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
"An invention for the Puritan mind. A burlesque. After all--!"
"After all--what?"
"In a better world--but skip it."
She did. "You certainly know how to upset people," she said.
"Now what?"
"After lunch--I phoned Gwen--to come over this evening."
"So?"
"And after that--I began to feel jittery."
"And now?"
"I came over here."
"To ask me how to feel? Ye Gods! I recommended having your own
feelings--and I thought you were catching on."
She was wearing a faintly rose-pink frock of some shiny, translucent
material. You could see the garments beneath--you were supposed to see.
There were two--and the lace hem of the lower one showed below the
blush of her dress--as it was supposed to show. She looked like a kid.
"I've got too many feelings at once." She walked toward the window,
where I could now see her only by leaning a little. "I almost called
Rol this afternoon."
I said nothing.
"Did you hear me?"
"Yeah. Why didn't you?"
"Because I wanted to see Gwen again. Once more, anyway."
"Suppose she couldn't have come?"
"That's unkind of you!"
"Would a friend have done as well?"
She didn't answer for so long that I leaned out again. She was swinging
the cord of the window blind. The last debilitated glow in the sky made
her look like a flower at twilight--like a single tinted object in a
black-and-white photograph of a room. She caught sight of me.
"Maybe even better," she said falteringly. "What sort of person am I!"
"The sort that a person is, when a person begins finding out what sort."
"But not the final discovery?" The turn and set of her head was eager.
I couldn't see her eyes.
"Who is?"
"You mean--you think everybody--?"
"Yes," I said, swirling the water around. "Everybody. Most--when
they're young. Most grow out of it. Some--hardly notice it. Some have
a minor case of it all their lives. To others--it's an intermittent
hint--a leftover that crops up as a suggestion, not a fact. Lots--are
carried off stage for good by it. The great majority insist they have
no such feelings--never could and never did and never will. The result
of that--"
"Is what?"
"Look out the window and see the crummy mess yourself, honey! If you'll
toss me my dressing gown--from the closet--"
"I'm scared," she said, when I came into the sitting room.
I kissed her once.
She said, "Again."
So I really kissed her.
She stepped away, afterwhile. "I'm not so scared now."
"It's good for you to be."
"Why is it?"
"Because you so seldom knew you were. You spent your time trying to
frighten other people--instead of knowing."
"Not frighten. Impress, maybe--"
"Another word for the same dirty deed: convince them of your inherent
and cultivated superiority. Whenever people achieve that--they also
convince others of their relative inferiority. And when that conviction
comes from a false estimate of the situation--believe me, it's
upsetting. Frightening is the realer word."
"Which implies that I'm not superior to anybody in any way."
"Check."
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