty road and walked the dis­tance from Butch’s Mus­tang to the mobile home. Illu­mi­nat­ed by a bright half moon, the woods on both sides of the grav­el pulsed with the steamy growth of veg­e­ta­tion, the scream of cicadas, and the occa­sion­al rus­tle of a rac­coon. No one spoke; there was noth­ing to say. We were bad char­ac­ters on a mis­sion to steal from even worse char­ac­ters. I car­ried the tire iron. Butch’s bil­ly slapped against his thigh. When we closed in on Lila’s mobile home we kept to the shad­ows. A pick-up truck and an aging Jeep sat out front, but no lights shined from with­in the trail­er. We squat­ted in the under­brush and watched and listened.

They must be in Larry’s car,” Lila whis­pered. “They go to the marsh on the oth­er side of Zimmy’s.”

You’re sure no one’s home?” I asked.

I’m pret­ty sure.”

She drew a breath and fished inside her purse for a set of keys. “I’ll be right back.”

We watched her teeter across the yard in her heels, hips rolling beneath the cot­ton dress. She took one final look around before insert­ing the key, turn­ing the lock, and dis­ap­pear­ing inside. Long sec­onds passed, then we heard a scream and a crash. A moment lat­er, Lila burst from the door, clutch­ing a cof­fee can. She kicked off her heels and made a dash for the woods, breasts heav­ing, purse flap­ping, just out of reach of her old man who, dressed only in box­ers and a wife-beat­er, fol­lowed hot on her tail.

Butch and I strode out of our hid­ing place. We didn’t get far before the broth­ers emerged from behind a wood­pile. Like the old man, they were thick and squat with arms like base­ball bats. They rushed in low, look­ing to wres­tle us to the ground and do their dam­age there. I side-stepped Lar­ry and kicked him on the rump as he drove past. The extra momen­tum sent him sprawl­ing face-first into the grill work of the pick-up truck. As I advanced to take advan­tage of the moment, I saw Butch on my periph­ery. He had Dwight in a head­lock and was ham­mer­ing away.

I didn’t expect Lar­ry to recov­er as quick­ly as he did. He was on his feet again by the time I arrived, blood stream­ing from his fore­head and a stu­pid grin on his ruined mouth. I feint­ed with my left and punched with my right. I caught him on the ear, but felt a sick burn across my chest. I stepped away, blood seep­ing from the slash and through my shirt. Lar­ry cir­cled low, a straight-edged razor siz­zling between us. I cursed myself for leav­ing the tire iron in our hid­ing place. I fought back pan­ic and nau­sea and wait­ed for him to lunge. When he did, I popped him again, but paid the price with anoth­er burn, this one to my left cheek. I slapped at it, and took a sol­id right cross between my eyes. I fell back­ward, vague­ly aware that Lar­ry was mov­ing away.

I inhaled dirt and decom­pos­ing garbage, dog shit from anoth­er era. Across the yard, I saw Dwight break free of Butch’s head­lock and bury a frog gig in his fore­arm. Butch bel­lowed and reached for his bil­ly. Lar­ry arrived and slashed with his razor, Dazed from Dwight’s wound, Butch swat­ted only air.

I felt heavy. Time slowed and it was dif­fi­cult to focus. I regained my hands and knees and began to crawl. Behind me, I heard the sound of flesh on flesh; the broth­ers had Butch pinned against the pick-up, pum­mel­ing at will.

I felt around by instinct until I locat­ed the tire iron. I man­aged to stand, knees wob­bly, vision blurred. I took a breath, roared, and ran, swing­ing the tire iron like a war axe. The broth­ers turned. I brought my weapon down across the bridge of Larry’s nose. He fell in place. Before I could strike Dwight, Butch and his bil­ly con­nect­ed with a head-snap­ping shot to the chin. Caught in the heat of the moment, Butch prob­a­bly would have him fin­ished him off had a shot­gun blast not rocked the night.

Lila had man­aged to escape, leav­ing the old man free. He stood in front of the trail­er, a smok­ing dou­ble bar­rel rest­ing on his shoul­der. Butch and I dart­ed for the thick­et. We crashed and thrashed about until anoth­er blast scared us to the ground.

We lay in dark­ness, behind a fall­en tree, not twen­ty yards away from the old man and the broth­ers. We watched the old man make his way to Dwight, who’d man­aged to regain his feet. Blood drained, thick and black as motor oil, from the cut on his chin. The old man stripped off his wife-beat­er and wound it tight around Dwight’s head and chin. Togeth­er the two of them went to check on Lar­ry. He still lay motion­less where he’d fall­en, and it occurred to me that I might have killed him. They wiped his face with Dwight’s shirt and sat him up.

Lar­ry held his head in his hands and mum­bled a few words, dazed and like­ly con­cussed, but alive. I would not spend the rest of my life, clinch­ing my cheeks in a Michi­gan prison. While Dwight com­fort­ed his broth­er, the old man stalked over the thicket’s edge where Butch and I had disappeared.

I know you son­s­abitch­es are out there,” he said. “I can see you. C’mon out and I won’t shoot.”

We didn’t flinch.

The old man walked back to where the broth­ers clung to one anoth­er. The three con­ferred before the old man returned. “All right, you chick­en­shits. Have it your way.”

The old man and broth­ers con­ferred again. Dwight went inside the trail­er and returned with two large pipe wrench­es. He hand­ed one to Lar­ry and the three of them set off up the road.

My car,” Butch whis­pered. “Not my god­damned car.”

***

We took a moment to check our wounds. My razor cuts oozed blood, but the mus­cle beneath the skin remained intact. Butch was worse. He removed the frog gig with a groan; his fore­arm showed four punc­ture wounds down to the bone. We tied his arm off with my belt and eased our way through the thorns and bram­bles. Lila was nowhere in sight, and I couldn’t risk call­ing out to her. Halfway to where we’d parked the Mus­tang we heard the sound of glass break­ing and met­al clank­ing on met­al. By the time we’d crept to where we could see, the wind­shield and the lights were out. Ugly dents showed on the hood and fenders.

Butch seethed beside me, but there was noth­ing to be done, not with the old man hold­ing that shot­gun. After a while, the broth­ers gave out. Lar­ry dropped his pipe wrench, bent dou­ble, and threw up. When he fin­ished, he was too weak to stand. The old man paced the tree line not far from where we hun­kered, our hearts thun­der­ing, our breath rasping.

I know you’re in there. I’ll get you yet,” the old man hollered. “You hear me Lila, you lit­tle whore, I’ll have you and them boys before this is over.”

Dwight called out to his father. Lar­ry had top­pled over. The old man came and squat­ted next to him. He placed a hand on Larry’s shoul­der before send­ing Dwight down the road. I heard him say, “stitch­es, emer­gency room.” By the time Dwight returned in the Jeep, Lar­ry was on his feet again. Dwight helped him into the back seat while the old man made a final appeal for Lila to come for­ward. After it became clear she wasn’t show­ing, they drove off, leav­ing us to the moon­light, the cicadas, and the raccoons.

No one moved for ten minutes.

Then Lila called my name. We walked out to the car, glass and grav­el crunch­ing beneath our feet. “Someone’s going to pay for this,” Butch said. “Someone’s dying over this.”

Lila stepped out of the woods on the oth­er side of the road. Her dress was torn, her five-inch heels lost, her face scratched from the thick­et. She let out a cack­le and waved her wad of stolen cash high.

Damn,” she said. “Maybe you are a bad ass.”

Keep your voice down,” I told her.

Butch opened a car door and brushed glass off the seat. He slid inside, start­ed the engine, and then stepped out for a full inspec­tion. “Dumb shits didn’t slash the tires,” he said. “That’s the first thing I would’ve done.”

Lila took my hand and stepped in close. She crushed her breasts against my chest, her breath hot in my ear. “Let’s go some­where and fuck.”

I pulled away. “I don’t think so.”

C’mon, I got this mon­ey now. We can par­ty it up. My friends live just down the road. They’ll take care of Butch.”

Get in the car,” he said. “We’re drop­ping you at the first hotel.”

Oh, Jesus Christ. Don’t be that way. Let’s have some fun.”

You bet­ter dri­ve,” Butch said. “My arm’s get­ting stiff.”

Get in and shut up,” I told Lila, “or I’m leav­ing you here.”

Butch and I set­tled into the front seat, Lila in the back. With the lights out, all I had was the moon. I found first gear and crept for­ward. There was just enough light to make it back to Indiana.

gary powellA lawyer by back­ground, Gary V. Pow­ell cur­rent­ly spends most of his time writ­ing and wran­gling an 11-year old son. His sto­ries have appeared at Pit­head Chapel, Prime Num­ber, Fic­tion South­east, Carvezine, and oth­er online and print pub­li­ca­tions. In addi­tion, sev­er­al of his sto­ries have placed or been select­ed as final­ists in nation­al con­tests. Most recent­ly, his sto­ry  "Super Nova" received an Hon­or­able Men­tion in the Press 53 2012 Awards. His first nov­el, "Lucky Bas­tard," is cur­rent­ly avail­able through Main Street Rag Press.

 

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Next Big Thing Self-Interview

In case some of you don't know me well, I'm going to break my own rule and post some­thing per­son­al,  a short bio and a self-inter­view which came to my atten­tion from Charles Dodd White and the 'Next Big Thing'. I'm too shy to tag any­one back, though.

Rusty Barnes grew up in rur­al north­ern Appalachia. He received his B.A. from Mans­field Uni­ver­si­ty of Penn­syl­va­nia and his M.F.A. from Emer­son Col­lege. His fic­tion, poet­ry and non-fic­tion have appeared in over a hun­dred fifty jour­nals and antholo­gies. After edit­ing fic­tion for the Bea­con Street Review (now Redi­vider) and Zoetrope All-Sto­ry Extra, he co-found­ed Night Train, a lit­er­ary jour­nal which has been fea­tured in the Boston Globe, The New York Times, and on Nation­al Pub­lic Radio. Sun­ny­out­side Press pub­lished a col­lec­tion of his flash fic­tion, Break­ing it Down, in Novem­ber 2007, and a col­lec­tion of tra­di­tion­al short fic­tion, Most­ly Red­neck, in 2011. In late 2013, Sun­ny­out­side will pub­lish his nov­el, The Reck­on­ing.

What is your work­ing title of your book?

Right now it’s called ‘The Reck­on­ing,’ but it had three or four real­ly bad titles before that: Triplet, Three of a Kind, Youth and Young Man­hood (thanks Kings of Leon!) Richard Nov­el (I was real­ly strug­gling for a title when I first con­ceived this book).

Where did the idea come from for the book?

I remem­ber from my child­hood sev­er­al near-crimes and crimes involv­ing peo­ple I knew well and I nev­er found a way to come to terms with the per­son I thought they were and the per­son they turned out to be. If you sit on a bus with some­one and have water­gun fights you don’t expect 20 years lat­er to read about their involve­ment in killing state troop­ers or run­ning mul­ti­ple meth labs. This book tries to deal with those real­iza­tions in com­plete­ly dif­fer­ent cir­cum­stances from the real life events.

What genre does your book fall under?

It’s a mix of lit­er­ary fic­tion and crime fic­tion, I guess. I intend­ed to write a lit­er­ary thriller, and tried to tread both gen­res in doing so. So I suc­ceed­ed, I guess. More word on that when the book has actu­al read­ers, some­time in mid-2013.

Which actors would you choose to play your char­ac­ters in a movie rendition?

Wow. I don’t know. John Hawkes would play a great Lyle Thomp­son. Hawkes was great in Dead­wood and then even bet­ter in Winter’s Bone as Uncle Teardrop. You just knew that guy could whup some ass. Maybe Guy Pearce for Richard’s dad. For Misty, you need a washed-out blonde that can play trashy—pick your poi­son. Lind­sey Lohan? All the rest of the cast are kids, and I don’t know any kid actors, sor­ry to say.

What is the one-sen­tence syn­op­sis of your book?

Richard and his good friends Katie and Dex find an uncon­scious woman nude in the creek; they try to help her and get into a mess of trouble.

Will your book be self-pub­lished or rep­re­sent­ed by an agency?

The Reck­on­ing will be pub­lished in mid-2013 by sun­ny­out­side press.

How long did it take you to write the first draft of your manuscript?

The first draft was writ­ten in three months dur­ing my wife’s last preg­nan­cy. With a young child and two oth­ers, not to men­tion the paral­y­sis I felt hav­ing com­plet­ed a nov­el, which is some­thing I thought I’d nev­er do, it took a lot of time: two years off and on to get var­i­ous things right and to rewrite some stuff so as to avoid law­suits.  I wrote a lot of poems in that down­time, though, so it wasn't a total wash. Then I tried unsuc­cess­ful­ly to get an agent. I’ll nev­er do that again, if I can help it.

What oth­er books would you com­pare this sto­ry to with­in your genre?

Maybe Matthew Jones’s A Sin­gle Shot?

Who or what inspired you to write this book?

My child­hood. I nev­er found a naked chick in the woods, but I could have.

What else about your book might piqué the reader’s interest?

Sex, vio­lence, a youngish boy deal­ing with it all pret­ty badly.

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Big City Surprise, poem by Misty Skaggs

I saw a red-tailed hawk,
with his red tail flashing
sunlight
lift up off the side
of the highway,
that storms a con­crete path
par­al­lel to Louisville,
along the riv­er bank.
He shouldn’t have been there.
A big, bronze bird
like the one who lives
along the weedy, grav­el trail
to the home cemetery.
He shouldn’t have been there,
beau­ti­ful­ly out of place,
hunched up in shadow,
pick­ing at fat, rat roadkill,
under an overpass.

 

skaggsMisty Skag­gs, 30, is a hill­bil­ly blog­ger, an inde­pen­dent schol­ar, a bare­foot poet and a life­long res­i­dent of East­ern Ken­tucky. Her poet­ry and prose have appeared in lit­er­ary jour­nals such as Pine Moun­tain Sand & Grav­el, New Madrid, and Lime­stone. Cur­rent­ly, Skag­gs is hock­ing her self-pub­lished col­lec­tion of grit­ty, nar­ra­tive style poems which offers a dark and inti­mate look at pre­scrip­tion drug abuse in Appalachia.

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Last Will and Testament, by Murray Dunlap

You don’t know this, but I did every­thing in my pow­er to con­vince my father to change his cocka­mamie will.  I’m a lawyer for christ’s sake.

It’s hard­ly a rea­son­able doc­u­ment.  Most of us will end up with noth­ing.  Noth­ing!  After all those week­ends in a drafty cab­in in god­for­sak­en Bar­lo, sup­pos­ed­ly hunt­ing.  Of all the cov­er sto­ries, hunt­ing!  Eleanor made it all sound fair­ly legit­i­mate, but Ben­nett only hunt­ed when he worked him­self into an angry drunk.  And at that point it wasn’t hunt­ing.  It was killing.  Dad­dy would drink all day and then some­thing insignif­i­cant, a dropped glass or bro­ken ash­tray, would send him into a rage.  He’d grab his rifle and ride the four-wheel­er down the swamp road with a high beam spot­light.  He’d see a pair of eyes and fire that damn can­non of a rifle.  What was it? A sev­en mil­lime­ter Mauser.  A can­non is what it was.  I have tin­ni­tus just from stand­ing next to him.  Some­times he actu­al­ly killed a buck, but most times not.  Fawns, doe, wild boar, coy­ote; Ben­nett didn’t care.  The game war­den was on the dole so he didn’t care either.  They’d call up some poor black guy from the squatter’s camp and have him drag the kill ‑what­ev­er it hap­pened to be- back to the cab­in, skin it out, and butch­er the meat.  They’d pay him off, send him on his way, and then cel­e­brate the suc­cess­ful hunt with a bot­tle of whiskey.

Hunt­ing, my ass,” I said.

I did the best I could with what I had,” Eleanor said. “There wasn’t much.”

I was try­ing to tell the oth­ers about the will, but the mind wanders.

Get on with it, Wal­lace.” Ren pumped his fist. “For God’s sake!”

Shane took off his shirt and wrapped it around his head like a sheik’s head­dress.  He sat with crossed legs on the pines­traw and placed his hands, palm up, on his knees.  He closed his eyes and took deep, even breaths.  He’s always been some kind of an alter­na­tive freak.

This is church prop­er­ty Shane,” Celia said to her son. “Put your shirt back on.”

You were a strip­per,” Shane said. “Beside, a lit­tle medi­a­tion might be just the thing for this place.  Wal­rus here could use it.  Ren too.  Look at his face.”

This heat is oppres­sive,” Eleanor said. “I’m going back to New Orleans.  Even Kat­ri­na didn’t stir up this much shit.”

But I put up with it,” I con­tin­ued.  “I greased the wheels.  I played the role of son.  I bought an olive green goose feath­er jack­et and act­ed like I gave a damn.  I thought it would all pay off.  I thought Ben­nett would rec­og­nize my loy­al­ty and leave me a fair share of his wealth.  His wealth.  What a joke!  He inher­it­ed every pen­ny and spent more than he made.  Which is pret­ty damn greedy when you think about how much mon­ey he had to begin with.  How can you start with twelve and a half mil­lion dol­lars and end up with sev­en?  How can any­one spend so much, make so lit­tle, and then leave every­thing to chance?”

Ren’s face was as red as a par­ty bal­loon.  He pumped his fist, lev­eled his eyes, and growled, “Spit it out, Walrus.”

I gave Ren my look that says don’t you dare call me that but I knew I’d bet­ter move on.  Even I was antsy to get this out.

A game of craps!”  I said.  “That’s his idea of a will.  All sev­en mil­lion dol­lars will go to the wife or son who throws the best dice.  I think Geor­gia gets a boat, but oth­er than that, it’s all or noth­ing.  Win­ner take all.”

What about me,” Celia said, her eyes sud­den­ly clear and focused.

What are craps?” Joy asked.

You roll like the rest of us,” Wal­lace said to Celia.

And what boat? What does Geor­gia have to do with this?” Celia asked.

Craps!” Shane shout­ed. “Excel­lent.”

I could kill him,” Ren said, his jaw grinding.

Too late,” Shane said.

Bax­ter jogged in place, eyes dart­ing from broth­er to brother.

One game?” Ren asked. “One roll of the dice for sev­en mil­lion?  There are two wives, five chil­dren, and sev­en mil­lion dol­lars.  Why not an even split?”

Is this bath­room humor?”  Joy asked. “I’ve nev­er gone in for bath­room humor.”

Didn’t even con­sult me on the legal ease of the doc­u­ment,” I explained. “Went to some oth­er lawyer up in Birm­ing­ham.  Some Mr. Bridges so and so.  And it’s bul­let proof.  I can’t find any way out of it.  We meet tomor­row at the cour­t­house at noon.”

We’ll sue the will,” Celia said. “Can you sue a will?  Did you say five children?”

It’s per­fect,” Shane said. “It’s the trea­sury of desire.”

I think you’re behind this, Wal­rus,” Ren said. “I bet this is your doing.  I’m bring­ing my own dice.”

I gave him my look again, but what more can you do at your father’s funeral?

Good idea,” Shane said.  “If we all bring loaded dice, we’ll all win.”

Shut it, Bud­dha boy,” Ren shout­ed.  “This is serious.”

Geor­gia is his daugh­ter?” Celia asked.  She opened her purse and took out a med­i­cine bot­tle, tap­ping out two tablets and swal­low­ing them with­out water.

This is all too much,” Eleanor said.  “Call me when you come to town, Wallace.”

Mr. Bridges will have the table and dice at the cour­t­house.  Ben­nett made the arrange­ments.  We could con­test it, but we’d all have to agree.  And if we did, it could take for­ev­er.  Plus, the judges in this town might not budge.  They think shenani­gans like this are hys­ter­i­cal.  Alaba­ma.  What in God’s name am I doing here?  I should be over in New Orleans play­ing the real game.  I should use my con­sid­er­able intel­lect for some­thing oth­er than these small town, south­ern shenanigan.”

My broth­ers shout­ed and paced.  Celia whined.  Joy mumbled.

Then Bax­ter sud­den­ly stopped run­ning in place.  He care­ful­ly slipped off his shoes and unbuck­led his belt.  Then he unzipped.

We all stopped what we were doing.

Bax­ter removed his pants.  Under­neath, he wore nylon run­ning shorts.  He put his run­ning shoes back on, took off his but­ton down shirt, and removed his under­shirt.  He stood before us bare-chest­ed, zero-per­cent body fat, shaved head, and eyes full of tears.

Hon­ey,” Celia said. “Are you okay?”

Bax­ter wiped his eyes and very calm­ly began to run.

The Porter fam­i­ly, if you can call it that, stood in silence as Bax­ter ran down the Church dri­ve­way, past the fence, and onto the main road.  I decid­ed at that moment that if I won the dice game I’d leave Alaba­ma for­ev­er.  Even if I didn’t win, I had big plans brew­ing in New Orleans.

Let him go.” Shane said. “Run­ning is his meditation.”

We watched in silence until he was entire­ly out of sight.

Then we start­ed fight­ing again.

murraydunlap1Mur­ray Dunlap's work has appeared in about forty mag­a­zines and jour­nals. His sto­ries have been nom­i­nat­ed for the Push­cart Prize three times, as well as to Best New Amer­i­can Voic­es once, and his first book, "Alaba­ma," was a final­ist for the Mau­rice Prize in Fic­tion. He has a new book, a col­lec­tion of short sto­ries called "Bas­tard Blue," that was pub­lished by Press 53 on June 7th, 2011 (the three year anniver­sary of a car wreck that very near­ly killed him…). The extra­or­di­nary indi­vid­u­als Pam Hous­ton, Lau­ra Dave, Michael Knight, and Fred Ashe taught him the art of writing.

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