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I rattle into the driveway around sunup, and Cam's on my front stoop with his boy, Bobby. Cam stands. He's a huge man, thick and muscled from a decade of work in construction. Sleeves of green dragons run armpit to wrist. He claims there's a pair of naked ladies tattooed into all those scales if you look close enough. When Crystal left him, Cam got the boy, which tells you what kind of a mother Crystal was. Cam's my last friend. He's a saint when he's sober, and he hasn't touched liquor in 10 years. He puts a hand on the boy's shoulder, but Bobby spins from his grip and charges. He meets me at the truck, grabs my leg and hugs it with his whole body. I head toward Cam. Bobby bounces and laughs with every step. We shake hands, but Cam's expression is no-nonsense. "Graveyard again?" he says. My apron, rolled into a tan tube, hangs from my front pocket, and I reek of kitchen grease. "Yeah," I say. I haven't told Cam how I lost my temper and yelled at a customer, how apparently some people don't know what over easy means, how my agreement to work the 10-to-six shift is the only thing keeping my electricity on and the water running. ![]() Illustration by Martin Wittfooth Click image to enlarge For the past 21 years Playboy has invited the students in Marshall Arisman's illustration class at New York's School of Visual Arts to participate in a contest to produce the perfect complement to our winning piece of college fiction. This year Martin Wittfooth's work proved the most unexpected and arresting take on the conflicts and currents described in David James Poissant's Lizard Man. Wittfooth earned his BAA in illustration from Sheridan College in Toronto in 2003. He now lives in New York City, where he works as an illustrator and fine artist and is earning his MFA at SVA. Wittfooth's art has been exhibited internationally and presented in a variety of media, from album covers to music videos. Honorable mention goes to six runners-up, whose provocative work is pictured in the following pages. "Bobby," Cam says, "go play for a minute, okay?" Bobby releases my leg and stares at his father skeptically. "Don't make me tell you twice," Cam says. The boy runs to my mailbox, drops to the lawn cross-legged and scowls. "Keep going," Cam says. Slowly, deliberately, Bobby stands and sulks toward their house. "What is it?" I say. "What's wrong?" Cam shakes his head. "Red's dead," he says. Red is Cam's dad, though I've never heard him call him that. "Bastard used to beat the fuck out of me," Cam said one night back when we both drank too much and swapped sad stories. When he turned 18, Cam enlisted and left for the first Gulf war. The last time he saw his father, the man was staggering, drunk, across the lawn. "Go, then!" he screamed. "Go die for your fucking country!" Bobby never knew he had a grandfather. I don't know whether Cam is upset or relieved, and I don't know what to say. Cam must see this, because he says, "It's okay. I'm okay." "How'd it happen?" I ask. "He was drinking," Cam says. "Bartender said one minute Red was laughing, the next his forehead was on the bar. When they went to shake him awake, he was dead." "Wow." It's a stupid thing to say, but I've been up all night. My hand still grips an invisible steel spatula. I can feel lard under my nails. "I need a favor," Cam says. "Anything," I say. When I was in jail, it was Cam who bailed me out. When my wife and son moved to Baton Rouge, it was Cam who knocked down my door, kicked my ass, threw the contents of my liquor cabinet onto the front lawn, set it on fire and got me a job at his friend's diner. "I need a ride to Red's house," Cam says. "Okay," I say. Cam hasn't had a car for years. Half the people on our block can't afford storm shutters, let alone cars, but it's St. Petersburg, a pedestrian city, and downtown's only a five-minute walk. "Well, don't say okay yet," Cam says. "It's in Lee." "Lee, Florida?" Cam nods. Lee is four hours north, the last city you pass on I-75 before you hit Georgia. "No problem," I say, "as long as I'm back before 10 tonight." "Another graveyard?" Cam asks. I nod. "Okay," he says, "let's go." Last year I threw my son through the family-room window. I don't remember how it happened, not exactly. I remember stepping into the room. I remember seeing Jack, his mouth pressed to the mouth of the other boy, his hands moving fast in the boy's lap. Then I stood over him in the garden. Lynn ran from the house, screaming. She saw Jack and hit me in the face. She battered my shoulders and my chest. Above us, through the window frame, the other boy stood, staring, shaking, hugging himself with his thin arms. Jack lay on the ground. He did not move except for the rise and fall of his chest. The window had broken cleanly and there was no blood, just shards of glass scattered over flowers, but one of Jack's arms was bent behind his head, as though he had gone to sleep that way, an elbow for a pillow. "Call 911," Lynn yelled to the boy above. "No," I said. Whatever else I didn't know in that time and place, I knew we could never afford an ambulance ride. "I'll take him," I said. "No!" Lynn cried. "You'll kill him!" "I'm not going to kill him," I said. "Come here." I gestured to the boy. He shook his head and stepped back. "Please," I said. Tentatively the boy stepped over the jagged edge of the sill. He planted his feet on the brick ledge of the front wall, then dropped the few feet to the ground. Glass crunched beneath his sneakers. "Grab his ankles," I said. I hooked my hands under Jack's armpits, and we lifted him. One arm trailed the ground as we walked him to the car. Lynn opened the hatchback. We laid Jack in the back and covered him with a blanket. It seemed like the right thing, what you see on TV. A few neighbors had come outside to watch. We ignored them. "I'll need you with me," I said to the boy. "When we're done, I'll take you home." The boy was wringing the hem of his shirt in both hands. His eyes brimmed with tears. "I won't hurt you, if that's what you think." We set off for the hospital, Lynn following in my pickup. The boy sat beside me in the passenger seat, his body pressed to the door, face against the window, the seat-belt strap clenched in one hand at his waist. With each bump in the road, he turned to look at Jack. "What's your name?" I asked. "Alan," he said. "How old are you, Alan?" "Seventeen." "Seventeen. Seventeen. And have you ever been with a woman, Alan?" Alan looked at me. His face drained of color. His hand tightened on the seat belt. "It's a simple question, Alan. I'm asking you: Have you been with a woman?" "No," Alan said. "No, sir." "Then how do you know you're gay?" In back, Jack began to stir. He moaned, then grew silent. Alan watched him. "Look at me, Alan," I said. "I asked you a question. If you've never been with a woman, then how do you know you're gay?" "I don't know," Alan said. "You mean you don't know that you're gay, or you don't know how you know?" "I don't know how I know," Alan said. "I just do." We passed the bakery, the Laundromat, the supermarket and entered the city limits. In the distance, the silhouette of the helicopter on the hospital's roof. Behind us, the steady pursuit of the pickup truck. "And your parents, do they know about this?" I asked. "Yes," Alan said. "And do they approve?" "Not really." "No. I bet they don't, Alan. I'll bet they do not." I glanced in the rearview mirror. Jack had not opened his eyes, but he had a hand to his temple. The other hand, the one attached to the broken arm, lay at his side. The fingers moved, but without purpose, the hand spasming from fist to open palm. "I just have one more question for you, Alan," I said. Alan looked like he might be sick. He watched the road unfurl before us. He was afraid of me, afraid to look at Jack. "What right do you have teaching my son to be gay?" "I didn't!" Alan said. "I'm not!" "You're not? Then what do you call that? Back there? That business on the couch?" "Mr. Lawson," Alan said, and here the tone of his voice changed and I felt as though I were speaking to another man. "With all due respect, sir, Jack came on to me." "Jack is not gay." "He is. I know it. Jack knows it. Your wife knows it. I don't know how you couldn't know it. I don't see how you've missed the signals." I tried to imagine what signals, but I couldn't. I couldn't recall a thing that would have signaled that I'd wind up here, delivering my son to the hospital with a concussion and a broken arm. What signal might have foretold that, following this day, after two months spent in a motel and two months in prison, my wife of 20 years would divorce me because, as she put it, I was full of hate? I pulled up to the emergency room's entryway, and Alan helped me pull Jack from the car. A nurse with a wheelchair ran out to meet us. We settled Jack into the chair, and she wheeled him away. I pulled the car into a parking spot and walked back to the entrance. Alan stood on the curb where I had left him. "Where's Lynn?" I said. "Inside," Alan said. "Jack's awake." "All right, I'm going in. I suggest you get out of here." "But you said you'd drive me home." "Sorry," I said. "I changed my mind." Alan stared at me, dumbfounded. His hands groped the air. "Hey," I said, "I got a signal for you." I gave him a hitchhiker's thumbs-up and cast it over my shoulder as I entered the hospital. •
I wake and Cam's making his way down back roads, their surfaces cratered with potholes. "Rise and shine," he says, "and welcome to Lee." It's nearly noon. The sun is bright, and the cab is hot. I wipe gunk from my eyes and drool from the corner of my mouth. Cam watches the road with one eye and studies directions he's scrawled in black ink across the back of a cereal box. He's never seen the house where his father spent his last 20 years. We turn onto a dirt road. The truck lurches into and then out of an enormous waterlogged hole. Pines line the road. Their needles shiver as we go by. We pass turn after turn, but only half of the roads are marked. Every few miles we pass a driveway, the house deep in the trees and out of sight. It's a haunted place, and I'm already ready to leave. Cam says, "I don't know where the fuck we are." We drive some more. I think about Bobby home alone, how Cam gave him six VHS tapes. "By the time you watch all of these," he said, "I'll be back." Then he put in the first movie, something Disney, and we left. "He'll be fine," Cam said. "He'll never even know we're gone." "We could bring him with us," I said, but Cam refused. "There's no telling what we'll find there," he said. Ahead, a child stands beside the road. Cam slows the truck to a halt and rolls down the window. The girl steps forward. She looks over her shoulder, then back at us. She is barefoot, and her face is smeared with dirt. She wears a brown dress and a green bow in her hair. A string is looped around her wrist, and from the end of the string floats a blue balloon. "Hi, there," Cam says. He leans out the window, his hand extended, but the child does not take it. Instead, she stares at his arms, the coiled dragons. She takes a step back. "You're scaring her," I say. Cam glares at me, but he returns his head to the cab and his hand to the wheel and gives the girl his warmest smile. "Do you know where we could find Cherry Road?" he says. "Sure," the girl says. She pumps her arm and the balloon bobs in response. "It's that way," she says, pointing in the direction from which we've come. "About how far?" Cam asks. "Not the next road but the next. But it's a dead end. There's only one house." She flails her wrist and the balloon thunks against her fist. Cam glances at the cereal box. "That's the one," he says. "Oh," the girl says, and for a moment she is silent. "You're going to visit the Lizard Man. I seen him. I seen him once." Cam looks at me. I shrug. We look at the girl. "Well, thank you," Cam says. The girl gives the balloon a good shake. Cam turns the truck around, and the girl waves good-bye. "Cute kid," I say. We turn onto Cherry. "Creepy little fucker," Cam says. |
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