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 would have been furious," I finally said. "Think that over. Here
we are, engaged in a favorite national pastime--imagining flirtations
with handsome persons in the public eye. I often reflect that picture
stars--male and female--are lucky to have so little imagination,
on the average. If you can kill a person by sticking pins into a
statue of him--which you cannot, unless he believes it--think of the
possible result on a star of the lurid, lewd fantasies poured upon his
photographs, or hers, by millions and millions of people. Grant any
validity in the pin-sticking process and you have, in the photo-doting
parallel, a curious possible explanation of what the press knows as
Hollywood high jinks. Psychogenic. The effect, on the poor individual,
of mass assault, mob lechery. But skip all that. The point I want to
make is this: some ladies we have hypothesized are married. You can see
yourself as enraged, if any husband of yours had his head turned--to
continue the euphemisms--by one such. But it does not seem to occur to
you that any possible husbands of the ladies also might feel themselves
involved in the matter--and even experience traces of pain?"
"Men!" she said. "Why should anyone care what they feel?"
"O-h-h-h, because they're so plentiful."
She smiled a little--and poured plain coffee. "You haven't asked me my
name."
"Naturally."
"Naturally?"
"You've been wondering when I would. In such a case, the obvious thing
to do is to let a girl go on wondering. Besides--my inquisitiveness is
never casual. It might be a convenience to know your name. But very
little else. A clue, maybe, to the good taste of your parents--or lack
of it--and to the national strain of your husband's paternal line."
"It's Yvonne Prentiss."
"See what I mean? A handy--but otherwise irrelevant fact."
She laughed. "Do you live here?"
"I'm staying here--on the sixteenth floor. For a few days."
"I am, too."
"You got mad at Mr. Prentiss," I said then, "and fled from your
sprawling mansion out in the golden West to the sidewalks of New
York--familiar to you in your girlhood. Your problem was not 'other
women'--so what was it? Neglect? Brutality? Obsession? Bestiality?
Stamp collecting? What?"
Her eyes filled with tears.
Just then, Fred came by. He's a waiter I know pretty well. "Look,
Fred," I said, "I've made her cry. Bring another brandy."
She was struggling. "Shouldn't it be a beer?"
"If you go on crying."
"I really don't want another drink--"
"Then bring her some ice cream."
"--but I'll have one more." Fred nodded and went. "How did you know all
that?"
I told her.
"It's Pasadena," she said. She shivered a little.
So I talked. "Pasadena. How well I know it! Caltech, where people think
the troubles of the world began. The peeling eucalyptus trees and the
long shadows on the long sidewalk. Way back in the dear, dead beryllium
days--"
"I haven't the faintest idea what you mean!"
Public-domain text, read in full here on John Shaqi.
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