Les Johnson - Going Interstellar

Still, I don’t believe in shielding our human freight from issues bearing on our survival. Therefore, I’ve had Minister T announce the fact of this crisis to everyone up-phase and working. Thankfully, general panic has not ensued. Instead, crew members brainstorm stopgap strategies for conserving fuel, and the monks and nuns in U-Tsang pray and chant. Soon enough, when we begin to brake, everyone will arise again, shake off the fog of hibernizing, and learn the truth about our final approach. Then every deck will teem with ghosts preparing to orbit Guge; to assay the habitable wedges between its sun-stuck face and its bleaker side; and to decide which of the two wedges is better suited to settlement.

Captain Xao Songda, our deposed captain, died just twelve hours ago. Although Kyipa celebrated her first birthday last week, the man never laid eyes on her.

Xao’s ‘bed rest’ turned into pathological pacing and harangues unintelligible to anyone ignorant of Mandarin Chinese. These behaviors—symptomatic of an aggressive type of senility unknown to us—our medicos treated with tranks, placebos (foolishly, I guess), experimental diets, and long walks through the commons of Kham Bay. Nothing calmed him or eased the intensity of his gibbering tirades. I had so wanted Kyipa to meet this man (or the avatar of the self preceding this sorry incarnation), but I could not risk exposing her to one of his abusive rants.

It bears stating, though, that everyone aboard Kalachakra , knowing the sacrifices that the captain made for us, forgives him his navigation error. All showed him the honor, courtesy, and patience that he deserved for these sacrifices. Nima Photrang, who assumed his captaincy, believes he and Sakya Gyatso suffered similar personality disintegrations, albeit in different ways. Sakya used Tantric practices to end his life and Xao Songda fell to an Alzheimer’s-like scourge, but the effects of sleep deprival, suppressed anxiety, and overwork ultimately caused their deaths.

Xao created designs for my mandala competition, I think, as a way to decompress from these burdens. During the last hours of his illness, Ian Kilkhor searched his quarters for anything that could help us fathom his disease and preserve our memory of him as the intrepid Tibetan Buddhist who carried us within three lights of our destination. However, Ian returned to me with two hundred hand-drawn sketches and computer-assisted designs for my Palace of Hope mandala.

These “designs” appalled and saddened us. The ones Xao hand-drew resemble big multicolored Rorschach blots, and those stemming from his cyber-design programs look like geometrically askew fever dreams. All are pervaded with interlocking claws, jagged teeth, vermiform bodies, and occluded reptilian eyes. None could serve as a model for the mandala of my envisioning.

“I’m sorry,” Ian said. “The old guy seems to have swallowed the pituitary gland of a Komodo dragon.”

So, given our fuel situation and Captain Xao’s death, I’ve declared a moratorium on mandala-design creation.

Now there is a strong movement afoot—a respectful one—to eject Captain Xao Songda’s corpse into the void, one more human collop for the highballing dark. As I’ve already noted here, we’ve used this procedure many times before, as a practice coincident with Buddha Dharma and, in this case, as one befitting a helmsman of Xao’s stature. But I resist this seeming consensus in favor of a better option: taking the captain to Guge and setting his sinewy body out on an escarpment there, to blacken in its gales and scale in its thaws, our first sacrificial alms to the planet.

One work cycle past, Captain Photrang began to brake the Kalachakra . We are four years out from Gliese 581g, and Kanjur Paljor tells me that, unless a meteorite penetrates our plasma shield or some anomalous disaster befalls us, we will reach our destination. Ian observes that we will coast into planetary orbit like a vehicle with an internal-combustion engine chugging into its pit on fumes.

I don’t fully twig the analogy, but I get its gist. Alleluia! If only time passed more quickly….

Meanwhile, I keep Kyipa awake and ignore those misguided ghosts advising me to ease her into grave-cave sleep so that time will pass more quickly for her. Jetsun and I enjoy her far too much to send her down. More important, if she stays up-phase most of the rest of our journey, she will learn and grow; and when we descend to the surface of Guge with her, she will have a sharper mind and better motor skills at five or six than any long-term sleeper of roughly similar age.

Every day, every hour, my excitement intensifies. And our ship plows on.

Maintenance preoccupies nearly everyone aboard. In less than a week, our strut-ship will rendezvous with Guge and orbit its oblate sun-locked mass. Then we will make several sequential descents to and returns from “The Land of Snow” aboard our lander, The Yak Butter Express.

Jetsun will serve as shuttle pilot for one of these first excursions and as backup on another. He and others perform daily checks on the vehicle in its hangar harnesses, just as other techs strive to ensure the reliability of every mechanical and human component. Our hopes and anxieties contend. At my urging, the Bodhisattvas of U-Tsang go from place to place assisting in our labors and transmitting positive energy to every bay and to all those at work in them.

Twelve hours after Captain Photrang eased Kalachakra into orbit around Guge, Minister T comes to me to report that Yellow Hat artists in U-Tsang have finished a sand mandala based on a design that they, not I, chose as our most esteemed entry.

Lucinda Gomez, a teen-ager from Amdo Bay, has taken the laurel.

Neddy asked the monks to transport the mandala in its pie-shaped shield to Bhava Park, a commons here in Kham Bay, and they do so. A bird camera in the park transmits the mandala’s image to public screens and to vidped consoles everywhere. Intricate and colorful, it sits on an easel amid a host of tables and happy Kalachakrans. Because we’re celebrating our arrival, I don’t watch on a screen but stand in Bhava Park before the thing itself. Banners and prayer flags abound. I seize Kyipa’s hand and approach the easel. I congratulate the excited Lucinda Gomez and all the artist monks, and also speak to many onlookers, who attend smilingly to my words.

The Yellow Hats chant verses of consecration that affirm their fulfillment of my charge and then extend to everyone the blessings of Hope and Community implicit in the mandala’s labyrinthine central Palace. Kyipa, now almost six, touches the bottom of the encased mandala.

“This is the prettiest,” she says.

She has never before seen a finished mandala in its full artifactual glory.

Then the artist monks start to carry the shield from its easel to a tabletop, there to insert narrow tubes into it and send the mandala’s fixed grains flying with focused blasts of air—to symbolize, as tradition dictates, the primacy of impermanence in our lives. But before they reach the table, I lift my hand.

“We won’t destroy this sand mandala,” I declare, “until we’ve established a viable settlement on Guge.”

And everyone around us in Bhava Park cheers. The monks restore the mandala to its easel, a ton of colored confetti drops from suspended bins above us, music plays, and people sing, dance, eat, laugh, and mingle.

Kyipa, holding her hands up to the drifting paper and plastic flakes, beams at me ecstatically.