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The Last Day of the Great Laibon [a story]

by Michael Robbins

This story is dedicated to my father.

 

Kiana had been in the wilderness alone. It was against protocol, and exactly what she needed. That’s what she told herself anyway. Lions came to nuzzle her belly, rumbling softly, perhaps due to that acute animal instinct for knowing when something was wrong. Usually they scattered when the Old man came around.

The first time was on the first day of the month, on the first hour past noon. Of course it was. He popped around a tree on those sand scattered Kalahari plains and waved. Kiana started, then bent over the hand-held UV monitor in both her mitts and muttered, “It’s not real.”

800px-Vachellia_erioloba_-_Camel_thorn

On the second day, at the appointed hour, he climbed into the sun-screened Jeep with her with a cheery “Hello!” Her grip tightened knuckle white on the steering wheel. “You’re not real,” she repeated, almost as a mantra. Her bright green eyes shunted her off onto a vision, flashing to the live-feed six weeks past, to the same man, now more emaciated than he’d been at their last contact, seemingly plied with ever-more tubes in every vein. She blinked, jerking to the side, but the man was gone, at least for now.

Twice more she saw him, at a distance paralleling her as she did her job, collecting genetic samples from the indigenous wildlife. It wasn’t normally dangerous work, but it was always better to work in teams. Especially on the Kalahari with its hundred-degree-plus temperatures, sparse grasses, pale sand pans and gnarled camel thorn trees clawing infrequently at the sky. On the sixth day, it almost cost her.

Kiana had sampled some weaver birds but hadn’t been paying enough attention to her surroundings. Which was how the cheetah had stumbled into her. They literally tripped over one another. Luckily Kiana rolled one way and the spotted cheetah the other. Her heart hammered at her ribs with startling ferocity. That was nothing compared to the snarl issuing from the big cat.

Its eyes were cloudy. It must have an older cat who stumbled carelessly into the noonday sun and been blinded. With all the other adverse effects of climate change it couldn’t have been helped. This was not helping her at all, though. Her limbs were still trying not to move. She didn’t seem to have much control over her shrill breathing, something the cheetah’s ears tuned in on with terrible accuracy.

That’s when the Old man stepped around her, waving both long arms and yelling, startling the cat enough that she could get off a shot with her tranq pistol. It took a couple of shots to flatten the agitated beast, but it was done.

The pistol thunked to the brittle yellow grass as the Old Man swung back to her with that familiar grin. “That’s why you shouldn’t be out here by yourself,” he said. “Baby? What’s wrong?”

“…please stop,” she whispered, her overflowing eyes burning. “…god, please stop…you can’t be here…”

“I don’t see why not. The cheetah seemed to agree with me.”

“B-but, Poppa, you’re gone. You’re…y-y-you’re…”

It all came spilling out, all the tears dammed for the past six weeks, all the suppressed emotions, stealing her breath, choking her. The Old Man returned from the truck with a paper bag for her to breath into. He held onto her with soothing words as she hunched over herself, hyperventilating for how long, an hour? All she was able to choke out in all that time was, “forgive me.”

“What for, baby?” he asked.

“I-I wasn’t there, Poppa. I-I didn’t come for the end.”

“The cancer was pretty far along this time. There wasn’t a lot anyone could do.”

As he’d done when she was younger and brought home every stray dog in the neighborhood, teary-eyed, he now dabbed her cheeks with a kerchief that was the same safari-brown as his sleeveless shirt and shorts. “It’s okay, Baby. Say what’s really bothering you.”

She could look at him now, into the smiling eyes that had raised her, the face now smoothed of all aches. “Is heaven real?” she asked.

“It’s better than heaven,” he shrugged. “Go on. You can do it.”

“I can’t.”

“What, the little girl who frolicked with lions? That’s not who I remember.”

“That’s just it. I didn’t want to remember you like that, all wasted away. I wanted you to be strong in my memory. I wanted to remember all the fishing trips with you and Momma. I wanted to remember that big hug you gave me when I came home from my mission.”

“You can still have that. Nothing wrong with that.”

“But I-I’m not ready.”

“I wasn’t. Nobody’s ever ready. That’s okay. I have faith in you, baby.”

“Does Momma hate me, for not coming home?”

He blew a raspberry out the side of his mouth. “Never. ‘Worried’ is more like it. You should give her a call.” Together they stood. “I’ve been allowed this one visit. I’ve probably overstayed it already. Why don’t I help you load that cat in the cage before I get back?”

This was done in no time at all. As she slammed the metal cage shut in the back of the Jeep, he tipped her chin up, chucking her on it. “I’m proud of you, baby.”

She ducked her head with a smile. A stiff breeze whipped through her bones and he was gone. In the depression in the grass where he’d stood, there remained a small red book of Psalms, the one he’d always carried with him for forty years. The one Momma swore she’d buried with him.

Baby Killers

I leave this for your descendants

For your ears are deaf and your eyes blind

Your children will carry your names with bowed heads

This generation of vipers will pass

You will carry this legacy as a badge of calumny

It will be a testimony to your perfidy

No name calling is required

Every child who survives will remember

I want to go Apollo Creed on you all

I want to seize your false piety and warped dreams of Armageddon

And scream, WHAT’S THE MATTER WTH YOU?

I was raised on these stories

Munich, Hitler, poor Anne Frank

who should be a happy Jewish grandmother

Interspersed with moments of glory—ahh, Entebbe!

Reality would intrude little by little, exploding in Lebanon

Yet no one asks why

Why do they hate each other?

Animosity does not arise from nothing

We’re never taught to ask why

Only to choose sides, and it’d better be OUR SIDE or else

How many times have we seen these images

Emaciated shells that should be full and round

Flesh stretched tight over bones that should never be so pronounced

This is not God’s handiwork, this is no freak of nature

It is always deliberate

The speeches so full of platitudes

Oh, they were so convincing

But now I don’t know who you people are

Or what sick place you’re coming from

Our eyes are open, the masks have fallen

You people have debased our proud nation

Marco, Donnie you have shamed us

Joe, worst of all you taught me shame

Three years into your term and we’d have followed you, gladly

Thanks to you, old man, I’ve begun to shed my islamophobia

Would that you had ever done the same

Is it just children in general

Or do you despise babies who don’t quite look like you?

Is their complexion not quite right

Or is it just you?

Were your mothers this disdainful of life?

I would not waste retribution on your souls

I offer you something worse

I hope and pray that you will be forgotten

In days to come I wish it that your names,

Netanyahu, Trump, Biden

When they are spoken

Our descendants will rise from the ashes of civilization

And ask, Who? Sorry, those names don’t mean anything to me

You have created nothing

You have saved nothing

You have made NOTHING great again

May you be footnotes, barely registering

On the ledger of man’s inhumanity

https://www.erininthemorning.com/p/two-republican-congresspeople-call?utm_source=facebook&utm_medium=Being_Liberal&utm_campaign=pub&utm_term=beingliberal.substack.com&fbclid=IwdGRjcAM61xJjbGNrAzrWKGV4dG4DYWVtAjExAAEeoKgPOFedySGeQv9H4v–EH0CesyMS0oxN1tzhAW4gAFqV-kYerbVLMLaLZY_aem_utuDs2DaVIhAT4ApQBr-0g

Remembering Jackson Browne’s Running on Empty (1978)

This album was sitting prominently on a bookshelf at our county library when were living in University Place, Washington in 1979. The cover grabbed me; art is more impactful when its spread over a 12-inch surface and not squashed onto a five inch CD case. I took it home in a paper bag. Back then I walked everywhere, even to school.  

My memory is that I loved that album; maybe I loved some tracks more than others. I wasn’t too familiar with Jackson Browne. I blame FM radio. The only song I’d ever heard from him was back in our house in Fircrest, “Doctor My Eyes”, back in 1972—six years before! I hear “The Pretender” on my store’s radio network NOWADAYS, but most AM-FM stations only played the hits. Critics may have loved him, but most of us (myself at least) were oblivious. After 1979 and checking out that LP, I was more aware of Browne and paying attention more when his songs hit the airwaves.     

This LP was recorded on the road, either in concert or into hotel rooms, backstage in at least one case (“Nothing but Time”) on a bus in New Jersey on the way to another gig. Basically it was a travelogue of musicians, by musicians, about life on the road. “Running on Empty”, “The Load-Out” & “Stay” were recorded live at Meriweather Post Pavillion in Columbia, Maryland. “You Love the Thunder” was performed at Garden State Arts Center in Holmdel, New Jersey, while “Love Needs a Heart” was taped in Universal City, California.

Some songs were meant to stick out. The big hit getting airplay in the summer of ’78, along with the music from Grease, was “The Load-Out”, which segued into a cover of Maurice Williams & the Zodiac’s “Stay”. “Stay” was the A-side of a double sided single, backed on vocals by Rosemary Butler and David Lindley on falsetto in the second verse. (To be fair, the Zodiac’s version was short at 1 minute, 36 seconds long).     

Other tunes I no longer appreciate on principle, such as “Cocaine”, recorded in a hotel room at a Holiday Inn in Illinois. Having seen the damage drugs had done to my family in the ‘70’s, I’m finding myself of the permissiveness, and also sad for all the artists buried by their addictions.        

Some songs I understand better, now that I’m older, especially the title song. No that I’m a musician, but I can relate. The verses make sense in a general way, like this one:

I look around for the friends that I sued to turn to to pull me through/     

Lookin’ into their eyes, I see them runnin’ too

Blue Oyster Cult: Some Enchanted Evening (1978)

I found this in one of those cut-out bins at a local drug store in 1979; that must have been 45 plus years ago. I don’t know why it was in a cut-out bin, it was an extraordinary album. It was my first experience with Blue Oyster Cult. Apparently, the best way to listen to this band is in a live setting. It’s actually their second live LP, after 1975’s On Your Feet or On Your Knees. This record’s only sin is that at 38 minutes, it’s too damn short.     

The classic line-up is here—Buck Dharma on guitars, Eric Bloom on vocals & stun guitar (whatever the hell that is), Allen Lanier on keyboards, Joe Bouchard on bass, and his older brother Albert Bouchard on drums. Four of the numbers are from their most recent albums (‘R.U. Ready to Rock’ and ‘Godzilla’ from Spectres (1977), and ‘E.T.I. (Extra Terrestrial Intelligence’ and ‘(Don’t Fear) the Reaper’ from Agents of Fortune (1976)). Only one song originates from their early albums (‘Astronomy’, from Secret Treaties (1974), but then they’d only released five albums at this point. The last two numbers are cover tunes.

The cover reaches out and grabs you. The Grim Reaper rides a black horse over a desert landscape. T.R. Shorr (ie, Todd Shorr) painted it based on a concept by Hillary Vermont and Marty Pekar, with Andrea Klein for the sleeve design. This album recalls the times in the 1970’s when Metal gave the impression of obscure meanings in mystic lyrics.   

This was recorded at different venues, for instance at the Fox Theatre, Atlanta, Georgia (‘R.U. Ready to Rock’ & ‘Kick Out the Jams’); the Columbus Municipal Auditorium in Columbus, Georgia (‘E.T.I.’ & ‘Astronomy’), both in April, 1978; New Castle City Hall in the UK, June 1, 1978 (‘Godzilla’ & ‘We Gotta Get Out of This Place’). ‘(Don’t Fear) the Reaper’ was recorded live at Barton Coliseum, Little Rock, Arkansas on April 9, 1978.

The show launches off with a kick-ass rendition of ‘R.U. Ready to Rock’ and never lets up on the momentum. Donald “Buck Dharma” Roesner cranks out some masterful solos without a trace of the self-indulgence Led Zeppelin was known for. Not one song overstays its welcome. I didn’t know MC5 growing up, but I think BOC took their version of ‘Kick Out the Jams’ and made it their own.      

I first heard ‘Godzilla’ on one of those late-night rock concert shows they had in the 70s, Night Flight maybe, with a Godzilla head bobbing in the background. I couldn’t believe somebody had actually done a song about him. I’ve always been a Godzilla fan, having watched a lot of admittedly dubbed movies on Saturday afternoon reruns. That song captures the grandeur and sheer terror, the force of nature that is Godzilla.     

Everybody knows (Don’t Fear) the Reaper’; it’s the only BOC song they’ll play on the radio these days. This performance from Arkansas is more energetic than what we heard on vinyl. Eric Bloom channels Eric Burdon’s vocals on the closer, “We Gotta Get Out of This Place”, and it’s just possible BOC exceeds the Animals on this tune. I know there’s an expanded version on CD somewhere out there, but this LP remains a treasured favorite. You need to try it sometime.