Shooter Flash: “If, Man, Son” by Al Crow

And—which is more—you’ll be a Man, my son! – “If” by Rudyard Kipling

Pint up, contents down, and I’m up, down the corridor. Drink then piss. Same old drill for an old soul. No need to spell it out. Quite a walk actually, for an ageing gent like me who’s really, really got to go, but I get there fine. In time. Double take on the sign. Notice the rhyme. Didn’t notice the sign before though. A little horseman with an oversized sombrero and a machine gun on the door of the gents. Supposed to be funny. So little effort in the rest of what goes for a boozer in this Monopoly-board railway station and there this six inch gun-toting Mexican lad on the bogs. They must be making sure the really leathered blokes still get the right place. Well, I’m not that gone. Not by halves. I push. Pull the next one, and it gives me four urinals, a sink and a single cubical with the door shut. Quite the drinker’s vista. Two gentlemen already there. One in the crapper. Pair of jeans resting on lime green trainers. Some old rocker at the far wall-mounted john. Leathers, raggedy beard, and a steely stare towards the poster at his front, which is adverting erectile disfunction. 

A man like me. A place like this. All these ifs in my head. 

You can try and drink away the ifs, but they’ll get you in the pisser. That’s the actual pisser, I think. When the ifs come for you in the pisser. 

The raggedy rocker nods a hard-arse glare my direction. Spurs me into life. I take the second lane, so there’s one slot between this half-price Slash’s slash and me, while I’m not so bang up against the sink that this will turn into a problem. Not that anyone here is going to wash their hands, but thems the rules. Decorum, anyway. Me and the rocker, we’re both hoping no-one else comes in and has to tuck in between us, but we’re okay. For now. So, I hunt out my Johnson in these tight arse pants I got from Amazon about a month before the sixty seconds that I’m drinking so shit hard not to think about happened. 

I yank a boxer leg up first, which is too long to get myself under, so I try to unfathom the intricacies of a knob-tunnel system that’s more impenetrable than the Tora Bora caves. This might be taking a while, but I’m gazing forward. Always look forward in the gents. Golden rule, and the poster at my eye level blurs into focus. It’s goading me to Be The Best, and I realise I’m far from the best, so far from my best. Haven’t been the best in me for so long. Don’t need an ad to tell me that. I got sucked into something for my boy. He was infinite. Perpetual. So much life in those gleaming eyes that it didn’t seem possible that he could be anything but there – couldn’t be anything by twenty and sharp and charming, always catching a ball or a cute girl’s eye – and I didn’t encourage him. He found that path himself. 

Sure, he was playing up to his old man. Sure, there were footsteps. Boots to fill. An apple and a tree. Sure, he was imitating, emulating, coating himself in what he thought was the very best of me, only I never said he should go down that route. I never told him the person he should be. 

In the pisser, here I am, playing that card as if it’s a get out of jail free. 

Ha. There it is again. I’m a poet and I know it. A poet like all those messed up word-wankers that went before me with their drinks and their England. Take Kipling, my mirror. He wrote all that clap about being a man, then he bluffed his short-sighted son passed a medical and square into a cavalry charge, gifted the blundering vole the once in a lifetime opportunity to have a jog at a gun post. The national treasure never forgave himself. Funny that you learn that one at school. Funny, not funny. 

“This country grinds you down.” 

It’s the rocker speaking, breaking the rule of not talking to strangers in the gents. He’s pressing the dispenser as if he genuinely believes there might be some soap in there and it’s like time has slipped. I didn’t notice him move from the urinal and the thought strikes me that perhaps he’s God and Jesus is taking a dump above the lime-green trainers in trap two. 

I wipe a stray tear. Guess that’s a more logical explanation of why he’s talking at me. 

“Too fucking right,” I say. 

As I do, the room is filled with the sound of the toilet flushing. It echoes about the bare-walls until it feels like the place is going to be filled, and I imagine drowning in there. I picture myself floating above the urinals and the sink, being washed higher until my head knocks on the ceiling and I smile at the rocker and take a last breath, which allows me a few moments under the tear and bog water, before the air seeps from my lungs and the darkness comes into my head, pushing away all the ifs with its milky-black ooze. 

“Well, you have a good afternoon Buddy,” the rocker says. “Perhaps go a little easier on the sauce.”

I smile.

I’m about to say something when the cubical door opens, and the kid who comes out is about twenty, blond hair, slightly foppish, and one of those smiles. For a moment, I think it might be him. My boy. I think it might, and he looks across. Those eyes unchanged. For a moment, I’m flooded, dragged further beneath that boat load of ifs.

*

Al Crow works across fiction, creative non-fiction and poetry, exploring this challenged world and human fragility. Recent work is featured in The Last Song, Words for Frightened Rabbit; Masculinity: an anthology of modern voices; Last Light, an anthology of Apocalypse Poetry; Lighthouse and The London Magazine.

Social isolation connects winners of 2024 Short Story Competition

Dilys Lovell has won the 2024 Shooter Short Story Competition with her remote island tale, “The Bunker”, while Richard Garcka has come runner-up with his crime fiction, “Sphinx Wheels Fright”. While Lovell’s story revolves around a girl struggling with her beautiful yet isolated existence, Garcia’s protagonist is set apart on the mental plane by his unusual aptitude for numbers.

Shooter’s readers and contest judge, editor Melanie Sykes-White, appreciated Lovell’s vivid description of her setting and handling of the central conundrum for her main character, who is torn between safety and experience of the wider world. Lovell, a teacher living in Glasgow, has previously published short fiction and poetry in Passages North, Carve Magazine, Rust & Moth, Scribble, Potato Soup Journal, and elsewhere. Her short story collection Moon over Water will be published in 2025. 

Garcka achieved second place in the competition with “Sphinx Wheels Fright”, a police detective fiction revolving around an intriguing battle of wits. Garcka, a retiree who writes across various genres, has had short stories published by AudioArcadia, Arts Quarter Books, Michael Terrance Publishing, Cranked Anvil, Bandit Fiction and Spellbinder.

In addition to the contest winners, three shortlisted writers gained honourable mentions: Ronan Ryan for “I Have Never Complained About Pain”, Matthew Hurt for “Bubbles”, and Sofie De Smyter for “Q&A”.

Both “The Bunker” and “Sphinx Wheels Fright” are available to read on Shooter’s website, while Lovell’s story also appears in the Autumn/Winter 2024 issue of Shooter, which is themed “Coming of Age”. Print copies of the magazine can be ordered at the Subscriptions page.

The 2025 Shooter Poetry Competition is now open to submissions, while the 2025 Shooter Short Story Competition will open mid-year. Until then, prose writers are welcome to submit flash fiction and non-fiction to the monthly Shooter Flash contest on a rolling basis. General submissions for Shooter’s Spring/Summer 2025 issue will open to all in the new year.

In the meantime, happy reading, and happy holidays from Shooter Literary Magazine!

Shooter Flash: “Drift” by Sammi LaBue

Alex wore her half of our heart necklace long after high school, but when they found her across the bay, she wasn’t wearing jewelry. Just her long hair around her neck like a noose of wet string. 

She finally moved to New York from Tampa two years after I had. She lived in Queens and I lived in Brooklyn, but we made Beach Day an official weekly holiday, no matter the weather, to remind us of home, and I got her a job at the bar where I worked.

She found me in the walk-in refrigerator during the shifts we shared. I’d mix cheap vodka with cranberry juice and slices of lemon, our seventeen-dollar happy-hour cocktail, and she’d talk about her new friends, her roommates, her artsy kind of sadness. The refrigerator’s vacuum seal suctioned us in behind her, as if to preserve us. 

*

We’d walk down the beach warp-powered by the Adderall she brought. I thought of our purse of shells and treasures, our iPhones and keys left behind, thinly veiled by faded bath towels. But she’d say, Let’s never go back, smiling. 

Days would slip by without a whisper from Alex. “Sometimes friends drift apart,” Mom said when I called her instead. Then Alex would be back again, our teeth hard-set against the cold of the walk-in. Her voice sounding more and more like the silent void of her voicemail.

Want an adderall, a xanax, anything else? The sand-stained coin purse started to fill with chalky blue-and-white pills – nothing like sea glass. 

*

Still on for Beach Day?

Is it going to rain?

Meet at DD, right?

Im Here

?

I waited outside of Dunkin Donuts flipping between my doppler app and messages and back again. A green mass crept across the screen pixel by pixel.

When the smell of rain had washed over the roasted nuts cart and the car exhaust, Alex appeared with her hands shoved into the pockets of her leather jacket. I was getting worried. She wasn’t wearing her necklace. Where’s your bag?

After the intersection, she threw a laugh over her shoulder then ran across the boardwalk and down to the beach. I chased after her, rain needling my skin.

She dropped her clothes in the sand. The metallic reflection of the waves striped her skin, her hair melted out across the water’s surface as she waded deeper. 

Alone on the beach, time expanded as she pushed out and out. 

I remembered bike races to the beach back home and how you could eat the heavy evening heat right out of the air. 

I remembered her theory about being adopted, even with her mother’s round, clamshell eyes, those straight eyelashes, the scattered sand freckles across her nose. 

I remembered the first day she showed up to work drunk, when she breezed past the walk-in window.

The storm faded as fast as it arrived, and then so did she. I could see her. I could see her, until I couldn’t. Like a star stared at too long in the night sky, she flickered out as the lifeguard’s whistle blared. 

* * *

Sammi LaBue is a Brooklyn-based writer and educator. She founded Fledgling Writing Workshops (Best Workshop in NYC, Timeout 2019) and is the author of Words in Progress (DK 2020), a creative writer’s guided journal. Her writing can be found in Literary Hub, Glamour, The Offing, Mutha Magazine, Hobart, and Sonora Review, among others. She received her MFA from the Vermont College of Fine Arts, is The Penn Review’s 2024 Poetry Prize winner, and has recently finished a dual memoir written in collaboration with her mom.

Shooter Flash: “Pool Wolf” by Robin Dennis

I pull the handle and the door nearly comes off in my hand. I take a plate as thin as a sucked Polo, thin enough to crack over your knee. Just the weight of it puts me off my dinner. 

Dad’s busy at the sink like all this is normal. Maybe it is normal for him now. But if it’s normal now, then it must’ve been normal before; you can’t just change who you are. All that time he must have been pretending, hiding the fact that he can live like this. 

He turns to me, then turns back without speaking, like I’m miles away. There’s barely enough of him to dry up the dishes. 

*

He takes me to his room in the attic. He shows me the banister over the stairs. He puts my finger on a groove in the wood. He asks what I think made it, the groove in the wood. 

We sit at the table, and I can’t leave until I eat. In Africa, kids are starving. They lie with flies in their eyes, bored as horses. I guess it’s normal for them. 

*

Wednesday’s swimming, so we go to the pool. Dad pays us in and sits on a fold-out bench with his fists on his knees. 

I bob in the water, swim to and fro. The wolf doesn’t seem to be here today. I ask someone if he is, and he says no. Underwater, I open my eyes wide enough to check the grates, blood beating in my ears.  

*

In bed I watch Steven Seagal put holes in people and roll their bodies off his boat. I can hear him in the attic, the man who was here before. I can see him on the stairs, a rope round his throat – perfectly still, as though he’s floating. The plates are his. The plates and pretty much everything else. He made the marks and the rips on the lino, broke the cupboard door. My dad just came and took it all. 

*

The wolf’s back on Wednesday, walking on hind legs and running his claws along the walls – plaster crumbling, wires pissing sparks. One’s dancing like a snake, shooting fire across the tiles, and I wonder what’d happen if it went in the water. Sparks falling like upside-down fireworks, glutting the bottom with gold. 

He takes a woman’s head off and her girl starts to cry. She’s young, maybe five. He takes a bite and drops it, then disappears round the corner to the little pool, through the footbath that connects the two. I look to my dad, but his bench is empty, folded up. A lifeguard’s already coming over with a bucket and mop. 

* * *

Robin Dennis is from the East Midlands, and teaches English in southern Germany. His writing has previously appeared in Stimulus Respond.

Submit to issue 19: Coming of Age

General submissions are now open for the Autumn/Winter 2024 issue, themed Coming of Age.

We’re looking for stories, essays, memoir and poetry on anything to do with the transition to adulthood: first love, hormonal angst, Saturday jobs, brushes with the law, experimentation, gaining independence, losing virginity. Literary reflections on books that made an impact during late adolescence would make particularly welcome essays. Tales of college and first steps on the career ladder are also relevant.

Writers should send short stories and non-fiction of 2,000-6,000 words and/or up to three poems by the deadline of October 20, 2024. In addition to thematic relevance, we seek engaging, elegant writing that maintains a high literary standard. Please visit the submissions page for guidelines.

We look forward to reading your work!

Issue #18: Nightlife

When night falls, new worlds open up. The time after sunset is typically the domain of romance: dinner dates, cocktail flirtations, dancing as a prelude to going home together. Bad things, also, happen more easily under cover of darkness. Criminals prowl and monsters lurk. For Shooter’s Nightlife issue, many writers were drawn to tales of the latter, and so this edition ended up developing a pulsing vein of supernatural horror.

It also turned out to be a particularly strong edition for poetry. Featuring the work of ten poets (including the 2024 Shooter Poetry Competition winner, Maryah Converse, for her political “Web of Resistance”), the issue opens with two poems that capture something of the essence of the night: “as you light up” by Dilys Wyndham Thomas and “Shivering Out” by Paul atten Ash. (The latter takes the form of a “golden shovel”, plucking lines from Sylvia Plath’s “Full Fathom Five” and using each word at the end of each line in his poem: “You float near / As keeled ice-mountains / Of the north, to be steered clear / Of, not fathomed.”)

Partygoing – raves, gigs, midnight celebrations – feature in Miguel Cullen’s “Deep Mourning Dream”, Laurie Eaves’ “Ode to My Favourite Security Guard at Kentish Town Forum” and Warren Woessner’s “New Year’s Eve – Tribeca – 1984”, yet the euphoric antics are frequently laced with sadness, loneliness, or nostalgia. Casey Lawrence’s short story “The Hunt” also stalks this terrain, though with a delicious supernatural twist.

Sleep, of course, forms another obvious element of the nocturnal realm, along with one of slumber’s mortal enemies: offspring. In her poem “nightly rodeo”, Michelle Penn crafts a delightful lyric metaphor for this sort of challenge to sleep. Two prose pieces – the fictional “Acetaminophen” by Charles Cline and non-fiction “Sleepless Nights” by Laura Healy – arrive at the intersection of sleep and children, and take off in very different directions. “Zones”, a poem by Jeff Skinner, plays with the idea of counting sheep in different time zones around the world. In “Little Slices of Death”, another personal memoir, Lisa Simone Kingstone charts the impact of drug-induced insomnia upon her life during cancer treatment.

Two fiction writers, Ross Anderson and Harley Carnell, explore the devastating emotional and physical impacts of night-time shift work in “The Sleep of Reason Begets Monsters” and “Long Night” respectively, about suicide hotline workers and food delivery drivers. Jenny Danes, in “Case History”, and Gillian Fielder in “Standing on the Bridge” evoke similarly resonant, poignant scenes of confusion and distress in their poems.

For the most part, the writing in the Nightlife issue conjures states of fear and menace, loneliness and struggle, but two prose pieces also inject joy and humour. Craig Aitchison shares his fascination with bats in “Small Packages of Delight”, while J D Strunk’s “Clean Kill” depicts a midlife-crisis camping trip gone wrong with comic suspense.

And yet, even there, fear still plays a part – so if you tend to be spooked by the shadowy forces of darkness, perhaps best to enjoy Shooter’s Nightlife issue as part of your sunlit breakfast reading.

To order a copy of the Nightlife issue, or any other edition, please visit the Subscriptions page.

Shooter Flash: “Teenage Kicks” by Billy Craven

When we were young, there was a man in our town named Shotokan. He was pale and balding and sported a ponytail that was at once tragic and defiant. More importantly, he could dodge bullets.

Growing up in the suburbs in the 1980s, bullets were hard to come by so we were forced to take him at his word which I, for one, did happily. Anything that broke the monotony of housing estates and skinheads and the endless talk of unemployment was to be applauded. Whether you believed him or not, the very idea of Shotokan dodging bullets was a chance to dream of something beyond the ordinary.

Dodge might be the wrong word actually. As he explained it, it was less about dodging and more about bending the flow of the bullet around him. Everything had a flow, and everyone had the capability of disrupting that flow, but it took years of training, concentration and discipline. On summer evenings he would stand in the middle of the green wearing full karate garb. It was his Gi, he informed us, much to the delight of my friends. He had studied martial arts throughout Asia. He had mastered Bushido, Aikido and even Shen Long, and he was held in the highest esteem on the island of Okinawa. Along with his Gi, he wore a black belt with three red tips. He said the black of his belt was the darkest shade possible and the red was a reminder of the blood on his hands. When pressed on this he would get a faraway look in his eyes and remind us that Karate should only be used in self-defence, a lesson he had learned the hard way. 

Shotokan was the subject of ridicule among my friends, and though I laughed along with them, I noticed that nobody dared mock him to his face. The potential of his fighting skills and his supposed mastery of the dreaded Dim Mak technique kept the sceptics in check. And even if there were those who doubted his tales of unsanctioned death matches, the fact remained that standing in the centre of the green in his pristine white outfit performing his kata while twenty teens and children waited impatiently for a game of football, took courage. 

To me, his powers bordered on the supernatural and I would watch fascinated as he worked his way methodically through his routine, half expecting him to conjure a fireball in his gracefully twirling hands. He didn’t punctuate his movements with any sound effects, no hi-yahs or Bruce Lee wails, but the whip-crack of his loose fitting Gi as he performed roundhouse kicks and Karate chops against invisible enemies accompanied his strikes. He was a study of poise and concentration. His moves went from meandering and balletic to sudden and violent in the blink of an eye. None of us knew where he lived, which only added to his mystique, and we would never see him approaching the green. He was always just there, as though he had materialised from the earth beneath him. He became a fixture of the summer of ’88, as ingrained in my memory as the European Championships and Ray Houghton’s winner against England. I can still see him, side-kicking and leg-sweeping his way across the grassy surface, oblivious to everything but the imagined foe in front of him.

The summer was stuttering to a close and my thoughts were turning with apprehension towards secondary school. I’d been working up the courage to ask Shotokan if he would consider taking on a pupil, when he abruptly vanished. There was joy amongst the youth of our estate as they reclaimed possession of the green, reestablishing football in its rightful place above Karate. And while I shared in this general happiness I couldn’t help but wonder what could have caused his sudden disappearance. Had he returned to Okinawa to avenge his murdered Sensei? Was he fighting in some underground tournament on an exotic island in the Pacific? Maybe he was in Nepal, high up on a snowy peak, bending bullets, time and space to his will. I really didn’t know, but I was content to leave it a mystery, to let my imagination fill in the blanks. His absence would only enhance his legend and if, like me, you prefer the legend, then at this point you should stop reading. 

It was my friend Daragh who showed me the article in the local newspaper. He was waiting for me at the top of the road, a football in his hands. He handed me the ball and took a page from his back pocket, unfolding it carefully, like a treasure map. And there he was, not Shotokan, but Sean, his smiling face pictured above the caption: Sean Murphy (29) of Leixlip Park was struck by a car and killed in the early hours of Saturday morning. Grief and shock nestled in my stomach. I felt sick and strangely betrayed. He hadn’t gone anywhere. He wasn’t mystical. He wasn’t even Japanese. He was Sean Murphy. He was mortal, and now he was dead. Daragh folded up the page and snatched the ball from my hands.

 “You’re trying to tell me he could dodge a bullet, but he couldn’t dodge a bloody Toyota!” he laughed. He turned and booted the ball onto the green where a group had gathered to play. “Come on. You’re with me. We’ll be Brazil,” he said, chasing after the ball. I watched him run away and found I couldn’t follow. As he disappeared amidst the roiling bodies, I turned away and walked slowly home. 

It was late August and the summer evening light was waning. The sky in the west was a deep amber and the first chill of autumn could be felt on the breeze. In Japan, the people of Okinawa were sleeping soundly in their beds.  

*

Billy Craven is a teacher living in Dublin, Ireland. He has had short stories and poetry published in a variety of literary magazines including Ram Eye Press, The Madrigal and Paper Lanterns. His first full-length manuscript was longlisted for the Mercier Prize. Twitter/X: @billycraven2

Activism and injustice fuel this year’s winning poetry

The winners of the 2024 Shooter Poetry Competition share a sense of political and social injustice – one on a global scale, one at the personal level.

Maryah Converse won the competition with “Web of Resistance”, a compelling lyric palimpsest of activism that questions attitudes towards the ongoing war in the Middle East. The runner-up, “MS Multiple Choice” by Anna Mindel Crawford, adopts an innovative form to suggest the frustration and difficulty of living with chronic illness in the family.

Three other poets submitted strong entries to the contest: Megan Cartwright, Jet McDonald, and Suzi Mezei received honourable mentions for their poetry.

Both of the winning poems are available to read at the Competition Winners page. “Web of Resistance” will also appear in print in Shooter’s forthcoming “Nightlife” issue, which can be ordered at the Subscriptions page.

Prose writers get their turn during the second half of the year: the 2024 Shooter Short Story Competition will open to entries within the next few weeks.

*

Featured photo by Ehimetalor Akhere Unuabona

Shooter Flash: “Death of a Ladle Man” by Jet McDonald

Food had an algebraic quality in the prison canteen and Big Beef’s ladle was a large part of the equation.

X + ladle = Y

Where X was the most delicious part of any given meal and Y was the complete dish that arrived on any given plate. Although Big Beef’s ladle operated on an unpredictable scale, it was informed by clear mathematical principles, based on a system of nods, winks, and glass shards hidden in the palms of those with indeterminate sentences. Like most mathematical principles it hummed away quite happily beneath the surface of everyday existence without the need for explanation. To question how the ladle operated, or indeed to confront the operator, would be to question the integrity of an otherwise perfectly calibrated system. There was only so much meat and there were only so many scoops. Who had what could only be defined by the weighty apostrophe of Big Beef’s ladle.

So when he turned vegetarian and refused to man the stew bucket, the law of the ladle was thrown into a freefall of relativity that even the most erudite inmates found hard to grasp. Who would now judge the quantum of meat rationing? Who would explain the prison hierarchies that existed only within Big Beef’s muscly brain? Even the screws seemed restless, rolling the skeleton keys between their fingers like holy relics. 

The last straw was when Big Beef started listening to Leonard Cohen. There was only one vinyl record in the prison library, Death of a Ladies’ Man, and by common consent no one took it out to spin on the ageing turntable in the self-help section. The days were maudlin enough without the lugubrious poetry of a brooding Canadian. But Big Beef played it again and again and again.

The governor chose his moment. With two screws by his side he cornered Big Beef in the spirituality stacks.

“You gotta cut us some slack.”

“I ain’t for it.”

“No-one’s for it.”

“I mean I ain’t for no more Leonard Cohen.”

“Lose the double negatives.”

“I want more Leonard Cohen. Not less.”

“But it’s upsetting everyone.”

“I’m getting Love and Hate.”

The Governor peered curiously at Beef’s knuckles.

“The album Love and Hate. His Nashville period. Interlibrary loan.”

“If you don’t mind me asking,” said the Governor, with the kind of temerity that knows its place in the hierarchy of more violent mathematical forms, “why this sudden fascination with Leonard?”

“I speak with Buddha.”

“And what do Buddha and Leonard Cohen have in common?”

“Leonard loves Buddha.”

“And where did Buddha come from?”

“In the recreation yard. Next to Larry Lasso.” 

Larry Lasso was a brick tied to a rope, tied to a bag of drugs, that appeared over the prison wall on high days and holidays. The Governor and the other screws followed Beef back to his cell where he showed them the wall of bricks he had been building over the past year, one above the other; little quantums of material reality.

“You’re building a Buddha?”

“Nah. Buddha is in the bricks. Always the same. Always different.”

“I see.”

But the governor didn’t see. So he called in the chaplain.

“Why does Big Beef see Buddha in the bricks?”

“Buddhism operates under a series of contingencies in which each event is dependent on those around it. Every crime is a punishment. Every punishment a crime. Love is hate. Hate is love.”

“I see.” 

But the governor didn’t see. So he called in the librarian.

“Why does Big Beef see Buddha in the bricks?”

“Buddha believed in an interconnected universe hidden by a veil of consciousness. Part and whole are repeated again and again in Buddha and Cohen’s work, consummated in an ecstasy of ego death.”

“I see.”

But the governor didn’t see. So he called in Larry the Kebab.

“I think you might eligible for early parole.”

Larry smacked his lips.

*

The chaplain said they couldn’t build a wall tall enough to keep Big Beef in. So they had to use a wrecking ball to get him out. They played that Leonard Cohen record one last time as Beef made his way through the prison gates, his ladle by his side on the plywood base of the coffin. The small dent in his skull was echoed by the small dent in his ladle and had the fingerprints of Larry the Kebab all over it. But no one bothered to check.

“Friday night,” the governor told anyone who would listen, “is kebab night.”

“Freedom,” said the librarian, “is on a three-week loan.”

* * *

Jet McDonald is a writer, musician and psychiatrist. His first novel Automatic Safe Dog was nominated for a BFS Award. His second (non-fiction) book Mind is the Ride was shortlisted for a Stanford Travel Writing Award. His band The Woodlice have toured nationally and played on BBC 6 Music.

Shooter Flash: “Almost to the Point” by Jon Fain

After an early dinner on their last night in Provincetown, Rob and his daughter Mandy walked to the beach. Light reflected off the water, dappling the waves, and glimmered past a slow-moving boat, also lit up. There were mingled smells: grilled food, the sea, Mandy’s perfume.

The flash of Mandy’s phone reflected off her windbreaker. She’d barely spoken to Rob since he’d told her to stop taking empty water bottles out of the wastebasket. She would line them up on the dresser in their room, as if this was going to magically recycle them.

Besides her added height, she’d gotten moodier in the six months since he’d seen her last. She could switch on the sulk, a steady drip-drench. He didn’t need to share a wet blanket threaded through with I-Don’t-Want-To-Be-Here.

“If you’ve got something else you want to do, go ahead,” he said.

A staircase led from the beach to the parking lot behind the inn where they were staying, next to the sushi place where he’d watched her pick at her food. She could go join the kids from the night before, or maybe meet a new group on Commercial Street.

After she started to jog away, Rob called, “Not too late!”

She kept running on long bare legs, dark shorts, darker jacket, into the twilight. Fourteen was young, although sometimes not so. Forty-four was too, though also not really. 

The first time Mandy said she wanted to go explore on her own, he’d come out to this same spot, watched white sailboats anchored in the bottle-clear shallows. Then he’d walked along the water, the bay ruffling blue eastward. Ahead of him, a large dock, part of a complex of multiple buildings, stretched over the sand. It was a well-known cruising spot. The night before, after Mandy had fallen asleep, he’d considered it. Instead, he just remembered what it had been like under there. 

There was no reason to go there during the day unless you were a seagull or something looking for scraps. He’d taken out his phone and called his office to check on their progress with the new patient-focused software.

When she was eight, Mandy told Rob she liked that he was a dentist, because “people are scared of you.” At twelve, as Rob and Mandy’s mother Andi were splitting up, Mandy said that she’d read how a lot of dentists committed suicide, and she made him promise he wouldn’t do that after he moved out. Rob gave her some additional facts: her grandfather and great-grandfather, also dentists, had not done so. She said okay, maybe Grandpa, but since she’d never met her great-grandfather, how did she know he wasn’t lying? Like you lied to my mother, Rob thought she would say next.

Rob started walking the way his daughter had gone. He kept letting her go off on her own. They were supposed to be spending time together. 

When he came to the top of the staircase and into the parking lot, he was surprised to see her there. They met at the trunk of his car, as if they’d planned it.

“What happened?”

Mandy shrugged. She didn’t seem upset, just bored, or distracted. 

They went back to their room. Mandy had the bed and Rob the fold-out couch. He wasn’t being cheap, getting one room; he thought it would give them more time together. Luckily, there was a communal bathroom on their floor that was vacant most of the time while she was installed in their private one.

“Dad, did Mom tell you?”

“What?”

“Remember when you said I’d learn about life and death when I had a pet?”

He’d told her a lot of things. How could he not be a good parent? His patients were all kids. He asked them what flavor polish they wanted, bubble gum or mint? He played Santa with his gift bags of toothbrush, mini-toothpaste, and floss.

“Did you know Lila… We went to the vet and they put her to sleep?”

Andi had told him Mandy preferred to be called Amanda now, but whenever he forgot, she didn’t react. He hadn’t heard about the dog.

“I think she got sad when you left.” 

That was two years ago, he almost said.

 “Dad, is there something you want to tell me?” she asked after ten minutes passed, after he’d picked up his book.

“About what?”

“Why did we come here?”

“To spend time togeth—”

“Is there something you want to show me?”

“Besides that I love you very much?”

One reason that people came to Provincetown was surf-casting on Race Point. Rob thought it might be interesting to watch, if not actually to fish. But the weather had been cold for early October, and then it had rained. Mandy didn’t like that they would have to drive on the beach to get there. Cars and trucks on the sand were damaging to the environment. You might not encounter the dolphins your plastic bottles were endangering but you would hear the sand crabs cracking under the all-wheel-drive.

Rob turned on the TV. The screen showed the guide for all stations, and he scrolled through it. 

“Mom said you and your friend Ben met here, and maybe you wanted to show me the places you went.”

Andi would probably never forgive him. But would she ever stop trying to define for their daughter who he was? 

“Ben’s gone,” Rob said. 

“Does that mean you’re coming home?”

Speaking of suicide, he almost said.

He flicked through channels. Mandy went back to her phone. Outside, the tide was easing in. By dawn, the water would have risen under the large dock down the beach. Then, as the tugging of the new day drew it back, birds would hop along the wet-packed sand, beaks busy at the bubbles of buried things.

*

Jon Fain is a writer and editor living in Massachusetts. Some of his recent publications include short stories in A Thin Slice of Anxiety and The Argyle Literary Magazine, flash fictions in The Broadkill Review and Midsummer Dream House, micro fictions in Blink-Ink and ScribesMICRO, and a chapbook of flash fiction, Pass the Panpharmacon!, from Greying Ghost Press. Twitter/X: @jonsfain