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
He meant the part about Camps.
It was in Hollywood that I met Dave.
I was weaving down Sunset Boulevard one night, drunk, desultory, and
alone. Very much alone. My first wife had taken my kid back East--and
no blame for that. She was sick of the way it was.
I'd spent the afternoon at an address in Beverly Hills where you could
do what you pleased.
I'd spent the evening at a gambling place up on the hillside,
sprinkling my money around and my IOUs--with a bunch of other writers,
directors, junior producers, and picture girls. You'd know their names
if I told you and the hell with that.
Up on the hill above the canyon at the Casa Crap.
Up there among the carbolic mountains--the near knees--the far, white
peaks with snow on their nasty heads. Down below, the spot where God
sat on the seventh day, and--in the big, flat print of His behind--Los
Angeles. Ninety square miles of costume jewelry, Technicolor
starshine, neon and sodium and all other colored gases, signboards
with fifty-foot women in ten-foot brassières and men smoking four-foot
pipes, boulevards under the palms and cloverleaf intersections with
the billion paired headlights streaming and swirling, bungalow courts
and drugstores, pool halls and bingo parlors, buses and trolley cars,
acacias and roses and pepper trees, open markets with fruit piled in
metaphysical polyhedrons, and the fog rolling in on the thin, chilly,
sting-sinus air of California.
You can keep it.
I'd spent all my money and cashed a few IOUs to impress the girls.
The girls.
I'd played Mr. Bones with the bright young writers who go out there for
the girls--searching amongst the girls in skirts for the girl that's
their soul--Medea, Medusa and Circe, Sappho and daughter Eve, Calliope,
Clio, Erato, Euterpe, Melpomene, Polymnia, Terpsichore, Thalia,
Urania--and Aglaia and Euphrosyne, too--and Lilith--searching for her
on the wrong coast--all evening, a badminton of wisecracks, battledore
and shuttlecock with the soulless prizes going to the heads that stayed
clear the longest, the pocketbooks that were the deepest, the tallest
gold lettering on office doors, and never a Muse or a Grace in the
joint.
I hadn't been able to find my car in the sepulcher parking yard.
Too lost, ingrown, ashamed to ask the attendant.
Too penniless to hire a cab.
I walked down that Golconda Golgotha, stopping to puke, with my fists
in my pockets holding to wet handkerchiefs.
It was on the Boulevard, with the rich night traffic, the skimmed
scarlet scum of the studios and the magnates from Pasadena with their
cold, oiled working-model blondes.
The bells rang.
The iron hands came down.
Stop civilization. Go civilization.
Red lights green lights cracking my drunken brain.
The acrid flavor of tomorrow in my mouth.
Alarm.
Headsplitting daylight.
How about this?
She sees him get out of the ice wagon.
She throws a snowball at him.
Go sell it to the Eskimos, she says.
I've got it!
Public-domain text, read in full here on John Shaqi.
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