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The Good Hand

A Memoir of Work, Brotherhood, and Transformation in an American Boomtown

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“A book that should be read . . . Smith brings an alchemic talent to describing physical labor.” —The New York Times Book Review

“Beautiful, funny, and harrowing.” – Sarah Smarsh, The Atlantic

Remarkable . . . this is the book that Hillbilly Elegy should have been.Kirkus Reviews


A vivid window into the world of working class men set during the Bakken fracking boom in North Dakota


Like thousands of restless men left unmoored in the wake of the 2008 economic crash, Michael Patrick Smith arrived in the fracking boomtown of Williston, North Dakota five years later homeless, unemployed, and desperate for a job. Renting a mattress on a dirty flophouse floor, he slept boot to beard with migrant men who came from all across America and as far away as Jamaica, Africa and the Philippines. They ate together, drank together, argued like crows and searched for jobs they couldn't get back home. Smith's goal was to find the hardest work he could do--to find out if he could do it. He hired on in the oil patch where he toiled fourteen hour shifts from summer's 100 degree dog days to deep into winter's bracing whiteouts, all the while wrestling with the demons of a turbulent past, his broken relationships with women, and the haunted memories of a family riven by violence.

The Good Hand is a saga of fear, danger, exhaustion, suffering, loneliness, and grit that explores the struggles of America's marginalized boomtown workers—the rough-hewn, castoff, seemingly disposable men who do an indispensable job that few would exalt: oil field hands who, in the age of climate change, put the gas in our tanks and the food in our homes. Smith, who had pursued theater and played guitar in New York, observes this world with a critical eye; yet he comes to love his coworkers, forming close bonds with Huck, a goofy giant of a young man whose lead foot and quick fists get him into trouble with the law, and The Wildebeest, a foul-mouthed, dip-spitting truck driver who torments him but also trains him up, and helps Smith "make a hand."

The Good Hand is ultimately a book about transformation--a classic American story of one man's attempt to burn himself clean through hard work, to reconcile himself to himself, to find community, and to become whole.

Raising the Derrick

Like most people who rely on oil for nearly every aspect of their existence, I didn't know anything about a drilling rig. I pulled off my hard hat, wiped my forehead with my forearm, and looked across the work location, trying to take it all in. On a mud-colored scar in the land cut flat two hundred yards across, trucks coughed diesel, cranes farted smoke, and dust turned to mud on the faces of men toiling under bright sunlight. The rig was half in pieces-giant square chunks of steel, littered across the dirt. I had no idea how it went back together. I adjusted the inside strap of my hard hat-what had the roughneck called it? A "brain bucket?"-and set it back on my head. It was my fifth day in the oil patch. I had yet to make a hand; I didn't even know what it meant to "make a hand," and I had no idea how vital that idea would become to me. I was a greenhorn, what most oil patch guys call a "worm," a headless, legless, brainless thing, good for eating dirt and shutting the fuck up.

I had just left the shit box. The plumbing wasn't functional yet, so the bathroom consisted of a trailer with a bare lightbulb, a toilet, and a mess of flies. It was 99 degrees outside the trailer and probably 120 degrees inside the shit box. Standing twenty feet away from it, I could smell the stink carried on the breeze.

In five days of work, I'd clocked over seventy hours of heavy manual labor. My neck and shoulders were stiff, my arms, legs, knees, and ankles battered and sore. My hands ached, and my head felt foggy from lack of sleep. Over the past several weeks, I had been crashing on a filthy flophouse floor, in a room I shared with several other migrant workers. The stress of the oil field work, combined with the stress of this living situation, aggravated a twitch under my left eye. It felt like my face was shorting out.

That morning, I'd made the mistake of thinking about giving up. The thought had wormed its way into my brain, and now I couldn't seem to shake it. I was bone-tired, afraid, and nauseous.

There were many ways to get hurt on location. Or die. Exhausted men operated heavy machinery, trucks thundered past, heavy objects flew through the air-steel swinging steel around on cables, hooks, and slings. You could go blind. You could lose your hearing. You could lose a limb. A rod could snap, and bam: instant lobotomy. One hundred thirty-eight oil field hands had been killed in the United States the previous year. I looked around. I could see it happening to me. My breathing sped up, and my stomach knotted. I tried to take slow steady breaths.

Dragonflies buzzed around. I walked through a row of pickup trucks, across the dirt patch and toward a pile of wind walls-thin metal sheets some fifteen feet across. A wind wall does exactly what it sounds like it should do. On the high plains, with no trees or mountains to stop it, the wind is fierce. Even in the summer, gusts of northern air can all but knock you down. The walls protect against that. They make it easier for men to work the floor of the drilling rig, two to three stories above the dirt.

I was twenty yards from the crane and maybe thirty yards from the base of the rig. I squinted up into the sun. A wind wall, attached to the crane by four metal chains on the crane's whip line, dangled in the air above the rig's floor. A crew of roughnecks, strapped into harnesses and wearing heavy work boots, guided the wall down, set it carefully in place, and, after lumbering along the edge of the floor, swung their sledgehammers at large metal pins to attach it to the rig.

When the wall was connected, the crane operator reeled in the whip line. It swung in an arc above the men, away from them and toward me. With the precision of a bullet hitting a bull's-eye, the chains came to a sharp stop directly in front of me, the hooks suspended at the level of my chest. I gathered them into my hands, sliding the fasteners into eye hooks welded onto the corners of the next wall, then I looked back to the operator. He sat in the cab, blue Oakley sunglasses and beard slapped across an inscrutable expression. I waved a hand, and he gave me a nod. I stepped away from the pile, and another wind wall flew up into the blue.

At lunchtime, I sat in the back of the work van and ate cold Chunky soup out of the can. Bobby Lee sat with the driver's seat kicked way back, his boots up on the dash. He wore a Resistol brand Diamond Horseshoe cowboy hat pulled low over his eyes. At one point the hat had been the color of pearl, but it was beat to shit, dirty, greasy, and floppy-incongruent with his studied look. "Now you know why gas is so expensive," Bobby Lee said.

I stared out the window of the van. The work site was cluttered with tractor trailers, pickup trucks, forklifts, a hydraulic crane, a lattice boom crane, rows of stacked piping, giant metal structures, and crews of men.

No one was even drilling for oil yet. Everything I saw out the window-the trucks, the cranes, the men-was there because a previous well had been drilled to completion. And so we had shown up, Diamondback Trucking, to take the rig-the mechanism that extracts oil from the well-apart and load it onto haul trucks to bring it here, to a new location, where it was being reassembled over a new drill hole.

The previous day, Bobby Lee had handed me a sheet of paper to sign. In the mornings, we had safety meetings. We stood around with the roughnecks; somebody talked over the day's plans, and we all signed a paper. I had never read the paper, but when Bobby handed me this page I thought it looked like all the others.

"Didn't I sign this already?" I asked him.

"It's a new one," Bobby said.

"Okay," I said, putting my name across it.

"And when I hand you something," Bobby continued quietly, "don't ask any questions. Just fucking sign it. And smile."

He watched me silently until I faked a smile.

"And like it," he told me. Then he breezed away.

Bobby Lee was like that. When a roughneck rushed up to him hollering about a problem, he raised his hand slowly, palm down, to eye level.

"Do you see my hand?" Bobby asked.

"Uh, yeah."

"It's not shaking," he said.

That same day, a crane operator asked Bobby if he should get started on something.

"Did I tell you to start something?" Bobby spoke so quietly that he forced the crane operator to lean in.

"No," the operator replied.

"Do your job," said Bobby. He lit a cigarette, and then he walked off. The crane operator sat back in his seat and spit dip into an empty soda bottle.

Bobby Lee looked like Don Johnson. He wore blue jeans, cowboy boots, and a Western-cut blue denim shirt with a pack of USA Gold cigarettes in each breast pocket. He stood out, because on location everybody else looked the same. Faces hidden behind shaded safety glasses, heads covered by hard hats, the men wore fire-resistant jumpsuits with metallic stripes down the sides. They smoked, chewed dip, or spit sunflower seeds. They wore the same goatees, mustaches, or beards, dirt on their faces and dust in their teeth. They sweat and they cursed, and when they saw my green hard hat-I was a literal greenhorn-they identified me as a dumb fuck. But I couldn't tell any of them apart. Throughout the day, they appeared in bright sunlight in front of me, shouted a few words, and then disappeared back into the dust.

"I just started last week," a fellow greenhorn yelled at me over the din of a truck. "They don't tell you how to do anything. I don't know why. They'd save a lot of time if they told you."

"Don't stand there. Hand me that hook," a truck driver hollered at me. I handed him the hook, and he turned his back to me completely. I stood there for some time staring at his back. Then, unsure of myself, I walked off.

One guy told me to watch out for the crane operator I was working with. "He'll hurt you," he said solemnly.

"Can I throw this chain to you?" a dude asked.

"Yeah," I said.

"You ready?"

"Yeah," I said.

"You ain't ready," he said, and he threw the chain at me.

I thought of what the Safety Man had told me: "You're gonna be able to tell your grandkids you moved rigs across the Bakken Formation at the height of the North Dakota oil boom." I thought about how much money I was going to make.

On my first day, I had teamed up with another field hand, a young, muscular guy with braces. We rigged a twenty-foot-tall steel structure, called a derrick stand, to a gin truck. For the sake of simplicity, I'll just say right now that a gin truck is a big truck with a small crane on the back. It acts somewhat like a tow truck. We wrapped the chains from the gin truck around the steel structure and stepped away from it.

The driver pulled away, dragging the thing behind him. I followed.

"Don't stand under that derrick stand," the driver yelled at me through his window. "That's a dumb fucking obvious thing you shouldn't do. If it tipped you wouldn't get out from under it. How long you work here?"

"Today," I yelled back to him.

"Well, don't stand under the fucking stand."

I stepped away. The gin truck driver, a white-haired oldster with a handlebar mustache and a cranky voice, later approached me. "You started today? Well, I'll tell you when you do some dumb fucking shit you obviously shouldn't do."

"Please do," I said.

"I will. I'll let you know when you do dumb fucking obvious shit."

"Thank you," I said.

"You don't want to see that?" It was Bobby Lee again. Lunchtime, and I'd fallen asleep in the van. I blinked my eyes open, wiped a string of drool from my mouth, and looked out the window. The company hands were raising the derrick.

I climbed out of the van and stood beside it in the dust. The derrick is the tower that supports the network of pipe that is inserted into the earth for drilling. It gives a rig its height and makes a drilling rig look like a drilling rig. In the process of putting a rig together, the derrick is assembled horizontally, then hinged to the drilling floor, and raised on that hinge by braided steel cables spooled around a steel drum called the draw works. When erect, the derrick, like the mast of a ship (it is sometimes called a mast), sits atop the rig, directly above the drill hole, or well. The derrick on this particular rig, Sidewinder Canebrake 103, when completely raised, would stand over 160 feet in the air.

I watched the derrick pivot slowly upward. Behind it hung a vast swath of perfect blue sky. I took out my phone and recorded a video. I was bearing witness to the beginning of a process in which men would wrestle oil, one of the modern age's most precious materials, from shale deposits buried deep in the earth.

Oil was once thought to have mystical properties. In western Pennsylvania, the cradle of American oil exploration and production, Native American shamans from the Seneca tribe used the strange black substance in ritualistic healing exercises. They also used it to cauterize wounds and seal canoes. White men caught on, mixing what they called rock oil with liquor and selling the drink as a cure-all. The snake oil salesman was born.

In 1859, in the town of Titusville, Pennsylvania, near the home of the Seneca, a self-titled "Colonel" Edwin Drake drilled the world's first working oil well. Refined into kerosene, oil came to replace whale fat as the world's primary illuminant. Kerosene became "the light of the age." It literally made the day longer. And it made money. Oil was dubbed "black gold." A rush began. Oil City grew out of the muddy banks of Oil Creek, and the planet experienced its first oil boom.

It is strange to think of industry containing magic, but even in our current age of reason, it is hard not to think of oil as containing properties that, although also destructive, can only be described as utterly fantastic. Oil, refined into gasoline, diesel, and jet fuel, makes cars drive, planes fly, and ships sail. It powers submarines and spacecraft, sends shellfish to Colorado, medicine to Liberia, and soldiers and supplies to war zones around the world. It powers our school buses and gunships, ambulances and tanks. But it does more than transport us. It heats our homes. It illuminates our nights. We eat off it. Petroleum is contained in the glaze on our china, the finish on our tables, the linoleum on our counters, the tile on our floors. It wraps around us in the fabric that clothes our naked bodies, in the jewelry that adorns our necks and hands and fingers, in the balm that soothes our cracked lips, in the makeup that defines the contours of our faces. And it is inside of us. The syringes and the pills that deliver medicine into our systems are made from petroleum. Synthetic ammonia, derived from a process using refined oil, is an essential ingredient in fertilizer. Without it, farming on an industrial scale would not be possible. It is in our food. We eat it. Oil is so prevalent in every aspect of our existence that it has become all but invisible to the vast majority of people who need it simply to live.

And the people whose job it is to extract it from the earth? A group of them approached me. Dirty faces, goatees, and dark safety glasses.

"You ever been turtle fucked?" one of them asked. I braced myself.

"No," I said.

They shrugged and laughed and kept walking.

"Why don't you show him?" one asked.

I stood in the dirt and watched them move away from me. A rush of wind tore across the work site, peeling up a layer of dust and pushing it through the greasy machines, where it dissipated in reams of waving western wheat grass. My body was coiled tight, blood pounding through my brain. I took a deep breath, let the air fill my lungs and loosen my limbs. I spit on the ground and got back to work.

Praise for The Good Hand:

“Smith brings an alchemic talent to describing physical labor . . . With a playwright’s talent for dialogue, storytelling in miniature and staying out of the way, he writes dozens of scenes of men moving, joking and endlessly talking . . .  his writing keeps people alive in their histories, talents, humor and mistakes . . . [bringing] perspective, on how people, including Smith, can sometimes rise above their worst selves through unglamorous, demanding, difficult work. . . a book that should be read.” The New York Times Book Review

“[A] sprawling, heart-smeared-on-the-page howl of rage and pain. The Good Hand is a rambling honky-tonk of a book, with the soul of a songwriter and the ache of a poor white boy who grew up rough. It is big and it is pretty and it is amazing.” Los Angeles Times

The Good Hand ’s scenes in ‘the patch’ are beautiful, funny, and harrowing, constructed with metal hooks, workplace lingo, poetic profanity, and the author’s palpable fear . . . As someone whose immediate family bears the scars of physical labor in another Great Plains state, and who rarely sees her native class convincingly portrayed, I relished these anecdotes and the validation they provide.” —Sarah Smarsh, The Atlantic

"Offers sharp observations on North Dakota’s extraction industry . . . The Good Hand skillfully braids together scenes of life in Williston—in the oil fields, in the bars, at the three-bedroom townhouse Smith shares with 11 others—with historical dives into the region’s Indigenous and settler-colonial history, and with troubled memories of the terror his abusive father inflicted on his family.” High Country News

“Smith writes empathetically but not sentimentally about working men and women scuffling paycheck to paycheck, and he does so in a Skid Row patois that would make Charles Bukowski proud. He may, at last, have found his calling.” The Pittsburgh Post-Gazette

“Lyrical and engrossing . . . an extraordinary tale . . . Smith writes movingly of his chaotic childhood . . . There have been predictable comparisons to […] J.D. Vance’s Hillbilly Elegy and Tara Westover’s Educated—but Smith’s story, blessedly, comes with more (crude) humor . . . undeniably powerful.” The Sunday Times (UK)

“The Good Hand addresses wider debates over oil but never lets them derail the story. Smith has a playwright’s ear for dialogue, a reporter’s knack for the telling detail, a novelist’s way with a good metaphor and the storytelling skill of a folk singer — and he puts them all to good use.” Upstream

“A white-hot, fiercely argued case for working rural people in the face of their economically brutal lives . . . brims with intelligence and foreboding . . . a penetrating, blazing look at people whom many of us have forgotten – but who are the nation’s truly essential workers.” Kirkus Reviews (starred)

“Smith impresses in this fascinating debut memoir . . . [his] prose shines when sharing how his experience on the oil rig shaped his idea of what it means to live a meaningful life. This page-turner delivers.” Publishers Weekly

“Thrillingly and wrenchingly funny, Candide in the oil fields of North Dakota. What Michael Patrick Smith found there, along with hustlers, brawlers, and fast-buck and fast-spend artists, was a gusher of a story about the national character. Like Educated and Hillbilly Elegy, The Good Hand is one of those brilliant close-ups that suddenly flips to become a wide shot of the American moment. Smith has put together a thrilling combination of participation, reportage, self-discovery, and witness.” —David Lipsky, New York Times bestselling author of Although of Course You End Up Becoming Yourself
 
“This land, despite what Woody Guthrie sang, is not our land, and the violence involved with extracting its resources infects all our lives, starting with the lives of the men who show up to take it. In The Good Hand, Michael Patrick Smith guides us through a long muddy year in North Dakota’s oil boom, telling the story as if it were a Sam Shepard play that can’t be stopped even though people are about to get badly hurt. It’s a surprisingly tender account of a man who is searching for salvation – from the sins of his family, from the drunken and drugged-up sins of a world broken by corporations – while trying desperately to find himself through work. He discovers that, like digging for oil, formed for years under great pressure, digging out the past is grueling, but worth the wait.” —Robert Sullivan, author of The Thoreau You Don’t Know
 
“A sincere and colorful account of down-and-out men trying to make it and maybe grow up in the eternal dreary tailgate party and crushing dangerous toil of the fracking boom. As one of Smith’s mentors tells him, ‘now you know why gas is so expensive.’” —William T. Vollmann, author of The Lucky Star

“A fine successor to Orwell's Down and Out in Paris and London, translated to the epic scope and sweep of the prairie West. While telling his bruisingly candid tales of toiling in a North Dakota oil field ('if this breaks me, then I’ll know what breaks me'), Smith paints a larger portrait of the American worker's heroically tragic struggle for a thin slice of the pie.” —John Strausbaugh, author of Victory City and City of Sedition

“A thrill-read—There Will Be Blood made modern, and with added wit—The Good Hand is that rare literary treasure: all things, all at once. By mixing memoir with reportage and analysis, and  telling his tale with rigor and joy,  Michael Patrick F. Smith gives us a hoot that also feels necessary. The book comprises its own impossible boom story: Smith has drilled barrel after barrel of crude fun from the dust and stone of American capitalism.” —Darin Strauss, NBCC-Award winning author of Half a Life and The Queen of Tuesday

“Novelistic, gritty reportage, very large in heart, with memorable characters on almost every page, The Good Hand will remind readers of the best of Orwell and Ehrenreich. A beautifully evoked, compelling memoir of hard work in a hard place.” Philip Dray, author of There is Power in a Union: The Epic Story of Labor in America

“Like the men who populate it, The Good Hand is big and rowdy, busting its ass to uncover something ancient, buried, crude—and essential. By placing his body as a hard-worn cog in its machine, Smith gets to the heart of our addiction to oil and uncovers the demands it makes on the rough, desperate men who flock to boomtowns, looking to find and lose themselves all at once.” —Baynard Woods, co-author of I Got a Monster: The Rise and Fall of America's Most Corrupt Police Squad

“A sprawling epic about life in the boom times—North Dakota, oil and cash coming down like rain. Think Samuel Clemens in San Francisco during the Rush or Jack London in the Klondike. The Good Hand is a wonderful feat of storytelling that illuminates a city, a moment, and the American character at large.” —Rich Cohen, author of The Last Pirate Ship of New York

“[An] affecting snapshot of blue-collar America in a singular place and time.” Booklist
Michael Patrick F. Smith is a folksinger and playwright currently based in central Kentucky. His plays, including Woody Guthrie Dreams and Ain't No Sin, have been staged in Baltimore and New York. As a musician, he has shared the stage with folk luminaries such as Ramblin' Jack Elliott, as well as several prominent indie rock bands. Smith has also worked as a stage actor, a bartender, junk hauler, furniture mover, book store clerk, contractor, receptionist, event producer, driver, office temp, stage hand, waiter, security guard, set fabricator, legal assistant, grocer, oil field hand, and now writer. The Good Hand is his first book. Visit his website at thegoodhand.org. View titles by Michael Patrick F. Smith

About

“A book that should be read . . . Smith brings an alchemic talent to describing physical labor.” —The New York Times Book Review

“Beautiful, funny, and harrowing.” – Sarah Smarsh, The Atlantic

Remarkable . . . this is the book that Hillbilly Elegy should have been.Kirkus Reviews


A vivid window into the world of working class men set during the Bakken fracking boom in North Dakota


Like thousands of restless men left unmoored in the wake of the 2008 economic crash, Michael Patrick Smith arrived in the fracking boomtown of Williston, North Dakota five years later homeless, unemployed, and desperate for a job. Renting a mattress on a dirty flophouse floor, he slept boot to beard with migrant men who came from all across America and as far away as Jamaica, Africa and the Philippines. They ate together, drank together, argued like crows and searched for jobs they couldn't get back home. Smith's goal was to find the hardest work he could do--to find out if he could do it. He hired on in the oil patch where he toiled fourteen hour shifts from summer's 100 degree dog days to deep into winter's bracing whiteouts, all the while wrestling with the demons of a turbulent past, his broken relationships with women, and the haunted memories of a family riven by violence.

The Good Hand is a saga of fear, danger, exhaustion, suffering, loneliness, and grit that explores the struggles of America's marginalized boomtown workers—the rough-hewn, castoff, seemingly disposable men who do an indispensable job that few would exalt: oil field hands who, in the age of climate change, put the gas in our tanks and the food in our homes. Smith, who had pursued theater and played guitar in New York, observes this world with a critical eye; yet he comes to love his coworkers, forming close bonds with Huck, a goofy giant of a young man whose lead foot and quick fists get him into trouble with the law, and The Wildebeest, a foul-mouthed, dip-spitting truck driver who torments him but also trains him up, and helps Smith "make a hand."

The Good Hand is ultimately a book about transformation--a classic American story of one man's attempt to burn himself clean through hard work, to reconcile himself to himself, to find community, and to become whole.

Excerpt

Raising the Derrick

Like most people who rely on oil for nearly every aspect of their existence, I didn't know anything about a drilling rig. I pulled off my hard hat, wiped my forehead with my forearm, and looked across the work location, trying to take it all in. On a mud-colored scar in the land cut flat two hundred yards across, trucks coughed diesel, cranes farted smoke, and dust turned to mud on the faces of men toiling under bright sunlight. The rig was half in pieces-giant square chunks of steel, littered across the dirt. I had no idea how it went back together. I adjusted the inside strap of my hard hat-what had the roughneck called it? A "brain bucket?"-and set it back on my head. It was my fifth day in the oil patch. I had yet to make a hand; I didn't even know what it meant to "make a hand," and I had no idea how vital that idea would become to me. I was a greenhorn, what most oil patch guys call a "worm," a headless, legless, brainless thing, good for eating dirt and shutting the fuck up.

I had just left the shit box. The plumbing wasn't functional yet, so the bathroom consisted of a trailer with a bare lightbulb, a toilet, and a mess of flies. It was 99 degrees outside the trailer and probably 120 degrees inside the shit box. Standing twenty feet away from it, I could smell the stink carried on the breeze.

In five days of work, I'd clocked over seventy hours of heavy manual labor. My neck and shoulders were stiff, my arms, legs, knees, and ankles battered and sore. My hands ached, and my head felt foggy from lack of sleep. Over the past several weeks, I had been crashing on a filthy flophouse floor, in a room I shared with several other migrant workers. The stress of the oil field work, combined with the stress of this living situation, aggravated a twitch under my left eye. It felt like my face was shorting out.

That morning, I'd made the mistake of thinking about giving up. The thought had wormed its way into my brain, and now I couldn't seem to shake it. I was bone-tired, afraid, and nauseous.

There were many ways to get hurt on location. Or die. Exhausted men operated heavy machinery, trucks thundered past, heavy objects flew through the air-steel swinging steel around on cables, hooks, and slings. You could go blind. You could lose your hearing. You could lose a limb. A rod could snap, and bam: instant lobotomy. One hundred thirty-eight oil field hands had been killed in the United States the previous year. I looked around. I could see it happening to me. My breathing sped up, and my stomach knotted. I tried to take slow steady breaths.

Dragonflies buzzed around. I walked through a row of pickup trucks, across the dirt patch and toward a pile of wind walls-thin metal sheets some fifteen feet across. A wind wall does exactly what it sounds like it should do. On the high plains, with no trees or mountains to stop it, the wind is fierce. Even in the summer, gusts of northern air can all but knock you down. The walls protect against that. They make it easier for men to work the floor of the drilling rig, two to three stories above the dirt.

I was twenty yards from the crane and maybe thirty yards from the base of the rig. I squinted up into the sun. A wind wall, attached to the crane by four metal chains on the crane's whip line, dangled in the air above the rig's floor. A crew of roughnecks, strapped into harnesses and wearing heavy work boots, guided the wall down, set it carefully in place, and, after lumbering along the edge of the floor, swung their sledgehammers at large metal pins to attach it to the rig.

When the wall was connected, the crane operator reeled in the whip line. It swung in an arc above the men, away from them and toward me. With the precision of a bullet hitting a bull's-eye, the chains came to a sharp stop directly in front of me, the hooks suspended at the level of my chest. I gathered them into my hands, sliding the fasteners into eye hooks welded onto the corners of the next wall, then I looked back to the operator. He sat in the cab, blue Oakley sunglasses and beard slapped across an inscrutable expression. I waved a hand, and he gave me a nod. I stepped away from the pile, and another wind wall flew up into the blue.

At lunchtime, I sat in the back of the work van and ate cold Chunky soup out of the can. Bobby Lee sat with the driver's seat kicked way back, his boots up on the dash. He wore a Resistol brand Diamond Horseshoe cowboy hat pulled low over his eyes. At one point the hat had been the color of pearl, but it was beat to shit, dirty, greasy, and floppy-incongruent with his studied look. "Now you know why gas is so expensive," Bobby Lee said.

I stared out the window of the van. The work site was cluttered with tractor trailers, pickup trucks, forklifts, a hydraulic crane, a lattice boom crane, rows of stacked piping, giant metal structures, and crews of men.

No one was even drilling for oil yet. Everything I saw out the window-the trucks, the cranes, the men-was there because a previous well had been drilled to completion. And so we had shown up, Diamondback Trucking, to take the rig-the mechanism that extracts oil from the well-apart and load it onto haul trucks to bring it here, to a new location, where it was being reassembled over a new drill hole.

The previous day, Bobby Lee had handed me a sheet of paper to sign. In the mornings, we had safety meetings. We stood around with the roughnecks; somebody talked over the day's plans, and we all signed a paper. I had never read the paper, but when Bobby handed me this page I thought it looked like all the others.

"Didn't I sign this already?" I asked him.

"It's a new one," Bobby said.

"Okay," I said, putting my name across it.

"And when I hand you something," Bobby continued quietly, "don't ask any questions. Just fucking sign it. And smile."

He watched me silently until I faked a smile.

"And like it," he told me. Then he breezed away.

Bobby Lee was like that. When a roughneck rushed up to him hollering about a problem, he raised his hand slowly, palm down, to eye level.

"Do you see my hand?" Bobby asked.

"Uh, yeah."

"It's not shaking," he said.

That same day, a crane operator asked Bobby if he should get started on something.

"Did I tell you to start something?" Bobby spoke so quietly that he forced the crane operator to lean in.

"No," the operator replied.

"Do your job," said Bobby. He lit a cigarette, and then he walked off. The crane operator sat back in his seat and spit dip into an empty soda bottle.

Bobby Lee looked like Don Johnson. He wore blue jeans, cowboy boots, and a Western-cut blue denim shirt with a pack of USA Gold cigarettes in each breast pocket. He stood out, because on location everybody else looked the same. Faces hidden behind shaded safety glasses, heads covered by hard hats, the men wore fire-resistant jumpsuits with metallic stripes down the sides. They smoked, chewed dip, or spit sunflower seeds. They wore the same goatees, mustaches, or beards, dirt on their faces and dust in their teeth. They sweat and they cursed, and when they saw my green hard hat-I was a literal greenhorn-they identified me as a dumb fuck. But I couldn't tell any of them apart. Throughout the day, they appeared in bright sunlight in front of me, shouted a few words, and then disappeared back into the dust.

"I just started last week," a fellow greenhorn yelled at me over the din of a truck. "They don't tell you how to do anything. I don't know why. They'd save a lot of time if they told you."

"Don't stand there. Hand me that hook," a truck driver hollered at me. I handed him the hook, and he turned his back to me completely. I stood there for some time staring at his back. Then, unsure of myself, I walked off.

One guy told me to watch out for the crane operator I was working with. "He'll hurt you," he said solemnly.

"Can I throw this chain to you?" a dude asked.

"Yeah," I said.

"You ready?"

"Yeah," I said.

"You ain't ready," he said, and he threw the chain at me.

I thought of what the Safety Man had told me: "You're gonna be able to tell your grandkids you moved rigs across the Bakken Formation at the height of the North Dakota oil boom." I thought about how much money I was going to make.

On my first day, I had teamed up with another field hand, a young, muscular guy with braces. We rigged a twenty-foot-tall steel structure, called a derrick stand, to a gin truck. For the sake of simplicity, I'll just say right now that a gin truck is a big truck with a small crane on the back. It acts somewhat like a tow truck. We wrapped the chains from the gin truck around the steel structure and stepped away from it.

The driver pulled away, dragging the thing behind him. I followed.

"Don't stand under that derrick stand," the driver yelled at me through his window. "That's a dumb fucking obvious thing you shouldn't do. If it tipped you wouldn't get out from under it. How long you work here?"

"Today," I yelled back to him.

"Well, don't stand under the fucking stand."

I stepped away. The gin truck driver, a white-haired oldster with a handlebar mustache and a cranky voice, later approached me. "You started today? Well, I'll tell you when you do some dumb fucking shit you obviously shouldn't do."

"Please do," I said.

"I will. I'll let you know when you do dumb fucking obvious shit."

"Thank you," I said.

"You don't want to see that?" It was Bobby Lee again. Lunchtime, and I'd fallen asleep in the van. I blinked my eyes open, wiped a string of drool from my mouth, and looked out the window. The company hands were raising the derrick.

I climbed out of the van and stood beside it in the dust. The derrick is the tower that supports the network of pipe that is inserted into the earth for drilling. It gives a rig its height and makes a drilling rig look like a drilling rig. In the process of putting a rig together, the derrick is assembled horizontally, then hinged to the drilling floor, and raised on that hinge by braided steel cables spooled around a steel drum called the draw works. When erect, the derrick, like the mast of a ship (it is sometimes called a mast), sits atop the rig, directly above the drill hole, or well. The derrick on this particular rig, Sidewinder Canebrake 103, when completely raised, would stand over 160 feet in the air.

I watched the derrick pivot slowly upward. Behind it hung a vast swath of perfect blue sky. I took out my phone and recorded a video. I was bearing witness to the beginning of a process in which men would wrestle oil, one of the modern age's most precious materials, from shale deposits buried deep in the earth.

Oil was once thought to have mystical properties. In western Pennsylvania, the cradle of American oil exploration and production, Native American shamans from the Seneca tribe used the strange black substance in ritualistic healing exercises. They also used it to cauterize wounds and seal canoes. White men caught on, mixing what they called rock oil with liquor and selling the drink as a cure-all. The snake oil salesman was born.

In 1859, in the town of Titusville, Pennsylvania, near the home of the Seneca, a self-titled "Colonel" Edwin Drake drilled the world's first working oil well. Refined into kerosene, oil came to replace whale fat as the world's primary illuminant. Kerosene became "the light of the age." It literally made the day longer. And it made money. Oil was dubbed "black gold." A rush began. Oil City grew out of the muddy banks of Oil Creek, and the planet experienced its first oil boom.

It is strange to think of industry containing magic, but even in our current age of reason, it is hard not to think of oil as containing properties that, although also destructive, can only be described as utterly fantastic. Oil, refined into gasoline, diesel, and jet fuel, makes cars drive, planes fly, and ships sail. It powers submarines and spacecraft, sends shellfish to Colorado, medicine to Liberia, and soldiers and supplies to war zones around the world. It powers our school buses and gunships, ambulances and tanks. But it does more than transport us. It heats our homes. It illuminates our nights. We eat off it. Petroleum is contained in the glaze on our china, the finish on our tables, the linoleum on our counters, the tile on our floors. It wraps around us in the fabric that clothes our naked bodies, in the jewelry that adorns our necks and hands and fingers, in the balm that soothes our cracked lips, in the makeup that defines the contours of our faces. And it is inside of us. The syringes and the pills that deliver medicine into our systems are made from petroleum. Synthetic ammonia, derived from a process using refined oil, is an essential ingredient in fertilizer. Without it, farming on an industrial scale would not be possible. It is in our food. We eat it. Oil is so prevalent in every aspect of our existence that it has become all but invisible to the vast majority of people who need it simply to live.

And the people whose job it is to extract it from the earth? A group of them approached me. Dirty faces, goatees, and dark safety glasses.

"You ever been turtle fucked?" one of them asked. I braced myself.

"No," I said.

They shrugged and laughed and kept walking.

"Why don't you show him?" one asked.

I stood in the dirt and watched them move away from me. A rush of wind tore across the work site, peeling up a layer of dust and pushing it through the greasy machines, where it dissipated in reams of waving western wheat grass. My body was coiled tight, blood pounding through my brain. I took a deep breath, let the air fill my lungs and loosen my limbs. I spit on the ground and got back to work.

Praise

Praise for The Good Hand:

“Smith brings an alchemic talent to describing physical labor . . . With a playwright’s talent for dialogue, storytelling in miniature and staying out of the way, he writes dozens of scenes of men moving, joking and endlessly talking . . .  his writing keeps people alive in their histories, talents, humor and mistakes . . . [bringing] perspective, on how people, including Smith, can sometimes rise above their worst selves through unglamorous, demanding, difficult work. . . a book that should be read.” The New York Times Book Review

“[A] sprawling, heart-smeared-on-the-page howl of rage and pain. The Good Hand is a rambling honky-tonk of a book, with the soul of a songwriter and the ache of a poor white boy who grew up rough. It is big and it is pretty and it is amazing.” Los Angeles Times

The Good Hand ’s scenes in ‘the patch’ are beautiful, funny, and harrowing, constructed with metal hooks, workplace lingo, poetic profanity, and the author’s palpable fear . . . As someone whose immediate family bears the scars of physical labor in another Great Plains state, and who rarely sees her native class convincingly portrayed, I relished these anecdotes and the validation they provide.” —Sarah Smarsh, The Atlantic

"Offers sharp observations on North Dakota’s extraction industry . . . The Good Hand skillfully braids together scenes of life in Williston—in the oil fields, in the bars, at the three-bedroom townhouse Smith shares with 11 others—with historical dives into the region’s Indigenous and settler-colonial history, and with troubled memories of the terror his abusive father inflicted on his family.” High Country News

“Smith writes empathetically but not sentimentally about working men and women scuffling paycheck to paycheck, and he does so in a Skid Row patois that would make Charles Bukowski proud. He may, at last, have found his calling.” The Pittsburgh Post-Gazette

“Lyrical and engrossing . . . an extraordinary tale . . . Smith writes movingly of his chaotic childhood . . . There have been predictable comparisons to […] J.D. Vance’s Hillbilly Elegy and Tara Westover’s Educated—but Smith’s story, blessedly, comes with more (crude) humor . . . undeniably powerful.” The Sunday Times (UK)

“The Good Hand addresses wider debates over oil but never lets them derail the story. Smith has a playwright’s ear for dialogue, a reporter’s knack for the telling detail, a novelist’s way with a good metaphor and the storytelling skill of a folk singer — and he puts them all to good use.” Upstream

“A white-hot, fiercely argued case for working rural people in the face of their economically brutal lives . . . brims with intelligence and foreboding . . . a penetrating, blazing look at people whom many of us have forgotten – but who are the nation’s truly essential workers.” Kirkus Reviews (starred)

“Smith impresses in this fascinating debut memoir . . . [his] prose shines when sharing how his experience on the oil rig shaped his idea of what it means to live a meaningful life. This page-turner delivers.” Publishers Weekly

“Thrillingly and wrenchingly funny, Candide in the oil fields of North Dakota. What Michael Patrick Smith found there, along with hustlers, brawlers, and fast-buck and fast-spend artists, was a gusher of a story about the national character. Like Educated and Hillbilly Elegy, The Good Hand is one of those brilliant close-ups that suddenly flips to become a wide shot of the American moment. Smith has put together a thrilling combination of participation, reportage, self-discovery, and witness.” —David Lipsky, New York Times bestselling author of Although of Course You End Up Becoming Yourself
 
“This land, despite what Woody Guthrie sang, is not our land, and the violence involved with extracting its resources infects all our lives, starting with the lives of the men who show up to take it. In The Good Hand, Michael Patrick Smith guides us through a long muddy year in North Dakota’s oil boom, telling the story as if it were a Sam Shepard play that can’t be stopped even though people are about to get badly hurt. It’s a surprisingly tender account of a man who is searching for salvation – from the sins of his family, from the drunken and drugged-up sins of a world broken by corporations – while trying desperately to find himself through work. He discovers that, like digging for oil, formed for years under great pressure, digging out the past is grueling, but worth the wait.” —Robert Sullivan, author of The Thoreau You Don’t Know
 
“A sincere and colorful account of down-and-out men trying to make it and maybe grow up in the eternal dreary tailgate party and crushing dangerous toil of the fracking boom. As one of Smith’s mentors tells him, ‘now you know why gas is so expensive.’” —William T. Vollmann, author of The Lucky Star

“A fine successor to Orwell's Down and Out in Paris and London, translated to the epic scope and sweep of the prairie West. While telling his bruisingly candid tales of toiling in a North Dakota oil field ('if this breaks me, then I’ll know what breaks me'), Smith paints a larger portrait of the American worker's heroically tragic struggle for a thin slice of the pie.” —John Strausbaugh, author of Victory City and City of Sedition

“A thrill-read—There Will Be Blood made modern, and with added wit—The Good Hand is that rare literary treasure: all things, all at once. By mixing memoir with reportage and analysis, and  telling his tale with rigor and joy,  Michael Patrick F. Smith gives us a hoot that also feels necessary. The book comprises its own impossible boom story: Smith has drilled barrel after barrel of crude fun from the dust and stone of American capitalism.” —Darin Strauss, NBCC-Award winning author of Half a Life and The Queen of Tuesday

“Novelistic, gritty reportage, very large in heart, with memorable characters on almost every page, The Good Hand will remind readers of the best of Orwell and Ehrenreich. A beautifully evoked, compelling memoir of hard work in a hard place.” Philip Dray, author of There is Power in a Union: The Epic Story of Labor in America

“Like the men who populate it, The Good Hand is big and rowdy, busting its ass to uncover something ancient, buried, crude—and essential. By placing his body as a hard-worn cog in its machine, Smith gets to the heart of our addiction to oil and uncovers the demands it makes on the rough, desperate men who flock to boomtowns, looking to find and lose themselves all at once.” —Baynard Woods, co-author of I Got a Monster: The Rise and Fall of America's Most Corrupt Police Squad

“A sprawling epic about life in the boom times—North Dakota, oil and cash coming down like rain. Think Samuel Clemens in San Francisco during the Rush or Jack London in the Klondike. The Good Hand is a wonderful feat of storytelling that illuminates a city, a moment, and the American character at large.” —Rich Cohen, author of The Last Pirate Ship of New York

“[An] affecting snapshot of blue-collar America in a singular place and time.” Booklist

Author

Michael Patrick F. Smith is a folksinger and playwright currently based in central Kentucky. His plays, including Woody Guthrie Dreams and Ain't No Sin, have been staged in Baltimore and New York. As a musician, he has shared the stage with folk luminaries such as Ramblin' Jack Elliott, as well as several prominent indie rock bands. Smith has also worked as a stage actor, a bartender, junk hauler, furniture mover, book store clerk, contractor, receptionist, event producer, driver, office temp, stage hand, waiter, security guard, set fabricator, legal assistant, grocer, oil field hand, and now writer. The Good Hand is his first book. Visit his website at thegoodhand.org. View titles by Michael Patrick F. Smith

Videos from the 2024 First-Year Experience® Conference are now available

We’re pleased to share videos from the 2024 First-Year Experience® Conference. Whether you weren’t able to join us at the conference or would simply like to hear the talks again, please take a moment to view the clips below.   Penguin Random House Author Breakfast Monday, February 19th, 7:15 – 8:45 am PST This event

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