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
Roses of my own, on carefully pruned canes standing in New England
mulch. Rented roses on rose trees in Hollywood. I thought of sweet
peas--fragrant rainbows along old fences. Of delphiniums--hybrids
taller than my head, rockets frozen at the climax of blue burst. Lilies
and phlox and poppies. I thought of annuals--of planting the grains,
setting out the frail seedlings--and walking the later carpet--a
hundred styles of color: zinnias and marigolds and asters, verbenas
and lavender, sweet William and candytuft and pansies, nasturtiums,
forget-me-nots and primroses. I thought of foxglove, too, and
Canterbury bells. For a long time, of hollyhocks regimented against
white clapboard--red, mauve, yellow, pink, purple, orange. Then I
thought of sunflowers growing like Jack's beanstalk. Spring flowers
and the years I'd spent changing a steep rise of field into a rock
garden, plowing, bulldozing, wading in a cold brook to collect the
great, flat stones, trucking them home, embedding them one by one in
the slope--on aromatic rainy days, in the sweet spring sun, and in the
hard dirt of October. A wall here, steps there, an outcrop yonder, and
a place for a pool below.
Then the little hill opened into memory's bloom of crocus and
narcissus, daffodil, tulip, hyacinth and scilla, the creams and livid
whites, pale yellows and money-gold hues, and the many blues of
springtime, bright, pastel, lilac. The bells and stars and cups--and
the spring scent that is the honeyed promise of summer coming.
Next, I thought of the woodland flowers--flowers before men found
them. The precious arbutus, inexhaustible spring beauties, violets,
the anemones, the lady-slippers, bloodroot, showy orchis standing in
a wet glade beside a moss-shawled log, and pitcher plants--red rubber
flowers on the sphagnum belly of weird bog. All summer long the rues
and cardinal flowers and gentians; ferns--goldenrod, when the clear air
cooled--when night's sky throbbed with wings and carried to earth the
enthusiastic, strange twitter of migration.
I, too, migrated.
I came to my other home in Florida--the crashing flowers, the trees
bigger than houses and bright as a florist's potted plants: poinciana,
bauhinia, spathodia, jacaranda. Extravagant vines--alamanda, yellow
as these roses, trumpet flowers as orange as Mexico's sunsets,
pandoreas, solandras, and the holy, nepenthic stephanotis. Jasmine.
Glade hammocks with orchids blooming on stumps like swarms of sucking
butterflies--great white wading birds watching and vultures pinned
above in the blue, cloud-dappled sky.
Brief glory of flower-upholstered deserts.
Alpine flowers in the high, thin, whimpering air with near snow.
And trees. Great God, the trees!
It was, taken by itself, a many lifetimes.
All good.
All beautiful.
Public-domain text, read in full here on John Shaqi.
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