Sexus: The Rosy Crucifixion, Book I

by Henry Miller

  After a time she got out her mirror and began powdering her face. Suddenly I observed a startled expression on her face, followed by a quick turn of the head. In another moment she was kneeling on the seat, staring out of the back window. Some one's following us, she said. Don't look! I was too weak and happy to give a damn. Just a bit of hysteria, I thought to myself, saying nothing but observing her attentively as she gave rapid, jerky-orders to the driver to go this way and that, faster and faster. Please, please! she begged him, as though it were life and death. Lady, I heard him say, as if from far off, from some other dream vehicle. I can't give her any more ... I've got a wife and kid ... I'm sorry.

  I took her hand and pressed it gently. She made an abortive gesture, as if to say—You don't know ... you don't know ... this is terrible. It was not the moment to ask her questions. Suddenly I had the realization that we were in danger. Suddenly I put two and two together, in my own crazy fashion. I reflected quickly ... nobody is following us ... that's all coke and laudanum ... but somebody's after her, that's definite ... she's committed a crime, a serious one, and maybe more than one ... nothing she says adds up ... I'm in a web of lies ... I'm in love with a monster, the most gorgeous monster imaginable ... I should quit her now, immediately, without a word of explanation ... otherwise I'm doomed ... she's fathomless, impenetrable ... I might have known that the one woman in the world whom I can't live without is marked with mystery ... get out at once ... jump ... save yourself!

  I felt her hand on my leg, rousing me stealthily. Her face was relaxed, her eyes wide open, full, shining with innocence ... They've gone, she said, it's all right now.

  Nothing is right, I thought to myself. We're only beginning. Mara, Mara, where are you leading me? It's fateful, it's ominous, but I belong to you body and soul, and you will take me where you will, deliver me to my keeper, bruised, crushed, broken. For us there is no final understanding. I feel the ground slipping from under me...

  My thoughts she was never able to penetrate, neither then nor later. She probed deeper than thought: she read blindly, as if endowed with antennae. She knew that I was meant to destroy, that I would destroy her too in the end. She knew that whatever game she might pretend to play with me she had met her match. We were pulling up to the house. She drew close to me and, as though she had a switch inside her which she controlled at will, she turned on me the full incandescent radiance of her love. The driver had stopped the car. She told him to pull up the street a little farther and wait. We were facing one another, hands clasped, knees touching. A fire ran through our veins. We remained thus for several minutes, as in some ancient ceremony, the silence broken only by the purr of the motor.

  I'll call you to-morrow, she said, leaning forward impulsively for a last embrace. And then in my ear she murmured—I'm falling in love with the strangest man on earth. You frighten me, you're so gentle. Hold me tight ... believe in me always ... I feel almost as if I were with a god.

  Embracing her, trembling with the warmth of her passion, my mind jumped clear of the embrace, electrified by the tiny seed she had planted in me. Something that had been chained down, something that had struggled abortively to assert itself ever since I was a child and had brought my ego into the street for a glance around, now broke loose and went sky-rocketing into the blue. Some phenomenal new being was sprouting with alarming rapidity from the top of my head, from the double crown which was mine from birth.

  After an hour or two's rest I got to the office which was already jammed with applicants. The telephones were ringing as usual. It seemed more than ever senseless to be passing my life away in the attempt to fill up a permanent leak. The officials of the cosmococcic telegraph world had lost faith in me and I had lost faith in the whole fantastic world which they were uniting with wires, cables, pulleys, buzzers and Christ only knows what. The only interest I displayed was in the pay check—and the much talked of bonus which was due any day. I had one other interest, a secret, diabolical one, and that was to work off a grudge which I had against Spivak, the efficiency expert whom they had brought in from another city expressly to spy on me. As soon as Spivak appeared on the scene, no matter in what remote, outlying office, I was tipped off. I used to lie awake nights thinking it out like a safe-cracker—how I would trip him up and bring about his dismissal. I made a vow that I would hang on to the job until I had knifed him. It gave me pleasure to send him phoney messages under false names in order to give him a bum steer, covering him with ridicule and causing endless confusion. I even had people write him letters threatening his life. I would get Curley, my chief stooge, to telephone him from time to time, saying that his house was on fire or that his wife had been taken to the hospital—anything that would upset him and start him off on a fool's errand. I had a gift for this underhanded sort of warfare. It was a talent that had been developed since the tailoring days. Whenever my father said to me—Better cross his name off the books, he'll never pay up! I interpreted it very much as would a young Indian brave if the old chief had handed him a prisoner and said—Bad pale face, give him the works! (I had a thousand different ways of annoying a man without running foul of the law. Some men, whom I disliked on principle, I continued to plague long after they had paid their petty debts. One man, whom I especially detested, died of an apoplectic fit upon receiving one of my anonymous insulting letters which was smeared with cat shit, bird shit, dogshit and one or two other varieties, including the well-known human variety.) Spivak consequently was just my meat. I concentrated all my cosmococcic attention on the sole plan of annihilating him. When we met I was polite, deferential, apparently eager to cooperate with him in every way. Never lost my temper with him, though every word he uttered made my blood boil. I did everything possible to bolster his pride, inflate his ego, so that when the moment came to puncture the bag the noise would be heard far and wide.

  Towards noon Mara telephoned. The conversation must have lasted a quarter of an hour. I thought she'd never hang up. She said she had been rereading my letters; some of them she had read aloud to her aunt, or rather parts of them. (Her aunt had said that I must be a poet. She was disturbed about the money I had borrowed. Would I be able to pay it back all right or should she try and borrow some? It was strange that I should be poor—I behaved like a rich man. But she was glad I was poor. Next time we would take a trolley ride somewhere. She didn't care about night clubs; she preferred a walk in the country or a stroll along the beach. The book was wonderful—she had only begun it this morning. Why didn't I try to write? She was sure I could write a great book. She had ideas for a book which she would tell me about when we met again. If I liked, she would introduce me to some writers she knew—they would be only too glad to help me...

  She rambled on like that interminably. I was thrilled and worried at the same time. I had rather she put it down on paper. But she seldom wrote letters, so she said. Why I couldn't understand. Her fluency was marvellous. She would say things at random, intricate, flame-like, or slide off into a parenthetical limbo peppered with fireworks—admirable linguistic feats which a practiced writer might struggle for hours to achieve. And yet her letters—I remember the shock I received when I opened the first one—were almost childlike.

  Her words, however, produced an unexpected effect. Instead of rushing out of the house immediately after dinner that evening, as I usually did, I lay on the couch in the dark and fell into a deep reverie. Why don't you try to write? That was the phrase which had stuck in my crop all day, which repeated itself insistently, even as I was saying thank you to my friend MacGregor for the ten-spot which I had wrung from him after the most humiliating wheedling and cajoling.

  In the darkness I began to work my way back to the hub. I began to think of those most happy days of childhood, the long Summer days when my mother took me by the hand, led me over the fields to see my little friends, Joey and Tony. As a child it was impossible to penetrate the secret of that joy which comes from a sense of superiority. That extra sense, which enables one
to participate and at the same time to observe one's participation, appeared to me to be the normal endowment of every one. That I enjoyed everything more than other boys my age I was unaware of. The discrepancy between myself and others only dawned on me as I grew older.

  To write, I meditated, must be an act devoid of will. The word, like the deep ocean current, has to float to the surface of its own impulse. A child has no need to write, he is innocent. A man writes to throw off the poison which he has accumulated because of his false way of life. He is trying to recapture his innocence, yet all he succeeds in doing (by writing) is to inoculate the world with the virus of his disillusionment. No man would set a word down on paper if he had the courage to live out what he believed in. His inspiration is deflected at the source. If it is a world of truth, beauty and magic that he desires to create, why does he put millions of words between himself and the reality of that world? Why does he defer action—unless it be that, like other men, what he really desires is power, fame, success. Books are human actions in death, said Balzac. Yet, having perceived the truth, he deliberately surrendered the angel to the demon which possessed him.

  A writer woos his public just as ingnominiously as a politician or any other mountebank; he loves to finger the great pulse, to prescribe like a physician, to win a place for himself, to be recognized as a force, to receive the full cup of adulation, even if it be deferred a thousand years. He doesn't want a new world which might be established immediately, because he knows it would never suit him. He wants an impossible world in which he is the uncrowned puppet ruler dominated by forces utterly beyond his control. He is content to rule insidiously—in the fictive world of symbols—because the very thought of contact with rude and brutal realities frightens him. True, he has a greater grasp of reality than other men, but he makes no effort to impose that higher reality on the world by force of example. He is satisfied just to preach, to drag along in the wake of disasters and catastrophes, a death-croaking prophet always without honor, always stoned, always shunned by those who, however unsuited for their tasks, are ready and willing to assume responsibility for the affairs of the world. The truly great writer does not want to write: he wants the world to be a place in which he can live the life of the imagination. The first quivering word he puts to paper is the word of the wounded angel: pain. The process of putting down words is equivalent to giving oneself a narcotic. Observing the growth of a book under his hands, the author swells with delusions of grandeur. I too am a conqueror—perhaps the greatest conqueror of all! My day is coming. I will enslave the world—by the magic of words ... Et cetera ad nauseam.

  The little phrase—Why don't you try to write?—involved me, as it had from the very beginning, in a hopeless bog of confusion. I wanted to enchant but not to enslave; I wanted a greater, richer life, but not at the expense of others; I wanted to free the imagination of ail men at once because without the support of the whole world, without a world imaginatively unified, the freedom of the imagination becomes a vice. I had no respect for writing per se any more than I had for God per se. Nobody, no principle, no idea has validity in itself. What is valid is only that much—of anything, God included—which is realized by all men in common. People are always worried about the fate of the genius. I never worried about the genius: genius takes care of the genius in a man. My concern was always for the nobody, the man who is lost in the shuffle, the man who is so common, so ordinary, that his presence is not even noticed. One genius does not inspire another. All geniuses are leeches, so to speak. They feed from the same source—the blood of life. The most important thing for the genius is to, make himself useless, to be absorbed in the common stream, to become a fish again and not a freak of nature. The only benefit, I reflected, which the act of writing could offer me was to remove the differences which separated me from my fellow-man. I definitely did not want to become the artist, in the sense of becoming something strange, something apart and out of the current of life.

  The best thing about writing is not the actual labor of putting word against word, brick upon brick, but the preliminaries, the spade work, which is done in silence, under any circumstances, in dream as well as in the waking state. In short, the period of gestation. No man ever puts down what he intended to say: the original creation, which is taking place all the time, whether one writes or doesn't write, belongs to the primal flux: it has no dimensions, no form, no time element. In this preliminary state, which is creation and not birth, what disappears suffers no destruction; something which was already there, something imperishable, like memory, or matter, or God, is summoned and in it one flings himself like a twig into a torrent. Words, sentences, ideas, no matter how subtle or ingenious, the maddest flights of poetry, the most profound dreams, the most hallucinating visions, are but crude hieroglyphs chiselled in pain and sorrow to commemorate an event which is (intransmissible. In an intelligently ordered world there would be no need to make the unreasonable attempt of putting such miraculous happenings down. Indeed, it would make no sense, for if men only stopped to realize it, who would be content with the counterfeit when the real is at every one's beck and call? Who would want to switch in and listen to Beethoven, for example, when he might himself experience the ecstatic harmonies which Beethoven so desperately strove to register? A great work of art, if it accomplishes anything, serves to remind us, or let us say to set us dreaming, of all that is fluid and intangible. Which is to say, the universe. It cannot be understood; it can only be accepted or rejected. If accepted we are revitalized; if rejected we are diminished. Whatever it purports to be it is not: it is always something more for which the last word will never be said. It is all that we put into it out of hunger for that which we deny every day of our lives. If we accepted ourselves as completely, the work of art, in fact the whole world of art, would die of malnutrition. Every man Jack of us moves without feet at least a few hours a day, when his eyes are closed and his body prone. The art of dreaming when wide awake will be in the power of every man one day. Long before that books will cease to exist, for when men are wide awake and dreaming their powers of communication (with one another and with the spirit that moves all men) will be so enhanced as to make writing seem like the harsh and raucous squawks of an idiot.

  I think and know all this, lying in the dark memory of a Summer's day, without having mastered, or even half-heartedly attempted to master, the art of the crude hieroglyph. Before ever I begin I am disgusted with the efforts of the acknowledged masters. Without the ability of the knowledge to make so much as a portal in the facade of the grand edifice, I criticize and lament the architecture itself. If I were only a tiny brick in the vast cathedral of this antiquated facade I would be infinitely happier; I would have life, the life of the whole structure, even as an infinitesimal part of it. But I am outside, a barbarian who cannot make even a crude sketch, let alone a plan, of the edifice he dreams of inhabiting. I dream a new blazingly magnificent world which collapses as soon as the light is turned on. A world that vanishes but does not die, for I have only to become still again and stare wide-eyed into the darkness and it reappears ... There is then a world in me which is utterly unlike any world I know of. I do not think it is my exclusive property—it is only the angle of my vision which is exclusive in that it is unique. If I talk the language of my unique vision nobody understands; the most colossal edifice may be reared and yet remain invisible. The thought of that haunts me. What good will it do to make an invisible temple?

  Drifting with the flux—because of that little phrase. This is the sort of thinking that went on whenever the word writing came up. In ten years of sporadic efforts I had managed to write a million words or so. You might as well say—a million blades of grass. To call attention to this ragged lawn was humiliating. All my friends knew that I had the itch to write—that's what made me good company now and then: the itch. Ed Gavarni, for example, who was studying to become a priest: he would have a little gathering at his home expressly for my benefit, so that I could scratch myself
in public and thus make the evening somewhat of an event. To prove his interest in the noble art he would drop around to see me at more or less regular intervals, bringing cold sandwiches, apples and beer. Sometimes he would have a pocketful of cigars. I was to fill my belly and spout. If he had had an ounce of talent he would never have dreamed of becoming a priest ... There was Zabrowskie, the crack telegraph operator of the Cosmodemonic Telegraph Company of North America: he always examined my shoes, my hat, my overcoat, to see if they were in good condition. He had no time for reading, nor did he care what I wrote, nor did he believe I would ever get anywhere, but he liked to hear about it. He was interested in horses, mud-larks particularly. Listening to me was a harmless diversion and worth the price of a good lunch or a new hat, if needs be. It excited me to tell him stories because it was like talking to the man in the moon. He could interrupt the most subtle divagations by asking whether I preferred strawberry pie or cold pot cheese for dessert ... There was Costigan, the knuckle-duster from Yorkville—another good stand-by and sensitive as an old sow. He once knew a writer for the Police Gazette; that made him eligible to seek the company of the elect. He had stories to tell me, stories that would sell, if I would come down off my perch and lend an ear. Costigan appealed to me in a strange way. He looked positively inert, a pimple-faced old sow with wiry bristles all over; he was so gentle, so tender, that if he had disguised himself as a woman you would never know that he was capable of shoving a guy against a wall and pummeling his brains out. He was the sort of tough egg who can sing falsetto and get up a fat collection to buy a funeral wreath. In the telegraph business he was considered to be a quiet, dependable clerk who had the company's interest at heart. In his off hours he was a holy terror, the scourge of the neighborhood. He had a wife whose maiden name was Tillie Jupiter; she was built like a cactus plant and gave plenty of rich milk. An evening with the two of them would set my mind to work like a poisoned arrow.