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'll enter it on my agenda." Dave whistled down the scale. "Some
weather! I took in my human head. It had stopped shrinking. I was
afraid it might explode."
"You better pack a little dry ice in your own hat!"
"How you feeling?"
"About like Utah."
He considered that. "Jesus," he said. "Take it easy! Be over by and by."
I got dressed and went downstairs.
There were people--maybe two dozen--in the Knight's Bar, for lunch,
resuscitation, or the pelt of the dog that bit them.
Not Yvonne, though. A bit early.
The city was shockingly quiet. When the traffic lights changed,
sometimes, nothing else did. You could hear one car pass on the street.
Even the buses seemed enfeebled: their special arrangements for
traumatizing man roared, ground, and hammered only at long intervals.
The Musak was trying hymns, or an unreasonable facsimile thereof.
With twenty-one cold shrimps, a couple of ounces of mayonnaise, some
lettuce, and a few gills of iced coffee inside me, I felt better.
When I got out on the sixteenth soaking pit I discovered Yvonne
knocking on my door--my hall door, for a wonder. After a little
bickering, I went back to the cold restaurant with her. Not too much
bickering.
It was the New Yvonne. Anybody could see that. She was dressed up in
dark-blue linen and she ordered crustaceans, too, on my recommendation.
Then she began to talk.
"I'm going back to Pasadena on the afternoon plane," she said. "I've
been talking to Rol about half the morning. I talked away a fortune.
But it was worth it. I told him--everything."
"Everything?"
She nodded. Her gray eyes were gentle, inaccessible, fixed on a
plane-landing a couple of thousand miles away, and night in the
lamplit, lower hills of California, where the eucalyptus trees grow.
She repeated the opening gambit on Long Distance:
It's me, Rol. I want to come back.... I know you want me to.... But I
don't know if you will when.... Look! Think of why I went.... Don't
apologize! Don't _be_ like that! Because--Rol--me, too!
He didn't believe her.
Then he thought it was--masochistic experiment.
Don't you see, darling, that's why I was so extra frantic? So weirdly
angry? I had to find that out.
"Then he was jealous!" Yvonne laughed softly--happily. "I think that
was good for him."
"No doubt."
"In the end--all he could say was, 'Hurry! Hurry! Hurry!'"
"And you feel like hurrying?"
She spoke reproachfully. "Wouldn't you?"
"Yes."
"I want to have eighteen kids," she said. "And I want them all to grow
up florists and nurserymen and horticulturists. I understand me. Us.
He had to spend all his time in the greenhouses because I spoiled the
whole rest of his world. I'll get him out oftener, now. Not too much.
Enough."
I looked at her--the clear amethyst irises, the gilded cascade of her
hair, the expectation of her body. "You sure will."
"I'm so--full--so--complete. So--_ready_."
"There are other girls like Gwen," I said. "Some."
Public-domain text, read in full here on John Shaqi.
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