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
The accumulation of intellectual property for a book may require
three-quarters of a life. Its sale, for a year or two, may be
considerable. After that one book--or after two or three--an author
may return to pittances. What he has written may become the mental and
emotional capital of his countrymen, or of the world, for generations.
Yet Congress does not deem it equal to pies or bricks and sometimes
skims away in a year the whole capital of an author--as if it were
but annual income. America bounteously provides for the makers of
bricks and pies; it short-changes book-makers and the winners of Nobel
Prizes. Indeed, such is the unconscious hostility of the mob toward the
fruits of intelligence that, not long ago, a group of representatives,
commercial he-whores and contumelious morons, endeavored to do away
with copyright altogether on the grounds that what a man thought and
wrote down, or what he felt and painted, belonged free of charge to the
whole people: noneconomic, since it was Art. To such men as these, only
junk fabricators, gadgeteers, tram operators, pop bottlers and the like
are entitled to the best profit for their contribution to life. History
will note the fact when history writes how American avarice held in
open contempt all culture and all thought, decerebrated itself and so
died headless.
As a man about to perish I could not but think bitterly of this. Had my
labors, my work, my business, my investment of skill and thought and
sweat been deemed equivalent, by my government, to the activities of a
manufacturer of flea powder, I could have left the people I loved far
better off.
A relative complaint, under the circumstances and in my case. But when
I thought of the "successful" writers I knew who had been taxed into
poverty for their genius, and when I thought of the potbellied yuts I'd
met who turned up fortunes in sewer pipes, cemetery lots and toilet
paper, my sentiments toward the people and their politicians were
rude....
They would get along--Karen and Ricky and Ricky's mother and those
who would now depend on them. My death might even accelerate the
sale of my books for a while. There might be movie sales. Plays.
Posthumous editions. Anthologies. If I had led Ricky to be careless and
extravagant, she would nonetheless be capable, under necessity, of good
management. The hundred-year-old house in the country would continue
to fend off the winters and to doze through the summers in its great
lawns. Karen would attend Swarthmore. If Ricky wished, she could work
again; she was well enough now. Marry again.
The thought jarred and I considered that sensation. Marry? Of course
she would. She should. What is wickeder than inhibiting sentiment, than
memory turned prison?
Public-domain text, read in full here on John Shaqi.
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