A labourer's face. But the sadness of the sleeping face hit me, and the smallness of the room, and the concrete wall outside the window, and that yard where no sun fall. And I wonder what it is leading to, what will happen to him and me, whether he will ever take that ship back and get off one bright morning and take a taxi to the junction and drive through places he know.
I notice the saucer he is using as an ashtray, and the expensive cigarettes. I notice the dirtiness of his finger-nails and hands, the fatness at the top of his arms. Once those arms was so strong. Once he used to walk so nice, I used to think like Fonda.
I stand and watch him in the cold room. He twist and turn, he open his eyes, he recognize me. He get frightened. He jump up. And how dirty the sheets he is sleeping in. How dirty.
He say, 'What happen?'
He talk without his accent. He look at me as though I come in the room to kill him. He say nothing else; he suddenly lose his way of talking. The labourer's face.
Sadness, but my sadness. It flow through my body like a fluid. I say, 'What course of studies you are now pursuing, Dayo?'
The fright leave his face. He try to get vexed. Try. He say, 'Somebody make you a policeman or what?' He is not talking with his accent now, he is not going on and on. He is like a child again, back home.
I say, 'I just want to talk with you. You know I am busy with the shop. It is a long time since we talk seriously.'
He say, and as he talk he get back his accent, 'Well, since you ask, and you have every right to ask I will tell you. It isn't easy to take studies in this place as you and other people believe. A lot of people come here with their own ideas and they think they will start taking studies -'
I had to stop him. 'What you are taking?'
'I am preparing myself for the modern world. I am taking a course in computer programming, if you want to know. Com-puter pro-gram-ming. I hope this meet with your approval and satisfaction.'
I lift up the pack of cigarettes from the table. I say, 'Expensive.'
He say, in his accent, 'I smoke good cigarettes.'
The labourer's face. The labourer's backchat. I feel that if I stay in that room I would hit him.
And yet I went to his room with love and shame.
The shame stay with me all day. In the evening, after a bad time in the shop, more trouble with those white louts, my arms getting the feeling that there is stretched wire inside them, I travel back by the night bus. When I get off, a black dog with a collar round its neck start following me. The street lamps shining on the trees, those trees with the peeling bark that is a little bit like the bark of our guava trees. The pavements damp, footmarks in the thin black mud. The big dog is friendly. I know it is making a mistake and I try to chase. it away. But it only look at me, wagging its tail, and as soon as I walk on it follow me again, really close, as though it want to feel me all the time.
It follow me and follow me, right down past the rubbish bins to the basement. You would think that it would know now that it make a mistake. But no, it slip inside as soon as I open the door and it run up and down the hall, happy, wagging its tail, leaving footmarks everywhere.
I look for Dayo in his room, and the dog look too. I just see the dirty bed when I switch on the light, the sheet gathered up in the centre, the sheet and the pillow brown with dirt, the saucer full of cigarette ends. Oh my God.
I am hungry, but I can't stand the thought of food. I make a little Oval tine. When I start to drink, the dog come right up to me again, wagging its tail. And wagging its tail, it follow me to the hall. I open the door. The dog know now it make a mistake. It race up the steps, not looking back at me, and run away in the night. It leave me feeling lonely.
Later, lying down, I hear Dayo tiptoeing in and switching on his light.
And it was the next morning, leaving Dayo sleeping in his room, and taking the Underground to the market, it was then that I see the advertisement in the carriage: PREPARE YOURSELF FOR TOMORROW'S WORLD WITH A COURSE IN COMPUTER PROGRAMMING.
I understand. I am not surprised. But the hate fill my heart. I want to see his face get frightened again. I get off the train after a couple of stops. I walk about the platform, I don't know what I want to do. I smoke a couple of cigarettes, I let the trains pass. I feel people start looking at me. I cross over to the other platform, not many people waiting that side, and take the train back.
The smart labourer boy. He only smoke good cigarettes. Oh God. I see myself going down to the basement to that room with the dirty sheets and the saucer with the expensive good cigarettes. I see myself lifting him out of that bed and hitting him on that lying labourer's mouth.
But I can't bring myself to go down the basement steps. I stand up for a long time looking down at the dustbins and the breakdown fence with two or three hedge plants that grow too big, like little trees, nobody trimming them, the basement window dull with dirt, scraps of wet-and-dried paper and other rubbish scattered about the little garden where somehow a type of grass is still growing.
The moon-mad white woman open the front door. Her face wrinkled and yellow, and you get a glimpse of the blackness behind her. The woman is dazed; the monthly madness tire her out; you can see that every night she is fighting in her sleep. As she bend down to take the milk, I see her yellow hair thin like a baby's. She look at me and I can see that she recognize me but she isn't sure. I nearly say good morning. It is the only thing we say to one another after five years. But then I change my mind and walk away fast to the corner. And I think: Oh my God, I am glad I change my mind.
But I can't leave and go to the market. I can't face that now, I feel I have to settle this thing first. I wait and wait at the corner, I don't know what for. I don't know what I want to do. Until I see Dayo stepping out, in his suit, with his books.
I know the bus stop he is going to. I turn left and walk to the stop before. The bus come; I get on and find a seat on the righthand side. At the next stop Dayo is waiting. It is funny, studying him like this, as though he is a stranger, and he not knowing that you are studying him. You could see that he just throw some cold water over his face this morning, that his shirt is dirty, that he is not taking care of himself. He get on; he go upstairs; he does smoke good cigarettes.
He get off at Oxford Circus, and at the traffic lights I get off and follow him down Oxford Street through the crowds. At the end of Oxford Street he buy a paper and go inside a Lyons. I wait a good time. It is getting late now, the morning half gone. I follow him down Great Russell Street, and now I can see that he is idling in truth, looking at the window of the Indian food-shop, the noticeboards outside the newsagent selling foreign papers, crossing the road to look at the dusty books outside the bookshop. A lot of Africans knocking around here, with jacket and tie and briefcase; I don't know what good the studies they are taking will ever do them.
No more shops, only tall black iron railings beside the pavement, and then Dayo turn in the big open yard of the British Museum. A lot of foreign tourists here, in light tourist clothes. It is like a different city, and he is like a man among the tourists: watch him going up the wide steps with his suit and his books. But these people come for the day; they are happy, they have buses to take them back to their hotels; they have countries to go back to, they have houses. The sadness I feel make my heart seize.
He go inside. I know I have no more to see, but I decide to wait. I look at the tourists and walk about. I walk about the portico, the yard, and out in the street below the trees. One time I walk back nearly to Tottenham Court Road. The Indian restaurant is hot and smelling. It make me think of my own shop, the way I trap myself and throwaway my life there. Lunchtime, I nearly forget. I run back to the Museum and I run straight up the steps through the tourists coming and going and I nearly run through the door. But then I see him outside, in the portico, sitting on a wood bench and smoking.