This Is How I Remember You

Remember

Illustration by Charles Owen / THE REPUBLIC. 

THE MINISTRY OF ARTS / PEOPLE DEPT.

This Is How I Remember You

Writer, Tonny Ogwa, reflects on the death of a friend and the struggle with coming to terms with the unexpected loss.
Remember

Illustration by Charles Owen / THE REPUBLIC. 

THE MINISTRY OF ARTS / PEOPLE DEPT.

This Is How I Remember You

Writer, Tonny Ogwa, reflects on the death of a friend and the struggle with coming to terms with the unexpected loss.

Even in the Kanjo (City Council Police) uniform, he looked plain, unremarkable, like a little stone you mindlessly kick on your way to wherever. Now, as he leaps from one matatu to another, hurling infamies and pocketing crumbled currency notes from filthy matatu touts with filthier mouths, you can tell this is a man who has never qualified for anything in his life. A man whose only redeeming quality is that there is a possibility he was also created in the image of God. You look at him, his squinty eyes darting inside his puffed face, and you wonder if he knows his own vacuity.

He saunters along Tom Mboya Street with false braggadocio, and the scrawny hawkers selling poverty for a pittance flee before him, stirring dust that crowns his glory. He loves this; he chuckles and rubs his ballooned belly in a sadistic glee as another terrified hawker begs him not to confiscate his stock. He is the almighty Kanjo, the ruler of Nairobi downtown’s poor. Here, he is lord, made so by whoever bribed whoever receives bribes at City Hall to make people Kanjos. You wonder if he recognizes his inadequacy; the deep-seated truth that he is but an inconsequential existence upon the face of the earth. You see his mediocrity in his posturing, in his ill-fitting uniform, in his extended belly that’s threatening to detach from his meagre self. His life is, and always will be, unremarkable. Never stood out. Never earned anything good that ever happened to him. Never made a mark on the sands of time. You suspect he knows this even as he violently pries a suck of oranges off an old woman’s shaky hands. Even as he snarls at two teenage girls, video recording him as he yanks a helpless woman out of her car for parking in a space reserved for his giant ego.

You watch him tread his dull, uncomprehending life and wonder if yours is any better. Or even if it matters. Seated in the bus, boiling in your own sweat as the sweltering Nairobi sun lashes like she (Nairobi sun has to be a she, a scorned she) is owed money, you wonder if any of this life matters; your dreams, ambitions, talents… what good does it do Van Gogh that he is now considered the most influential painter of all time? Does this change the reality he lived, that of an unappreciated, deeply troubled man?

A street boy with a mouth full of teeth and eyes as hungry as death knocks tenaciously on your seat’s window. ‘Uncle, nisaidie 10 bob ya food.’ (Uncle, give me some 10 shillings for food) You look back at him, past him, unblinking, unfeeling, an indifference to suffering, a numbness to the world. You watch his face morph from expectation to disappointment when he realizes you’re not only not a good Samaritan, but you may not even be from Samaria. When he limps away, you pull out Remmy Ngamije’s novel, The Eternal Audience of One, and mindlessly flip through its pages so you don’t turn to the guy next to you, who has been howling on his phone for the past 30 minutes, and punch his teeth in. So you can forget to remember that your friend lies dead at a mortuary somewhere in this city.

Even as the Kanjo guy runs his button on another hawker’s back, even as you flippantly flip through the pages of this book, even as your mouthy seatmate slathers litres of saliva all over you, you wish you had never seen him lying there at City Mortuary with his chest wide open, looking like a scarecrow made of human flesh.

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‘WE STAND ON THE BRINK OF A PRECIPICE. WE PEER INTO THE ABYSS. WE GROW SICK AND DIZZY’

At City Mortuary, the pungent formalin stings your nose and forces tears from your dry tear ducts. But you don’t flinch. You don’t close your eyes. You’re determined to confront mortality. To look death in the eye and hopefully not succumb to its despair. You observe the crushed ribs, the severed limbs. You study the eyes, and the finality of the tightly clasped eyelashes disorients you. The thin, invisible line between being and not being daunts you. Later, you’ll be struck by powerful pangs of memories of the first time you encountered those eyes. But for now, you watch the mortician’s mouth moving, saying things that no longer hold significance. ‘Unaona the liver is entirely crushed, huyu hangesurvive,’ (You see his liver is entirely crushed, he would have never survived), he remarks flippantly, in a way that convinces you he would say the same thing about a dead dog. You contemplate how someone, of their own accord, would choose to dedicate their life to serving the dead. Nonetheless, you envy how unaffected he is by this display of mortality, this concrete proof that none of us is safe from the inevitable.

Yesterday, this body lying on a filthy table with an open thorax was a friend, a son, a brother, a father. Today, he is a thing which the mortician prods for a while, pulls off his gloves, licks his lips, then grins at you and your friends and says ‘Familia ilishanunua chai, nyinyi sasa nunueni soda nitengeneze huyu rafiki wenyu vizuri.’ (The family had bought me some tea, now you guys should buy me soda, I prepare your friend well). The Kanjo guy demanded bribes to serve himself; the mortician demands a bribe to serve the dead. You dislike the mortician more for his complacency, for being such a willing servant of the greatest enemy to man—death.

You cannot reconcile this body lying before you with the friend you knew. The guy with slim, delicate hands who wore razor-sharp skinny suits, laughed easily, and muted his voice whenever he talked to pretty girls. This person lying on the mortuary table with his torso open looks like him, but certainly is not him. This person doesn’t shake your hands, then subconsciously wipes them on the back of his trousers like your hands have shit on them. He doesn’t say ‘Omera since uomoke umepotea sana.’ (Bro, since you got rich, you’re not easy to find) and ‘Ichwee sana bana kwani ichamo ang’o?’ (you’re so fat, what do you eat?) Then laughs good-naturedly like he didn’t just call you fat. This person just lies there with his broken body. This person does nothing.

In that moment, a hot, thick concoction of hate brews inside you. You hate him for ever knowing him. You hate him for getting run over by a car at 8 am on Ngong Road. You hate him for dying just when things were starting to get better for him. You hate him for Whatsapping you a month ago, asking when you guys could meet, and you suggesting ‘one of these weekends’ because your life was so busy. You hate him for dying before ‘one of these days’ reached. You hate him for not telling you that he never had as much time ahead as you thought he did. Seriously, how hard would it have been to just tell you that you know what, mate, let’s catch up this weekend because I’m planning to die soon. And even more, you hate him for making you wear your favourite sneakers to come to a mortuary as filthy as City Mortuary.

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‘LO, DEATH HAS REARED HIMSELF A THRONE IN A STRANGE CITY, LYING ALONE’

Why are we here?

Clawing through life. Scouring the unknown. Braving the trials. Amassing knowledge. Planning our lives. Scheming. Competing. Dreaming. Ambition. Family. Love. Hate. Despair. You find an adversary, you triumph over them. You find a huddle, you jump over it or dismantle it. You find a locked door, you pry it open. And for what? Why do we try so hard for a life that could be taken away at any moment, and without notice?

You would spend most of your life in pain, exhausted, uncertain, scared and anxious. And then you finally make it to the top of the world. And just when you’ve got it all, and it’s everything you imagined, death creeps up on you and snuffs it out. Because you know what death doesn’t do? It doesn’t give a damn.

Why does that vacuous downtown Kanjo get to grow old and you don’t, my friend?

You get a degree. Finally! Finally, you have achieved something. You are proud. Your family is proud. Your mom, who has raised you as a single parent since you were two, cries at your graduation. Things get serious with this pretty girl you met on campus, who everyone agrees is way beyond your league. Soon she’s slipping a ring on your finger, and between sobs promises to love you and your big head till death do you part. The rest of us just watch with our jaws on our feet, wondering what love concoction you brewed to get such an amazing girl to make such a profound commitment, and even cry over it in public. You plan your future together. Maybe two kids, a boy and a girl; you will name the boy after your father and the girl after your mother. A nice two-bedroom apartment with a balcony at one of Nairobi’s middle-class areas, like Donholm or somewhere along Ngong Road, where the morning sun washes living rooms in wholesome golden rays.

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The kids come quickly; the first, then the second. But the job tarries for a while. You have an Education Arts degree, so you’re not so worried. Soon, you find a school in Machakos, and we’re all happy for you. They pay very well, you confide in me when you, Victor, and Oyoo come to my place, carrying booze you didn’t drink that one Saturday afternoon. But then you lose the job after a couple of months and are forced to send your family to Shags (upcountry) to stay with your mom as you hustle in this city under the sun. Still, you’re not worried. You’re young. You are a good Seventh-day Adventist. Your mom prays for you every night. And you just turned 26 the other day. There will be plenty of better opportunities. It’s only a matter of time, and time is the one thing you have in plenty. Towards the end of 2024, you land something. It’s not bad, you tell me vaguely. You ask when we can meet so you can share the details, and I say ‘one of these weekends’ because my editor wants three film review pieces from me, and at my full-time gig, there are TV Commercials and radio spots to be scripted. So I say ‘one of these weekends’ and end the conversation.

I would learn that you had gotten a nice apartment along Ngong Road. It was not a two-bedroom with a balcony and neighbours who didn’t talk to each other, but it was cosy enough. And you brought your wife and kids to join you. Your future was shaping up in front of you, just as you had dreamed it. In time, you’ll get a promotion at your new job. You’ll send your kids to fancy private schools where they speak English of the nose and call bread, sandwich. For your little family, you will build a big, elegant house in your ancestral land like a true Luo man, overlooking the lake in the ways of your ancestors. Then one day, when you are old and grey, when the kids are all grown and roosting away, when you are done looking, or whatever you were looking for in this city, you have found, you retire to this home overlooking Nam Lolwe. In the evenings, you sit on your balcony with your gracefully greying wife, sipping Soya like the staunch Seventh-day Adventist you are, gossiping about your kids, talking about time and memories, and the long life you’ve lived together. You watch that devastatingly beautiful Nyanza sunset get swallowed by the lake’s horizon, and you appreciate even more these golden years that you’ve worked for, that you’ve earned, that you deserve. This is how I choose to remember you, my friend.

In the memories I’ll carry with me, you will never have been run over by a reckless speeding car along Ngong Road. You will never have lain sprawled on a mortuary slab with a broken body. You will never have left a young wife and a grieving, ageing mother to pick up the pieces and try to move on. You will never have left two kids, the first just starting to learn what a father is, the second only months old. Unlike that vacuous downtown Kanjo, your life will have meant something. In my memories, you will be forever young, your youthful face untarnished by the mucky hands of time. But you will also live a long life and when the time is right, die an old man with spots on your hands and clouds in your eyes. This is how I say goodbye, my friend.

And yet I envy you. Unlike the rest of us who remain, you shall never experience the pain of losing, of being the one who remains when time is past and all that you loved is long gone. You will never know what time does to a body. When ‘muscles slacken, grip weakens, joints stiffen. The shades are pulled down on the world. You can’t come and go at will.’ This is how I pick up the pieces, my friend.

‘Thank Heaven. The crisis, the danger is past, and the lingering illness is over at last. And the fever called “living” is conquered at last.’⎈

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