A Father’s Grit

A Father’s Grit

A father sits in a dimly lit room, cradling his grief, his heart a museum of memories.
Conundrum portraits hang on walls, opposite sides of the room.
He sits all too sober, wrestling demons of vengeance and angels of virtue, in a dry and colorless world of absence and abstinence, wishing for whiskey, but those days are long gone. Today, an empty glass of sorrow is casting shadows he calls good company.
Thinking of the son, gone too soon, a story that ended mid-sentence, left him bereft with a deafening silence, unable to utter the words, choked by the excruciating lump in his throat.
He tries to fight back with all he can muster but nothing’s as painful as the smoldering ashes of acceptance he’s left to swallow. Once happy go lucky, now lucky to catch a glimpse of happy, he looks up at the sky, doesn’t see blue, just black clouds and broken hearts that he hopes will cover up the retaliatory bomb shot he’d like to take on the Cholo who took Jack’s life.
There’s no romance in this kind of pain, no poetic justice waiting at the end of a barrel, just a half-broken father, a fighter with a heavyweight heart, each day looking dead-eyed into the sorrow glass memories—yes, they bring tear drops, some days an ocean of sadness, others, enough to set the universe on fire.
Dad, being from the old school, tries to hold it in, fighting the ache in his chest. Thinking of Jack, how they used to fight, side by side, in garages and rings, where blood and sweat were nuances of beautiful frames on the canvas. Now the fights are quieter, lonelier, punchy memories that jab back sharper than any right hook. There’s an art in being knocked down for the count and getting back up, but this one leaves dad sideways, like the pieces of Jack’s work that still hang on the wall, only they leave dad eternally face down, Jack’s pencil sketch interpretation of McDonagh’s movie, Locke, still dad’s favorite as he too, now driving alone, utters the same final words, “Fuck Chicago,” apropos, as he wallows through his internal prison, which, on a good day he calls, “An ode to all art and war left behind.”
Holding an Irish rock in his hand, looking into the hag stone hole he paints in tricolor, hoping to find the answers. His brush strokes are now uppercuts, heavy, angry, and desperate. There’s no victory in this fight, no heavenly intervention, just a man, his clenched fists, and his ghosts. He stares into the bottom of his empty glass of sorrow, the boy’s face always looking back. Every day he wakes is another bell rung, another round, face to face with fate, and a middle finger from the gods he refuses to embrace. Heaves the stone through the glass he watches it shatter all over the room, walking over broken shards it occurs to Jack’s old man, he knows he no longer believes in much, but he does believe in this: the fight goes on, even if all he’s fighting is himself.