Opus 21: Descriptive Music for the Lower Kinsey Epoch of the Atomic Age, a Concerto for a One-man Band, Six Arias for Soap Operas, Fugues, Anthems & BarrelhouseWylie, Philip
Philosophy
Opus 21: Descriptive Music for the Lower Kinsey Epoch of the Atomic Age, a Concerto for a One-man Band, Six Arias for Soap Operas, Fugues, Anthems & Barrelhouse
Wylie, Philip
Authors -- Fiction; New York (N.Y.) -- Social life and customs -- 20th century -- Fiction; Patients -- Fiction; Philosophy -- Fiction
"Pain's their license for any fun. Not in Nature--just in people. And
what--incidentally--is your feeling about that?"
"Being hurt? I'd hate it."
"Me, too. Hurting, then?"
Her wary eyes decided. She raised a shoulder and let it fall. "What
would you do if a guy who loved it asked you to beat him? If you knew
it was the only kick he could get out of life? If he brought you a
switch--"
"--just like the kind his mother used--"
"--and begged you?"
I said, "Scram."
"Suppose _a girl_ did?" She looked at me intently.
It was an idea that had never crossed my mind. I thought it
over. "Scram," I repeated. "There's pain enough in life--even in
loving--without asking for more."
Gwen's eyebrows went up. "It's another thing I can't feel, either." She
gestured with her hand, pushing the idea away from herself.
She'd finished her highball long since. She made another, now--a
stronger one. I didn't want any more Coca-Cola at the moment--any more
anything. Any more her, even.
And that shocked me.
What had the sensation come from?
From her most recent confession?
No. It was familiar--undistressing in that connotation--a known,
acknowledged, assimilated phenomenon, like any other biological datum
of birds, bees, flowers, our earth. Nothing surprising at all.
It went back to the question "Why?": To Loneliness, Beauty and Fun and
all that.
The truth was, I had been unwilling, once again, to face the night
unsleepy and alone. I didn't want a girl; this one, or any one, except
Ricky.
But the not-wanting of solitude was the greater negative.
She'd turned to another radio station and found a slow rumba. She drank
deeply--standing--and moving her hips in tempo.
"Come on," she said.
Unwillingly, and unwilling to protest the heat of the night, I began to
dance with her. She was, as Hattie had promised, very good.
I thought that presently I would stop this and send her home. It would
be awkward.
And then, as the music quickened and we made a spot turn in the center
of the room, I saw through the doors to the doors beyond--the doors
that led to Yvonne's room. Mine was no longer flatly parallel with the
wall.
I raised my voice. "Come on in, Yvonne!"
I had never relocked the door on my side.
She came in.
Gwen looked at her, at me, at Yvonne again--not troubling to hide the
fact that she was astonished. But not irritated.
I would have expected Yvonne to be embarrassed--who would not?
She wasn't. Her gray eyes met mine steadily.
"I hoped you'd call me today," she said. "When you didn't--I had dinner
with dad. I got back after the theater--and I heard your radio go on. I
finally decided to knock on your door. But when I unlocked the one on
my side--I found yours open. I was just about to say boo! and ask for
a drink. I'll be good and go quietly afterward."
She said it steadily, rapidly, so that I knew, and Gwen knew, she had
prepared it.
"Mrs. Prentiss," I said, "Yvonne Prentiss--Miss Gwen Talyor."
Yvonne turned and held out her hand.
Public-domain text, read in full here on John Shaqi.
Reviews
Reviews
No reviews yet
Be the first to share your thoughts on this work.
Elsewhere in the archive
Join the Discussion
Join the discussion
Sign in to leave a comment or review.
Sign InorCreate an account