So Grief Gives Its Beloved Sleep
by James Daniels
Before Ūmi winced, she gripped her sleeve. Its golden bells attached at the seams
wouldn’t stop singing as she pressed her lips together. It was the first time a man other than her
father had hit her, and when she opened her mouth, she could taste the blood surfing across the
edges of her tongue and between the gap in her two front teeth. In her bedroom—a four-walled
barrack with nothing but stained anime posters littering the damp walls—she focused on the red
smudge on the ground next to the man who had hit her. He was sporting a scar on his face and a
war suit like the one her father wore, and he watched her, pointing to the red splotch with the
sooty index finger of his left hand.
“I won’t ask you again,” he murmured. “I see they’re here. Bring them to me.”
She grabbed a small object wrapped in a bloody cloth from her now-soiled sling-over
bag. She brought it to her face next to her red eyes. The man nodded. “Yes.”
“The other one, too?” She held up an identical object wrapped in a less grimy cloth.
“Yes,” the man almost begged. “They’ll change you, Ūmi. No more.”
Ūmi imagined the checkered porcelain floors of the abandoned corner store she had last
seen her father. She imagined herself in her then-favorite sunflower skirt littered with tiny
splotches of red from ketchup or some other unknown spilled substance. Her father approached
in his freshly pressed suit, kissed her forehead, and hugged her tightly.
The holed awning above them almost kept Ūmi shaded from the Carolina summer heat
that day—almost—but not enough to keep wet droplets of sweat from sliding past the bruises on
her legs. Even still, she couldn’t find one wet spot peeking through the white shirt under his suit
and tie. Not even a bead of sweat adorned his Vaseline-slicked forehead as he turned to jog
towards his friend beeping the broken horn of the ‘94 Ford Ranger parked in their driveway. She
turned to the open screen door behind her, scanning for her mother, hoping to ask her why her
father would wear a suit to a war. When Ūmi couldn’t find her, she began tapping her foot—her
mother never missed her father’s departures—but she figured they’d already talked, so she
turned back to watch two of her father’s other war buddies in the bed of the truck with identical
suits waving Ūmi’s father up and yelling a goodbye to Ūmi.
The next time her father’s red eyes locked with hers, they were in a small jar, presented to
her and her mother on their front porch by the same friends. When the frontline men proceeded
to express their condolences, their buffer was returning these two treasures that made this
dark-skinned man an anomaly.
The first day after her father’s eyes were returned, Ūmi tried to explain them to her
younger brother, Naír, but he didn’t bother with them. Instead, wearing his “My Daddy’s a Hero”
shirt and a diaper taut on his bottom, he pushed her to the couch with all of his little might and
crawled onto the cushion beside her to lay his head on her shoulder in silence.
The next morning, after serving breakfast to Naír, she went upstairs and cracked the door
to her mother’s room to slip a look at her father’s eyes while she slept. Her mother, though, was
awake, and she hollered at Ūmi—her breath cutting through the smell of 2-day-old dinners that
Ūmi would place at her doorway every day—pleading with Ūmi to stop asking about the eyes,
that they needed to stay in her room.
So, the following afternoon, she didn’t ask her mother to see them. Ūmi snuck into her
mother’s room while she was asleep and wrapped the jar in a dirty cloth, stuffing the covered jar
in a black sling-over bag. Her father’s eyes stayed in the bag on Ūmi’s wooden desk.
Every morning for a week straight, Ūmi would rush to her desk, pull the jar of eyes out of
her sling, and stare at them until Naír’s cries of hunger snapped her from her gaze. For the first
few days, she would feed Naír, crack her mother’s door open to leave a plate at her doorway, and
head upstairs to her own room, staring at her father’s eyes until she felt a buzz that moved from
her middle to her head. By the end of the week, she had brought Naír to sleep with her in her
bedroom and put the eyes in two separate cloths to have with her everywhere she went, only
looking away from them when she’d cook a larger meal for her mother so that she could stare
into them for longer.
The week after, she started leaving dinners in front of her mother’s closed door instead of
opening it, ignoring Naír’s cries at the growing smell of uneaten food. She continued to ignore
his hungry cries in the mornings, too, as he tossed and turned while she sat at the desk for almost
entire days, eventually dropping a plate at the front of her mother’s door and in her bed for Naír,
hoping not to disturb either’s sleep. Naír had been sleeping for days by that point, and Ūmi
stopped hearing from her mother, so she figured Naír had grown tired of crying and her mother
had grown tired of eating.
At night, while she cuddled Naír to warm him, she’d stare at her black sling on her desk
from her bed, the red of her father’s eyes almost shining through the thin material. She believed
that they protected her from everything. Even when it was cold and she couldn’t rest, she
believed that her father’s eyes would speak to her in short whispers, and the quick bursts always
warmed her brown skin. It was never enough to fall fully asleep—Naír and her mother were the
only ones who seemed to get that blessing—but the brief bits of warmth comforted her.
She felt cold standing in front of the man who had hit her, but after he left her room with
the eyes, she backed up to one of her bedroom walls, slid to the floor, blinked twice, and fell
asleep.
James Daniels (he/him) is a Black Southern poet, educator, and musician. A fellow of The Watering Hole, his written work appears in Southern Cultures, Greensboro Review, SoftSavagePress, and others, as well as Bull City Press, which published his first chapbook, God Damned Eden. He’s been teaching writing and hip-hop for 15 years, and he is currently the professor and coordinator of Creative Writing at North Carolina Agricultural and Technical State University, as well as the CEO of an indie Southern creative studio, Sol Lxve Creative Studios, LLC, and an organizing member of an arts collective, the Fire and Light Collective. When he is not working, he can be found engaging in community literary arts education, freelance piano-ing, gaming, reading, and spending time with friends and family. Find him on Instagram.