Tomeeka had highlighted and hyperlinked the phrase “a link to the newspaper article can be found at this Web site,” letting me know that I could click on it to get right to the picture.
My heart rolled like thunder in me as I clicked on the mouse one last time, with my eyes closed.
I did not want to open my eyes until I knew that I was ready to see what I knew had to be a photo of my husband, RiChard Alain St. James. The words
found unconscious in a hotel room
spun around in my head like a topsy-turvy spinning top. I did not want to imagine RiChard crumpled up on the floor of a room in a foreign land. I could still see him as I did the first time, when he was shouting “Revolution!” from the steps of the student union on campus. He was the color of chocolate-laced vanilla, his hair a wind-blown mop of gleaming black curls, his smile easy, his eyes a beautiful shade of brilliant green.
I smiled and finally opened my eyes and nearly jumped out of my seat, as if I'd just seen a ghost.
In a way, I had.
A man with skin as dark as night and a spirit as bright as day filled the computer screen.
Not RiChard.
“What is he still doing alive?” I tried to make sense out of senselessness. I had seen the blood on RiChard's hands myself when he'd avenged his violent death fifteen years ago.
Or at least that was what RiChard had said at the time.
But there he was, though in an unconscious state in the picture, alive and in Portugal, at least a couple of weeks ago, and taking up the monitor's space.
Kisu.
I took the lion's head ring back out of Roman's homemade gift bag and laid it on the small desk. The jewels sparkled even in the dim light of the basement. Several minutes passed as I stared at it.
“RiChard, wherever you are, this side or the next, I wish you well. There are answers out there somewhere, but I'm tired of chasing after them. I know only what you have let me know.”
I could try to seek out Kisu. I could even try to see if there was a way to connect with RiChard's international family. Luca, the young model from the Portuguese class, had ties to Perugia, RiChard's mother's hometown, I recalled.
I could try to seek and search out and push forward until all stones had been unturned. But the path to answers looked unending.
And I was tired.
My father kept a safe in the back of the basement, where the most valuable pieces of his sports collection were stored. I had a fleeting memory that the combination was either my or Yvette's birth date. I tried both, and the lock gave way. I pushed the large ring as far back into the safe as I could, plunging my hand deep into the plush red velvet interior.
My fingers lingered on the cold metal a few seconds before I did what I now knew I had the strength to do.
I let go.
For now.
Readers' Group Guide
1.
The entire trajectory of Sienna's life changed when she decided to leave school and marry RiChard. What major decisions in your past have contributed to where you are today? Are you satisfied with your choices? Why or why not? If not, what changes can be made? Are you facing any life-defining decisions now? How do you handle major decisions?
2.
What was RiChard's mission? What did he sacrifice to pursue it? What did he gain? Was his absence from his family's life justified?
3.
Leon believes that it is possible to have good intentions but wrong motivations. What are your thoughts?
4.
Sienna noted that she could stand up for herself in certain situations but shied away in othersâparticularly when it came to her relationship with RiChard. Why was this? Have you ever found yourself in a similar situation?
5.
Is it okay for Sienna to pursue a relationship with Leon or any other man? Why or why not?
6.
Throughout the novel, several characters teeter on the edge of right and wrong when handling situations of importance. What “gray areas” are ventured into by Ava, Mr. Monroe, RiChard, Roman, and other characters who handle their affairs in what may be perceived as questionable ways? What makes these areas “gray?” Do “gray areas” even exist? If so, how are they to be addressed?
7.
Elsie Monroe allowed bitterness and resentment to control her emotions and actions. What are the fruits of bitterness, both for the one experiencing it and for others? What is the best way to keep a root of bitterness from growing? Consider Hebrews 12:15.
8.
The fictional mega-church Second Zion Tabernacle offers a long list of ministries, both traditional and nontraditional, for its congregants and the surrounding community. What types of ministries or services, if any, should churches be providing, and for whom? Why or why not?
9.
Ava Diggs served as a professional mentor for Sienna, while Mother Ernestine Jefferson served as a spiritual one. What are mentors? What purpose do they serve? What qualities should they have? Is having a mentor necessary?
10.
In her social work career, Sienna noted the varying outcomes of the children in her care. Even when they come from the same family with the same traumatic background, some children grow up to find success while others land on more difficult pathways. Why do these differences in outcomes occur? What factors contribute to a wounded child's future success? How is success even defined when horrific circumstances have colored the outset of someone's life?
Author Bio
Leslie J. Sherrod is the author of
Like Sheep Gone Astray
(Grand Central Publishing, 2006) and
Secret Place
(Urban Christian/Kensington, 2011). She is also a contributor to the
A Cup of Comfort
(Adams Media) devotional series and the short story anthology
But, Yet, Still
(Plenary Publishing, 2012). A social worker providing therapy to children and families, Leslie resides in Baltimore, Maryland, with her husband and three children.
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Losing Hope: Book One of the Sienna St. James Series
Copyright © 2012 Leslie J. Sherrod
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All rights reserved. No part of this book may be reproduced in any form or by any means without prior consent of the Publisher, excepting brief quotes used in reviews.
ISBN: 978-1-6016-2729-2
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This is a work of fiction. Any references or similarities to actual events, real people, living or dead, or to real locales are intended to give the novel a sense of reality. Any similarity in other names, characters, places, and incidents is entirely coincidental.
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