Just as musical comedy eclipsed operetta—just as silent movies killed vaudeville, talkies usurped the silents, and television reduced radio drama to a prolix mockery of itself—so did the coming of the Siemanns plasmajector spell the demise of the sex artists, whose achievements today survive largely in the memories of aging aficionados. I shall always regret that I never saw a live concert. How enthralling it must have been to enter a public park during the last century knowing that you might witness a pair of high-wire sensualists, avant-garde couplers, or Viennese orgasmeisters. It was an age of giants. Sara and Jaspar. Quentin and Alessandra. Roger and Dominic. The anonymous Phantoms of Delight. Teresa and Gaston, also known as the Portions of Eternity. Marge and Annette, who styled themselves Enchanted Equinox. You might even find yourself in the legendary presence of Bruno and Mina Pearl.
During my student days at the New England School of Art and Design, I was shrewd enough to take Aesthetics 101, “Metaphysics of the Physical,” taught by the benignly fanatical Nikolai Vertankowski. Thanks to Vertankowski’s extensive collection of pirated videos and bootleg DVDs, his students experienced tantalizing intimations of the medium that Bruno Pearl and his wife took to such dazzling heights. We learned of the couple’s chance meeting at the audition for Trevor Paisley’s defiant presentation of Oedipus Rex (it began with Antigone’s conception), as well as their early struggles on the eros circuit and their eventual celebrity. At the height of the lovers’ fame nobody came close to matching their carnal sorcery, their lubricious magic, that bewitchment for which there is no name. Vertankowski also taught us about Bruno and Mina’s uncanny and unaccountable decline: the inexplicable fact that, when their Citroen exploded, they had not given a memorable performance in over two years.
Throughout the work week I cross the Hudson twice a day, riding the ferry back and forth between the unfocused city of Hoboken, where I live, and the cavernous reaches of lower Manhattan, where I work. A decade ago my independent film company, Kaleidoscope Productions, received an Oscar nomination for The Rabble Capitalists, a feature-length documentary about the unlicensed peddlers of Gotham, those dubious though ambitious folk you see selling fake Rolexes, remaindered books, and sweatshop toys on street corners and in subway stations. Alas, my success was fleeting, and I eventually resigned myself to a career in cranking out instructional videos (tedious and talky shorts intended to galvanize sales forces, inspire stockholders, and educate dentists’ captive audiences). One of these days I’m going to sell the business and return to my former life as the SoHo bohemian who signed her oil paintings “Boadicea,” though my name is really Susan Fiore.
The night I delivered Bruno Pearl from death, my mood was not far from the syndrome explicated in the Kaleidoscope video called Coping with Clinical Depression. At the beginning of the week I’d broken up with Anson, a narcissistic though singularly talented sculptor for whom I’d compliantly aborted a pregnancy one month earlier. As always occurs when I lose a lover, I’d assumed a disproportionate share of the blame, and I was now engaged in a kind of penance, pacing around on the ferry’s frigid upper level as the wind cut through my fleece jacket and iced my bones. Despite my melancholy, I took note of the old man, the only other passenger on the weather deck. He was leaning over the stern rail, a skeletal septuagenarian in a tweed overcoat, his face as compacted as a hawk’s, his nose supporting a pair of eyeglasses, one lens held in place by a ratty pink Band-Aid. He stared at the Statue of Liberty, an intense gaze, far-reaching, immune to the horizon. My forlorn companion, it seemed, could see all the way to Lisbon.
Glancing north, I fixed on the brightly lit George Washington Bridge, each great sagging cable gleaming like a rope of luminous pearls. Anson believed that our descendants will regard suspension bridges with the same admiration we ourselves accord cathedrals and clipper ships, and tonight I understood what he meant. I turned back to the Statue of Liberty. The gentleman with the broken glasses was gone. In his place—a void: negative space, to use one of Anson’s favorite terms.
I peered over the rail. If suicide had been the old man’s aim, he’d evidently thought better of the decision; he was thrashing about amid the ferry’s widening wake with a desperation indistinguishable from panic. For a fleeting instant the incongruity transfixed me—the lower Hudson, an aquatic wasteland, a place for concrete quays and steel scows but not this fleshy jetsam—and then I tossed aside my rucksack, inhaled sharply, and jumped.
Anyone who has ever studied under Nikolai Vertankowski knows better than to equate performance intercourse with displays of more recent vintage. Today’s amateur exhibitionists and open-air stunt fuckers, the professor repeatedly reminded us, are not carrying on a tradition—they are desecrating it. For the true sex artist, all was subtext, all was gesture and grace. In revealing their skin to the world, the classical copulationists achieved not pornographic nudity but pagan nakedness. When Bruno and Mina ruled the eros circuit, they shed each garment so lissomely, planted each kiss so sublimely, and applied each caress so generously that the spectators experienced this tactile cornucopia no less than the lovers themselves.
Then, of course, there was the conversation. Before and after any overt hydraulics, Bruno and Mina always talked to each other, trading astute observations and reciting stanzas of poetry they’d composed especially for the occasion. Sensitive women wept at this linguistic foreplay. Canny men took notes. But the connections themselves remained the sine qua non of each concert. By the time they were famous, Bruno and Mina had perfected over a dozen acts, including not only Sphinx Recumbent and Flowering Judas but also Fearful Symmetry, Sylph and Selkie, Chocolate Babylon, Holy Fools, Menses of Venus, Onan in Avalon, Beguiling Serpent, Pan and Syrinx, and Fleur de Lis. When their passions were spent, their skins sated, and their reservoirs of postcoital verse exhausted, Bruno and Mina simply got dressed and watched approvingly as the spectators dropped coins and folding money into their gold-hinged mahogany coffer.
Performance copulators lived by a code, a kind of theatric chivalry whose nuances were known only to themselves. None had an agent or manager. They never published their touring schedules or distributed press kits. Souvenir mongering was forbidden. Videotaping by spectators was tolerated but frowned upon. The artists always arrived unexpectedly, without fanfare, like a goshawk swooping down on a rabbit or a fox materializing in a henhouse. Naturally they favored the major venues, appearing frequently in Golden Gate Park, Brussels Arboretum, Kensington Gardens, and Versailles, but sometimes they brought their brilliance to the humblest of small-town greens and commons. Quixotic tutelaries. Demons of the flesh. Now you saw them, now you didn’t.
Although I had never before attempted the maneuvers illustrated in the Kaleidoscope video called Deep Water Rescue, my relationship with that particular short was so intimate that, upon entering the Hudson, I spontaneously assumed a backstroke position, placed one hand under the drowning man’s chin, bade him relax, and, kicking for motive power, towed him to New Jersey. The instant I levered him onto the derelict wharf, his teeth started chattering, but he nevertheless managed to explain how his eyeglasses had slipped from his face and how in grabbing for them he’d lost his balance and tumbled over the rail. He chastised himself for never learning to swim. Then came the kiss on the cheek—and then the flash of recognition.
“You’re Bruno Pearl,” I told him.
Instead of responding to my assertion, he patted his pants, front and back, soon determining that his wallet and keys had survived the misadventure.
“Such a wonderfully courageous, a foolishly courageous young woman.” His teeth continued to vibrate, castanets in the hands of a lunatic. “Tell me your name, dear lady.”
“Susan Fiore.”
“Call me John.”
“You’re Bruno Pearl,” I informed him again. When you’ve just saved a person’s life, a certain impertinence comes naturally. “You’re Bruno Pearl, and the world believes you’re dead.”
He made no response, but instead rubb
ed each arm with the opposite hand. “In my experience, lovely Susan,” he said at last, “appearances are deceiving.”
Whether this was Bruno Pearl or not, my obligation to him clearly had not ended. My beneficiary’s most immediate problem was not his lost eyeglasses—though he said he was functionally blind without them—but the threat of hypothermia. When the gentleman revealed that he lived in north Hoboken, near the corner of Willow Avenue and Fourteenth Street, I proposed that we proceed directly to my apartment, a mere two blocks from the wharf.
He readily assented, and so I took him by the hand and led him into the nocturnal city.
By the time we reached my apartment he’d stopped shivering. Supplying him with a dry wardrobe posed no challenge: although my ex-lovers are a heterogeneous bunch, they share a tendency to leave their clothes behind. That night Bruno received Warren’s underwear, Jack’s socks, Craig’s dungarees, and Rich’s red polo shirt. I actually had more difficulty replacing my own soggy attire, but eventually I found a clean blouse and presentable khakis.
While Bruno got dressed, I spread the contents of his wallet—money, credit cards, an ancient snapshot of Mina—across the kitchen counter to dry. Next I telephoned the ferry terminal: good news—not only had some admirable soul turned in my abandoned rucksack, the dispatcher was willing to hold it for me. Before Bruno emerged from the bedroom, I managed to feed my cat, Leni, an affectionate calico with a strong sense of protocol, and prepare hot tea for the artist and myself. The instant he appeared in the kitchen, I handed him a steaming mug of oolong, seeking thereby to elevate his spirits and raise his core temperature.
“I had a college professor once, Nikolai Vertankowski, your most devoted fan,” I told him as, tea mugs in hand, we moved from my cramped kitchen to my correspondingly minuscule parlor. “We spent most of Aesthetics 101 watching Bruno and Mina tapes, especially the Boston Common concerts.”
He settled into my wing chair, fluted his lips, and at long last drew a measure of liquid warmth into his body. He frowned. “Mina and I never authorized any recordings,” he muttered, acknowledging his identity for the first time. “Your professor trafficked in contraband.”
“He knew that,” I replied. “The man was obsessed. Probably still is.”
Leni jumped into Bruno’s lap, tucked her forelegs beneath her chest, and purred. “Obsessed,” he echoed, taking a second swallow of tea. He brushed Leni’s spine, his palm smoothing her fur like a spatula spreading frosting on a cake. “Obsession is something I can understand—obsession with Thanatos, obsession with the élan vital. Speaking of life, I owe you mine. In return, I shall grant you any favor within my capabilities.”
“Talk to me.”
“A great sex artist is celebrated for his conversation,” he said, nodding.
“Talk to me, Bruno Pearl. Tell me the truth about yourself.”
“There was a bullet,” he said.
There was a bullet. But before the bullet, there was a triumphant performance in Philadelphia. On only two previous occasions had Mina and Bruno succeeded in accomplishing both Fleur de Lis and Holy Fools in a single afternoon. The Fairmount Park concert had elicited raucous cheers, rapturous sighs, and thunderous applause.
To celebrate their success, the artists treated themselves to a lobster dinner in their hotel room, followed by a stroll along the Delaware. At some undefined moment they crossed an indeterminate boundary, moving beyond the rehabilitated sector of Front Street, with its well-lighted walkways and quaint restaurants, and entering the warehouse district, domain of illegal transactions in flesh and pharmaceuticals. Under normal conditions the artists might have noted their seedy surroundings, spun around in a flurry of self-preservation, and headed south, but they were too intoxicated by their recent success, too high on Aphrodite. Fleur de Lis and Holy Fools, both in the same concert.
The bullet came from above, flying through a window on the second floor of a gutted factory and subsequently following its evil and inexorable trajectory downward. Bruno would later remember that the shot was actually the first in a series. A heroin deal gone wrong, he later surmised, or possibly a violent altercation between a prostitute and her pimp.
Spiraling toward Mina, the bullet drilled through the left side of her head, drove bits of skull into her cerebral cortex, entered her midbrain, and lodged in her cerebellum.
“Oh my God,” I said.
“Those were my exact words,” Bruno said. “‘Oh my God,’ I screamed.”
“Did she die?”
Bruno pleasured my cat with his long delicate fingers. “The odds were against her,” he replied cryptically.
Mina, delirious, collapsed in Bruno’s arms, blood geysering from the wound. He laid her on the asphalt. It was surprisingly warm. Somehow he remained sane enough to administer first aid, tearing off his shirt and bandaging her leaking head. He carried her one block west and hailed a cab. The driver, a Mexican, ten years behind the wheel, had seen worse, much worse, and without a breath of hesitation he drove them to Thomas Jefferson Memorial Hospital. Twenty minutes after her arrival in the emergency room, Mina lay beneath two halogen lamps, hovering on the cusp of oblivion as a surgical team struggled to reassemble her shattered brain.
A soothing and attractive Pakistani nurse directed Bruno down the hall to an ecumenical chapel—a dark place, soft, small, stinking of lilies and candle wax. He was the only patron. Religious music of unknown origin and protean denomination wafted through the air. The artist believed in neither God, Jesus, Allah, nor Krishna. He beseeched them all. He solicited divine intervention more devoutly than when, at age ten, he still knew, absolutely knew, that God always came through for you in the end, that it was just a matter of waiting.
“After I finished praying, I held my hand over a candle flame.” Bruno showed me his right palm. The pale, fibrous scar had pulled the skin into a shape resembling a Star of David. “To this day, I’m not sure why I did it. A kind of oblation, I suppose. I felt nothing at first. A tickle. I actually smelled my burning flesh before I apprehended the pain.”
Near dawn a bulky man in a white smock waddled into the chapel and introduced himself as Gregor Croom, chief among the surgeons who’d operated on Mina. Dr. Croom was perhaps the most physically unappealing person Bruno had ever met. A great mass of superfluous tissue clung to his upper spine, forcing him into a stoop. Mounds of overlapping flab drooped from the sides of his face, so that his tiny black eyes suggested raisins embedded in a pudding.
The surgeon spoke clinically, phlegmatically. They’d stopped the bleeding, he said, internal and external, and her vital signs were stable—but she’d lost massive quantities of irreplaceable neural matter. It was doubtful that she would ever again move her limbs of her own volition. In all likelihood the bullet had excised her ability to speak.
“I wept,” Bruno said, finishing his tea. Leni’s errant tail slapped his knee. “I wept like a baby.”
“Dear Lord,” I said. “My poor Mr. Pearl.”
Dr. Croom’s demeanor underwent an abrupt transformation. His manner grew gentle, his voice mellifluous. Locking a gnarled hand around Bruno’s wrist, he confessed that he was as steadfast an apostle as the sex artists would ever know, proud owner of ninety-eight Bruno and Mina tapes of dubious provenance. His failure to foresee and attend that afternoon’s concert in Fairmount Park would haunt him for years to come.
“Please know I shall do all within my power to return Mina to the eros circuit,” Dr. Croom told the despairing Bruno. “My expertise lies wholly at your disposal, free of charge.”
“Are you saying … there’s hope?”
“More than hope, Mr. Pearl. A cure.”
As the anemic light of dawn washed over Philadelphia, Dr. Croom told Bruno how he had recently perfected a new, audacious, auspicious—and untested—method of rehabilitating victims of neural trauma. He freely revealed that his colleagues had no faith in the technique, and he admitted that it lay outside the bounds of orthodox medical practice. The pi
oneering experiment would occur in Croom’s private laboratory, which he maintained in the basement of his Chestnut Hill mansion.
“The doctor proposed to employ a unique genetic-engineering technology,” Bruno told me, massaging Leni with extravagant strokes that began at her nose and continued to the end of her tail. “His desire was to create an embryo bearing Mina’s precise genetic heritage. He would then accelerate the fetus’s development through hormonal manipulation, so that it would become an infant within seven days, an adolescent within five weeks, and a woman of thirty-six years—Mina’s age—in a matter of months. The result, he promised me, would be an exact biological duplicate of my wife.”
“But it would not be a duplicate,” I protested. “It would have none of her experiences, none of her memories.”
“You may be sure that I presented this objection to Dr. Croom. His answer astonished me.”
The doctor told Bruno about a heuristic computer, the JCN-5000-X. Among the machine’s several spectacular functions was an ability to scan a person’s cerebrum, encode the totality of its electrochemical contents, and insert these byzantine files into the tabula rasa that is the nervous system of a genetically engineered, hormonally accelerated human replica. In Croom’s view, a complete restoration of Mina was entirely feasible, for the bullet had damaged her brain’s motor and autonomic areas only—the very motor and autonomic areas that the hypothetical duplicate would boast in full. With the exceptions of certain trivial skills and some useless bits of nostalgia, the facsimile Mina would enjoy a selfhood identical to that possessed by the original before the bullet arrived.
New Wave Fabulists Page 16