Sexus, Page 28

  Yes, I had to smile thinking of this last-minute scene. “Tell her so . . .” That extra fuck had softened her up. I thought of a book I had read which told of rather strange experiments with carnivorous animals—lions, tigers, panthers. Seems that when these ferocious beasts were kept well-fed—overfed, indeed—one could put gentle creatures in the same cage with them and they would never molest them. The lion attacked only out of hunger. He was not perpetually murderous. That was the gist of it. . . .

  And Maude. . . . Having satisfied herself to her heart’s content, she had probably realized for the first time that it was useless to harbor a grudge against the other woman. If, she may have told herself, if it were possible to be fucked like that whenever she wished, it wouldn’t matter what claims the other one had on me. Perhaps it entered her mind for the first time that possession is nothing if you can’t surrender yourself. Perhaps she even went so far as to think that it might be better this way—having me protect her and fuck her and not having to get angry with me because of jealous fears. If the other one could hold on to me, if the other one could keep me from running around with every little slut that came across my path, if together they could share me, tacitly of course and without embarrassment and confusion, perhaps after all it might be better that way, fucked without fear of being betrayed, to be fucking your own husband who is now your friend (and perhaps a lover again), to be taking what you want of him, calling him when you need him, sharing a warm, passionate secret with him, reliving the old fucks, learning new ones, stealing and yet not stealing, but giving oneself with pleasure and abandon, growing younger again, losing nothing except a conventional tie . . . yes, it might be ever so much better.

  I’m sure something of this sort had been running through her head, had spread its aureole about her. I could see her, in my mind’s eye, languorously brushing her hair, feeling her breasts, examining the marks of my teeth on her neck, hoping Melanie would not notice them but not caring too deeply whether she did or not. Not caring greatly any more whether Melanie overheard things or not. Asking herself wistfully perhaps how it had ever come about that she had lost me. Knowing now that if she had to live her life all over again she would never act as she had, never worry about useless things. So foolish to worry about what the other woman may be doing! What matter if a man did let his feet stray now and then? She had locked herself up, put a cage around herself; she had pretended she had no desires, pretended she dare not fuck—because we weren’t man and wife any longer. What a terrible humiliation! Wanting it dreadfully, longing for it, almost begging for it like a dog—and there it was all the time, waiting for her. Who cared whether it was right or not? Wasn’t this wonderful stolen hour better than anything she had ever known? Guilt? She had never felt less guilty in her life. Even if the “other one” had died meanwhile she couldn’t feel bad about it.

  I was so certain of what had been going on in her mind that I made a mental note to ask her about it next time we met. Of course next time she might be her old self again—that was only too possible with Maude. Besides, it wouldn’t do to let her see that I was too interested—that might only stir up the poison. The thing to do would be to keep it on an impersonal level. No sense in letting her relapse into her old ways. Just walk in with a cheery greeting, ask a few questions, send the kid out to play, move in close, quietly, firmly take out my prick and put it in her hand. Make sure the room was not too bright. No nonsense! Just walk up to her and, while asking how things are going, slip a hand up her dress and start the juice flowing.

  That extra last-minute fuck had done wonders for me too. Always, when one digs down into the reservoir, when one summons the last ounce, so to speak, one is amazed to discover that there is a boundless source of energy to be drawn on. It had happened to me before, but I had never given it serious attention. Staying up all night and going to work without sleep had a similar effect upon me; or the converse, staying in bed long past the period of recuperation, forcing myself to rest when I no longer needed rest. To break a habit, establish a new rhythm—simple devices, long known to the ancients. It never failed. Break down the old pattern, the worn-out connections, and the spirit breaks loose, establishes new polarities, creates new tensions, bequeaths new vitality.

  Yes, I observed with the keenest pleasure now how my mind was sparking, how it radiated in every direction. This was the sort of ebullience and élan I prayed for when I felt the desire to write. I used to sit down and wait for this to happen. But it never did happen—not this way. It happened afterwards, sometimes when I had left the machine and gone for a walk. Yes, suddenly it would come on, like an attack, pell-mell, from every direction, a veritable inundation, an avalanche—and there I was, helpless, miles away from the typewriter, not a piece of paper in my pocket. Sometimes I would start for the house on the trot, not running too fast because then it would peter out, but easy-like, just as in fucking—when you tell yourself to take it easy, don’t think about it, that’s it, in and out, cool detached, trying to pretend to yourself that it’s your prick that’s fucking and not you. Exactly the same procedure. Jog along, steady, hold it, don’t think about the typewriter or how far it is to the house, just easy, steady-like, that’s it. . . .

  Rehearsing these odd moments of inspiration I suddenly recalled a moment when I was on my way to the burlesque theater, “The Gayety,” at Lorimer Street and Broadway.* (I was riding the elevated line.) Just about two stations before my destination the attack came on. This was a very important attack because for the first time in my life I was cognizant of the fact that it was what is called “a flood of inspiration.” I knew then, in the space of a few moments, that something was happening to me which apparently did not happen to everyone. It had come without warning, for no reason that I could possibly think of. Perhaps just because my mind had become a perfect blank, because I had sunk back, deep into myself, content to drift. I recall vividly how the exterior world brightened suddenly, how like a flash the mechanism of my brain began to function with awesome smoothness and rapidity, thoughts telescoping one another, images succeeding and obliterating one another, in their frantic desire to register themselves. That Broadway which I hated so, especially from the elevated line (affording me a “superior” view, a downward look upon life, people, buildings, activities), this Broadway had suddenly undergone a metamorphosis. It wasn’t that it became ideal or beautiful or unreal; on the contrary, it became terribly real, terribly vivid. But it had acquired a new orientation; it was situated in the heart of the world, and this world which I now seemed able to take in with one grasp had meaning. Before, Broadway had stuck out like an eyesore, all ugliness and confusion; now it fell back into its proper place, an integral part of the world, neither good nor bad, neither ugly nor beautiful: it simply belonged. It was there like a rusty nail in a log thrown up on a deserted beach during a wintry storm. I can’t express it better. You walk along the beach, the air is tangy, your spirits are high, you think clearly—not always brilliantly—but clearly. Then the log, a phenomenal part of the substantial world: it lies there, full of experience, full of mystery. Some man hammered that nail in somewhere, sometime, somehow. There was a reason for doing it. He was making a ship for other men to sail in. Building ships was his lifework—and his own destiny as well as the destiny of his children went into every stroke of the hammer. Now the log lies there, and the nail is rusty, but Christ, it’s more than just a rusty nail—or else everything is crazy and meaningless. . . . That’s how it was with Broadway. Hams in the window, and the dreary windows of the glaziers, with lumps of putty on the counter making greasy stains in the coarse paper. Strange how man evolves through the ages—from Pithecanthropus erectus to a gray-faced glazier handling a brittle substance called glass which for millions of years nobody, not even the magicians of old, had even dreamed of. I could see the street slowly sinking, fading out in time: time which passes like lead or evaporates like steam. The buildings collapsed; the boards, bricks, mortar, glass, nails, hams, putty, paper
, everything receded into the great laboratory. A new race of men walking the earth (over this very same ground), knowing nothing of our existence, not caring about the past nor able to comprehend it, even were it possible to revive it. In the crevices of the earth bugs crawling about, as they had for billions of years: clinging stubbornly to their pattern, contributing nothing to evolution, defying it seemingly. They had witnessed, in their generation, every race of man tread the earth—and they had survived all the cataclysms, all the historical smashups. Down in Mexico, certain crawling bugs were a delicacy to the palate. There were men, still alive and walking the earth, separated not by tremendous physical distances but by mental and spiritual chasms, who took ants and fried them, and while they rolled their tongues around with satisfaction, music played and it was a different music from ours. And like that, over all the wide earth, in the same moment of time, such vastly different things were happening, not only on land but in the air and deep in the sea.

  Then came Lorimer Street station. I got out automatically, but I was powerless to move towards the stairs. I was caught in the fiery flux, fixed there just as definitely as if I had been speared by a fisherman. All those currents I had let loose were swirling about me, engulfing me, sucking me down into the whirlpool. I had to stand there like that, transfixed, for possibly three or four minutes, though it seemed much longer. People passed as in a dream. Another train pulled in and left. Then a man bumped into me, rushing towards the stairs, and I heard him excuse himself, but his voice came from far away. In jostling me he had swung me round just a little. Not that I was conscious of his rudeness, no . . . but suddenly I saw my image in the slot machine where the chewing gum was racked up. Of course it wasn’t so, but I had the illusion of catching up with myself—as though I had caught the tail end of the reinstallation of my old self, the familiar everyday person looking out at me from behind my own eyes. It made me just a little jittery, as it would anyone if, coming out of a reverie, he should suddenly see the tail of a comet streaking across the heavens, erasing itself as it passed across the retina. I stood there gazing at my own image, the seizure gone now but the aftereffect settling in. A more sober exaltation making itself felt. To be drunk. Christ, it seemed so feeble compared to this! (An afterglow, nothing more.) I was intoxicated now—but a moment ago I had been inspired. A moment ago I had known what it was to pass beyond joy. A moment ago I had forgotten absolutely who I was: I had spread myself over the whole earth. Had it been more intense perhaps I would have passed over that thin line which separates the sane from the insane. I might have achieved depersonalization, drowned myself in the ocean of immensity. Slowly I made towards the stairs, descended, crossed the street, bought a ticket, and entered the theater. The curtain was just going up. It opened on a world even more weird than the hallucinating one I had just eased out of. It was utterly unreal—utterly, utterly so. Even the music, so painfully familiar, seemed foreign to my ears. I could hardly differentiate between the living bodies cavorting before my eyes and the glitter and paste of the scenery; they seemed made of the same substance, a gray slag infused with a low voltage of the vital current. How mechanically they flung themselves about! How absolutely tinny were their voices! I looked around, looked up at the tiers of boxes, the plush cords slung between the brass posts, the puppets seated there one above another, all gazing towards the stage, all expressionless, all made of one substance: clay, common clay. It was a shadow world, awesomely fixed. All glued together—scenery, spectators, performers, curtain, music, smoke—in a dreary, meaningless pall. Of a sudden I became itchy, so itchy that it was like a thousand fleas biting me at once. I wanted to yell. I wanted to yell something that would shock them out of this awesome trance. (Shit! Hot shit! And everyone would jump to his feet, the curtain would come tumbling down, the usher would grab me by the collar and give me the bum’s rush.) But I couldn’t make a sound. My throat was like sandpaper. The itchiness passed and then I grew hot and feverish. Thought I would suffocate. Jesus, but I was bored. Bored as never before. I realized that nothing would happen. Nothing could happen, not even if I were to throw a bomb. They were dead, stinking dead, that’s what. They were sitting in their own stinking shit, steaming in it. . . . I couldn’t stand it another second. I bolted.

  In the street everything appeared gray and normal again. A most depressing normality. People trundled along like spindled vegetables. They resembled the things they ate. And what they ate made shit. Nothing more. Phew!

  In the light of that previous experience on the elevated train I realized that a new element was manifesting itself, one which had portentous significance. This element was awareness. I knew now what was happening to me, and in a measure I could control the explosion. Something lost, something gained. If there was no longer the same intensity as in that early “attack” neither was there the helplessness which had accompanied it. It was like being in an airplane racing through the clouds at phenomenal speed and, though unable to shut off the motor, discovering with joyous surprise that you could at any rate manage the controls.

  Swung out of my accustomed orbit, I nevertheless had sufficient balance to observe my bearings. The way I now saw things was the way I would write about them one day. Immediately questions assailed me, like slings and darts from angry gods. Would I remember? Would I be able, on a sheet of paper, to exfoliate in all directions at once? Was it the purpose of art to stagger from fit to fit, leaving a bloody hemorrhage in one’s wake? Was one merely to report the “dictation”—like a faithful chela obeying the telepathic behest of his Master? Did creation begin, as with the earth itself, in the fiery bubble of inchoate magma, or was it necessary that the crust first cool?

  Rather frantically I excluded all but the question of remembrance. It was hopeless to think of reproducing a mental cloudburst. I could merely try to retain certain definite clues, transform them into mnemonic touchstones. To find the vein again was the all-important—not how much gold I could mine. My task was to develop a mnemonic index to my inspirational atlas. Even the hardiest adventurer scarcely deludes himself that he will be able to cover every square foot of earth on this mysterious globe. Indeed, the true adventurer must come to realize, long before he has come to the end of his wanderings, that there is something stupid about the mere accumulation of wonderful experiences.

  I thought of Melanie, whom normally, were I planning a book of my life, I would never have bothered to include. How had she managed to inject herself when ordinarily I scarcely gave her a thought? What was the significance of this intrusion? What had she to contribute? Two touchstones fell immediately into my lap. Melanie? Why yes, remember always “beauty” and “insanity.” And why should I remember beauty and insanity? Then there came to mind these words: “varieties of flesh.” This was followed by the most subtle divagations on the relation between flesh, beauty and insanity. What was beautiful in Melanie derived from her angelic nature; what was insane in her derived from the flesh. The fleshly and the angelic had parted ways, and Melanie, as inexplicably beautiful as a crumbling statue, was slowly expiring on the frontier. (There were hysterical types who also succeeded in isolating the flesh, giving it thereby a peculiar life of its own. But with them it was always possible to plug in the fuse, to restore the current, to put the mind in control again. They kept a shutter in the mind which, like the asbestos curtain in the theater, could be unrolled in case of fire or as indication that another act had come to an end.) Melanie was like some strange naked creature, half-human, half-divine, whose whole time was spent in vainly trying to climb from the orchestra pit to the stage. In her case it made little difference whether the show was on or off, whether it was a rehearsal, an entr’acte, or a silent empty house. She clambered about with the repulsive seductiveness of the insane in their nakedness. The angels may wear tiaras or brown derbies, according to their whims, if we are to believe the vagaries of certain visionaries, but they have never been described as insane. Neither has their nakedness ever been a provocation to lust. But Mela
nie could be as ridiculous as a Swedenborgian angel and as provocative as a ewe in heat to the sight of a lonely shepherd. Her white hair served only to enhance the rippling allure of her flesh; her eyes were jet black, her bosom firm and full, her haunch like a magnetic field. But the more one reflected on her beauty the more obscene her insanity appeared. She gave the illusion of moving about naked, of inviting you to finger her so that she might laugh in that low, eerie way which the demented have of registering their unpredictable reactions. She haunted me like a danger signal glimpsed from a train window at night when one suddenly wonders if the engineer is awake or asleep. Just as one wonders in such moments, too paralyzed with fear to move or speak, what the precise nature of the catastrophe will be, so in thinking of Melanie’s insane beauty I often gave myself up to ecstatic dreams of flesh, the varieties I had known and explored and the varieties yet to be discovered. To embark unrestrainedly on carnal adventures awakens the sense of danger. I had experienced more than once the terror and the fascination which the pervert knows when in the crowded subway he submits to the compulsion of stroking a tempting ass or squeezing the seductive teat which lies within reach of his fingers.

  The element of awareness acted not only as a partial control, enabling me to move with imaginative feet from one escalator to another, but it served a more important purpose still—it stimulated the desire to commence the work of creation. That Melanie, whom I had heretofore ignored, whom I had regarded as a mere cipher in the complicated sum of experiences, could prove such a rich vein, opened my eyes. It was not Melanie at all, as a matter of fact, but those wordclots (“beauty,” “insanity,” “varieties of flesh”) which I felt the need to explore and clothe in sumptuous style. Even if it took years to do so, I would remember this train of fabulation, capture its secret, expose it on paper. How many hundred women had I pursued, followed like a lost dog, in order to study some mysterious trait—a pair of eyes set far apart, a head hewn out of quartz, a haunch that seemed to live its own life, a voice as melodious as the warble of a bird, a cataract of hair falling like spun glass, a torso invested with the flexibility of rubber. . . . Whenever the beauty of the female becomes irresistible it is traceable to a single quality. This quality, often a physical defect, can assume such unreal proportions that in the mind of the possessor her staggering beauty is nil. The excessively attractive bust can become a double-headed maggot that bores into the brain and becomes a mysterious watery tumor; the tempting overfull lips can grow in the depths of the skull like a double vagina, bringing on that most difficult of all diseases to cure: melancholia. (There are beautiful women who almost never stand before the mirror nude, women who, when they think of the magnetic power which the body wields, become terrified and shrink into themselves, fearful that even the odor which they give off will betray them. There are others who, standing before the mirror, can scarcely restrain themselves from rushing outdoors stark naked and offering themselves to the first comer.)