The Aftermath

A group of heavy black howler monkeys clustered on the roof of the opera house. Their growling and grunting had suddenly stopped, and an eerie silence seeped into the air. In the plaza below, a lone human stood among the bursting saplings and greenery, its exuberant jungle energy straining against paving stones and inexorably buckling concrete and asphalt.

The facade of the once-great cultural monument inaugurated to great fanfare in 1897 with money from wealthy rubber barons in what was then to be the most important urban center in the region, and for many decades afterward, the gateway to the Brazilian Amazon, was now a scene reminiscent of one of the darker chapters of Edgar H. Sullivan’s literary masterpiece The Lost Civilizations. Bright green vines snaked wildly across tiled floors and reached up to strangle pillars and columns, filling in arches. Here and there, the stained glass had broken where a branch had poked through a window and at night, fruit bats swarmed out into the cool, moist air, to hunt for insects in the abandoned mass of glass and concrete that was once Manaus.

Back in the plaza, the man – the human the apes had noticed, was a man – stood marveling at the steaming mass of plants that were obviously thriving thanks to the extended absence of human feet. Of the famous Abertura dos Portos monument placed in the middle of this space, only the outstretched arm of a bronze woman holding a torch – upon which now perched an indifferent black vulture – could be seen through the tangle of green. The undulating, epilepsy-inducing black and white tile plaza floor was buried under decomposing leaves and marching ants. The scene was peaceful yet somehow menacing at the same time.

The man wiped his forehead and, swinging the machete, began to hack his way towards what used to be the grand staircase leading up to the entrance of the grand building.

He had always wanted to go to the theater and this seemed a good a time as any.

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