Back Blackbirds Save as PDF
Contents ( 64)
  1. PART ONE
  2. ONE
  3. TWO
  4. INTERLUDE
  5. THREE
  6. FOUR
  7. INTERLUDE
  8. FIVE
  9. SIX
  10. SEVEN
  11. INTERLUDE
  12. EIGHT
  13. NINE
  14. TEN
  15. ELEVEN
  16. INTERLUDE
  17. TWELVE
  18. PART TWO
  19. THIRTEEN
  20. FOURTEEN
  21. INTERLUDE
  22. FIFTEEN
  23. SIXTEEN
  24. SEVENTEEN
  25. EIGHTEEN
  26. NINETEEN
  27. INTERLUDE
  28. TWENTY
  29. INTERLUDE
  30. TWENTY-ONE
  31. INTERLUDE
  32. TWENTY-TWO
  33. INTERLUDE
  34. TWENTY-THREE
  35. PART THREE
  36. TWENTY-FOUR
  37. INTERLUDE
  38. TWENTY-FIVE
  39. TWENTY-SIX
  40. INTERLUDE
  41. TWENTY-SEVEN
  42. TWENTY-EIGHT
  43. INTERLUDE
  44. TWENTY-NINE
  45. THIRTY
  46. INTERLUDE
  47. THIRTY-ONE
  48. INTERLUDE
  49. THIRTY-TWO
  50. INTERLUDE
  51. THIRTY-THREE
  52. INTERLUDE
  53. THIRTY-FOUR
  54. THIRTY-FIVE
  55. THIRTY-SIX
  56. THIRTY-SEVEN
  57. THIRTY-EIGHT
  58. THIRTY-NINE
  59. FORTY
  60. INTERLUDE
  61. FORTY-ONE
  62. About the Author
  63. Acknowledgments
  64. CHUCK WENDIG in conversation with Adam Christopher

"Both of them. The girl lies better than the man. So much so that she almost had me. But she tries too hard. The man's lies, on the other hand, were utterly transparent."

"How do you always know this stuff?"

"The eyes. Ingersoll taught me that. They lie, so they blink. Or they look up and to the right, accessing the creative portions of the brain. Pupils shrink. An eyelid trembles. It's a panic response. I can sense it. Most prey animals respond by a twitch of the head, a sudden shift of the eyes. Lying is a fear response. Those two were scared."

As the car idles, they hear the popping of gravel.

In moments, a white Mustang comes racing past. Tail-lights twinkle.

"And the horse is out of the gate," Harriet says.

She eases the car back onto the road, silent and deadly as a shark.

INTERLUDE

The Interview

"Ben Hodge."

Miriam says the name, lets it hang out there like so much dirty laundry on the line.

"Let's just get this out of the way: Ben was weak. Weak like I was weak. Here was this kid in school. Not ugly, but not a quarterback, either. Mop of dirty blond hair. Freckle-cheeked. Dull eyes, but sweet. We had a lot in common. We were both loners, more by necessity than by any actual desire to be that way. We both were homely nobodies. Both had dead dads and oppressive moms – you know about my mother, but his? Ugh. A haggard, horrible woman. A cavewoman. She was – no shit, get this – a logger. You know, climb up the trees, hug the stump with your thunder-thighs, chainsaw spraying sawdust."

She pauses, because she is remembering.

"Go on," Paul says.

"We weren't friendly, he and I. Never said two words to each other. But sometimes I'd catch him staring at me, or he'd catch me staring at him. We'd pass each other in the halls, stolen glances, all that clichéd crap. So one night, it happened. My mother was not a drinker by and large. Condemned it like it was the milk of Satan. And yet, I knew that once in the bluest moon she'd take a nip from this nuclear green crème de menthe bottle she kept under her bed. I stole it, and I went right to Ben's house, and I did the stupid teen thing where you throw shit at the other person's window to get them to come out – I threw twigs because with my luck I'd throw a pebble and break the window. His house was one of those country farmhouses with the old, warped glass. Fragile.

"He came out. I showed him the bottle. We went into the woods. We sat among the crickets there in the darkness, and we had a great time telling stories and making fun of people at school, and then – we did it. The rumpy-pumpy, the beast with two backs. Up against the tree, like a pair of clumsy, rutting animals."