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The Vertical Dispatch's avatar

A memory surfaced while I was writing this, and I'll set it down because I think it belongs.

I was fourteen, maybe fifteen. I had a poster on my wall — "Death Before Dishonour." A soldier dying, draped over his rifle, blood drifting from him. I thought it was strong. I thought it was honest. I thought it was what a man was supposed to admire.

My mother asked very little of me, ever. But she asked me to take that poster down — the only time I can remember her pressing something on me that plainly.

What I did not understand then, and understand now, is that my mother had seen war. Not in a film, not on a wall. She had lived through it, as a young woman, in Europe, and she carried what it cost in a way I was far too young to read. So when she looked at her boy hanging death on his wall and calling it honour, she was not objecting to a poster. She was looking at the lie of it — the dressing-up of the very thing that had taken her world — and she needed it gone from the wall of the child she had brought to safety.

She knew in her marrow what I am only now learning to put into words: that the worship of the violent end is not strength. It is the exiled shadow, romanticized. "Death before dishonour" is the creed of a man who has not faced his darkness, only decorated it. My mother had faced it. She answered it with the only request she ever truly pressed on me.

She was the stayed hand. She lit the corner. I just took fifty-some years to see it.

Thank you, Mum.

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