Well there’s one place where Shit ’n’ Shinola do come together, and that’s in the men’s toilet at the Roseland Ballroom, the place Slothrop departed from on his trip down the toilet, as revealed in the St. Veronica Papers (preserved, mysteriously, from that hospital’s great holocaust). Shit, now, is the color white folks are afraid of. Shit is the presence of death, not some abstract-arty character with a scythe but the stiff and rotting corpse itself inside the whiteman’s warm and private own asshole, which is getting pretty intimate. That’s what that white toilet’s for. You see many brown toilets? Nope, toilet’s the color of gravestones, classical columns of mausoleums, that white porcelain’s the very emblem of Odorless and Official Death. Shinola shoeshine polish happens to be the color of Shit. Shoeshine boy Malcolm’s in the toilet slappin’ on the Shinola, working off whiteman’s penance on his sin of being born the color of Shit ’n’ Shinola. It is nice to think that one Saturday night, one floor-shaking Lindyhopping Roseland night, Malcolm looked up from some Harvard kid’s shoes and caught the eye of Jack Kennedy (the Ambassador’s son), then a senior. Nice to think that young Jack may have had one of them Immortal Lightbulbs then go on overhead—did Red suspend his ragpopping just the shadow of a beat, just enough gap in the moiré there to let white Jack see through, not through to but through through the shine on his classmate Tyrone Slothrop’s shoes? Were the three ever lined up that way—sitting, squatting, passing through? Eventually Jack and Malcolm both got murdered. Slothrop’s fate is not so clear. It may be that They have something different in mind for Slothrop.
AN INCIDENT IN THE TRANSVESTITES’ TOILET
A small ape or orangutan, holding something behind his back, comes sidling unobserved among net-stockinged legs, bobby sox rolled down to loop under ankle bones, subdeb beanies tucked into rayon aquamarine waist-sashes. Finally he reaches Slothrop, who is wearing a blonde wig and the same long flowing white cross-banded number Fay Wray wears in her screentest scene with Robert Armstrong on the boat (considering his history in the Roseland toilet, Slothrop may have chosen this gown not only out of some repressed desire to be sodomized, unimaginably, by a gigantic black ape, but also because of an athletic innocence to Fay that he’s never spoken of except to point and whisper, “Oh, look . . .”—some honesty, pluck, a cleanness to the garment itself, its enormous sleeves so that wherever you pass is visibly where you’ve been . . .).
At that first moment, long before our flight:
Ravine, tyrannosaurus (flying-mares
And jaws cracked out of joint), the buzzing serpent
That jumped you in your own stone living space,
The pterodactyl or the Fall, no—just . . .
While I first hung there, forest and night at one,
Hung waiting with the torches on the wall.
And waiting for the night’s one Shape to come,
I prayed then, not for Jack, still mooning sappy
Along the weather-decks—no. I was thinking
Of Denham—only him, with gun and camera
Wisecracking in his best bum actor’s way
Through Darkest Earth, making the unreal reel
By shooting at it, one way or the other—
Carl Denham, my director, my undying,
Carl . . .
Ah, show me the key light, whisper me a line. . . .
We’ve seen them under a thousand names . . . “Greta Erdmann” is only one, these dames whose job it is always to cringe from the Terror . . . well, home from work they fall asleep just like us and dream of assassinations, of plots against good and decent men. . . .
The ape reaches up taps Slothrop on the ass, hands him what he’s been carrying yaahhgghh it’s a round black iron anarchist bomb’s what it is, with lit fuse too. . . . Ape goes scampering away. Slothrop just stands there, in the glassed and humid rooms, his makeup starting to run, consternation in his eyes clear as marbles and lips pressed into a bee-stung well-what-th’-heck-’m-I-s’posed-t’-do-now? He can’t say anything, the contact still hasn’t showed and his voice would blow his disguise. . . . The fuse is burning shorter and shorter. Slothrop looks around. All the washbowls and urinals are occupied. Should he just put the fuse out in front of somebody’s cock, right in the stream of piss . . . uh, but wouldn’t that look like I was propositioning them or something? Gee, sometimes I wish I wasn’t so indecisive . . . m-maybe if I picked somebody weaker than me . . . but then it’s the little guys got the reflexes, remember—
He is rescued from his indecision by a very tall, fat, somewhat Oriental-looking transvestite, whose ideal, screen and personal, seems to be little Margaret O’Brien. Somehow this Asiatic here is managing to look pigtailed and wistful even as he snatches the sputtering bomb away from Slothrop, runs heaves it into an empty toiletbowl and flushes it, turning back to Slothrop and the others with an air of civic duty well done when suddenly—
KRUPPALOOMA comes this giant explosion: water leaps in a surprised blue-green tongue (ever seen a toilet hollering, “Yikes!”?) out of every single black-lidded bowl, pipes wrench and scream, walls and floor shudder, plaster begins to fall in crescents and powder-sheets as all the chattering transvestites fall silent, reach out to touch anyone nearby as a gesture of preparation for the Voice out of the Loudspeaker, saying:
“That was a sodium bomb. Sodium explodes when it touches water.” So the fuse was a dummy, the dirty rat. . . . “You saw who threw it in the toilet. He is a dangerous maniac. Apprehend him, and there’ll be a large reward. Your closet could make Norma Shearer’s look like the wastebasket in Gimbel’s basement.”
So they all leap on the poor protesting Margaret O’Brien devotee, while Slothrop, for whom the humiliation and (presently, as the arrival of the police grows later and later) the sexual abuse and torture were really intended (Gotta hand it to ya, Pop!) slips away, loosening as he nears the outside the satin ties of his gown, dragging reluctantly, off of his grease-chevroned head, the shining wig of innocence. . . .
A MOMENT OF FUN WITH TAKESHI AND ICHIZO, THE KOMICAL KAMIKAZES
Takeshi is tall and fat (but doesn’t braid his hair like that Margaret O’Brien), Ichizo is short and skinny. Takeshi flies a Zero, while Ichizo flies an Ohka device, which is a long bomb, actually, with a cockpit for Ichizo to sit in, stub wings, rocket propulsion and a few control surfaces back aft. Takeshi only had to go to Kamikaze School for two weeks, on Formosa. Ichizo had to go to Ohka school for six months, in Tokyo. They are as different as peanut butter and jelly, these two. No fair asking which is which.
They are the only two Kamikazes out here at this air base, which is rather remote actually, on an island that nobody, well, really cares much about, any more. The fighting is going on at Leyte . . . then on to Iwo Jima, moving toward Okinawa, but always too far away for any sortie from here to reach. But they have their orders, and their exile. Not much to do for kicks but go wandering on the beaches looking for dead Cypridinae. These are crustaceans with three eyes, shaped like a potato with catwhiskers at one end. Dried and powdered, Cypridinae are also a great source of light. To make the stuff glow in the dark, all you do is add water. The light is blue, weird multishaded blue—some green in it, and some indigo—amazingly cool and nocturnal blue. On moonless or overcast nights, Takeshi and Ichizo take off all their clothes and splash each other with Cypridina light, running and giggling under the palm trees.
Every morning, and sometimes evening too, the Scatterbrained Suicidekicks mosey down to the palm-thatched radar shack to see if there’s any American targets worth a crash-dive, anywhere inside their flying radius. But it’s the same story every time. Old Kenosho the loony radarman who’s always brewing up a batch of that sake back in the transmitter room, in a still he’s hooked up to a magnetron tube in some fiendish-Nip way that defies Western science, every time the fellas show up this drunken old reprobate starts ca
ckling, “No dying today! No dying today! So solly!” pointing at all the blank PPI scopes, green radii sweeping silent round and round trailing clear webs of green shampoo, nothing but surface return for more miles than you can fly, and of the fatal mandala both hearts would leap to, green carrier-blob screened eightfold in a circle of destroyer-strokes, nothing . . . no, each morning’s the same—only the odd whitecap and old hysterical Kenosho, who by now is on the floor gagging on saliva and tongue, having his Seizure, an eagerly awaited part of each daily visit, each fit trying to top the one before, or at least bring in a new twist—a back-flip in the air, a gnaw or two after Takeshi’s blue-and-yellow patent wingtips, an improvised haiku:
The lover leaps in the volcano!
It’s ten feet deep,
And inactive—
as the two pilots mug, giggle, and jump around trying to avoid the grizzled old radarman’s thrashings—what? You didn’t like the haiku. It wasn’t ethereal enough? Not Japanese at all? In fact it sounded like something right outa Hollywood? Well, Captain—yes you, Marine Captain Esberg from Pasadena—you, have just had, the Mystery Insight! (gasps and a burst of premonitory applause) and so you—are our Paranoid . . . For The Day! (band burst into “Button Up Your Overcoat,” or any other suitably paranoid up-tempo tune, as the bewildered contestant is literally yanked to his feet and dragged out in the aisle by this M.C. with the gleaming face and rippling jaw). Yes, it is a movie! Another World War II situation comedy, and your chance, to find out what it’s really like, because you—have won (drumroll, more gasps, more applauding and whistling) an all-expense, one-way trip for one, to the movie’s actual location, exotic Puke-a-hook-a-look-i Island! (the orchestra’s ukulele section taking up now a tinkling reprise of that “White Man Welcome” tune we last heard in London being directed at Géza Rózsavölgyi) on a giant TWA Constellation! You’ll while your nights away chasing vampire mosquitoes away from your own throat! Getting blind lost, out in the middle of torrential tropical downpours! Scooping rat turds out of the enlisted men’s water barrel! But it won’t be all nighttime giddiness and excitement, Captain, because daytimes, up at five a.m. sharp, you’ll be out making the acquaintance of the Kamikaze Zero you’ll be flying! getting all checked out on those controls, making sure you know just where that bomb-safety-release is! A-ha-hand of course, trying to stay out of the way, of those two Nonsensical Nips, Takeshi and Ichizo! as they go about their uproarious weekly adventures, seemingly oblivious to your presence, and the frankly ominous implications of your day’s routine. . . .
STREETS
Strips of insulation hang up in the morning fog, after a night of moon brightening and darkening as if by itself, because the blowing fog was so smooth, so hard to see. Now, when the wind blows, yellow sparks will spill away with a rattlesnake buzz from the black old fraying wires, against a sky gray as a hat. Green glass insulators go cloudy and blind in the day. Wood poles lean and smell old: thirty-year-old wood. Tarry transformers hum aloft. As if it will really be a busy day. In the middle distance poplars just emerge out of the haze.
It could have been the Semlower Strasse, in Stralsund. The windows have the same ravaged look: the insides of all the rooms seem to’ve been gutted black. Perhaps there is a new bomb that can destroy only the insides of structures . . . no . . . it was in Greifswald. Across some wet railroad tracks were derricks, superstructure, tackle, smells of canalside . . . Hafenstrasse in Greifswald, down over his back fell the cold shadow of some massive church. But isn’t that the Petritor, that stunted brick tower-arch straddling the alleyway ahead . . . it could be the Slüterstrasse in the old part of Rostock . . . or the Wandfarberstrasse in Lüneburg, with pulleys high up on the brick gables, openwork weathercocks up at the very peaks . . . why was he looking upward? Upward from any of a score of those northern streets, one morning, in the fog. The farther north, the plainer things grow. There’s one gutter, down the middle of the alley, where the rain runs off. Cobbles are laid straighter and there aren’t as many cigarettes to be had. Garrison-churches echo with starlings. To come into a northern Zone town is to enter a strange harbor, from the sea, on a foggy day.
But in each of these streets, some vestige of humanity, of Earth, has to remain. No matter what has been done to it, no matter what it’s been used for. . . .
There were men called “army chaplains.” They preached inside some of these buildings. There were actually soldiers, dead now, who sat or stood, and listened. Holding on to what they could. Then they went out, and some died before they got back inside a garrison-church again. Clergymen, working for the army, stood up and talked to the men who were going to die about God, death, nothingness, redemption, salvation. It really happened. It was quite common.
Even in a street used for that, still there will be one time, one dyed afternoon (coaltar-impossible orange-brown, clear all the way through), or one day of rain and clearing before bedtime, and in the yard one hollyhock, circling in the wind, fresh with raindrops fat enough to be chewed . . . one face by a long sandstone wall and the scuffle of all the doomed horses on the other side, one hair-part thrown into blue shadows at a turn of her head—one busful of faces passing through in the middle of the night, no one awake in the quiet square but the driver, the Ortsschutz sentry in some kind of brown, official-looking uniform, old Mauser at sling arms, dreaming not of the enemy outside in the swamp or shadow but of home and bed, strolling now with his civilian friend who’s off-duty, can’t sleep, under the trees full of road-dust and night, through their shadows on the sidewalks, playing a harmonica . . . down past the row of faces in the bus, drowned-man green, insomniac, tobacco-starved, scared, not of tomorrow, not yet, but of this pause in their night-passage, of how easy it will be to lose, and how much it will hurt. . . .
At least one moment of passage, one it will hurt to lose, ought to be found for every street now indifferently gray with commerce, with war, with repression . . . finding it, learning to cherish what was lost, mightn’t we find some way back?
In one of these streets, in the morning fog, plastered over two slippery cobblestones, is a scrap of newspaper headline, with a wirephoto of a giant white cock, dangling in the sky straight downward out of a white pubic bush. The letters
MB DRO
ROSHI
appear above with the logo of some occupation newspaper, a grinning glamour girl riding astraddle the cannon of a tank, steel penis with slotted serpent head, 3rd Armored treads ’n’ triangle on a sweater rippling across her tits. The white image has the same coherence, the hey-lookit-me smugness, as the Cross does. It is not only a sudden white genital onset in the sky—it is also, perhaps, a Tree. . . .
Slothrop sits on a curbstone watching it, and the letters, and girl with steel cock waving hi fellas, as the fog whitens into morning, and figures with carts, or dogs, or bicycles go by in brown-gray outlines, wheezing, greeting briefly in fog-flattened voices, passing. He doesn’t remember sitting on the curb for so long staring at the picture. But he did.
At the instant it happened, the pale Virgin was rising in the east, head, shoulders, breasts, 17° 36′ down to her maidenhead at the horizon. A few doomed Japanese knew of her as some Western deity. She loomed in the eastern sky gazing down at the city about to be sacrificed. The sun was in Leo. The fireburst came roaring and sovereign. . . .
LISTENING TO THE TOILET
The basic idea is that They will come and shut off the water first. The cryptozoa who live around the meter will be paralyzed by the great inbreak of light from overhead . . . then scatter like hell for lower, darker, wetter. Shutting the water off interdicts the toilet: with only one tankful left, you really can’t get rid of much of anything any more, dope, shit, documents, They’ve stopped the inflow/outflow and here you are trapped inside Their frame with your wastes piling up, ass hanging out all over Their Movieola viewer, waiting for Their editorial blade. Reminded, too late, of how dependent
you are on Them, for neglect if not good will: Their neglect is your freedom. But when They do come on it’s like society-gig Apollos, striking the lyre
ZONGGG
Everything freezes. The sweet, icky chord hangs in the air . . . there is no way to be at ease with it. If you try the “Are you quite finished, Superintendent?” gambit, the man will answer, “No, as a matter of fact . . . no, you nasty little wet-mouthed prig, I’m not half finished, not with you. . . .”
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