Editorial cover photograph for Loose Ends Chapter 42, The House He Left

Loose Ends — Chapter 42: The House He Left

Chapter summary

Sammy accepts Sarah’s departure, confesses to his mother, and recognises Karo’s exploitation with belated compassion.

SAMMY

Friday, later He lay in the hospital bed after she left and listened to her boots go away down the corridor. It was a steady sound, an unhurried one, the sound of a woman who knew exactly where she was going. He did not call out. He noticed that. It seemed to him the first correct decision he had made in a long time.

Photorealistic portrait of a real middle-aged Black Nigerian man alone in a Lagos hospital bed, IV line at his arm, listening toward an empty corridor after a woman’s departure, shame and restraint replacing pursuit, cool morning fluorescent light, 16:9 landscape.
Photorealistic portrait of a real middle-aged Black Nigerian man alone in a Lagos hospital bed, IV line at his arm, listening toward an empty corridor after a woman’s departure, shame and restraint replacing pursuit, cool morning fluorescent light, 16:9 landscape. Stock photograph used illustratively; characters and events are fictional. Photo source.

The nurse brought tea. He drank it. It was very sweet and tasted of nothing, which in the circumstances he found a mercy.

At ten his mother called. She was seventy-four, a small woman in Mushin who had cooked on the days that were hers and eaten in the corner on the days that were not, and she had never once in her life telephoned him before noon. “They said you were in a hospital,” she said. “Baba Sule called me from your phone.”

“I am all right, Mama.”

“Are you?” A pause. “Then what are you ashamed of, that you are speaking in that voice?”

He told her. Not all of it. Enough. When he finished she said nothing at all for so long that he thought the signal had gone.

“Your father’s house,” she said at last, “had four wives and one rota. I used to lie awake on the nights that were not mine and say to myself, a house with one woman and one love is a house that no man should ever leave. And God gave you one. He gave you a woman with Oxford in her head and your children in her arms. And you let her sleep in the cold.”

Photorealistic split-depth scene with a real middle-aged Black Nigerian man holding a phone in a hospital bed while, in visual counterpoint, his elderly Black Nigerian mother sits in a modest Mushin room near a small cooking corner, both grave and unsentimental, no glamour, 16:9 landscape.
Photorealistic split-depth scene with a real middle-aged Black Nigerian man holding a phone in a hospital bed while, in visual counterpoint, his elderly Black Nigerian mother sits in a modest Mushin room near a small cooking corner, both grave and unsentimental, no glamour, 16:9 landscape. Stock photograph used illustratively; characters and events are fictional. Photo source.

“Yes, Mama.”

“I raised you better than that.”

“No,” said Sammy. “You raised me exactly like that. I had the vow, and I broke it. I am sorry.”

“Don’t say it to me.” Her voice cracked. “Say it to her. And then do what she asks, whatever it is, even if it breaks you. That is all that is left.”

Photorealistic close-up of a real elderly Black Nigerian woman gripping a simple mobile phone after delivering hard counsel, lined face controlled but voice-broken, modest Mushin interior and morning window light, dignified documentary realism, 16:9 landscape.
Photorealistic close-up of a real elderly Black Nigerian woman gripping a simple mobile phone after delivering hard counsel, lined face controlled but voice-broken, modest Mushin interior and morning window light, dignified documentary realism, 16:9 landscape. Stock photograph used illustratively; characters and events are fictional. Photo source.

He turned his face to the window. Outside, the day went on. A tree. A wall. A yellow bus. Somewhere beyond the wall, twenty kilometres of road away, a girl in a stained white dress had stood under a lamp the night before and climbed on the back of a stranger’s bike. He did not know where she was. He thought, to his surprise, that he hoped she had eaten.

She had been twenty-two, and good at it. That, he thought, was the saddest part.

Photorealistic real-person hospital scene: a Black Nigerian man in profile faces a window overlooking a tree, wall and distant yellow danfo bus, imagining a young Black Nigerian woman in a stained white dress riding away on an okada beyond the wall, reflective composite kept realistic and non-sensational, 16:9 landscape.
Photorealistic real-person hospital scene: a Black Nigerian man in profile faces a window overlooking a tree, wall and distant yellow danfo bus, imagining a young Black Nigerian woman in a stained white dress riding away on an okada beyond the wall, reflective composite kept realistic and non-sensational, 16:9 landscape. Stock photograph used illustratively; characters and events are fictional. Photo source.

Loose Ends · Continue reading

Continue to Chapter 43

The story continues in the next chapter.

Read Chapter 43 →

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Featured and contextual photographs are used under the Pexels licence and are illustrative; the characters and events are fictional. Featured photograph source. Editorial design by akinakingbogun.com.


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