Editorial cover photograph for Loose Ends Chapter 48, Neither House Second

Loose Ends — Chapter 48: Neither House Second

Chapter summary

Sarah tells her sons about divorce and Oxford, finding hope within their painful family transition.

SARAH

Friday evening She told the boys at six, on Bayo’s bed, sitting between them with her boots off and her feet tucked under her, like a girl at a sleepover.

She had thought about how to say it all afternoon, and in the end she did not use any of the sentences that she had prepared. “Boys,” she said. “I have something to tell you. It is a hard thing, but it is not a frightening one. Daddy and I are going to live in two different places.”

Deji’s face crumpled slowly, like a tent with the pole taken out. “Is Daddy going to Dubai?”

“No, my love. Daddy is staying in Lagos. We are going to a country called England. A place with a big round library, and a lot of rain.”

“Can I bring my sword?”

“You may bring your sword.” He considered this. A single hiccup escaped him. “Is it a long way?”

Photorealistic intimate scene with a real Black Nigerian mother sitting barefoot between her two young Black Nigerian sons on a child’s bed, answering the smaller boy who holds a handmade paper sword, difficult news delivered gently in a lived-in Lagos bedroom, 16:9 landscape.
Photorealistic intimate scene with a real Black Nigerian mother sitting barefoot between her two young Black Nigerian sons on a child’s bed, answering the smaller boy who holds a handmade paper sword, difficult news delivered gently in a lived-in Lagos bedroom, 16:9 landscape. Stock photograph used illustratively; characters and events are fictional. Photo source.

“It is a long way. But there are aeroplanes. And Daddy will come on the holidays, and you will come back for the summer, and every Sunday we will ring him and you can tell him everything.”

Bayo had not said a word. He sat with his knees drawn up and his chin on them, looking at the carpet. He had a way of looking at things that she had seen on her own father’s face, a patient and entirely private attention, as if he were listening for something in another room.

“Are you and Daddy getting divorced?”

She had not meant to be asked it so soon. She looked at the top of his head.

“Yes,” she said. “I think that is the word for it. We love you very much, and we are not going to love you any less. You will have a house in Lagos and a house in Oxford, and neither of them will ever be a second house.”

Photorealistic close family portrait of a real Black Nigerian mother meeting her older son’s serious gaze while his younger brother leans near, two small model-like house shapes suggested by toys on the desk, reassurance without forced smiles, evening room light, 16:9 landscape.
Photorealistic close family portrait of a real Black Nigerian mother meeting her older son’s serious gaze while his younger brother leans near, two small model-like house shapes suggested by toys on the desk, reassurance without forced smiles, evening room light, 16:9 landscape. Stock photograph used illustratively; characters and events are fictional. Photo source.

He thought about that. He picked up a card from the desk, one she recognised, the one with the man on the plane, and turned it over to show her the back. A drawing in marker. Two houses and a road between them, and a very large sun.

“I drew it on Thursday,” he said. “Before you told me.” She looked at it for a long time. She had to put her hand to her mouth.

Photorealistic view of a real Black Nigerian boy showing his mother a marker drawing on the back of a card—two houses, a road and a huge sun—while her hand rises to her mouth, no additional readable text, emotionally precise domestic realism, 16:9 landscape.
Photorealistic view of a real Black Nigerian boy showing his mother a marker drawing on the back of a card—two houses, a road and a huge sun—while her hand rises to her mouth, no additional readable text, emotionally precise domestic realism, 16:9 landscape. Stock photograph used illustratively; characters and events are fictional. Photo source.

“Mummy.”

“Yes, darling.”

“Did you stop smiling like a Christmas card?”

She laughed. It came out wet. “Yes,” she said. “I think I have.”

“Good,” said Bayo, and leaned against her, heavy and warm, with his sharp little elbow in her ribs. After a moment Deji climbed across his brother and wedged himself into the other side, with the paper sword. They sat there for a while, the three of them, and nobody said any more.

Photorealistic wide image of a real Black Nigerian mother held between her two sons on a bed, one sharp elbow at her ribs and a paper sword across small knees, the three sitting silently after tears and laughter, warm Lagos evening, unsentimental tenderness, 16:9 landscape.
Photorealistic wide image of a real Black Nigerian mother held between her two sons on a bed, one sharp elbow at her ribs and a paper sword across small knees, the three sitting silently after tears and laughter, warm Lagos evening, unsentimental tenderness, 16:9 landscape. Stock photograph used illustratively; characters and events are fictional. Photo source.

Loose Ends · Continue reading

Continue to Chapter 49

The story continues in the next chapter.

Read Chapter 49 →

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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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