I was tempted to take the morphine, reflecting that, if it made me feel happy, I would, after all, have enough money to support the habit. But then I understood that I was already drugged.
I was feeling no pain.
My narcotic was what had got me through the war; it was an ability to let my emotions be stirred by only one thing--my love for Helga. This concentration of my emotions on so small an area had begun as a young lover's happy illusion, had developed into a device to keep me from going insane during the war, and had finally become the permanent axis about which my thoughts revolved.
And so, with my Helga presumed dead, I became a death-worshipper, as content as any narrow-minded religious nut anywhere. Always alone, I drank toasts to her, said good morning to her, said good night to her, played music for her, and didn't give a damn for one thing else.
And then one day in 1958, after thirteen years of living like that, I bought a war-surplus wood-carving set. It was surplus not from the Second World War but from the Korean war. It cost me three dollars.
When I got it home, I started to carve up my broom handle to no particular purpose. And it suddenly occurred to me to make a chess set.
I speak of suddenness here, because I was startled to find myself with an enthusiasm. I was so enthusiastic that I carved for twelve hours straight, sank sharp tools into the palm of my left hand a dozen times, and still would not stop. I was an elated, gory mess when I was finished. I had a handsome set of chessmen to show for my labors.
And yet another strange impulse came upon me.
I felt compelled to show somebody, somebody still among the living, the marvelous thing I had made.
So, made boisterous by both creativity and drink, I went downstairs and banged on the door of my neighbor, not even knowing who my neighbor was.
My neighbor was a foxy old man named George Kraft. That was only one of his names. The real name of this old man was Colonel Iona Potapov. This antique sonofabitch was a Russian agent, had been operating continuously in America since 1935.
I didn't know that.
And he didn't know at first who I was, either.
It was dumb luck that brought us together. No conspiracy was involved at first. It was I who knocked on his door, invaded his privacy. If I hadn't carved that chess set, we never would have met.
Kraft--and I'll call him that from now on, because that's how I think of him--had three or four locks on his front door.
I induced him to unlock them all by asking him if he played chess. There was dumb luck again. Nothing else would have made him open up.
People helping me with my research later, incidentally, tell me that the name of Iona Potapov was a familiar one in European chess tournaments in the early thirties. He actually beat the Grand Master Tartakover in Rotterdam in 1931.
When he opened up, I saw that he was a painter. There was an easel in the middle of his living room with a fresh canvas on it, and there were stunning paintings by him on every wall.
When I talk about Kraft, alias Potapov, I'm a lot more comfortable than when I talk about Wirtanen, alias God-knows-what. Wirtanen has left no more of a trail than an inchworm crossing a billiard table. Evidences of Kraft are everywhere. At this very moment, I'm told, Kraft's paintings are bringing as much as ten thousand dollars apiece in New York.
I have at hand a clipping from the New York Herald Tribune of March third, about two weeks ago, in which a critic says of Kraft as a painter:
Here at last is a capable and grateful heir to the fantastic inventiveness and experimentation in painting during the past hundred years. Aristotle is said to have been the last man to understand the whole of his culture. George Kraft is surely the first man to understand the whole of modern art--to understand it in his sinews and bones.
With incredible grace and firmness he combines the visions of a score of warring schools of painting, past and present. He thrills and humbles us with harmony, seems to say to us, "If you want another Renaissance, this is what the paintings expressing its spirit will look like."
George Kraft, alias Iona Potapov, is being permitted to continue his remarkable art career in the Federal Penitentiary at Fort Leavenworth. We all might well reflect, along, no doubt, with Kraft-Potapov himself, on how summarily his career would have been crushed in a prison in his native Russia.
Well--when Kraft opened his door for me, I knew his paintings were good. I didn't know they were that good. I suspect that the review above was written by a pansy full of brandy Alexanders.
"I didn't know I had a painter living underneath me," I said to Kraft.
"Maybe you don't have one," he said.
"Marvelous paintings!" I said. "Where do you exhibit?"
"I never have," he said.
"You'd make a fortune if you did," I said.
"You're nice to say so," he said, "but I started painting too late." He then told me what was supposed to be the story of his life, none of it true.
He said he was a widower from Indianapolis. As a young man, he said, he'd wanted to be an artist, but he'd gone into business instead--the paint and wallpaper business.
"My wife died two years ago," he said, and he managed to look a little moist around the eyes. He had a wife, all right, but not underground in Indianapolis. He had a very live wife named Tanya in Borisoglebsk. He hadn't seen her for twenty-five years.
"When she died," he said to me, "I found my spirit wanted to choose between only two things--suicide, or the dreams I'd had in my youth. I am an old fool who borrowed the dreams of a young fool. I bought myself some canvas and paint, and I came to Greenwich Village."
"No children?" I said.
"None," he said sadly. He actually had three children and nine grandchildren. His oldest son, Ilya, is a famous rocket expert.
"The only relative I've got in this world is art--" he said, "and I'm the poorest relative art ever had." He didn't mean he was impoverished. He meant he was a bad painter. He had plenty of money, he told me. He'd sold his business in Indianapolis, he said, for a very good price.
"Chess--" he said, "you said something about Chess?"
I had the chessmen I'd whittled, in a shoebox. I showed them to him. "I just made these," I said, "and now I've got a terrific yen to play with them."
"Pride yourself on your game, do you?" he said.
"I haven't played for a good while," I said.
Almost all the chess I'd played had been with Werner Noth, my father-in-law, the Chief of Police of Berlin. I used to beat Noth pretty consistently--on Sunday afternoons when my Helga and I went calling on him. The only tournament I ever played in was an intramural thing in the German Ministry for Popular Enlightenment and Propaganda. I finished eleventh in a field of sixty-five.
In ping-pong I did a good deal better. I was ping-pong champion of the Ministry for four years running, singles and doubles. My doubles partner was Heinz Schildknecht, an expert at propagandizing Australians and New Zealanders. One time Heinz and I took on a doubles team composed of Reichsleiter Goebbels and Oberdienstleiter Karl Hederich. We sat them down 21-2, 21-1, 21-0.
History often goes hand-in-hand with sports.
Kraft had a chessboard. We set up my men on it, and we began to play.
And the thick, bristly, olive-drab cocoon I had built for myself was frayed a little, was weakened enough to let some pale light in.
I enjoyed the game, was able to come up with enough intuitively interesting moves to give my new friend entertainment while he beat me.
After that, Kraft and I played at least three games a day, every day for a year. And we built up between ourselves a pathetic sort of domesticity that we both felt need of. We began tasting our food again, making little discoveries in grocery stores, bringing them home to share. When strawberries came in season, I remember, Kraft and I whooped it up as though Jesus had returned.
One particularly touching thing between us was the matter of wines. Kraft knew a lot more than I did about wines, and he often brought home cob-w
ebby treasures to go with a meal. But, even though Kraft always had a filled glass before him when we sat down to eat, the wine was all for me. Kraft was an alcoholic. He could not take so much as a sip of wine without starting on a bender that could last a month.
That much of what he told me about himself was true. He was a member of Alcoholics Anonymous, had been for sixteen years. While he used A.A. meetings as spy drops, his appetite for what the meetings offered spiritually was real. He once told me, in all sincerity, that the greatest contribution America had made to the world, a contribution that would be remembered for thousands of years, was the invention of A.A.
It was typical of his schizophrenia as a spy that he would use an institution he so admired for purposes of espionage.
It was typical of his schizophrenia as a spy that he should also be a true friend of mine, and that he should eventually think of a way to use me cruelly in advancing the Russian cause.
12
STRANGE THINGS
IN MY MAILBOX ...
FOR A LITTLE WHILE I lied to Kraft about who I was and what I'd done. But the friendship deepened so much, so fast, that I soon told him everything.
"It's so unjust!" he said. "It makes me ashamed to be an American! Why can't the Government step forward and say, 'Here! This man you've been spitting on is a hero!'" He was indignant, and, for all I know, he was sincere in his indignation.
"Nobody spits on me," I said. "Nobody even knows I'm alive any more."
He was eager to see my plays. When I told him I didn't have copies of any of them, he made me tell him about them, scene by scene--had me performing them for him.
He said he thought they were marvelous. Maybe he was sincere. I don't know. My plays seemed vapid to me, but it's possible he liked them.
What excited him, I think, was the idea of art, and not what I'd done with it.
"The arts, the arts, the arts--" he said to me one night. "I don't know why it took me so long to realize how important they are. As a young man, I actually held them in supreme contempt. Now, whenever I think about them, I want to fall on my knees and weep."
It was late autumn. Oysters had come back in season, and we were feasting on a dozen apiece. I'd known Kraft about a year then.
"Howard--" he said to me, "future civilizations--better civilizations than this one--are going to judge all men by the extent to which they've been artists. You and I, if some future archaeologist finds our works miraculously preserved in some city dump, will be judged by the quality of our creations. Nothing else about us will matter."
"Um," I said.
"You've got to write again," he said. "Just as daisies bloom as daisies and roses bloom as roses--you must bloom as a writer and I must bloom as a painter. Everything else about us is uninteresting."
"Dead men don't usually write very well," I said.
"You're not dead!" he said. "You're full of ideas. You can talk for hours on end."
"Blather," I said.
"Not blather!" he said hotly. "All you need in this world to get writing again, writing better than ever before, is a woman."
"A what?" I said.
"A woman," he said.
"Where did you get this peculiar idea--" I said, "from eating oysters? If you'll get one, I'll get one," I said. "How's that?"
"I'm too old for one to do me any good," he said, "but you're not." Again, trying to separate the real from the fake, I have to declare this conviction of the real. He was really earnest about wanting me to write again, was convinced that a woman could do the trick. "I would almost go through the humiliation of trying to be a man to a woman," he said, "if you would take a woman, too."
"I've got one," I said.
"You had one once," he said. "There's a world of difference."
"I don't want to talk about it," I said.
"I'm going to talk about it all the same," he said.
"Then talk away," I said, getting up from the table. "Be a matchmaker to your heart's content. I'm going down to see what goodies came in the mail today."
He'd annoyed me, and I went down the stairs to my mailbox, simply to walk off my annoyance. I wasn't eager to see the mail. I often went a week or more without seeing if I had any. The only things that were ever in my mailbox were dividend checks, notices of stockholders' meetings, trash mail addressed to "Boxholder," and advertising flyers for books and apparatus said to be useful in the field of education.
How did I happen to receive advertisements for educational materials? One time I applied for a job as a teacher of German in a private school in New York. That was in 1950 or so.
I didn't get the job, and I didn't want it, either. I applied, I think, simply to demonstrate to myself that there really was such a person as me.
The application form I filled out was necessarily full of lies, was such a fabric of mendacity that the school did not even bother to tell me that I was unacceptable. Be that as it may, my name somehow found its way onto a list of those supposedly in teaching. Thereafter, flyers without end flew in.
I opened my mailbox on an accumulation of three or four days.
There was a check from Coca-Cola, a notice of a General Motors stockholders' meeting, a request from Standard Oil of New Jersey that I approve a new stock-option plan for my executives, and an ad for an eight-pound weight disguised to look like a schoolbook.
Object of the weight was to give schoolchildren something to exercise with, in between classes. The ad pointed out that the physical fitness of American children was below that of the children of almost every land on earth.
But the ad for that queer weight wasn't the queerest thing in my mailbox. There were some things a lot queerer than that.
One was from the Francis X. Donovan Post of the American Legion in Brookline, Massachusetts, a letter in a legal-size envelope.
Another was a tiny newspaper rolled tight and mailed from Grand Central Station.
I opened the newspaper first, found it to be The White Christian Minuteman, a scabrous, illiterate, anti-Semitic, anti-Negro, anti-Catholic hate sheet published by the Reverend Doctor Lionel J. D. Jones, D.D.S. "Supreme Court," said the biggest headline, "Demands U.S. Be Mongrel!"
The second biggest headline said: "Red Cross Gives Whites Negro Blood!"
These headlines could hardly startle me. They were, after all, the sort of thing I had said for a living in Germany. Even closer to the spirit of the old Howard W. Campbell, Jr., actually, was the headline of a small story in one corner of the front page, a story titled: "International Jewry Only Winners of World War II."
I now opened the letter from the American Legion Post. It said:
Dear Howard:
I was very surprised and disappointed to hear you weren't dead yet. When I think of all the good people who died in World War Two, and then think that you're still alive and living in the country you betrayed, it makes me want to throw up. You will be happy to know that our Post resolved unanimously last night to demand that you either get hanged by the neck until dead or get deported back to Germany, which is the country you love so much.
Now that I know where you are, I will be paying you a call real soon. It will be nice to talk over old times.
When you go to sleep tonight, you smelly rat, I hope you dream of the concentration camp at Ohrdruf. I should have pushed you into a lime pit when I had the chance.
Very, very truly yours,
Bernard B. O'Hare
Post Americanism Chairman
Carbon copies to:
J. Edgar Hoover, F.B.I., Washington, D.C. Director,
Central Intelligence Agency, Washington, D.C.
Editor, Time, New York City
Editor, Newsweek, New York City
Editor, Infantry Journal, Washington, D.C.
Editor, The Legion Magazine, Indianapolis, Indiana
Chief Investigator, House Un-American Activities
Committee, Washington, D.C.
Editor, The White Christian Minuteman, 395 Bleecker
; St., New York City
Bernard B. O'Hare, of course, was the young man who had captured me at the end of the war, who had frog-walked me through the death camp at Ohrdruf, who had joined me in a memorable photograph on the cover of Life.
When I found the letter from him in my mailbox in Greenwich Village, I was puzzled as to how he'd found out where I was.
I leafed through The White Christian Minuteman, found out O'Hare wasn't the only person who had rediscovered Howard W. Campbell, Jr. On page three of the Minuteman, under a headline that said simply, "American Tragedy!," was this brief tale:
Howard W. Campbell, Jr., a great writer and one of the most fearless patriots in American history, now lives in poverty and loneliness in the attic of 27 Bethune Street. Such is the fate of thinking men brave enough to tell the truth about the conspiracy of international Jewish bankers and international Jewish Communists who will not rest until the bloodstream of every American is hopelessly polluted with Negro and/or Oriental blood.
13
THE REVEREND DOCTOR
LIONEL JASON DAVID
JONES, D.D.S., D.D. ...
I AM INDEBTED to the Haifa Institute for the Documentation of War Criminals for the source material that makes it possible for me to include in this account a biography of Dr. Jones, publisher of The White Christian Minuteman.
Jones, though subject to no prosecution as a war criminal, has a very fat dossier. Leafing through that treasure house of souvenirs, I find these things to be true:
The Reverend Doctor Lionel Jason David Jones, D.D.S., D.D., was born in Haverhill, Massachusetts, in 1889, was raised as a Methodist.
He was the youngest son of a dentist, the grandson of two dentists, brother of two dentists, and the brother-in-law of three dentists. He himself set out to be a dentist, but was expelled from the Dental School of the University of Pittsburgh in 1910, for what would now be diagnosed, most likely, as paranoia. In 1910, he was dismissed for simple scholastic failure.
The syndrome of his failure was anything but simple. His examination papers were quite probably the longest such papers ever written in the history of dental education, and probably the most irrelevant as well. They began, sanely enough, with whatever subject the examination required Jones to discuss. But, regardless of that subject, Jones managed to go from it to a theory that was all his own--that the teeth of Jews and Negroes proved beyond question that both groups were degenerate.
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