The Sparrow - Mary Doria Russell [166]
"Hunting isn’t kosher," she told them. No one had heard of this before. She waved off her initial objection. "I don’t keep kosher, as you know," she told them, a little embarrassed. "I still found it impossible to eat pork or shellfish, and I’ve never eaten game. But if you can kill the animal cleanly, I suppose it doesn’t matter."
"Darlin’, if a clean kill is all you need, I shall be happy to oblige," D.W. said as they reached the lander. He flung open the cargo-bay door, feeling his oats, and fetched out the rifle, a sweet old Winchester his grandfather had taught him to use and which he had brought along partly from sentiment. D.W. checked it over thoroughly, loaded it, and then walked a little way out toward one of the piyanot herds that grazed on the plain above the river. Sitting down, he used his own knobby knee as a tripod. Anne watched him sight down the gun, still curious as to how he managed not to be confused by the skewed images his eyes must be taking in, but he dropped a young piyanot like a stone at three hundred yards, the report of the gunshot echoing off the hills to the north.
"Wow," George said.
"That’s clean enough for me," Sofia said, impressed.
D.W., who was made to endure the title Mighty Hunter for some hours, sauntered off to butcher the carcass with Anne, who later declared the activity to have been an interesting exercise in field anatomy, while the others set up for a barbecue. By early afternoon, they were as happy and relaxed as a prehistoric band of Olduwan hunters, full of unaccustomed and highly desirable protein and fat, feeling well and truly fed for the first time in months. They were savannah creatures, deep in their genes, and the flat grassland with widespread trees felt right in some vague way. The plants of this plain were now familiar, and they knew a number of them that could sustain life. The coronaries only made them laugh, the snakenecks’ bites were known to be simply painful and not poisonous to them, although there was unquestionably a venom that killed the little animals’ prey. The land around them was beginning to feel like home, in emotion as well as in hard fact, and they were no longer unnerved by their exposure.
Rakhat, therefore, seemed a known quantity to them and when, one by one, they noticed a stranger striding toward them intently, they were only a little surprised, thinking that a barge trader had stopped for blossoms and did not know that the VaKashani were all out digging pik root somewhere. And they were not concerned, of course, because the Runa were as harmless as deer.
Later, D. W. Yarbrough would recall how Alan Pace had given such a great deal of thought to the music he would first present to the Singers to represent human culture. The subtle mathematical joys of a Bach cantata, the thrilling harmonies of the sextet from Lucia di Lammermoor, the quiet evocative beauties of Saint-Saens, the majesty of a Beethoven symphony, the inspired perfection of a Mozart quartet—all these had been considered. There was an unintentional remembrance of Alan Pace, in the event. George, who’d shared much of Alan’s eclectic taste, had picked out the music that was playing over the lander’s sound system as Supaari VaGayjur approached them. And while Alan would not have selected this particular piece to introduce human music to Rakhat, what Supaari heard was in fact something Alan Pace had reveled in: the rhythmic power, soaring vocals and instrumental virtuosity, not of Beethoven’s Ninth, but of Van Halen’s arena rock masterpiece, 5150. The cut, Anne would remember afterward, was appropriate. The song playing was "Best of Both Worlds."
Emilio had his back to the newcomer and, absorbed in shouting along with the chorus, he was the last to realize, from the trajectory of the others’ now frightened gazes, that something large and threatening was just above him.