by James Keith Smith
Game Night
My father, the murderer, wants to play Settlers of Catan. He assembles the board, takes the dice from the plastic bag, passes out resources—brick, sheep, ore. “It’s all about the ports,” he tells us, divulging his strategy. His old army rucksack is by the door. He spent the entirety of his incarceration playing board games.
“How about a beer?” my wife asks.
“Or a glass of milk,” I say.
“Do you have soy?” my father asks.
My father can shoot a man between the eyes for $87 in small bills but he’s developed a slight dairy allergy.
The man he murdered was only nineteen. His name was Ronald Fisher. He had a daughter, five months old.
He calls my wife Little Lady, looks around the living room appraisingly, as though he’s casing the joint. He says the halfway house is always cold. The television is broken and the toaster doesn’t work. I wonder what my mother saw in him. I wonder what they talked about in those late-night phone calls and the monthly visits.
Soon I lose interest in the game, make bad trades, stop going for Victory Points.
“Will you be staying for dinner?” my wife asks when the game is over.
“Chow?” my father says.
I elbow her under the table.
My father eats his polenta in three bites, then asks what it was. After dinner it’s time for him to go back to the halfway house, except he can’t find his key.
My father can elude law enforcement for 37 days, but he can’t keep track of a door key. When we find it, my wife puts the key on a pink wrist coil, like the ones worn by teenage girls.
“But wait,” my father says. “One more game.”
Hearts—his favorite. The only time I visited him in prison, it wasn’t cigarettes, erotica, or fresh fruit he asked me to bring, but a new deck of Bicycle playing cards. My father deals. “Now remember, you have to follow suit.”
I have my father’s hands, the same jawline, the same blue eyes. Yesterday, on the way to work, a guy cut me off and I followed him for three blocks, got out, and pounded on the hood of his car. Quick to anger, my wife calls it.
The games are over. It’s almost midnight. I want to give him something, a gift to ensure he’ll never come back. I look around the room. A chair, a lamp—anything. “Know what, Dad? Why don’t you take that TV home with you.”
“You mean it?”
“Sure. I know what it’s like starting over.”
For me, starting over was moving to a new city for college, leaving the dorms when I was 19. It was learning to live without a father, breaking up with a first girlfriend. It wasn’t being released from prison after twenty-five years, into a world that doesn’t want you.
He hoists the rucksack over his shoulder, lifts the television. I watch him disappear, close the door, and lock the deadbolt.
The Closers
One night, Bruce Springsteen played at my band’s house party. We were about to be evicted. There were dirty dishes in the bathtub, the toilet handle was missing. Bruce Springsteen’s red bandana fell off in the foyer. It was a great party until someone left a hash knife in the daiquiri mix and turned on the blender. The girl lost her eye but she wouldn’t press charges.
When the party was over, Bruce Springsteen was able to reboard his tour bus only after being hermetically sealed in a germ-free plastic pouch. We all waved goodbye from the porch as his forty-five-foot tour bus pulled away.
The next day, our band hit the studio. Speck, the recording engineer, kept a bottle of bourbon under the console. Liquid courage, he said.
Speck was originally from Placerville, California. I’d never been to Placerville, but I imagined it was one of those sun-scorched towns where everyone worked at the Petco and lived next to a water treatment plant.
Speck said lots of bands are great live, but when you get them in the studio, they can’t produce. They weren’t closers. We wanted to be closers.
Back then, we all had day jobs. Our singer worked as a dog walker. Our drummer was in telephone marketing. I was a migrant farm worker. We were young and unambitious. We took all the latest drugs. But I was unhappy.
Ever since I was a boy back in Little Walnut, Iowa, I wanted to be famous. At family gatherings, I stood on an ottoman and sang hymns for my seven sisters. One year, I won the Little Walnut talent competition for my impersonation of Mrs. Teller, our school secretary.
Bruce Springsteen called, he was looking for his bandana. Were we hungry? He was meeting with Interscope Records CEO Jimmy Iovine to ink a thirty-two million dollar deal, but he could stop by a BBQ joint on the way back. He took our lunch orders. We were all vegan, but we couldn’t tell Bruce Springsteen that, so pork it was.
Bruce came with the sandwiches wrapped in waxy paper. We wanted to show off. Before noon, we recorded thirty-seven versions of House of the Rising Sun, which our guitar player thought he had written. Our singer was learning the saxophone. We discouraged it heartily.
I played hammered dulcimer. We were a punk band. It was a transitional period.
By 2pm, we were starving. Someone brought in a carrot cake from Safeway. I found a dirty fork next to a hotplate and washed it with powdered soap in the bathroom sink. Bruce slipped out the back door.
In the control room, there was a green chaise lounge. I laid down and stared at the posters on the ceiling. My favorite was the Whitesnake poster promoting their controversial sixth album, Slide It In. I hadn’t slid it in anyone in a long time.
Her name was Coco, like the Puffs. Coco was a dance major at a small liberal arts college. She was a very passionate woman, until a hash knife got stuck in her eye.
That night, at the studio, we took all of the drugs and drank all the whiskey. Our drummer drank a pint of kerosene and smashed a beer can against his forehead at 120 BPMs. I set fire to the control panel, and we made off with thousands in high-end microphones, vintage amps, and monitors.
Later, after the band split up, it was back to migrant farm work for me: blueberries in late summer, apples in fall, oranges in winter. I got my knuckles tattooed and lived in a yurt. I discovered Camus and Jean-Paul Sartre.
One morning, years later, back in Little Walnut, I saw Bruce Springsteen again. I followed him through a cornfield at dawn. The leaves of corn were decorated with beads of dew, my cotton pants heavy from the wet stalks rubbing against my thighs. Finally, I caught up to him. He was wearing his ‘Born to Run’ era outfit: black leather jacket, white T-shirt, and torn jeans. I tapped on his shoulder, and he turned to me, but by then I wasn’t a punk anymore, just a regular guy with a receding mohawk and nothing to prove.
Round and Round
Beef is forty-eight. Works in the record store and sings in a black metal band. Lives on Pop-Tarts. Is locally famous. Every Saturday night, a dozen hoarse, middle-aged women scream his name, fists raised in the sign of the devil horns.
Beef has a son. The son lives in Phoenix. Caitlyn, the boy’s mother, seethes with hatred. Beef wants to talk to the son. It’s his birthday. The boy is eight. They haven’t spoken in—how long has it been? Never. They have never spoken.
Beef’s long hair is always wet. He stands behind the counter, unknowable. An early Japanese import of Black Sabbath’s Paranoid in one hand, Samsung in the other. He dials. The boy’s mother answers.
His mouth is dry. How can he explain?
“Is that you, Fuck-wad?”
He hangs up.
Beef rings up customers. Record Store Day—the biggest event of the year. There are boxes to unload, exclusive ten-inch records, split singles, box sets. Beef holds a life-sized cardboard cutout of James Hetfield under his arm. The ceiling fan goes round and round.
*
His ex, Caitlyn, was always on the move. Huntington Beach, San Francisco, Buenos Aires. By the time Beef got an address or phone number, she and the boy had already moved on. When he knew her back in the day, they painted each other’s nails black and snorted heroin. But then she joined a religious cult. There is a BBC documentary about the cult.
“Tell me about him,” Beef says when he gets the nerve to call back. He’s in the storage room of the record store. “It’s his birthday, right? What does he like?” He still hasn’t chosen a record for his son. Something rare. Miles Davis or Sonny Rollins, the Blue Note years. Even in her wild days, Caitlyn carried a faint whiff of praise music about her. Now that she’s gone full-tilt nut-job, he can’t imagine what kind of music the child is exposed to.
“Tell me about 80k in unpaid child support,” Caitlyn says.
“I tried to find you. You kept moving.”
“Bullshit.” She hangs up.
Beef puts on a record. Ambient music. Droning guitars, undulating distortion, a tone poem. He breathes. Eats a Pop-Tart. Doesn’t taste it. Back behind the register, there’s a line out the door. Customers complain.
*
After work, exhausted, Beef goes to the Alley Cat, a poorly lit dive three doors down. Cracked vinyl bar stools. A warped pool table. Dollar bills stapled to the ceiling. He has a polaroid of his son in the pocket of his leather jacket. A woman approaches, mid-forties. She looks familiar. She climbs up on the pool table, takes a dollar from the ceiling, hands it to Beef.
“Put on something romantic,” she says.
At the jukebox, Beef selects a Townes Van Zandt record. His eyes begin to swell: that first ambling section, the interplay between the two acoustic guitars. When Caitlyn became pregnant, he tried to be a good guy. Offered to pay for the procedure. When she refused, he told her he’d man up. Do all the things. Beef stands at the jukebox, breathes, steadies himself.
When he returns to his barstool the woman is gone and so is his leather jacket.
“Why do they call you Beef?” the bartender asks.
“I’m from Iowa,” Beef says, looking out the door.
Later, Beef stumbles towards home. Sees a shooting star. Lies on a picnic table in the park, looks at the Milky Way. Caitlyn never gave him a chance. He might have been a wonderful father.
*
At home the porch light is on.
“How was work, honey?” his girlfriend asks.
“Good,” Beef says.
“Were you a good boy today?” She wears leather. Her whip is long. She takes the last bite of an apple, leaves the core on the counter. “Do you want to play?” she asks.
“Very much so.”
The sheets are clean. It’s the duvet cover he likes—low thread count, scratchy. She binds his hands. Brings out the strap-on. Stuffs the ball gag in his mouth. Lights a candle. But there is a hole in the bedroom ceiling. He’s just seeing it now. A crack along the crown molding, three or four inches, and then a hole, like in the center of a record. Up through the roof, it goes on and on.
James Keith Smith’s work has appeared in Split Lip Magazine, Moon City Review, Sierra Nevada Review, Pithead Chapel, and others. He grew up in Michigan and lives in Tacoma, WA. You can read more of his work at jameskeithsmith.com.