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
"You don't understand! I've got to find her! Before she does anything
desperate."
"Look, Paul. If she's going to pull one, on the spur--it's pulled. If
it's not done now--she won't hurry about it." I daubed myself with a
towel; perspiration came immediately where the water had just been. It
was muggier than Miami before a hurricane. "Don't get the idea that
because it's your first, it's her primary emotional crisis, either!
Marcia's been through a lot!" I opened the hot-water tap, let it
run, and filled a tumbler. I went into the living room, took a jar
of powdered coffee from the desk pigeonhole where I kept it, dumped
in a couple of spoonfuls, went back, and stirred with my toothbrush
handle. Then I took a couple of lumps of sugar from a horde I'd been
accumulating at the Astolat's expense, plunked them in, and stirred
more. I drank about half of the hot coffee and lit a cigarette.
Paul had followed every step of this gambit. I felt a little less like
a roused-up mummy with the coffee inside me, so I said, "I'm sorry as
all hell, cooky. Tell me about it."
"You did it!" His eyes despised me for a moment. Then tears came. "I
guess I should have known enough not to bring her around to see you."
"What did I do?"
"Made her self-conscious. Made her think it wasn't ever going to work
out for us. She said that when you looked at her it made her feel like
a tart."
It had gone the other way around: when she'd looked at me, she'd
felt--not like a tart, necessarily--but not like a faithful wife,
either. And I was being blamed for that. I skipped the point. "You two
kids retired in good order."
"That's what I thought. We got about a block away before she blew up."
"I'm sorry."
He tossed himself into a chair. He slipped down his tie and stared at
me. "What in hell _did_ you do?"
"Nothing."
"It wasn't--a pleasant--lunch. If all those idiotic things hadn't got
us laughing--then paralyzed--"
"Go on. She blew up?"
"Sure. She said about a thousand crazy things--things like never being
able to go around with me where people knew--because she realized she'd
always see them knowing--and thinking. I had to get back to the lab.
We've got the pile set at--we've got stuff cooking. I managed to calm
her down enough so she promised to go home and get dinner. But when I
got there--" He held out a note:
Paul, dear--For people like us, it should always be quick, clean,
permanent, and no hard feelings. I love you--that's why. M.
"Sounds like--going away. Nothing more drastic."
"Drastic enough! And she can't get away with that! I won't let her!
We'd have made it."
"What did you do? Bloodhound around the city?"
"Went to her old apartment, first. Then--to the people who'd been her
friends. Routing them out. Bribing doormen to let me knock and wake
them up. Finally--when I ran out of ideas--I went to Hattie Blaine's.
Good God--what a hideous place!"
Public-domain text, read in full here on John Shaqi.
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