Post-divorce, my father quits his job as a bank teller, embarks on a term of wandering that takes him to the outback of Australia, where he mines for opal and lives in an underground dugout. It will fascinate me later that my vocation, too, is “teller” — not handling the coin of the realm but using words as currency. Dad, as a hobbyist, cut and polished opal on gear set up in the garage: circular saw, grinding wheel, dop sticks. Now he’s to harvest the rough product himself, directly out of the desert limonite that embeds it.
He sends me airmail from Coober Pedy, flimsy envelopes with stripes. I imagine him crawling in tunnels on his belly to plant the dynamite. Scurrying out before the blast.
From Mad’s ancient encyclopedias, I learn that the iridescent colors of opal are made by water trapped in silica. Because of liquid in the stone, opal is known as unstable, prone to develop cracks for no apparent reason — not unlike my mother has described Dad. Sometimes, practically overnight, a valuable opal resting in a drawer will become riddled with hairline fractures, like a windshield struck with a baseball bat. The term for this is “crazing.”
The poetry reading and the banquet go well. It’s time for the graduates — at an outdoor lectern situated under an enormous tree — to say, one by one, their thanks and farewells. With us in the audience are the parents of Sami, Skyler’s first serious girlfriend. They’re down from Wisconsin to watch the last collegiate hurrah of this man their daughter followed to Texas.
“I met you when I was falling apart,” Skyler says to them in the speech. “Your heart and your home are a refuge to me.”
Where was your father during all this, people must be asking themselves.
I was calling him on the phone, I think to reply. I sent parcels of books and airplane tickets to wherever I was – Denver, San Francisco, Atlanta.
“I want to thank my Dad and Joyce,” Skyler says, “for showing me the artist’s life, and giving me permission to write, to just go crazy.”
Somehow I hear the word "crazing" instead, just go crazing, and I sense a precious thing with a webwork of fissures that’s about to shatter, and I want to run to the lectern, grab him. Squeeze him into an ever-intact piece.
What occurs, though, is that Skyler completes his talk to polite applause. Students hug, promise to stay in touch. Group photos are made.
The next day Joyce and I are on the couch at Skyler and Sami’s apartment, on our second glasses of wine, when Sky breaks out the printed version of his Michener thesis: a book of collected poems. So that we can heft the volume and know its physical weight, he says, handing it over.
Joyce flips through. On the second page, we see at the same moment, the book is dedicated to me. She sucks in a small breath. Sky, cross-legged on the floor, catches me when I spy the line. His face upturned to me.
“There was never a question,” he says. “It couldn’t be anybody else.”
I didn’t encourage him in poetry, but I want each of my kids — Skyler, Miranda, Jamie — to become the sort of person able to sense the unspoken currents that pass between oneself and others. Savor a saunter in the bee-loud glade if you’re inclined but also take quick joy in the way, when you tug the T-shirt off the hanger, the hanger flies up sideways and hooks on whatever else you might have worn, like a pinned butterfly or a frozen bat. Miss nothing, I mean.
Later we’re walking to dinner, Sky and Sami ahead of us, so entwined they can’t walk straight, cackling. A balmy Texas evening comes on. In the twilight Sami glances over her shoulder at us in that heart-stoppingly casual way she has – lithe and big-eyed. He will never let her go.
I flash back to the 1970s, when I’m 18 and in love with Sue, my first serious girlfriend, my Sami equivalent. The point in our relationship has arrived where both sets of parents have finished their scrutiny and implicitly nod approvals. We begin – I begin, anyway — to imagine what our kids will look like. Girl or boy, doesn’t matter, especially the first one, I want to tell her and almost can. In my rattletrap Chevy Vega, I take her on a special date to (where else) Timmerman’s Supper Club.
By way of dancing, then as now, the best I can do when fueled by enough champagne at weddings is flail and lurch about convulsively. Sue persuades me: a special date, after all. We traipse out on the floor for a slow one.
Pressed into me, she is everything. Disbelief at my luck hovers like vapor and then swirls away. Below the rocky bluff we’re perched on moves a vast river, where fish and frog life teem under the surface and along the shore. She is everything.
Not long after this, she will break up with me in a letter from England. Eventually she will become a librarian in Dubuque. She will marry someone else — a good father to the children they’ll have together, she informs me. We stay friends.
In this moment on the dance floor, the future has not yet cast its shadow backward to haunt our present flesh, so near under our clothes. She is everything. It feels real. “Move your feet,” she whispers. “Move your feet.” And I do.
ABOUT THE STORY
I met Randy Osborne around the time he co-founded Carapace, the Moth-inspired storytelling event held at Manuel’s Tavern every month. I’ve been dazzled by his literary writing style ever since. Fatherhood is a recurring theme in his work, so I asked him to write a Personal Journey for Father’s Day, and he didn’t hesitate. The result is a gorgeous, nuanced essay about flawed fathers doing the best they can.
Suzanne Van Atten
Personal Journeys editor
personaljourneys@ajc.com
ABOUT THE WRITER
Randy Osborne is an essayist whose work has appeared in Salon, The Rumpus, Full Grown People and other outlets. His work has been nominated for a Pushcart Prize and featured in the notable section of “Best American Essays” in 2015 and 2016. He lives in Atlanta, where he recently finished a book-length collection of essays. He is also a staff writer covering biotechnology for BioWorld Today, an Atlanta-based newsletter.
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