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
I went up to Hattie's bagnio because I am a middle-class American male
in the higher brackets, of Princeton extraction, who was denied the
poor man's access to females during adolescence and early maturity
and who (owing probably to that abnormal deprivation) belongs to a
distinguished group that makes blah per cent of its sex contacts
with prostitutes, blah per cent by unorthodox means, and blah per
cent with males. That is evidently why I knew the address. I went,
owing to the fact that a member of the generation behind me--a
prodigy, similarly conditioned--of superior stature, superior health,
superior life expectancy, superior stability (_sic_), and a superior
happiness quotient--far above the average by the tables!--had come a
psychological cropper in a tart's arms owing to the fact that the Age
of Kinsey is also the Atomic Age and he, briefed in the latter, was
emotionally distrait over the conundrum: how to tell the people on the
fire escape all about the effect of neutrons on chromosomes--a datum
to be regarded as utterly essential for political judgment. And other
troubles.
Personally, I was of the opinion the poor could not be told at this
late date and would have to learn by doing. Also the rich. And this
judgment, while it in no way impaired my faith in democracy, and while
it gave me a good assurance of the long future, singularly blighted my
assessment of so-called democratic practices in the land during the
past century and filled me with a ribald contumely for the poor-doting,
poor-blind, wisdom-spurning, technologically blank intellectuals,
together with nearly everybody else.
I wanted to get my nephew out of a jam before he got into one.
This is a sentiment I bear toward all humanity.
My successes in its prosecution are, sometimes, trivial.
Besides which
a man who thinks he is soon to die
enjoys kiting around in a city he has cherished all his life, among the
people he loves, at night, in a cab.
I rode up through the marble lobby and past the floor-ledges of the
building in the gold elevator cage with the colored boy whose face
showed no trace of his fascinating, perennial opportunity to look upon
(before and after) the persons and countenances of hundreds of the
great, the prominent, and the rich, who were not quite satisfied with
the legal sex mores of their environment and the permissions of their
acquaintances.
I inhaled the many-doored hallway.
"Hattie," said Viola, "is out at a party."
"Is my nephew Paul here?"
She shook her elegant head. "He hasn't been in."
Well, I could have phoned. Why didn't I?
"Miss Taylor's here." The jungle-bright eyes sloped darkly toward me
and away.
"Is she? I thought--"
"I'll call her." She led me to the same room--Hattie's parlor.
I sat down. I could stick around a while. Paul might not come here, in
his humiliating chase. He probably would. He'd had--no doubt--other
leads to check first.
Public-domain text, read in full here on John Shaqi.
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