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
We took a little table at the wall. New Yorkers spend a good deal
of their lives with their backs to walls, looking at things, eating
things, drinking. We ordered coffee and the waiter dutifully told us
there was a small minimum. It was Cuban coffee--thick and sweet--and we
listened to rhythms musically naïve but emotionally more sophisticated
than those of the big, smooth, uptown bands. Music is like accent in
speech, and very few foreigners learn the language of another nation so
well as to lose all traces of their own tongue--to talk like natives.
At the Cuban Paradise, the Latins danced as they were supposed to and
wanted to. Working people having fun. Immigrants remembering tropical
nights--and sounds never heard in Manhattan--trees never seen on its
streets--flowers never sold in its markets.
There were pairs of girls dancing together--hopefully--and when I saw
them, executing the slow, insidious steps of a bolero--I glanced at
Yvonne. She was watching them, too--watching them so intently that my
glance became a stare. She noticed and swept from her face its look of
participation.
Again, I felt terribly sorry for her. Sorry as one feels sorry for a
bird that has failed to migrate and sits on its branch in the dreary
rain of autumn, knowing the world is wrong, feebly sensing a lost,
warmer climate, but unable to resolve the quandary of the dream and
the pain of its present. A bird can be a sharp thing with a reptile's
appetite--a bright bundle of vanity and vengeance. She smiled, though.
"Those two girls--the redhead and the one with blue-black hair--are
very good, aren't they?"
"The dark one's beautiful--like an Indian."
"Probably is part Indian--and also probably a Dodger fan who chews
bubble gum and works in Macy's stockroom."
"I wish I could lead--the way she does!"
"That's the boy's department." I laughed. "Sorry! Maybe you're right.
Maybe I am prejudiced. Though I regard it as merely the extreme and
necessary product of my constant effort to keep track of prerogatives
which are defiled and trampled every few seconds in this fair land!"
I then added, "If you really want to learn dancing, you have to learn
both parts. Yours--the girl's."
She was easily mollified. And she was--not tight--but less cautious
about herself. "I never thought of that! It would be interesting!" She
looked at me thoughtfully. "Did you ever dance with a man?"
"Of course."
Her gray eyes kept looking. "Was it exciting?"
"Sailors," I said, "dance together on battleships and have fun. That's
why sailors are good dancers. I was never a sailor, however. The
dancing I've done with guys was when my teacher despaired of being able
to show me a step--and called in one of the boys to demonstrate--and to
lead it."
"Oh."
She was disappointed. She had fled in revulsion from her husband's act;
she had no similar scruples about me.
On the contrary.
Public-domain text, read in full here on John Shaqi.
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