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 be busy. Don't you think? The children, for one thing. And my
libido will be preoccupied, I imagine. Don't you? And suppose I had a
small emotional accident some foggy afternoon at Malibu?"
"Rol would raise hell."
Her dimples showed. "I would try to make certain he never found out
about it. My privacy. And I am quoting you, Dr. Wylie! Oh, I could hug
you right here and now! And anyway--it isn't so much something you
do. It's something to know is unlocked, that's all. When you can--you
probably never do; when you can't--you hardly do anything but yearn;
and never know for what. You know that--don't you? That's why Gwen--?"
I picked up her hand and looked at the big, square diamond.
"Pin none of your flowers on me, cooky. It was a dangerous
prescription. I tried to weasel out of the charge that I'd compounded
it. But I did. Mr. Wylie's toxic monologue."
"Mr. Wylie's elixir for the self-righteous."
"America," I said, "is the wrong climate for taking a capsule of that
so-called sin and expecting a cure. In some other country--or age--"
"Don't orate today. I couldn't listen." She ate a shrimp. "I wish I
knew more about you."
"Me, too." I went on, "Be good to Rol. Remember--these high tides run
out. And remember--they always come in again."
"You going?" She said it almost without interest. She didn't need
company any more.
I nodded. "The last installment is passing through the chopper. Here's
another item, cooky. People who live in greenhouses mustn't cast the
first stone."
For a moment, her gaze faltered.
I watched delicate changes of her color; she had beautiful skin. I
watched the old stain reappear in her eyes. Her chin thrust out a
little and shook a little and was firm. Her eyes turned amethyst again.
"I'll remember," she said.
I thought she would, maybe.
"Do me a favor?" She was opening her handbag. "I haven't told dad I was
flying back. I don't want to go through all the argument. Will you call
him--after five-thirty?"
"If I don't forget."
She closed the bag. "I bet you would! So thanks anyhow. I can wire
him--from La Guardia."
"Safer."
She said, "Good-bye, Phil."
I kissed her.
10
It didn't seem possible to work.
For half an hour I fussed around--trying to feel cooler--looking at my
throat in the living room mirror and then the mirror on the medicine
chest in the bathroom--hunting for a sunless spot in the forest-green
sitting room--shunting the bridge table about.
I condensed the opening of Part Six in my mind, then tapped out the
result on the portable. I thought Durfree would like it. Editors are
fond--overfond of brevity. I took a shower and tried to write wet, but
it ran down me, and my tail itched on the turkish towel. Finally, I got
cutting again.
Paul showed up around four--when I had about ten pages--an hour--left
to go.
He looked like an adolescent registering despair in an amateur play.
Public-domain text, read in full here on John Shaqi.
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