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BORN A FOREIGNER DIARY – Part 1

OR HOW I CAME ACROSS THE MOTTO FOR MY PLAY (one of potential others)

AND WHAT HAPPENS AFTER THE PLAY WAS WRITTEN AND THE  DIE WAS CAST

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In December last year, not so long ago, I finished writing Born a Foreigner, a play currently submitted to the  Talking About Borders international drama competition. The term in the title has an interesting history. The complexity of its meaning goes far beyond the five acts of the play I wrote, which is why I hope to dedicate it a few other posts here at a later time.

Ever since  I finished writing this play – or, rather, ever since I initially thought I had finally wrapped it up – I have been haunted by its immaterial yet-not-so-ghostly corpora and had to revisit it on more than a few occasions.

In the world of metaphors that life often swerves me into I picked up – or thought I did – character lines or responses, and continued to make  associations that led me to the next set of inevitable post scriptum revelations; in short, as the tormented author (and now emerging dramatist) that I prove to be, I continued to keep the flame burning, which continued to sparkle more ideas about the treatment of the subject, brought forth a dedication, plus the thought of extended notations and directions for the opening of the majority of acts. Last night  I found the motto (the first of possibly more) for Born a Foreigner, which I’d like to share with you here. It comes from Constantin Brancusi (1876 – 1957), one of my favourite artists of all time. Here it goes:

There are no foreiners in art.

I may not have come across this quote scribbled down a while ago if I hadn’t written a post on Florentijn Bruning’s Mona Lisas on my poetry blog yesterday, which starts with another quote from Brancusi, his definition of art. Click here to read it.

The acclaimed music producer Ashish Mahchanda, founder of  the Flying Carpet Production company in Mumbai, whom I met in my trip to India in 2010 and with whom I share the day of birth and a timeless sense of friendship, believes that even after a song seems finished, one should always take about two weeks’ time to revisit it for potential changes and overall improvements. In the case of Born A Foreigner, which is entering its first post scriptum month, there are still improvements to be made, from its layout to the note additions before some acts, or to the plethora of questions, and who knows, maybe even more mottoes to be uncovered. 

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As for the parallels, here is a recent one I drew between the scene discussing the dead zone in The Good Wife (created by Michelle King and Robert King, episode 2, series 3, 2012):

The Good Wife: ‘Mr Branch, what is the death zone? ‘
Mr Branch: ‘The death zone? In mountaineering parlance it’s the altitude above 26,000 feet where oxygen is insufficient to sustain life.
The Good Wife: ’It’s also a place where perceptions were not be fully trusted?’
Mr Branch: ‘Sometimes.’
The Good Wife: [...] And an absence of oxygen would increase the likelihood of untrustworthy perceptions?
Mr Branch: ’Yes.’
The Good Wife: ‘So, when you say that you … we have to take your word for it, and yet your words could be coloured by your oxygen-deprived perception.’
Mr Branch: ’I believe… that follows.’
The Good Wife: Your Honour, I would like to make a motion at this time to dismiss this law suit. [...] There is too much inherent uncertainty here. This is a case built on perception, and the death zone makes those perceptions essentially suspect.

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and the scene discussing the death zones in Born A Foreigner:

NOMURA: “[...] sometimes the strong cannot withstand the weak. [...] Massive fishing, pollution and an increase in water temperature have led to lower oxygen levels, creating what scientists call a dead zone. As you can very well imagine, very few species can survive in these toxic zones where the sewage and run off can only provide nutrients for the zooplankton…
ALTA and WIDO, in unison: “The giant jellyfish!”
NOMURA: “Indeed! The jellyfish can thrive in the dead zones, feeding on zooplankton, which is their favourite food.” She takes a sip from her tea and places the cup on the table.
WIDO: “Are there many such dead zones on Earth?”
ALTA: “My question, precisely.”
NOMURA: “There are currently hundreds of dead zones in the world’s oceans. None of them were spared. My father also tried to find a possible solution. He studied the reproduction process and the various stages in the development of jellyfish. He noticed that any increase in light and temperature increased their breeding rate. Unfortunately, he died before he could complete his research.
She stares out somewhere in the distance for a while and then goes on.
Other scientists have tried to reduce the  number of jellyfish by means of force. They sent out large ships to spot them, equipped with huge nets with metal cables that were meant to shred entire groups of  giant jellyfish.
Alta stifles a sigh.
WIDO: “And, did it work?” [...]

*

To be continued

10 Best Krakow Hangouts

Krakow is at the heart of many writers and artists. Here are novelist James Hopkin’s

favourite hangs in the city.

Mocak graffiti

Graffiti near the Museum of Contemporary Art, Krakow. Photograph: James Howard

Museum of Contemporary Art in Krakow (Mocak)

One entrance carries the glittering sign, “Kunst macht frei” (art makes you free). The pun is not arbitrary. The museum, designed by Italian architect Claudio Nardi, has been built on the site of Oskar Schindler’s factory in the city’s post-industrial Zablocie district, retaining one of the original walls and adapting six other buildings. The History Museum’s Story of Nazi Occupation is also on-site.

There are glass floors, complex walkways, slanting roofs with skylights. The warehouse atmosphere (which, in the basement, can feel like an underground car park) is broken up by cubby holes, intimate film rooms, video-boxes and a lively mix of genres. 
 Ulica Lipowa 4, +48 12 263 40 00, mocak.com.pl/en, £1.90 (free on Tues), children under seven free. Open Tues-Sun 11am-7pm

Ulica Kanonicza

Ulica Kanonicza Krakow Photograph: James Howard

My favourite street in Krakow, a cobbled lane of 14th-century townhouses leading to the Wawel Castle, is beautiful by day or night. There’s the Kawiarnia Literacka (Literary Cafe) at No 1, an old-school subterranean cafe and a former haunt of writers during communist times. Next door is the Cricot Theatre, Tadeusz Kantor’s avantgarde theatre (tinyurl.com/cricottheatre). Walk among the eerie machines and mannequins of this subversive director’s work. At No 11, you’ll find Bona: Books and Coffee, with a selection of Polish books translated into English (bonamedia.pl). Before you reach the castle, don’t forget the house where Pope John Paul II lived when he was Archbishop of Krakow (1951-67).

The Jewish district of Kazimierz

No-Bo, Krakow No-BoNo-Bo (Ulica Meiselsa 24, restauracja-nobo.pl) is a new 50s-style cafe-diner with film posters, good coffee, daily specials from 17zl (£3.30) and a wide-ranging menu including breakfasts both English and Polish. Next door you’ll find the delightful Mleczarnia, a former Jewish milk bar, with an interior of gramophones and candelabras and sepia photographs. There’s a lovely garden opposite, one of the best spots in the city when the chestnut and cherry trees are in full bloom.

Ulica Józefa, Kazimierz

Love Krove, Krakow 

Love Krove. Photograph: glodnawrazen.com.pl. 

This is a fascinating street of antique shops (starocie) and offbeat boutiques including, No 20, Butik (ideafix.pl), which features only Polish designers. At No 8 Love Krove (facebook.com/lovekrove) is an almost unbearably trendy burger joint for hungry hipsters. Choose from a dozen burgers (£3.20-£6), and squeeze between the brightly coloured furnishings, the chunky spectacles and those angular hair-dos-and-don’ts. Still, it’s a first for Krakow.

For cafe-bars, find a cushioned nook in the small, rambling rooms of Eszewaria (No 9), or cross the road to sister bar Esze (No 18), my retreat of choice, with its low-slung armchairs, old sofas and lamps, drums as tables, swing-seats at the bar, and a real fireplace and smoking room. There’s Fairtrade coffee, and – a trend at the moment – unpasteurised Polish beers such as Perla and Ciechan.

Warning: Ulica Józefa Nos 8-13 (including Eszewaria) will close in the not-too-distant future as the buildings are owned by the church and they want to build … a hotel!

Accommodation

Hotel Copernicus Hotel CopernicusSodispar (sodispar.pl) is a friendly agency renting basic twin-bed studios for 150zl (£30) or luxury apartments for up to 10 people for 490zl (£98). Its old town flats are on the best streets, within walking distance of the main square, and for my zloty, the best value for kipping in Krakow. Repeat guests are rewarded with a 20% discount, and the website carries last-minute offers.

For those looking to the stars, the Hotel Copernicus (Ulica Kanonicza 16, hotel.com.pl, doubles from £85) is a consummately stylish hotel named after the Polish mathematician-astronomer Mikolaj Kopernik, who studied in the city. The Copernicus is the sister hotel of the Stary (staryhotel.com, doubles from £175), where the England team will be staying, but offers a much quieter spot beneath Wawel Castle, a suite with a restored 15th-century fresco and a dining room with a 16th-century wooden ceiling, plus 29 sophisticated rooms of dark oak and leather. A swimming pool in the medieval cellar completes the elegance.

Podgórze

podgorze bridge, Krakow Pódgoerze Bridge. Photograph: James Howard

Podgórze is a working-class area being revitalised by bohos fleeing the tourist-flooded centre and Jewish district. The recent Laetus Bernatek footbridge (named after a local monk) has opened up previously dark and dangerous areas both sides of the river.

Drukarnia (Ulica Nadwislanska 1, drukarniaclub.pl/english.htm) is a happening venue, ideal for enjoying sunsets over the River Wisla. The cafe-club has a basement for concerts and DJ nights, a saloon-style smoking room and a smarter side with velvet seats, a long bar and huge windows on the river.

A tower block behind sports work by the famous Italian graffiti artist Blu. Back on the other side of the bridge, there’s Cocon gay club (Ulica Gazowa 21); the owner, Janusz, once worked for Radio Free Europe.

Underneath Cocon, you’ll find the Teatr Nowy (teatrnowy.com.pl) patronised by the transsexual MP Anna Grodzka, and currently running an adaptation of Michal Witkowski’s Lovetown, a funny and ribald look at gay life in Poland. Round the corner, there are two new cafes as you approach the bridge from the city side: Mostowy Art Cafe (Ulica Mostowa 8) is a large and elegant gallery cafe, while Po Drodze (“on the way”), next door, offers a cosy old kitchen feel in which you can take your coffee with a vodka shot.

Restaurants and bakeries

Pod Baranem, Krakow Pod Baranem, Krakow

Though Wentzl (Rynek Glowny 19, restauracja.wentzl.pl/eng/indexeng.html) is still prospering after more than 200 years of superior dining, my current favourite is Pod Baranem (Ulica Sw. Gertrudy 21, podbaranem.com/english.html), a father-and-son-run enterprise, frequented by Polish presidents, painters and poets, who sit beneath paintings by the leading contemporary artist Edward Dwurnik. It’s quiet and low-lit, serving the very highest quality Polish food: hunter’s stew, homemade pork sausages, pork jelly, venison pâté with Cumberland sauce. Also try piernik ginger cake with coffee butter and cherry vodka, followed by a shot of homemade walnut vodka. What’s more, the male-only staff have all attended waiters’ school, making the service attentive and friendly – a rare treat in Poland. The lunch menu is a mere 18zl (less than £4) an evening meal from around £10 per head plus drinks.

Krakow chatter is of the Gessler Restaurant, a new sensation at the otherwise outmoded Hotel Francuski (Ulica Pijarska 13). A famous Warsaw TV chef, Adam Gessler, has moved to the city to revitalise this old hotel’s kitchen. The results have been dramatic, turning a previously empty restaurant into a spot very popular with those in the know, not surprising at 20zl (£4, double that for evening) a pop for a lunch menu of, for example, pea soup, veal cutlet and dessert.

Krakow is a ciasto-miasto, a cake city. Cupcake Corner (Ulica Bracka 4,cupcakecorner.pl) has daily variations of coffee and cupcakes, from carrot to liquorice. The Michalscy Cukiernia (michalscy.pl) cake shops are probably best value and you can find them all over the city, serving up the calorie-clocking Polish delicacies of szarlotkaapple cake, sernik cheesecake and 10cm-tall towers of pink cream sandwiched in flaky pastry.

Festivals

Zadie Smith, Milosz festival 

Zadie Smith, Milosz festival. Photograph: Tomasz Wiech

Small wonder the city is applying for status as a Unesco City of Literature. Krakow hosts the Milosz Festival in May (milosz365.eu), and the Conrad Festival in November (conradfestival.pl/en). Milosz is one of the city’s two Nobel prize winners for literature, whereas Joseph Conrad spent his childhood years in the city.

I’d also recommend the Sacrum Profanum (sacrumprofanum.com/en), Film (kff.com.pl/en), and Off Kamera (offpluscamera.com) festivals. The city is very proud of its new Opera House (opera.krakow.pl/otwarcie_en.php), whereas Nowa Huta, a communist-era workers’ district, has a nascent arts scene, including the theatre/venue Laznia Nowa (laznianowa.pl/laznianowa/index.php/en). Check out the Coke Live Festival in August (livefestival.pl/en) and the Selektor Festival in June (selectorfestival.pl/news_en.html) for live music with increasingly impressive line-ups.

Bar-clubs

Ambasada Sledzia Ambasada Sledzia

Ambasada Sledzia (“The Herring Embassy”, Ulica Stolarska 8-10,tinyurl.com/ambasada) is so named as it’s opposite the American Embassy, so you get a 24-hour police guard to go with your drinking. Non-pasteurised Kasztelan beer, a glass of wine and a shot of vodka are all at 4zl (80p). “Polish tapas” means cheap sandwiches and soups, plus herring in oil, sour cream or beetroot. Herring is known to go well with vodka, hence the Polish saying, “a fish likes to swim”.

The bar-club Rozrywki Trzy (Ulica Mikolajska 3, tinyurl.com/rozrywki), run by the owners of the legendary Piekny Pies (piekny-pies.pl), has an underground dancefloor, and hosts gigs and film nights.

Adventurous types should seek out Literki (“letters”, Ulica Berka Joselewicka 21), down a dark side street a 10-minute walk from the centre, and behind a metal door, with a roster stretching from jazz jams to “dubstep & grime” nights. You have to keep your ear to the ground to find out what’s going on in this place.

Walks and wanderings

The Planty, Krakow

 The Planty. Photograph: Alamy

You must walk the chestnut-lined strip of gardens, known as Planty, that circles the city alongside the old walls. It’s a lovely walk all year round and a great way to see local history and people alike. In the centre, wander along Sw. Marka and Sw. Tomasza streets, browsing small galleries (Sw. Tomasza 22, galeriafotografii.eu), antiquarian bookshops and many fine churches, before heading to one of Krakow’s best-kept secrets, the roof-cafe of the Music Academy (Sw. Tomasza 43) for unrivalled views of the city. Only don’t tell anyone I told you.

James Hopkin is the author of Winter Under Water and the award-winning short story Even the Crows Say Krakow (Picador, £1.99,tinyurl.com/eventhecrows). His Dalmatian trilogy of short stories will be broadcast on BBC Radio 4 on 1, 8 and 15 January at 7.45pm.

New Authors, New Writing: Clar Ni Chonghaile

Purple Rain

Story published with the author’s permission

The purple rain falls in October. I sweep it from the drive with my bamboo brush,

 bending low, scraping the hard bristles across the tarmac. It takes me all day and the job is never done. I like it that way. Otherwise, I’d be sitting in my hut, watching the gate, waiting to open it when the boss arrives. Or his wife. Or the ayah coming with the girls from school. So to fill the hours, I sweep up the purple rain. And it falls again before I reach the end of this winding stretch of tarmac that has been my place of work for 15 years. So I start again, retracing my steps, my old, red flip-flops slapping the tarmac.

Until today. Today was different and yet some things stayed the same. I felt the same hostile eyes on me as I arrived for my shift before dawn. The other guards on the street don’t like me. I hear their whispers, though they think these old ears don’t work anymore.

“There goes that useless Luo,” they say. “He thinks he owns the place, but look at the holes in his trousers, look at the shoes. Who hires a Luo as a guard? A boy for a man’s job!”

These other guards in their smart uniforms and shiny, black boots are Kikuyu. I come from the west, from the wet, green lands near Lake Victoria. Obamaland. But it’s not that simple either. I came to Nairobi in 1970, when I was just 20. This tough city that forgives no one has been my home for 40 years. It is the home of my wife and my four children. They come with me to the village sometimes but the older ones less and less. The village has lost its power: it ebbed away with each death. First my father, then my mother, my brother, my sister, my aunt. There is not much reason to go there now. And it is expensive.

But here I will always be a Luo. They know it, just as I know them as Kikuyu. I can’t explain it. It’s not as easy as saying someone has big lips or a big nose or narrow eyes. It’s there though.

“Habari yako mzee,” calls the new guard with the wide, white smile that says here is a young man who is yet to discover real pain.

He is polite and maybe a little silly. He does not join in with the others when they gossip about me. This will cause him problems later but maybe he will not be here long. Guards come and go a lot. Sometimes he brings me hot chai, especially when it rains and the water leaks through the roof of my hut. I built that shelter myself, piling logs and wood on top of each other beside the gate, adding cardboard to plug the holes and keep out the cold wind that rushes through the trees before the rain, telling us to get ready and sending leaves spinning to earth, spinning onto my drive, giving me something to do.

Nobody ever told me to sweep the drive. Not my boss now, or the men before him. I just do it. I like to keep the place neat. I was always a tidy boy, helping my mother sweep the yard outside our hut near Kisumu.

“Sweeping the leaves again,” the other guards jeer.

They sit on the kerb, in the shade, gossiping like women, whispering like naughty children. I have no time for such talk. Especially not when those purple flowers from the jacaranda keep falling, speckling the drive, my drive.

Today, the girls came from school early. It is half-term. Tomorrow, the family is going to the coast. Their father is a banker, a fair man. He always thanks me, pays me regularly, and gives me a good Christmas bonus. He sometimes gives me shoes and clothes that he no longer wants. I give them to my two boys. My boss is more generous than some of the Kenyans around here. The mzungus sometimes make better bosses.

My previous boss was a mzungu, an aid worker from Sweden. He stayed for three years and his wife used to bring me food. The whites still feel guilty. Even the ones from countries that had nothing to do with Africa’s past. Maybe they should. I don’t know. I can’t imagine what it is like to be them. I don’t really want to. I’ve spent my adult life working for people I don’t understand, people I can’t understand. Even my Kenyan boss now. He is as remote from me as the Swedish aid worker with the comfortable-looking sandals and the cheery wave.

The eldest girl, Chrystal, got out of the car to help me shut the gate. She does that whenever it is not raining. She is six and chatty and reminds me of my youngest, as she was. She is now 19, but there is something in Chrystal’s cheeky smile and curious eyes that pulls those memories of Achieng back from wherever we put our past lives. 

“Can I help you sweep mzee?” Chrystal asks.

“Sawa, okay.”

I like the way she calls me mzee, carefully, respectfully. I give her the brush. She grabs the handle and the sharp bristles scrape on the pitted tarmac. The jacaranda flowers run from her strokes. She puffs, her little face frowning. She is a good girl.

“This is hard work,” she moans.

Her little sister, Nadia, joins us. She is only three and is the friendliest of the whole family. She greets me by name.

“Omondi, hello.”

She fights her sister for the brush and I have to separate them or they will poke each other with the sharp bristles.

“Give it to your sister, Chrystal. Let her have a turn,” I say quietly.

“Why? She always gets everything. It’s not fair!” Chrystal flings the brush down and stomps off to the house.

Nadia picks it up, looks at me with those soft eyes, and says seriously, “Chrystal is naughty. Not sharing.”

She tries to sweep the purple rain but the brush is nearly as big as her and she trips over the bristles. She laughs as she sits where she fell, grabbing handfuls of the flowers and throwing them in the air. The ayah calls her for lunch.

“Kwaheri,” she sings, running up the drive.

“Kwaheri,” I reply. And, to be sure, “Goodbye.”

I know she does not speak Swahili with her parents. Her mother is Rwandan.

I eat my ugali in my hut, balling the paste between my fingers before popping it in my mouth. It looks like the guard with the big smile has gone home. The three large Kikuyus from the houses nearby have eaten and are stretched flat on the soft grass beside the road. They are not talking now. It is too hot, and with lunch out of the way and no one expected home, it is time for a nap. I will not lie down myself. My hut is inside the gate and I would never lie on the children’s lawn. I may be old and frail and a joke in this neighbourhood but I have my dignity. And I do not want to hear any jeers today about lazy Luos. I doze as I sit on the worn armchair that the Swedish boss gave me after he saw me sitting on a bottle crate. The chair used to be red, I think, but like everything in the hut now it is a kind of brown.

After lunch, the girls come out again. They bring their bicycles down the drive. They are going to cycle in the street. Here in the compound, they can do that. It’s a luxury in Nairobi where most roads have no paths. You would have to be crazy to cycle on the road itself, with the matatus roaring past, swerving at top speed, overtaking on corners, their passengers staring out the dirty windows like they don’t care or won’t care or have been numbed by the blaring music.

I used to cycle here when I first arrived though. I got a job delivering crates of eggs to the market stalls around Mathare. I would pile the crates high on the back of the squeaky bicycle I rented from a cousin’s friend. The tower reached above my head and wobbled so much that I was always fighting the sway to stay upright. The hills nearly killed me. My legs would be on fire, my shoulders aching, but I would cycle all day. I needed the money. I was married already and my son was a year old. One day, I hit a pothole when I swerved to keep out of the way of a four-by-four and the bike toppled over. I lost all the eggs in the top crate but no other egg was broken. I had to pay for the lost eggs but, as my wife said, it could have been much worse. Things can always be worse. That’s what I have learned and that knowledge is what will eventually dim the smile of my young friend with the hot chai.

The girls’ ayah comes with them. Chrystal cycles away quickly, heading up to the end of the street, her legs pedaling furiously, as if she is trying to get away from something. Nadia tries to keep up, screaming at her sister to wait. The ayah, Mary, and I laugh. We stand together at the gate and talk about our families, using Swahili and English but separate words. We don’t use Sheng, that mish-mash of both languages that my children speak. Mary thinks it is vulgar and I am too old to learn another language.  She does not speak my language, nor I hers. She is a Kamba from Embu, up north.

“How is your husband now?” I ask.

“He is much better, thank God,” she says, frowning. “The doctor said typhoid. I am not surprised. It is the second time this year. I tell him not to drink from the tap in his master’s yard but he won’t listen.” She sniffs angrily.  “Maybe he will listen now.”

Her husband is a driver for an Indian businessman. He works in Gigiri, up near the United Nations and the American embassy. He is young, like Mary, maybe only in his early thirties. They have three children, all under seven. Mary is a tall woman, very thin and she frowns a lot. Her husband does not earn much, but he works long hours. He comes here sometimes to pass messages to Mary. He is silent and withdrawn and each time he looks thinner. He is often ill.

“Thankfully Madame gave me some money for the doctor. Otherwise, how could we manage? With the children at home for half-term, I have to pay my sister to look after them,” Mary says, shaking her head.

She fell silent. She was twisting her hands around and around. I only then noticed how nervous she was. She was still frowning, even though we had stopped talking. Suddenly, she turned on her heel.

“I left a cake in the oven,” she called, as she hurried away. “Keep an eye on the girls for a minute, will you?”

Chrystal was cycling back down the hill that leads to my gate, away from the main entrance. The askaris weren’t standing inside as usual. Maybe they were in their guard hut, a solid, brick building on the right-hand side of the iron gate. Nadia was frantically pedaling down the hill, trying to catch up with her sister, still shouting.  Chrystal shot past me, laughing madly, and got off her bike at the gate. She took off her helmet and shook out her braids.

I moved forward. I was afraid Nadia was going to fall. She was speeding down the hill, wobbling dangerously but laughing too. And now I noticed something else. Where were the guards from our street? They had left the grass but they were not sitting on the kerb as usual. Maybe they were inside their gates. But all of them? That’s when I saw the car. It took me only a second to understand what was going on.

The black car screeched to a halt at the top of the hill. I had never seen it before and I know every car in this compound. Two men jumped out of the back, one each side. The engine was still roaring, the men were running down the hill towards Nadia. She was only feet from me now.

“Nadia, come here,” I yelled, anger and fear poisoning my voice.

But she just sat on the bike. She had never heard me yell. I had never yelled at her.

“Chrystal, inside!”

I could hear Chrystal’s bike falling and hoped she was running to the house, but I did not dare take my eyes off Nadia. Her face quivered, she looked like she was going to cry but she hadn’t turned round yet. She had not seen the men behind her, running and waving the blades gripped in their fists.

“Move, old man!” one of them shouted. “This has nothing to do with you.”

The other man, a teenager really, grabbed Nadia off her bike. She started screaming but still no one came. I stood in the road, too old, too scared, as they carried her up the hill towards the snorting car. Now, she was calling my name, screaming “Omondi, Omondi! One little hand was stretched towards me. I started to move but I was slow. I began to run. One of my flip-flops broke. It had been going to for a while. I kicked it away.

“Get back old man. You have no business here.”

It was the older man, his head covered in a dirty wool cap, his eyes squinting in the early afternoon sun. His teeth were cracked and dirty and his nose looked broken. I had reached the crest of the hill. I was just feet from the car. They had thrown Nadia into the back seat. She was sitting there, shaking, crying but not saying anything now. The teenager sat beside her, one hand on her lap to keep her down and the other holding the knife.

“Come on, let’s go!” he yelled.

“What do you want with the child?” I said, hoping someone would come.

But waspish thoughts were buzzing in the back of my mind. Where were all the guards? Why had Mary gone inside? How had these men got past the main gate? The askaris were either tied up, beaten, dead or in on it.

“Don’t take her. She’s frightened. She’s just a baby. What are you going to do with her? How will you care for her?”

“We won’t have to. If your boss wants her back, he’ll pay, and fast. We won’t hurt her. But he’d better pay.”

Suddenly, I was outraged. Who was this young thug to speak to me like this, to seize that beautiful child, to still her laughter and teach her such fear? I might be old and poor but I was not completely useless. I was an elder. I would demand my share of respect.

I stepped forward, trying to push past him to Nadia. He grabbed my arm and pushed me back but I came again. This time, his right hand flashed forward and I felt a warm wetness on my stomach. And pain. I staggered.

“Go!” he shouted, falling into the passenger seat.

They roared up to the main gate. Another man, not one of our guards, came out of the hut, opened the gate and jumped into the car too. He was carrying a gun. How had I not heard the shots? Maybe they did not shoot the guards, maybe they just scared them. The gun probably didn’t even work.

Blood was seeping from between my fingers now. I staggered again but headed down the hill. I passed Nadia’s bicycle. It had fallen over when the man pulled her off.  My broken flip-flop was on the grass. There was no one around but I felt eyes on me as I stumbled, blood dripping onto my one flip-flop and onto the road. I left my mark on those stones. I had to get back to the house. I had to see Chrystal, I had to be ready for when the police came, and my boss and his poor Rwandan wife who had come to Kenya for a better life but whose heart was about to be broken.

The gate was still open. I started up the drive. My brush was lying where I dropped it when the girls came out to play. I bent down to pick it up. That’s when I fell, dropping to my knees like the old man I am.

I lie here now, looking at the sky. I think I hear voices but I know they do not speak to me. There is no time left for speech. Nadia’s voice is in my head. “Omondi, Omondi!”

I want to answer but I can’t seem to get my mouth to work. I cannot move but this does not bother me too much. The purple rain is falling, falling onto my face.

Breakin’ Bread on My Birthday

Happy Birthday!-s feel as joyous everywhere on this planet.

Breaking bread anywhere in the world comes just as easy. :D

Fred Wesley’s


♥concert at the Jewish Festival on July 2nd inspired me to dedicate his song to all of you who sent me their best wishes on my birthday this Saturday!♥

♥You can watch the entire concert at this link:

21 festiwal zydowskie w krakowie – Szeroka Czesc 5.♥

♥The concert starts at minute 08:00

and the song that I dedicate to you, Breakin’ Bread, starts at 31:33!♥

♥Enjoy & visit my poetry blog for my Birthday Award Ceremony - LIVE right now! 

Take a PEEK to see who the awarded books went to! You might follow next & you might like it! :D

Abraham Inc. Concert, July 2nd, 2011

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