himself.
âI know a lot,â I say.
âIn Afghanistan they give girls like nine to old men.â
âIâm seventeen in February. Youâre barely what, twenty?â
âOld man. Twenty-two,â he says.
He lifts his head. âYou should get out of here.â
âMy mother was sixteen.â
âYou told me,â he says.
âMy father. I am everything to him. I wish I werenât bad.â
âYou donât know what bad is. Youâre a child.â
He comes down from his rage. He kneels. He places his hands on my shoulders. I close my eyes. I take in his smell of paint and beer and coffee and skin.
A charge runs through my body. His hands are warm and very big against the bones of my shoulders and back. âYou must have dreams. What do you want to be?â
I laugh, opening my eyes. âIâm not six. Like, do you want to be a cowboy? Iâm already it. Iâm a businesswoman.â
But Luke is back to pacing this space. He has lost interest. What can he say to a schoolgirl?
âWhat are you going to do now?â I say.
âWhat is this, the golden hour?â
âI donât know what that is.â
âAfter a trauma, like an explosive in your chest, the first hour, the golden time when you have a chance to save somebody. Your only chance.â
âNo,â I say.
I stand up in the tiny room that is kitchen, living room, bedroom. Where is the gun?
What I say is, âYou need music in here.â
âI donât speak the same language,â he says.
âAs who?â
âAs any fuckinâ person in this country. Move on, Sofie. Go out with the girlfriends. Or the boyfriends. You got a trail of them.â
âWe do,â I say. âSpeak the same language.â I donât know why I know this. I lean against the counter, I hope provocatively. Luke steps away from me. He opens the cottage door. The footprints I left on the path when I came are covered with snow.
His outstretched arm grazes my shoulder. Rests.
âThe familyâs trying to hook me up with this Odyssey project, some mountain at the end of the world. A vet thing. My family wants the guy I used to be back.â
âOdyssey,â I repeat.
He drops his arm. His face turns dark. But his eyes donât turn away. âThe old guyâs gone.â
NO RETURN
The light is on. Not like my father. He never makes it this late. He crashes by eight or nine. But then he never leaves a room with a light on. What could we begin to have to talk about? Tell him, donât make me sneak any more shrimp? Iâll just take it, okay, âcause selling your shrimp is my last chance to keep you home.
When I see the light on, a part of me feels a reprieve and itâs joyous. My father and me. We could go back to the way we used to be. Before all the things that have started spinning. For one brief second, I would be so happy to go back to just my father and me. And Luke? I donât know.
Snow blows into my jacket and chills my neck. I open the door.
âWhere are you selling these?â Grim lines cut into my fatherâs face.
âWhat, Dad?â
He hauls up a sign Iâd made, Sweet Northern Shrimp .
âI sold every one,â I tell him. âIt was an experiment.â I keep talking under his grim gaze, hoping it will turn when he understands. âI processed one of the totes. I wanted to see if I could sell them. I undercut Atlantic and sold them all.â
âWhere?â He is clipped.
âRight here. People really like it when itâs processed.â
âAll you put in the ice chest?â
âI wanted to prove to you,â I say again, as if that would explain everything. It is all for my father. Snow falls around us. I imagine the house disappearing. I wait for him to get it. Get how much money weâd made toward paying the bills.
âYou said you were taking it over to Atlantic.â My father