The swept floors are tiled neatly, so long ago. The high walls
rise like ghouls that can eat your heart. Inside silence, high end louvers that
can’t keep the hum away.
The throb of people outside trying to breach the pristine
walls of history. There are no crowds here, just wait till you step out. And the
throngs of human bundled up together in multicolor second hand clothes like a
market merchandise. Thumping into each other calling each other to board old
rusty busses, smearing sweat on each other, wiping lip balm on cheeks in feigned
curtsies, gnawing flossed teeth with pieces of potato fries stuck uncomfortably
in them. Anxious, worried unhappy sad.
Inside is history, vanished wood rails on the staircase gleaming.
Tall windows like warriors of light. Dust on iron weapons, glass over bleaching
newspapers about Joseph Murumbi.
Host of people who used proclaim cups from Phoenician ships,
dead sweat of old skin that slept on salvaged mats from Persia the patterns, hand
sewn.
Washed away bloods that must have been on the Turkana spear,
or the rough texture of the palms that wielded the Luhya shield.
The last works of West Africa bronze smiths, Gods masques
with slit mouths that remain open like sores, raffia that mimics synthetic
hair, chopped nipped sand scrubbed crowns sitting on a pantheon of Kingship hierarchy.
Iron work that was done in kilns whose fires were not lit by
matchboxes, beadwork that is half submerged into the stool of an ancient chief
for the comfort of his arse, a headrest with dead moth eggs when it was still
with its Maasai owner. A Somali knife slipped forgotten into its belt sheath.
Wangari Maathai recently dead, on pictures under glass
display smiling. Tom Mboya dead long ago on this very street where the box
building stands.
And paintings.
The painting.
The first flight of stairs to your left when you enter. Past
the mosaic of Dedan Kimathi, and the attempt at the nooses and crevices of
Kenyatta in pencil.
The gleaming staircases solid. The polished stair case
rails. Deep brown like good mahogany. Simple lines for patterns.
And at the landing. An orange painting. An outcrop in the
middle of a dusty desert. Stones about it scattered at the discretion of the
painter. Insipid blue skyline, empty and probably hot. But loneliness, deep sad
insignificant loneliness. Standing alone in the middle of nowhere the huge sore
rock ,dusty in the desert, a shadow here and there a promise of relief from its
locked lack of meaning. A painting like no other, sand orange, blue and rocks.
Visit the Kenya National Archives. Know your history.