Into My Eyes

By Jamaal Hubbard

In Into My Eyes, author Jamaal Hubbard offers a glimpse into history, science, folklore, fact and fiction, fashioned with comedies, epics, romances, Westerns, and historical biographical tales.
Through a collection of tales, essays, and poems, this short story compilation presents an eclectic variety of reading. From 6500 BCE, to the year 1120 in Baghdad, to 2032 in Las Vegas, Nevada, Hubbard shares an alternative view of history and culture served with a side of humor.
In the tradition of the Harlem Renaissance Movement, Hubbard brings you Into My Eyes, reaching you into the middle of a world war of information.

• Language: English
• Publisher: Archway Publishing
• Release date: Jan 16, 2024
• ISBN: 9781665755221

Jamaal Hubbard

Jamaal Hubbard is unique in that he’s both a mathematician and a linguist, helped by a background undergraduate core of mathematics and English. His voice is one of logic and passion with word play and intriguing scenarios.

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Copyright © 2024 Jamaal Hubbard.

All rights reserved. No part of this book may be used or reproduced by any means, graphic, electronic, or mechanical, including photocopying, recording, taping or by any information storage retrieval system without the written permission of the author except in the case of brief quotations embodied in critical articles and reviews.

Archway Publishing

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Because of the dynamic nature of the Internet, any web addresses or links contained in this book may have changed since publication and may no longer be valid. The views expressed in this work are solely those of the author and do not necessarily reflect the views of the publisher, and the publisher hereby disclaims any responsibility for them.

Any people depicted in stock imagery provided by Getty Images are models, and such images are being used for illustrative purposes only.

Certain stock imagery © Getty Images.

Scriptures taken from the King James Version of the Bible.

ISBN: 978-1-6657-5521-4 (sc)

ISBN: 978-1-6657-5522-1 (e)

Library of Congress Control Number: 2024900529

Archway Publishing rev. date: 1/16/2024

PREFACE

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H ow is it that eyes can speak, see, and hear? It is because of the inner ear—an extension of the eye: vision, sight, insight. This inner ear can hear, which means it can also speak. This is what is in my eyes and in your eyes also. So with these tales, essays, and poems, I invite all who read into my eyes.

INTRODUCTION

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I n the tradition of the Harlem Renaissance Movement, I bring you Into My Eyes . The Harlem Renaissance period of art nouveau was not unique to Harlem. In that the movement so named occurred in several urban areas across America, the Harlem Renaissance was part of the innovative contributions to the arts of the American people. During the Roaring Twenties, citizens of New Orleans; Washington, DC; Chicago; and many other American cities produced an amazing variety of fine art. Renaissance normally means rebirth and rightly defines this movement, for it was a rebirth of African American art in the newly forming American social scene—a social scene framed by labor relations, religious affiliations, and casual congregations, where the workplace, church, and lounge linked to collectively contribute to American life. These contributions included literary works and other liberal arts productions, whose appreciation and enjoyment by the public provided adornment to American cul ture.

Into My Eyes reaches you in the midst of a world war of information. While our minds are crowded with things of little real consequence, the most consequential matters are concealed from us. We have all been thus assailed and somewhat incarcerated by the myriad maxims and mores we’ve adopted from social orders, religions, governments, and our individual and communal experiences. So to those incarcerated mentally or physically, find a way to elevate, express, and liberate yourself, opening your mind to enjoy Into My Eyes.

VULGARITY DISCLAIMER

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I introduce no vulgar vocabulary in these literary pieces. At times, I allude to illicit words commonly known to most mature, unsheltered audiences. These words, if identifiable, only add character to the scenes and content in context. These pieces are not rife with vulgar allusions; if you happen to recall words seemingly appropriate in particular places, then it is your imagination that illuminates a passage containing otherwise unintelligible symbols. Please enjoy; please be not ann oyed.

CONTENTS

As the Sons of the Burning Coal Lift Up to Fly

El Hashishan (The Assassins)

Los Ninos de San Pedro Negro (The Children of Black St. Peter)

The Sagittarii

The Sagittarii—From Karnak, Egypt into the Bottomless Pit

A Man Among the Ladies

Lowe’s Last Day

The Maverick

My Girl

The Sire of St. Babylon’s Daughter

The Sagittarii III: In the Temple of OZ before Knemu and the Golden Throne Room

She’s Like Light

Jazzybel Jonin’

Interlude

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JOB HiStory of the Panic Wars

When Time Is No More

As the Sons of the Burning Coal Lift Up to Fly—On Sirius B

Los Ninos Part II

One Knight’s Night

El Hashishan: The Battle Before Baghdad

The Sagittarii II: The Luxor Las Vegas Resort and Last Resorts

When A Spider Spins Its Web

Apocalypse How? Conclusion of As the Sons of the Burning Coal Lift Up to Fly

The Sagittarii IV: Event Horizon

A Most Offensive Roast

A Draught of Clarity

AS THE SONS OF

THE BURNING COAL

LIFT UP TO FLY

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Time is indeed relative, and can be warped by motion.

—Paul Davies, physicist, in About Time

6500 BCE, Kingdom of Kathmandu, Hindu Kush—Seven Peaks Priest’s Retreat

T he seven temples—one of solid black, one white, another ruby red, one of purple, the fifth orange, one of various shades of blue, and the seventh in gold, one on each sky -s craping peak—seemed to fly. No, they were stationary. Yet the gray, white, and black clouds moving about them, completely covering mountain views and the next moment unveiling the majestic peaks, created the visual illusion that the dazzling temples were in motion. The induction services were in mo tion.

The high priest was jubilant, smiling as he spoke to the observers and the observed. With the breath of new life, I call forth my servant—Orion, arise! he said as he held his right hand up and, from his diaphragm, drew in and breathed, blowing the alkaline-and-camphor concoction into the man’s nostrils. The man was named Nimrod. The poisonous puffer fish had reached his plate eight days prior to this evening. Seven days ago, the priests had claimed his supposedly lifeless corpse for special burial. His opening eyes were cloudy and dim as they took in twelve men clad in black robes circling another man clad in red robes standing before him, the thirteenth—the high priest Lucifer.

Nimrod’s stomach swam with poison; he felt dizzy. His last thoughts centered on controlling the entire Earth from the Tower of Babel, the obelisk that would eventually reach the heavens. Now he was