Category Archives: Original

Peeping

Introduction by Jonathan Lethem

Bernard Wolfe’s Memoirs of a Not Altogether Shy Pornographer comes into your hands as a book-out-of-time. Such republication efforts as these always collapse the shallow literary present into a more complicated shape, making a portal through history—who is this lost writer, we ask ourselves, and what is this lost book? But also: what views of a lost cultural landscape might be available through the portal this particular lost writer and lost book represents?

Make no mistake, the case of Bernard Wolfe is an especially interesting one, not least because, even in 1972, in the pages of his memoir when it rolled fresh off the presses into the hands of god-knows-how-few readers, Wolfe already presents himself as a man-out-of-time, in ways both helpless and defiant. Wolfe’s career was bizarrely rich: from time as Leon Trotsky’s personal secretary to stints in the Merchant Marine, as ghostwriter for Broadway columnist Billy Rose and author of early-TV-era teleplays, as editor of Mechanix Illustrated, and as exponent of the theories of dissident psychoanalytic guru Edmund Bergler (whose homophobia was obnoxious, but whose discarded theories strongly anticipate later thinking, and who could be seen as a kind of “lost American Lacan,” if anyone was digging for one), to his glancing participation in the realm of American science fiction, and his role as amanuensis, to jazzman Mezz Mezzrow, in writing a memoir depicting a prescient version of “hipsterdom” and which became a kind of bible of inner-urban American slang—Wolfe was practically everywhere in twentieth-century culture. Continue reading

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Burst

Burst

burst

It was happening. Right then, happening. They’d been warning me for a long time, and yet. I was paralyzed, my sweaty hands clutching at the air, while the people in the living room went on talking, roaring with laughter—even their whispers were exag­gerated, while I. And someone shouted louder than the rest, turn the music down, don’t make so much noise or the neighbors’ll call the cops at midnight. I focused in on that thundering voice that never seemed to tire of repeating that even on Saturdays the neighbors went to bed early. Those gringos weren’t night owls like us, party people to the core. Good protestant folks who would indeed protest if we kept them from their sleep. On the other side of the walls, above our bodies and under our feet, too, these gringos—so used to greeting dawn with their socks on and shoes already tied—were restless. Gringos who sat down in their impec­cable underwear and ironed faces to eat their breakfasts of cereal with cold milk. But none of us were worried about those sleepless gringos, their heads buried under pillows, their throats stuffed with pills that would bring no relief as long as we kept trampling their rest. If the people in the living room went on trampling, that is, not me. I was still in the bedroom, kneeling, my arm stretched out toward the floor. In that instant, precisely, in that half-light, in that commotion, I found myself thinking about the neighbors’ oppressive sleeplessness, imagining them as they turned out the lights after stuffing earplugs in their ears, how they’d push them in so hard the silicone would burst. I thought I would much rather have been the one with broken earplugs, the one with eardrums pierced by shards. I would rather have been the old woman reso­lutely placing the mask over her eyelids, only to yank it off again and switch on the light. I wished for that while my still-suspended hand encountered nothing. There was only the alcoholic laughter coming through the walls and spattering me with saliva. Only Manuela’s strident voice yelling over the noise for the umpteenth time, Come on, guys, keep it down a little. No, please don’t, I said to myself, keep talking, keep shouting, howl, growl if you must. Die laughing. That’s what I said to myself, my body seized up though only a few seconds had passed. I’d only just come into the master bedroom, just leaned over to search for my purse and the syringe. I had to give myself an injection at twelve o’clock sharp but now I wouldn’t make it, because the pile of precariously balanced coats let my purse slide to the floor, because instead of stopping conscientiously, as I should have, I bent over and reached to pick it up. And then a firecracker went off in my head. But no, it was no fire I was seeing, it was blood spilling out inside my eye. The most shockingly beautiful blood I have ever seen. The most outrageous. The most terrifying. The blood gushed, but only I could see it. With absolute clarity I watched as it thickened, I saw the pressure rise, I watched as I got dizzy, I saw my stomach turn, saw that I was starting to retch, and even so. I didn’t straighten up or move an inch, didn’t even try to breathe while I watched the show. Because that was the last thing I would see, that night, through that eye: a deep, black blood. Continue reading

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Why Champagne?

Intoxication doesn’t just happen. It’s an art, one that requires talent and application. Haphazard drinking leads nowhere.

While there is often something miraculous about the first time one gets really plastered, this is only thanks to proverbial beginner’s luck: by definition, it will not happen again.

For years, I drank the way most people do: depending on the party, I consumed drinks of varying strength, in hopes of reaching that state of heady inebriation which makes life bearable, and all I achieved for my pains was a hangover. And yet I have never stopped believing that my quest might be turned to better advantage.

My experimental temperament gained the upper hand. I was like those shamans in the Amazon who, before they begin to chew away on some unknown plant, subject themselves to draconian diets, the better to unveil its hidden powers; I resorted to the oldest investigatory technique on the planet: I fasted. Asceticism is an instinctive way to create the inner void that is indispensable to any scientific discovery.

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The Story About a Bus Driver Who Wanted to Be God

This is the story about a bus driver who would never open the door of the bus for people who were late. Not for anyone. Not for repressed high school kids who’d run alongside the bus and stare at it longingly, and certainly not for high-strung people in windbreakers who’d bang on the door as if they were actually on time and it was the driver who was out of line, and not even for little old ladies with brown paper bags full of groceries who struggled to flag him down with trembling hands. And it wasn’t because he was mean that he didn’t open the door, because this driver didn’t have a mean bone in his body; it was a matter of ideology. The driver’s ideology said that if, say, the delay that was caused by opening the door for someone who came late was just under thirty seconds, and if not opening the door meant that this person would wind up losing fifteen minutes of his life, it would still be more fair to society, because the thirty seconds would be lost by every single passenger on the bus. And if there were, say, sixty people on the bus who hadn’t done anything wrong, and had all arrived at the bus stop on time, then together they’d be losing half an hour, which is double fifteen minutes. This was the only reason why he’d never open the door. He knew that the passengers hadn’t the slightest idea what his reason was, and that the people running after the bus and signaling him to stop had no idea either. He also knew that most of them thought he was just an sob, and that personally it would have been much, much easier for him to let them on and receive their smiles and thanks.

Except that when it came to choosing between smiles and thanks on the one hand, and the good of society on the other, this driver knew what it had to be.

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The Watts Riots

I spent the riots in a penthouse at the Chateau Marmont with this ex-philosophy major from Stanford whose family owned all the more oily pieces of land in Arizona, Mexico and California and who had taken up the profession of herding cattle. He was a Stanford Cowboy, is how I always thought of him in my mind. He showed me his spurs so I’d believe him and his saddle bags. In his saddle bags he kept his prize possessions, books on magic and the works of Alistair Crowley. His horse must have felt like a roving library. The police shot this guy in a car while he was taking his wife to the hospital to have a baby just as Nicky, the Stanford Cowboy, must have been checking into the Chateau that evening, having driven from Indio, the desert where the Santa Ana winds came from.

The guy getting shot in Watts made the winds, I think, like escaping gas, explode.

L.A. was closed.

There were no cars out on the streets. Everyone was home watching tv, where Joe Pine had dumped a satchelful of guns out onto his podium and explained that he was not about to let anyone try and get his stuff away from him, never mind his wife and daughters.

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Eve Babitz

To those of us growing up in the Northeast in the 1960s, California was a foreign country and Los Angeles its capital. Actual foreign capitals like London and Paris seemed more familiar. At the root of our deep mistrust was the Yankee conviction that weather is a defining force in shaping human character—that harsh winters instill Calvinist rigor in those obliged to withstand them, that perpetual summer would inevitably corrode morals and the will to work. All those hillsides ablaze, those earthquakes rattling the china, struck us as fire-and-brimstone reminders that people were never meant to live in LA in the first place—reminders unheeded by the local residents, a bunch of confirmed hedonists who lived in the moment, turning their backs on Europe and the past, facing the sunset and the sea.

In short, there was nothing about LA that would have led us to expect that a serious writer could emerge from it. Until one did, and rose to fame as an exalted practitioner of the inventive, highly personal journalism that dominated the 1970s. That was Joan Didion, whose name, alongside her husband’s, appears in the roll call of dedications with which Eve Babitz opens Eve’s Hollywood: “To the Didion-Dunnes for having to be who I’m not.” Didion, along with John Gregory Dunne, had decamped to New York, and from that distant vantage she wrote about Los Angeles in terms that flattered us Northeasterners into believing we’d been right all along.

It was Babitz who finally—unapologetically—gave voice to LA’s unique appeal and laid to rest the by then weary notion of the city as a cultural wasteland. For this, she was supremely qualified. With a father who was a baroque musicologist and violinist under contract to Twentieth Century-Fox, a mother who was an artist, and a godfather who was Igor Stravinsky, Babitz grew up surrounded by a circle of illustrious family friends that included Edward James, Joseph Szigeti, Eugene Berman, Marilyn Horne, Kenneth Rexroth, and Kenneth Patchett, with poetry readings in the living room and premieres of works by Arnold Schoenberg under the palms. Continue reading

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