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 wandered through a block or two of this nickering infantilism, this
petty and symbolic repayment for a thousand lacks and ten thousand
wretched frustrations. Men will be boys, I thought. Boys, I knew, will
hardly ever be men.
I came to a lamppost where a dozen pistoleers were singing, "I want a
girl just like the girl who married dear old dad." Their mouths yearned
it and the sun sparkled on the gold fillings in their teeth. This song,
so far as I recall, is the only legitimate outlet for the Oedipus
complex permitted in twentieth-century U.S.A. So I watched gents from
Oklahoma and Idaho and Nebraska sing their incest, get their backs in
it, and I wondered how much effort it would take to elicit from even
one of them an acknowledgment of that emotion which, hidden deep inside
him, gave him his particular inflection and look while he sang that
particular song. I have wondered before while viewing luncheon clubs as
they yearned for a girl like mother. To a face, every here and there,
the anthem does memorable things. I supposed they would all rather be
dead than have to admit the possibility of the truth. I supposed that
the recognition of the baby alive in us all would require the hurdling
of yet more dead bodies--billions, at least--to bring them to a happy
acceptance of such affairs.
American babies are not allowed to be Freudian.
Not till they grow up, anyhow.
I pushed along.
There was a clearing in the crowd ahead. Out of it came such blats
of laughter, animal calls, and whistlings as mark the approach to
a feeding zoo--the same sound that is emitted by the amused radio
audience.
I reached the edge.
Here the canoe-hats had formed an open oblong between the curb and an
apartment front. It was necessary for anyone who went by to cross this
area. On its rim stood a man with a stick, and heavy batteries. He
wore a sergeant's chevrons and his breast was a blaze of heroism. Men
crossed the vacated cement untouched--and middle-aged women, also. But
whenever a young girl made her way through the hem of the crowd and
came unexpectedly into the hollow oblong, the sergeant sneaked forward
with his stick, got behind her, lifted the rear of her skirt, poked,
and applied the juice.
The girls, shocked electrically, without warning, in this delicate
and private part of their anatomies reacted frantically. Most of
them screamed. All of them leaped--thrusting their hips forward
convulsively. Some then ran--and dove into the crowd on the other side.
One, a girl with long, dark hair, slipped after she leaped, fell, and
tore a hole in her stocking. Another jumped, turned, and cursed. One
tried to hit the sergeant with her pocketbook. Most endeavored to
recover some shred of composure--to laugh--or to slip away without
showing what they felt. Some wept instantly.
But the response of the delighted--the ecstatic onlookers, was always
the same: a jarring salvo of catcalls, guffaws, finger whistles, ribald
yells, mirth's paroxysms.
Public-domain text, read in full here on John Shaqi.
Reviews
Reviews
No reviews yet
Be the first to share your thoughts on this work.
Elsewhere in the archive
Join the Discussion
Join the discussion
Sign in to leave a comment or review.
Sign InorCreate an account