Excerpt from Redemption Road by John Hart, plus links to reviews, author biography & more

But how to get to the gun when his father sat right in front of it?

Gideon should have done it differently, but his thoughts ran crooked sometimes. He didn't mean to be difficult. It just worked out that way, so that even the kind teachers suggested he think more about woodshop and metalworking than about the fancy words in all those great, heavy books. Standing in the dark, he thought maybe those teachers were right, after all, because without the gun he couldn't shoot or protect himself or show God he had the will to do necessary things.

After a minute, he closed the door, thinking, Two o'clock train …

But the clock already said 1:21.

Then 1:30.

*   *   *

Checking the door again, he watched a bottle go up and down until his father slumped and the bottle slipped from his fingers. Gideon waited five more minutes, then crept to the living room and stepped over engine parts and other bottles, tripping once as a car rumbled past and splashed light through a gap in the curtains. When it was dark again, he knelt behind the television, slipped off the back, and pulled out a gun that was black and slick and heavier than he remembered. He cracked the cylinder, checked the bullets.

"Son?"

It was the small voice, the small man. Gideon stood and saw that his father was awake—a man-shaped hole in a stretch of stained upholstery. He seemed uncertain and afraid, and for a moment Gideon wanted to go back under the sheets. He could call everything off; pretend none of this had ever happened. It would be nice, he thought, not to kill a man. He could put the gun down and go back to bed. But he saw the halo of flowers in his father's hands. They were dry and brittle now, but his mother, on her wedding day, had worn them like a crown in her hair. He looked at them, again—baby's breath and white roses, all of it pale and brittle—then imagined how the room would look if a stranger were looking down from above: the man with dead flowers, the boy with the gun. Gideon wanted to explain the power of that image—to make his father understand that the boy had to do what the father would not. Instead he turned and ran. He heard his name again, but was already through the door, half falling as he leapt off the porch and hit the ground running, the gun warm now in his hand, the impact from hard concrete slamming up his shins as he ran half a block, then ducked through an old man's yard and into thick woods that ran east with the creek, then up a big hill to where chain-link sagged and factories were rusted shut.

He fell against the fence as his father, far behind him, called his name over and over, his voice so loud it broke and cracked and finally failed. For a second, Gideon hesitated, but when a train whistled in the west, he pushed the gun under the fence and scrambled over the top, tearing skin as he did and banging both knees when he landed wrong in the overgrown parking lot on the other side.

The train's whistle blew louder.

He didn't have to do it.

No one had to die.

But that was the fear talking. His mother was dead, and her killer needed to pay. So he aimed for a gap between the burned-out furniture plant and the place that used to make thread but now had one whole side falling in. It was darker between the buildings, but even with loose bricks under his feet Gideon made it, without falling, to a hole in the fence near the big white oak in the far corner. There was light from a streetlamp and from a few low stars, but it disappeared as he belly-slid under the wire and plunged into a gully on the far side. The dirt was dry and loose going down. He slipped—scrabbling to keep the gun from falling out in the blackness—then splashed through a trickle of water and clambered up the other side to stand breathless in an alley of scrub that spread out from metal tracks that looked white against the dirt.

Excerpted from Redemption Road by John Hart. Copyright © 2016 by John Hart. Excerpted by permission of Thomas Dunne Books. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.