Beth Crow

      Monday, April 16, 2018

      I’ve been called a lot of things in my thirty-six years: trash, slut, home wrecker. And much worse. All true, I guess, if I’m being completely honest with myself. But one thing I won’t let people get away with saying about me is that I’m a bad mother. Those are fighting words. Just about everything I’ve ever done has been for my two children. I may be stupid when it comes to men but I’m a good mother.

      Seven months ago I quit my job as an administrative assistant at an office supply company, loaded our belongings and squeezed a reluctant Violet, a pissed-off Max and Boomer, our basset hound, into our car that was more rust than steel and began the twenty-five-hour drive northeast from Algodon, New Mexico, to Green Bay. The plan was to begin a new life with my boyfriend, Jerry, who moved there to take a job with Proctor & Gamble a few months earlier.

      I had some hard selling to do but by the time we reached Kansas City I almost had them convinced that even though we would be giving up Picacho Peak we would get Lambeau Field and the Green Bay Packers. And though we were trading in the Rio Grande there would be Lake Michigan where we could go fishing and water skiing. And though we would miss driving through the Mesilla Valley and seeing the fields of cotton, white, fluffy and soothing against the dusty, dry ground, once in Wisconsin we would have piles of crisp clean snow to build snowmen and have snowball fights.

      Max wasn’t buying it but Violet was easier to convince. Always in her own little world, Violet would retreat into her notebook of drawings and stories and a few hours later she’d look up, blinking rapidly as if trying to bring her surroundings back into focus. Max, on the other hand, wanted nothing to do with the move. He was completely content in New Mexico and didn’t even try to hide his hate for Jerry. It’s to Max’s credit that he didn’t say I told you so when the car broke down in the middle of Iowa and Jerry suddenly had a change of heart and got back together with his ex-wife.

      Long story short, we stayed in Pitch, a dying railroad town with a population of about two thousand. We were rescued by a nice lady by the name of Tess Petit, who has a granddaughter the same age as Violet.

      I know I should answer the phone but for the first time in almost a year a man is beneath me and inside me. Our fingers intertwine and we move as one person. The phone rings and rings and I briefly think of my kids. Violet is spending the night at Cora’s house and Max, I hope, is fast asleep downstairs. Usually Boomer alerts me to the comings and goings of my kids but I have been a bit distracted for the past hour or so. Sam reaches out and cups my face in his palm, his fingers pressing into my cheek, keeping my eyes on his, and I push any thought of my children aside.

      Finally, my heart stops galloping and Sam presses his face to my neck, his beard velvety against my skin, and I remember the ringing phone. It’s late. Or early, depending on how you look at it—1:00 a.m. Way too late for any good news.

      “Don’t worry, they’ll call back if it’s important,” Sam murmurs in my ear, reading my mind. We doze. Then that voice, that good mother voice that I so pride myself on having says, Get dressed, you don’t want Max or Violet to see you like this. But instead I move closer to Sam all the while thinking it’s been so long since someone has held me like this.

      It isn’t Max or Violet or the telephone that wakes us up, it’s the sirens. At first a single alarm whoops off in the distance and then is joined by several more. I scramble from the bed, pulling the sheets around me, and run to the window and crane my neck to the left and the right, hoping to catch sight of the emergency lights. No such luck. No streetlights line our road and the houses across the street are still dark.

      “Max,” I breathe, somehow sure that the sirens are for him. That he has been in a car accident or is out doing something stupid—hanging out on the train tracks, drinking with friends. “Max!” I shout as I quickly throw on the clothes I wore earlier. “Max!”

      I move through Violet’s side of the bedroom that we separate with one of those room partitions. On my side of the partition I have pictures of Max and Violet and an old one of my parents. On Violet’s side are a few hand-drawn pictures of unicorns and fairies and landscape sketches of the railroad tracks west of town.

      I rush down the steps and to the family room. Max’s bedroom door is open and I slap at the light switch on the wall. His bed is unmade, but that doesn’t mean anything; he rarely makes it, anyway. I turn and push through a second door, the bathroom—empty—and a third door that leads to our narrow galley kitchen, also empty except for a few dirty plates and silverware in the sink. Max has been here between the time I snuck Sam up into my bedroom and now.

      “Try and call him,” Sam says, coming up behind me and laying a hand on my shoulder. His fingers feel like lead weights and I shrug them away. I suddenly want him out of my house. Gone.

      The sound of sirens fades and I allow myself a moment of hope. Pitch is tiny. Too little to have emergency services like a hospital or ambulance or a fire station. For these we rely on Oskaloosa to the south of us or the city of Grayling, about a half an hour northeast of Pitch. We do have a police department that consists of a chief, one full-time and two part-time officers.

      I run back upstairs and fumble around for my cell phone and finally find it on the floor next to the bed. I call Max’s phone and it rings and rings until it goes to voice mail. Behind me I’m aware of Sam pulling on his shoes.

      “No answer,” I say. I’m trying not to panic. This isn’t the first time Max hasn’t come home by his midnight curfew. I was hoping that this rural Iowa town might be good for him after Algodon where he had fallen in with a rough group—drinking, smoking and God knows what else. But I guess even Pitch has its share of wild teenagers. So now I get to worry about him being out at all hours of the night, raising hell in a cornfield or on the railroad tracks