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 had two rooms--a bedroom and parlor. Sleep and reading in bed were
thus kept separate from work, from the two hundred and eighteen pages
of my serial which had to be cut sheet by sheet, line by line, to fit
the precise requirements of a weekly magazine. This small suite was on
the sixteenth floor. Here, the street sounds became boogie-woogie--set
to rhythm by bouncing back and forth between the walls of Madison
Avenue. Here the smell of the city was less toxic. And here the eye
ranged over rooftops. My draperies, flowered and lined with sateen,
moved now against the dark-green embrasures of the window--not in a
breeze but in the upward eddy of diurnal heat. The yellow roses with
which the management had greeted me dangled in their vase. I wondered
whether to cut their stems or throw them out. If Ricky, my wife, had
accompanied me, there would have been two dozen roses--and she would
have known about the stems. I propped open the door to the hall with a
book. Air sucked through the crack.
In a big mirror, over the mantel, over the chunks of topaz glass that
represented coals in the artificial fireplace, I could see myself.
Strained and pallid, sweat showing at the armpits of my dark-blue
gabardine jacket.
I took it off.
My shirt was wet.
I took that off.
The man in the mirror was naked from the waist up. A man with a little
fold of belly showing over his belt. A man whose back, when he turned,
was well muscled at the shoulders and ridged with parallel sinews that
made a valley of the spine. A man whose strength had come through
effort and application, rather late. A man who stepped closer to the
mirror and opened his mouth to study, inside it, a small, fresh wound.
He sat down on the divan, presently, and took a cigarette from the
coffee table. Lighted it. Reached for the telephone.
And identified with himself again.
I wanted to call Ricky--in the country.
To call her from the vegetable garden, where she might be weeding, or
from the rock garden, when she might be replanting the daffodil bulbs,
to call her from a book, or from washing the cocker pups, or from
painting shelves, or from anything that she was doing. I wanted, with
overwhelming urgency to tell her to come down to New York and share
this weekend. Carry it with me and for me.
She would. She has the grit and the amenability to Nature. Besides, she
knows me.
But I sat there, my fingers growing slippery on the phone.
If it proved to be harmless--then the consummate hours, the pain, the
anxiety, and the quiet planning would be a mere excess.
If it proved malignant--what purpose would be served by destroying her
tranquillity, by adding her dread to my own, until the hour when the
fact was established?
She would willingly, wantingly, accept the burden--to ease my share of
it.
But why should she?
Public-domain text, read in full here on John Shaqi.
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