Showing posts sorted by date for query scars on the face of god. Sort by relevance Show all posts
Showing posts sorted by date for query scars on the face of god. Sort by relevance Show all posts

Tuesday, October 22, 2024

Indie Spotlight: Chris Bauer

 Welcome to our Indie Spotlight series, in which TNBBC gives small press authors the floor to shed some light on their writing process, publishing experiences, or whatever else they'd like to share with you, the readers!



Today, we are joined by Chris Bauer, who answers the question:


 “What’s it like to co-author a book with a USA Today bestselling author when you aren’t a USA Today bestselling author yourself?”

 


So things went down like this.

 

Andrew Watts, USA Today Bestselling author of three thriller series and a branding expert via his Severn River Publishing (“SRP”) house, the publisher who’d launched four of my thrillers and republished my first novel SCARS ON THE FACE OF GOD, said to me not so long ago:

 

“Hey Chris. I’ve got a proposition for you.

 

“A number of my readers ask me ‘When do you plan to release the next installment in your Max Fend Thriller series?”

 

Mr. Watts had published two novels in the series at that point, but it had been a few years back, and readers of the series, he said, were feeling neglected.

 

“The challenge, Chris, is that I have an idea for the next one, but…”

 

Here readers can pick from one or more of my remembered Mr. Watts perspectives.

 

“I overcommitted myself with my other series…

 

“I’m running a growing publishing house that needs a lot of TLC while I build and care and feed my current stable of (x number) authors.” (Chris remembers that number to be between five and ten at the time. Chris also notes here that the publishing house’s current author stable now numbers forty-two novelists with titles that include USA Today bestsellers, International bestsellers, WSJ bestsellers, and a NYT bestseller.)

 

“I know your work is good…” (Chris blushed an “Aw shucks, Andrew.”)

 

“I have a good plot…” (Chris notes it was a great plot.)

 

“Sooo, here’s a crazy thought,” Mr. Watts said, “and I’m fine, no worries, if the answer is no. How would you like to co-author the next espionage novel in the series with me? Maybe you can make my plot even better.”

 

That was when I checked to see how well the two books in his Max Fend Thriller series were doing, and they were doing very well. Checking them now on Amazon, they have multiple thousands of ratings from his cultivated readership.

 

“Hell yeah,” Chris said. “Where do I sign?”

 

If you picked all of the above perspectives as backstory here, good for you, because it did go down like that, just not verbatim. But do recognize that nowadays, with me as a novelist, I do a helluva lot more lying for a living than I did working for an insurance company for twenty-two years.

 

The deal was excellent, a true 50-50 share in the proceeds for the thriller (title, AIR RACE, a Max Fend Thriller). Plus, with me being a co-author with someone who was bringing much more to the table in terms of readership notoriety than I was, my name on the cover of our book might have suffered from the James Patterson treatment (“JAMES PATTERSON with Chris Bauer) but it didn’t, as guaranteed by Mr. Watts hisself. (Reader should now look up AIR RACE by Andrew Watts and Chris Bauer to check out the cover.) (See?)

 

Our process worked well because it was simple, with Andrew emailing multiple pages of his notes to start. Our writing styles were close enough: action-oriented, peppy dialogue, some humor, good drama. Andrew Watts is a former Navy helicopter pilot and a subject matter expert who could keep us out of trouble when it came to the aviation aspects of the thriller, which exhibited themselves in 75% of the scenes. We arrived at nearly thirty single-spaced pages of a chapter-by-chapter summary, a lot of which required significant research into airports and cities around the Mediterranean Sea and the Middle East. I selected ten stops in the air race where the distances between them had to accommodate the identically-equipped small aircraft and fuel consumption used by competing teams of pilot and co-pilot, all from different countries. Fly during the day, with drama, action, intrigue, crises, and espionage among the race teams. Continue the conflict at night in different, exotic cities at each stop. Explosive, high energy conclusion. We used a Microsoft Word program that allowed each of us to see changes in real time as they were being made in our summary whenever we were both logged into the document online. For the life of me, I don’t remember the name of the interactive application. (Checks notes. Nada.)

 

We finalized the chapter summaries and brought in a developmental editor who SRP utilizes a lot. (Hi, Randall Klein.) Made some revisions. With that finished, it became crunch time.

 

“You will do a lion share of the prose,” Mr. Watts said.

 

“Yeah, I get that. The nature of earning my wings. Frankly, it will be my pleasure, Andrew.”

 

At that point, yours truly kept his butt in his seat for four months straight and cranked out the first draft, with Mr. Watts reviewing and revising where appropriate, our chapter summaries as the roadmap. An interesting situation arose. I use profanity, on the page and in real life, a lot. I’m also known for writing graphically violent scenes. Well, we couldn’t have any of that here. Andrew’s readership, more conservative than mine, would have wet their pants. There was a certain scene with a banana… “Nope,” Mr. Watts said.

 

It took a smidgen over four months to write—for me, an incredible feat, proving to myself that I could do it when individual chapter summaries were in place. I will never write a novel without an outline at the chapter level again.

 

So what happened next?

 

We liked the product. The readers liked the product. It sold well. It’s still selling well, better than any of my other novels have sold. Not as well as Mr. Watts’ prior offerings in the series, but well enough that he asked me if I’d like to have his characters for my very own to play with for a two-book spinoff series.

 

Another “Hell, yeah.”

 

The Max Fend Maximum Risk Thrillers spinoff rose from the depths with me as its sole author, receiving 100% of the proceeds. Thank you, Andrew Watts.

 

COBALT, Book 1 of the Max Fend Maximum Risk thriller that released in February 2024, speaks to the mining of cobalt, a precious yet volatile metal necessary in the production of batteries for electric cars, laptops, and iPhones. The Democratic Republic of the Congo (“DRC”) possesses more than 55% of the known cobalt deposits on the planet, and China is paying for 100% of the DRC output, promising significant infrastructure development in the DRC in return. What if the US, via entrepreneur and CIA-connected Max Fend (vs. competitors Elon Musk, Jeff Bezos, and Tim Cook), found a deposit larger than the DRC’s? Where might that be? Greenland, with melting glaciers from global warming that now expose land not seen in millions of years? Hawaii? The Poconos? Would China let this shift in precious metal dominance happen without a fight?

 

CRADLE, Book 2 in the series, released October 22, 2024. In it, we will return to the Moon, assisted by Max Fend’s aerospace company, NASA, and one very pissed off undocumented Peruvian teenager with six fingers on both hands and a mind-blowing secret she keeps in a leather pouch. We will find out what we should have known all along, about everything, everywhere, all at once.

Would I do another co-author gig if a good opportunity presented itself?

 

Hell yeah.

 

Waiting to hear from you, James Patterson.

 

(Phone rings.) Hi, Mr. Patterson. Jim. You what? You’ve got this crazy thought… But you say my example of co-author cover attribution in this blog post shows my name in too large a font?

 

Sheesh.

 

Fine. Sure. (Sigh.)

 

Hell yeah. Where do I sign, Jim?

 

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CRADLE https://amzn.to/3xYrHTY

 

"Max Fend's expertise. One girl's fury. A universe on the brink.

Max Fend's world orbits around the marvels of the stars above. As an integral cog in the imminent Artemis moon mission and the heartbeat of Fend Aerospace, he's accustomed to challenges that stretch beyond the Earth's atmosphere. Yet he's entirely unprepared for the force of nature that is Gus Gomez.

Gus isn't just a brilliant Peruvian immigrant harboring an indigenous leather pouch steeped in mystery, she's a maelstrom of history, fleeing dark shadows while simultaneously careening toward a cosmic destiny. The pouch she carries contains a crucible of secrets, and it has the potential to upend humanity's understanding of its place in the universe.

As a storm of ancient secrets and vendettas swirls, Max is thrust into the fray. But with Gus's fiery determination and enemies closing in, can Max navigate the dangers and keep the past's revelations from shattering the future?

Chris Bauer's Cradle crafts a tale woven in the tapestry of borderland stories and punctuated by the promise of space in the latest adrenaline-packed installment of the Maximum Risk series."


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Chris Bauer is a brute force novelist who writes award-winning thrillers. His ninth novel released October 2024 (CRADLE, a Maximum Risk Thriller), his tenth releases April 2025 (I HEARD YOU PAINT COWBOYS, a Counsel Fungo Thriller). He’s a subject matter expert in none of the following, although his fictional characters are: firearms, crime scene cleaning, Hawaiian mobsters, law enforcement, bare knuckle boxing, the CIA, fugitive recovery, NASA, Tourette syndrome, or the Supreme Court. Nor does he have six fingers on either hand. He likes the pie more than the turkey. He won the “Best First Sentence” award from the International Thriller Writers THRILLERFEST’s 2024 Masterclass, so there’s that, too.

https://www.chrisbauerauthor.net/  |    www.facebook.com/cgbauer    |   https://twitter.com/cgbauer

https://www.instagram.com/cntbauer1/    |    https://www.tiktok.com/@chrisbauerauthor101


Monday, October 14, 2019

Chris Bauer's Would You Rather

Bored with the same old fashioned author interviews you see all around the blogosphere? Well, TNBBC's newest series is a fun, new, literary spin on the ole Would You Rather game. Get to know the authors we love to read in ways no other interviewer has. I've asked them to pick sides against the same 20 odd bookish scenarios....



Chris Bauer's 
Would You Rather





Would you rather write a book without using conjunctions or have every sentence of your book begin with one?
No conjunctions. Since you didn’t say what kind of book, we’ll go with a children’s picture book, and we’ll leave out all the conjunctions, even in the title. I have one in mind. The rethinking of a classic: DICK. JANE. ZOMBIES. FUN. 


Would you rather write in an isolated cabin that was infested with spiders or in a noisy coffee shop with bad Muzak?
Coffee shop, Muzak, piece of cake. Seriously, if you gave me a piece of cake to go with the coffee and the shitty Muzak, I could probably make it work. And an MP3 player and earbuds. And other snacks. And some insecticide, in case the coffee shop is near the cabin with the spiders.


Would you rather think in a language you could understand but write in one you couldn’t read, or think in a language you couldn’t understand but write in one you could read?
You’re killing me here. This question may well be in English but I still can’t translate it well enough to answer it because it mentions three distinct places involving language: thinking, writing and reading. Best I can tell, we have a writer who is multilingual in one capacity and not multilingual in another, so which shortcoming would he be willing to live with?
So let’s do this: a pivot. Would you rather have pinkeye or blue balls? I’ll take pinkeye over blue balls any day.
(If I have to answer the question, it would be the former—able to think in a language you could understand, etc.—not the latter. I’d lose it if I couldn’t understand my own thoughts.)


Would you rather write a book you truly believe in and have no one read it or write a crappy book that comprises everything you believe in and have it become an overnight success?
The latter. I can always write a second book that isn’t as crappy (don’t we all think we’ll do better the second, third, fourth time around?), especially if the first one makes some good coin and affords me the time and outlet to do it.


Would you rather have everything you think automatically appear on your Twitter feed or have a voice in your head narrate your every move?
You’ve been reading my tweets, haven’t you? Who is this really? I promise to filter my tweets from this point forward. I suppose I’d go with the former. To me living with brain dumps and their impact are far better than paranoid schizophrenia.


Would you rather your books be bound and covered with human skin or made out of tissue paper?
The human skin thing.
BONUS TRIVIA! SCARS ON THE FACE OF GOD, my first published novel, has as a central plot item a real-life 13th century manuscript called The Devil’s Bible that was written on what? ANSWER: Skin! It’s composed of 310 leaves of vellum claimed to be made from the skins of 160 donkeys, or perhaps calfskin.  SKIN IS IN!


Would you rather read naked in front of a packed room or have no one show up to your reading?
The reading naked thing. I always seem to survive the naked thing in my dreams (late for a final exam, didn’t study, I’m commando, then omigod where did my pants go?), so I’ll go with that.


Would you rather your book incites the world’s largest riot or be used as tinder in everyone’s fireplace?
How can anyone not pick riotous chaos versus being burned and lost forever? RIOTOUS CHAOS! LIGHT MY TORCH! RIOTOUS CHAOS!


Would you rather give up your computer or pens and paper?
Give up pens and paper, but this answer really hurts. I love having learned how to write in cursive, and having learned to print properly, but it has to be this way. It’s where we’re headed. Conserves trees, too. Add to this, I’ve gotten looks from my critique peers because I write my feedback in cursive on hard copies of their work. They would be mucho happy if I handed in critiques at our in-person meetings that were all typed. Writing in cursive is dying art.


Would you rather have every word of your favorite novel tattooed on your skin or always playing as an audio in the background for the rest of your life?
I’m not a tattoo guy, so I gotta go with the audio. Speaking of which, did I tell you that my political thriller JANE’S BABY came out in audio in August? No? Well yes, it did, and thanks for asking.


Would you rather meet your favorite author and have them turn out to be a total jerkwad or hate a book written by an author you are really close to?
The hate the book thing. An author can’t hit a home run every time. I just saw the movie Can You Ever Forgive Me? The story is about bestselling author Lee Israel falling on hard times so badly that she starts faking letters by famous authors and playwrights and selling them to pay her rent. It’s from her memoir, and in it she makes Tom Clancy out to be just such a jerkwad. Clancy wasn’t my favorite author, but he was still significantly revered. After this movie, maybe not.


Would you rather your book have an awesome title with a really ugly cover or an awesome cover with a really bad title?
Awesome cover art, bad title. We see this every day in many a genre.


Would you rather write beautiful prose with no point or write the perfect story badly? 
Write the perfect story badly. One example: THE DA VINCI CODE. Not perfect, but still a good story, yet arguably not a literary masterpiece. I do confess that I liked it. DON’T JUDGE ME.


Would you rather write only embarrassingly truthful essays or write nothing at all?
No contest here: write the damn essays. I already embarrass myself in so many other ways. Hopefully the essays would be entertaining on some level.


Would you rather be reduced to speaking only in haiku or be capable of only writing in haiku?
This is like asking what part of hell would you like to spend eternity in. I’m not a haiku guy. I’d have to pick the writing one, as sad as that would be for me. I’m not capable of speaking only seventeen syllables at a time.


Would you rather your book become an instant best seller that burns out quickly and is forgotten forever or be met with mediocre criticism but continue to sell well after you’re gone?
Give me mediocre criticism, which I assume also means mediocre success! And to be still selling after I’m gone? Good for my family, so that works for me. Where can I sign up for this mediocrity of which you speak?


Would you rather become a character in your novel or have your characters escape the page and reenact the novel in real life?
I’d rather be a character in my novel, or anyone’s novel, rather than let some of the characters that I create loose in real life. The good guys, okay-fine, no issue, but the bad guys, no, no, no. The stories do have some wonderful moments but they can be disturbing, violent, and at times gruesome, so let’s keep these people on the page only, or on the screen. (The screen. Yes! Having them make it to the screen would work.)


Would you rather have schools teach your book or ban your book?
Teach it. A plausible scenario for that happening? None that I can think of. The language and violent situations that the novel portrays would more likely get it banned.



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Chris Bauer is author of BINGE KILLER (October 2019), HIDING AMONG THE DEAD (a Blessid Trauma thriller), JANE'S BABY, and the horror/thriller SCARS ON THE FACE OF GOD, 2010 EPIC Awards runner-up for best in eBook horror. Look for a new novel in the Blessid Trauma series in 2020. He's also editor of and contributing author to three CRAPPY SHORTS short story collections (SKID MARKS, NUMBER TWO, DEUCES WILD). As a Philly native he's had lengthy stops in Michigan and Connecticut, and he thinks Pittsburgh is a great city even though some of his fictional characters do not. He now lives in Doylestown, PA with his wife and supermutts Rory and Maeby Funke Bauer. He likes the pie more than the turkey. His short fiction has appeared in THUGLIT, SHROUD MAGAZINE, and 100 HORRORS, and he's been podcasted by WELL TOLD TALES. He's a member of International Thriller Writers. Find him at chris@chrisbauerauthor.com, chrisbauerauthor.com, facebook.com/cgbauer, twitter.com/cgbauer, pinterest.com/cntbauer1, instagram.com/cntbauer1. His tagline: "The thing I write will be the thing I write." 



Thursday, August 11, 2016

Book Review: First, You Swallow the Moon

Read 8/5/16 - 8/10/16
4 Stars: Strongly Recommended to heartbreakers and those who have had their hearts broken.
Pages: 219
Publisher: Radialgrain
Released: March 2016





I don't know about you, but I hate... HATE... reading books that are going to jerk my emotions around and get me all worked up over shit I thought I had buried and put behind me. There is little worse than trying to lose yourself in a book that is determined to work its paper thin words inside the tender scars of your own past heartbreaks. I read to escape, not to stew in a pot of my own snively self pity licking old wounds, you know?

Thank GOD this is not one of those books. Though, honestly, I had feared it would be, which is why I was so gosh-darn hesitant to pick it up back when Kipp Wessel first sent it my way back in February.

Don't get me wrong, there's heartbreak here, lots and lots of it, and that same depressing struggle of moving forward because time keeps trucking along even if you don't want to, and the more time that passes the more you find yourself holding on to the pain of being left by someone you love because you just can't bear to let it go, because without the pain there might be forgetting and you refuse to forget and so you just keep fucking holding on to that pain. And then you panic a little because time is just such a fucking bitch and it's dragging you farther and farther away from the moments that were good and happy and warm, the moments you wish you could cocoon yourself inside of, and you think about how one someone can't make any more memories and it kills you to know they are gone and you are not, and you think about how the other someone is making memories without you and that kills you too, and there is such a tremendous pressure on your heart when you think of those things and you are terrified it will break into a thousand pieces right there in your chest and so you start training your heart to slow down, to beat slower, to beat like a hibernating bear's, and when it learns to hibernate you find the numbing floatyness of it addicting. You become obsessed. You jump from the brink of depression into the arms of obsession. You obsess over training your whole self to hibernate. To shield yourself from the pain and to cocoon yourself in the memories and to hide from the right now. Because acknowledging the right now is to acknowledge that things have happened, are happening, will continue to happen, around you, with or without you, and moving on into the right now is simply not an option.

(deep breath.)

Ok, so that was less me and more Jack, the poor heartbroken dude who takes the unexpected death of his older brother really badly. So badly, that he slips into a state of semi-depression and teaches his heart to hibernate like a bear's. While smooshing around in his half bear funk, he decides to move to Montana to actually study bears because he's digging the whole hibernation thing and secretly wants to try to train his whole body to do it. He breaks the news to his girlfriend Clare and she takes it pretty well, transferring schools to go live out there with him and giving him time to "find himself" as he figures out how to cope with his grief. But Jack, man.... the dude is just so darn mopey and selfish and eventually Clare gets sick of it and says she needs a break. She's been so busy taking care of Jack that she now needs time to find herself. And you're thinking, no, no, nononono, Jack you gotta pull up man, she's leaving you, and you're like Clare, wait, wait, waitwaitwait, Jack is not gonna handle this well, just wait a minute before you go blowing his whole world to shit, but it's a book, and they can't hear you and you're like fuuuuuuuuckkk.

First, You Swallow the Moon is a crafty little debut. It's all heartbreak and obsession and not being able to see what's right in front of your own face because you're busy hanging on to the past and it's mopey and indulgent but in the absolutely sweetest sort of way.

It reads like art. It feels like home. It took me places I didn't expect it to. And you should let it take you there too.

Tuesday, November 18, 2014

MB Caschetta's Guide to Books & Booze


Time to grab a book and get tipsy!

Back by popular demand, Books & Booze, originally a mini-series of sorts here on TNBBC challenges participating authors to make up their own drinks, name and all, or create a drink list for their characters and/or readers using drinks that already exist. 



Today, MB Cashetta shares a deleted scene from her novel Miracle Girls, which released November 11th. Too funny that it's also the booziest scene!


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An extra-dry gin martini on the rocks is the drink. Barely even a drop of Vermouth. This is what 10-year-old Cee-Cee Biancos father drinks. Its also, coincidentally, what my father drank. The other recurring beverage in Miracle Girls is Benadryl, which Cee-Cee’s family constantly feeds her to take the edge off her visions. In this way, father and daughter are equally stoned throughout the first third of the novel.

The Kirkus review of Miracle Girls points out the basic set up:

In upstate New York, young girls go missing, nuns are revolting, Nixon is resigning, and young Cee-Cee Bianco has visions of the Virgin Mary in this polished debut novel. Ten-year-old Cee-Cee has a broken family: Father Frank goes on drunken benders, mother Glory runs away for weeks at a time, middle brother Roadie is wracked with guilt over his burgeoning homosexuality, and eldest Anthony is a little off. Cee-Cee and Baby Pauly cling to each other, as close as twins.

The scene that got cut during the final edit, in which Frank is in a bar getting sloshed, and Cee-Cee is lying on a pool table drowsy with allergy medicine. Cee-Cees mother has taken off again, and Frank has paid the local cabbie to pick his daughter up at home (it is Christmas break) and drop her off at the Blanches Iron Door, the bar he frequents. She has a fever:

Frank has Cee-Cee lie down on an empty pool table, bunching up his coat for a pillow. She can see the shiny jukebox, squat and solid with its silver chrome and bright blue lights, behind the mismatched tables and chairs shoved onto the dirty square of plastic flooring. If her head didnt hurt, shed get up and use Blanches secret stash of quarters.
The bar is empty.  Under Cee-Cees limp body, the green felt is comforting.
Frank takes a barstool. Gin with a splash, Blanche. Extra dry.
No kidding. Blanche takes a wad of bubble gum from Cee-Cees mouth and feeds her two baby aspirin, covering her with a red-and-white checkered tablecloth, plastic on one side, fuzzy on the other.
I feel hot, Cee-Cee tells her.
Well course you do, baby, Blanche says. Thats why Old Blanche never prays.
Over Blanches pink turtleneck, a red sweater is stretched tight. Near one shoulder, one reindeer says Ho, Ho, Ho in white stitching.
Close your eyes now, bunny. Blanche smooths her hair. Dont go worrying yourself about Jesus, Mary and Joseph. They can take care of themselves.
            Frank produces a bottle of the magic pink liquid and tosses it to Blanche. Give her some Benadryl.
You cant just go around drugging your kid, Blanche says. And then you wonder why she hallucinates angels and talks to God?
It calms her down. Frank shrugs.
Blanche sighs, gives Cee-Cee a sip from the bottle.
Under the dark beams of the old bank ceiling, Cee-Cee is swimming in and out of a heavy sleep, catching snippets of the conversation.
            “It’s this damn economy…And some new kind of bomb…”
            “Hell of a thing…” Blanche snaps. “A bomb that can drop itself.”
            Cee-Cee kicks off the tablecloth, uncomfortable.
             “I grew up on that base,” Frank is saying.
            “…fancy severance package can’t be all bad.” Blanche comes around from behind the bar and touches Cee-Cee’s forehead, checking the fever.
            Cee-Cee tries to tell Blanche about the names Glory called Frank over Christmas dinner: Whiskey-dick, Asshole, Bum.
            “What’s the matter? Can’t get comfy, kangaroo?” Blanche flicks on the TV. “Try the boob tube for awhile. That always puts old Blanche right to sleep.”
            A trio of violins from a daytime soap opera fills the room. It’s not one Cee-Cee knows. A man with a beard tells a blond woman, “Love will kill you.”
            Frank and Blanche stare at the TV as a newscaster comes on with a special report about the girl missing since Christmas Eve.
            A photograph comes on screen: a girl with wavy red hair, freckles, a gap in her smile where Cee-Cee can see the faintest flash of tongue. The reporter describes the pink sweater the girl was wearing when she disappeared.
            “Sure are a lot of sickos around here,” Frank says.
            Kidnapped, says the newscaster somberly.
            “Shame,” Blanche says. “More girls go missing right here in this part of New York State than anywhere else in the country. Heard it on the radio.”
            “Yeah.” Frank says.
            Next on the T.V., a bunch of Vietnam protesters with long hair shout at the camera. They hold up two-finger peace signs and shake them at the screen.
            A reporter interviews a nun in full habit carrying a protest sign about the war.
            “What’s this?” Frank says. “The Flying Nun? She looks like Sister Bertrille.”
            “Those Sisters from Our Lady of Sorrows are always up to no good,” Blanche says. ““Chaining themselves to the gates of the military base when they’re supposed be teaching long division and catechism. Vietnam protesters. How is that God’s work?”
             “Who do they think is protecting their sacred asses from communism?”
            “Aren’t they friends with Marina? The Sisters of Something-or-Other.”
            Frank can’t stand God or Nonnie. “Glory’s mother is a holy roller.”
At the commercial Blanche lowers the volume and smiles at Cee-Cee. “My Norbie sure is going to be glad to see you lying there like a princess when he gets home.”
The green fuzz beneath Cee-Cee’s body is soft. She falls into a dream about red-haired girls in pink sweaters.

*
As the afternoon wears on, the bar is shrouded in an eerie quiet. Mike hasn’t set foot in a church for years­­, but sometimes the place seems vaguely hallowed to him.
            He lifts his glass: “Amen.”
This moment will soon be ruined by the onslaught of daily drunks and military men from the lab with their briefcases and secrets for a liquid lunch: 9-to-5ersnot his category any more.
Having Cee-Cee nearby makes him feel strange, but also good.
No one prepared him for being a father. He is plagued by the idea that he created four little strangers out of his own body. He thinks the boys look like him, and Cee-Cee is the spitting image of Glory, and therefore of Glory’s mother.
When he and Glory were sweethearts, before they’d even graduated high school, Mike worked in the Caxton Laboratory. It was still called Romeville Labs then. He was the youngest nonenlisted technician in the whole history of the base; younger even than his father was when he first worked there.
After Mike and Glory got married, they moved into a tiny efficiency apartment on the compound. It had a hot plate and a bathtub in the kitchen. When Anthony was born, they upgraded to a family unit. Mike was happy with just the three of them. Things got crowded when Roadie and Baby Pauly came along, but he still somehow managed a pretty good mood.
But nothing was ever good enough for Glory. She accused him of not loving anyone but Anthony. Said he didn’t try hard enough with his other children. Eventually she found the old ramshackle firetrap they live in now. She loved how it was snuggled between two roadways and a creek. Mike thought it was a bad idea.
“The thing with kids,” he tells Blanche, “is that everything ends up being your fault.”
Blanche pours him another drink, fat fingers gripping the glass still steamy from the dishwasher. “I hear Anthony’s in trouble again.”
Mike grunts.
She places the rest of the glasses upside-down on a little shelf behind her. “My Norbert says Anthony will flunk a third time if he doesn’t watch out.”
What does Fat Norbie know? Mike hates being reminded that his kids arent winners. Hes got problems of his own.
“If there's one thing my Norbert knows, it’s flunking. Two birthdays in the eighth grade already; he’s almost 16. Anyway, I enrolled him in that special school, the one with the uniforms and the aides. Starts in January.”
“For Christ’s sake!” Mike is getting drunk now. “Why the hell did you do that?”
“He’s slow upstairs when it comes to thinking.” Blanche stares off toward the window. “Those special programs help.”
“They just need to give a person some space.”
“There’s not that much space in the world.” Blanche chews on a toothpick. “I’m doing something real for Norbert. You should do the same for your kid. They can't spend their lives in high school, now can they?”
The wind howls. Both Mike and Blanche turn to look at the white outside.
 “Maybe if we’d stayed on base,” Mike tells Blanche, slurring, “it wouldn’t have been so easy for the top brass to let me go.”
Glory ended up pregnant with Cee-Cee when they thought she couldn’t possibly conceive again. That’s when all the trouble started. Of course Cee-Cee was a girl, which was more than Mike could handle.
Counting the inventory, Blanche marks down the numbers of bottles in a green ledger. “What’s the matter now?”
Mike lifts his head. “Did I ever tell you about that little intern over at Romeville Free’s gymnasium? Man, was she something.”
“You should leave them young ones alone. “ Blanche sighs. “You told me she stopped taking your calls.”
He chuckles. “The secretary kept saying she was on lunch duty, and I’d say:
‘It’s 3:30! What damn time do these kids eat?’”
Blanche smiles. “She got your number right quick.”
 “I always say the wrong thing to women.”
Cee-Cee feels the gust of cold air, a nervous chill that swirls into the warm bar.
 “I have to hand it to you, Mike,” Blanche clucks her tongue. “You have some lousy luck with the opposite sex.”
Blanche’s points over Mike’s shoulder toward the darkened door where Glory is brushing snow off her coat.
“Oh shit,” Mike says.
Glory’s voice: “How drunk are you, Mike?”
Cee-Cee tries to sit up, but Mike’s pink syrup has her feeling slow.
“I hope you’re not too drunk to hear what I have to say.” Glory says, “Because I’m done with you, Mike. I’m leaving.”
Blanche clinks some bottles together and clears her throat. “I’ll be in the back room, folks; inventory.”
Mike stumbles over to the jukebox, taking the conversation to the far end of the room. Cee-Cee has to strain to make out the words.
 “C’mon, Glory,” Mike pleads. “Give me a break.”
“You’re here all day long instead of looking for work!"
Down on my luck is all. I can change.turn it around.
Outside, the wind whips against the building.
Glory’s voice goes soft. “Every person in Oneida County has been laid off from that stupid lab. Who cares? You can get another engineering job. What about Xerox, or even Kodak?  Moonie's been there a long time; he'll help you get a job. Anyway, what kind of work is it anyway? Figuring out better ways to kill people?”
“I need you, Glory.”
“Think about your children,” she says. “What are they supposed to do while you’re throwing everything away?”
Mike cries, not quiet and embarrassed the way most fathers probably cry, but loud with long howling noises coming from his throat.
Cee-Cee tries to roll over, but nothing moves.
Tears muffle Glorys voice. You need a shower, Mike.
Cee-Cee knows that Glory is brushing her fingers through Mikes hair, a sign that she is about to forgive him. The air shifts again, this time almost imperceptibly, from tense and angry to unbearably sad.
Look, heres a twenty. Okay? Glory says. Lets go home, right now. We can call a cab.
Ill get a new job. Mike sounds happy. Well do Christmas all over again, the right way. Things will get better. Let me buy you a drink: We can toast to second chances.
All right, Mike.
Blanche lugs a carton out of the old bank vault storeroom with its wall of safety deposit boxes, plus the little black gun Blanche always talks about. She keeps it in in the first box on the bottom row. Says shell use it if theres any funny business at her bar.
I have to step outside for a minute, Glory says. Let go of my coat, Mike. Just one minute. I have to take care of something. Then Ill be back, and Blanche will call a cab, and well all go home.
“Hurry,” Mike says.
Glory comes over to Cee-Cee on the pool table and gives her a big hug with plenty of kisses.  “Hi, Baby. Are you sick again? I’m sorry about this morning. But now we’ll all go home together, okay?”
Like magic, Cee-Cee’s eyelids unstick. “Hi, Glory. I feel better now.”
“Back in a flash,” Glory promises as she breezes back toward the door.
Blanche crosses the room, stopping to peer through the diamond cutout window of the front door after Glory; she holds a few bottles of whiskey in her hand.
Mike starts talking as if nothing happened. “Damndest thing, Blanche, I had to pee like the devil for the last half hour. And now–––nothing!”
Blanche snorts.
“Poor me, poor me.” He slaps Roadie’s money on the bar. “Pour me a drink!”
Blanche comes around the backside of the bar with a bottle of Beefeater. She collects Mike’s money and fills his glass.
Mike works his mouth into a dry smile.
“Glory gone?” Blanche pours to the rim.
Mike bares his teeth at the whiskey. “Gone is exactly what Glory is.”

*
It gets dark a few minutes before the dinnertime rush. Blanche opens the back door to let her son in. 
Norbie walks fast on the heels of a girl with ponytails and scraped knees. He pulls off his coat and scarf, giving his mother a kiss, then looks across the room. “Cee-Cee! Have you been here praying?”
“I’m sick.”
His looming rubbery face is red from the cold and big as a moon.
“Oh no!” He curls his long pink tongue and rubs his hands together in a special coded motion above his head, as if applying some magic lotion. “This is my best friend, Mary Margaret. She’s real smart. Aren’t you, Mary Margaret? She lives five houses over.”
The girl eyes Cee-Cee’s pajamas and hair. “You’ve been lying there all day? On a pool table?”
Feeling her fever lift, Cee-Cee pops up on an elbow. “Yeah, so?”
“What if someone wanted to play and knocked you off with a cue stick?”
“Hasn’t happened yet,” she says.
Norbert exhales a long, sour breath. “The angels watch over Cee-Cee.”
Mary Margaret twists her cherry mouth into a frown. “What’s that mean?”
But Cee-Cee is not about to tell her anything. She just smiles.
Mary Margaret is skinny and has two jagged front teeth growing in crooked. Her face is small and mouse-like, sharp but pretty, and splattered with freckles. Her brown hair is tied into matching braids behind each ear.
“What grade are you in?” she asks. “Second?”
“Fourth,” Cee-Cee says. “They almost skipped me to Fifth but I wanted to stay with my brother.”
“Public school?”
Cee-Cee nods.
Norbert watches them. “Mary Margaret goes to Catholic school with the nuns from church.”
“My Nonnie lives across from Our Lady,” Cee-Cee says. “She’s friends with the Mother Superior there.”
“Mother Stephen!” Mary Margaret seems vaguely impressed. “She’s the school principal. Do you know she has burns on most of her body? If you get on her good side, she’ll show you the scars—they’re real bad.”
Nonnie has Mother Stephen over for tea and cookies when Cee-Cee and her brothers are visiting, but she has never seen any scars. “I think she’s pretty.”
“Her face, sure, and she's younger than most of them.” Mary Margaret turns to Norbert. “You know what those Sisters are called, don’t you?”
Norbert’s eyes get big. “The Sisters of Christ’s Most Precious Wounds?”
The Spooky Sisters!” Mary Margaret says. “And I’ll tell you what: they are a big pain in my ass.”
Laughing, Norbert lumbers to the bar to pat Mike’s back, as if he’s the genius responsible for all his good luck. “Cee-Cee’s here! I love Cee-Cee.”
“She’s our girl.” Mike raises his glass.
Mary Margaret studies Cee-Cee. “Next year, I’m going to get a pair of platform shoes and wear them at school. Let those holy Wounds try and stop me!”
“Glory twisted her ankle wearing platforms once. She had to rest her foot in a bucket of ice.”
“So?” Mary Margaret says. Then, curious: “Who’s Glory?”
Blanche signals to them. “Dinner upstairs—then I’ll take you girls home. Mike’s in no shape to do anything except sleep it off in the store room.”
Blanche never lets children sleep over, but she will feed just about anyone.
A house on two main highways and a creek that floods every year is her idea of bad news, she always says—and she doesn’t like boys running around like wild Indians, either. She doesn’t let Norbert go to Cee-Cee’s house too often.
Dragging his bad leg, Norbert makes a path through the crowd toward the arched doorway behind the bar that leads to the little apartment above. The Iron Door is alive with customers and music as the afternoon lull draws to a close.
“One of you lesser drunks watch the bar for me.” Blanche tucks the cash box under her arm. “I’ve got to feed these kids.”
“Unwise calling your customers drunks,” Mike says.
“Nah.” Blanche looks around. “You know I think of you as folks with cancer, sorry cases, except some of you still got hair.”
Laughter ripples through the room. It is always cheerful at the beginning of a shift. But these are the very same men, Cee-Cee knows, who will be hunched and silent at the end of the night.
One guy comes around to the back of the bar. “You love us, Blanche. You know you do.”
Blanche leans into the guy. “Pretend to care, my husband always said, may he rest. That’s all people want. And that’s what I do: pretend.”
The guy pushes a dollar bill into Blanche’s psychedelic sweater. “Damn good bartender, your husband was.”
Blanche slaps the guy’s hand away, but pinches the dollar. “What’s this for?”
“For your kid. Because he’s…simple –– or something.”
“Oh, he’s something all right.” She beams.
Blanche herds them up the stairs to the cramped apartment above. “The first rule of alcohol is never get close; you’ll only get hurt.” She nods at Cee-Cee and Mary Margaret. “The second is: never try to fill up a drunk; it can’t be done.”
Holding Norbert’s damp meaty hand, Cee-Cee watches the mole at the corner of Blanche’s mouth disappear and reappear as she talks. She knows what Blanche means: Most of the time, Mike is as hollow as a drum.
Norbert pulls both Cee-Cee’s and Mary Margaret’s hand to his chest, rubbing them together. Blanche stoops, weighed down by her enormous body.
“Can Mary Margaret eat over too?” Norbert asks. He stops on the landing, dropping their hands, so he can rub his knuckles together in the strange familiar motion at his forehead.
“Don’t see why not.” Blanche heaves her body up the steps. “‘Less Mary Margaret’s mother is making dinner at her home?”
“Mom’s got a new baby,” Mary Margaret reports. “No dinners for a while.”
“Dear heavens, another one?” Blanche squeezes by to unlock the apartment door. “Where does that woman get the heart?”
Mary Margaret shrugs. “She stays in her room.”
“You must be a comfort to her.”
“I’m the only one who’s made it so far,” Mary Margaret says. “We’re not even naming this baby until we’re sure he's going to live."
She looks at Cee-Cee meaningfully.
In a flash, Cee-Cee sees the little baby graveyard behind Mary Margaret's house, matchstick stones rising up to mark the graves. She counts: one, two, three, four of them.
Blanche pats Mary Margaret’s bony arm, then caresses Norbert’s cheek until he unfurls his long pink flag of a tongue and wags it outside his mouth.
“Well, I hope you like soup, Mary Margaret, because we’ve got to get our little Cee-Cee here back on her feet.”
“Okay by me,” Mary Margaret says.
Norbert rests his big moony face on his mother’s breast, making Cee-Cee’s heartache exactly in the middle.

In Blanche’s apartment, they turn on the lights, start a fire in the stove, and open several cans of soup. Blanche parks Cee-Cee on the sofa with an afghan and flips on the local news.
On a tiny black and white set that looks like it was made for a doll, the newscaster gives an update on the kidnapping. A piece of pink sweater was found on a chain link fence down by the railroad tracks.
The missing girl’s name is Eileena Brice Iaccamo.
Blanche clucks her tongue. “Don’t those Iaccamo kids go to Catholic school with you at Queen of Sorrows, Mary Margaret?”
“A bunch do,” Mary Margaret answers. “There’s about a million of them, all with Irish first and middle names. The older ones go to public school at Romeville Free.”
“Missing girl’s 14, the paper says. She must be up at the high school.”
Mary Margaret hovers close by, waiting for Cee-Cee to look up from the T.V. “Last year this girl in my neighborhood disappeared. In the spring, they found the snow piled up right over a set of fresh bones. Turned out to be a dead dog though. She was never heard from again.”
Cee-Cee chews a fresh piece of gum.
Mary Margaret watches for signs of weakness and comes up with a lie: “She was my best friend.”
Norbert chants in a loud voice: “They have to find this missing girl. They have to find her.”
Cee-Cee can see someone pulling a girl out of a ditch. “Jesus brought St. Martha’s brother back to life. Maybe you should pray for her.”
Mary Margaret bites her nails and frowns. “You don’t believe that crap.”
“Why not?” Cee-Cee says.
Mary Margaret thinks this over. “We could be best friends. You’d have to wear my neckerchief and call me on the phone.”
“How would I get your number?”
 Mary Margaret pulls a pen out of her bag and writes her phone number on Cee-Cee’s hand.
The anchorman’s confident tone agitates Norbert. He crosses the room, thighs rubbing together in his gigantic green corduroy pants. He stands near the TV and shifts his weight from good leg to bad leg.
Blanche watches her son as she stirs the soup. He will be okay because he is giant and almost already a man. “Remember, girls, it’s just as unsafe in some houses as it is outside them.”
 “Do you think they’ll ever find this kid, Missus?” Mary Margaret asks.
Though the pale sun is almost entirely burned out in the winter sky, Cee-Cee feels it blaze in her heart when Mary Margaret turns and smiles.
 “Don’t worry, baby.” Blanch say. “They find everyone sooner or later.”






MB Caschetta is the recipient of a W.K. Rose Fellowship for Emerging Artists, a Sherwood Anderson Foundation Writing Award, and a Seattle Review Fiction Prize, among other honors. Her work has appeared in the Mississippi Review, Del Sol Review, 3:AM Magazine, New York Times, and Chronicle of Higher Education, among other literary journals and media outlets. These days you can occasionally find her drinking a gluten-free beer, waiting for the day when sorghum will taste as good as hops, but she doesn't hold out much hope. Mostly she drinks tea. Miracle Girls is her first novel.