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 investigated such intricate delicacies in Ricky as I have not
attempted to describe here and I saw how sorrow would run through
them all; I watched the infinite loyalty of a daughter turned by the
slab of a tomb; I saw my family lifting up the load of their one more
bereavement and my friends kicking stones, not selfishly, but for the
world they hoped I might someday somehow bring my jot of meaning to.
I paced the muggy flat and cursed.
And more.
I shall not tell you for you already know the sentiments whereby love,
and duty, too, are transferred. Only at long, long last I realized how
much I, who own nothing but my inner self, had imagined I owned them.
It was an injury I'd done them.
And so one more illusion set aside its mask, at least for that while,
that now.
How many there were!
How often I saw them on other countenances; how rarely I lifted them
from my own.
Finally, I fell asleep.
An old, old man--sitting in a chair.
PART FIVE
_Coda_
Rain teemed in the stone-gray morning.
My little Big Day.
A tepid stew was strained from the colander of heaven and dripped in
lachrymose gray juice that steamed on every brick and tile and slate
and on the asphalt acreage of the street.
I sent for my drab breakfast. You are familiar with its one element. A
cup and a cup and a cup.
I set myself to my last installment. For a while, the inked deletions
wavered and ran off the track. I went to the window and watched the
rain smoke on my parapet--looked up at the insipid sky--found no
one there--and finally turned to the roses which drooped a little
in the corner of the room--drooped but glowed--and perfumed every
glaucous shadow of the morning with fond recollection. The lines came
straighter, after that.
By and by I called Hugo about my ticket.
"Closed in," he said. "They're landing a few planes still--but they've
delayed departures. Later, it's supposed to clear--and it'll be cooler.
This is the front of a high coming in from Canada."
Closed in.
"Shall I try the evening flight?"
"Sure," I said.
I gave the number of the sanitarium.
"Oh, yes, Mr. Wylie, Mr. Wilson had a comfortable night. He's talking
to Dr. Adams, now. I couldn't interrupt. He seems quite cheerful--said
if you phoned to tell you he'd call back when he finished his
consultation."
I turned over the last page--read, cut one more paragraph, marked the
lines on my long tally sheet, counted them, and felt, suddenly, the
negative pressure of completion--the vacuum's strain, the sense of
deprivation. Work can be addictive--one more self-enchantment of the
cortex--another of the infinite autohypnoses. And when the addict's
done with it, what comfort is there for his unemployment?
Public-domain text, read in full here on John Shaqi.
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