The Rosy Crucifixion 3 - Nexus

by Henry Miller

  He paused to squirt some Seltzer water in his glass. Reb was sound asleep. He wore a look of absolute bliss, as if he had seen Mt. Sinai.

  There now, said Elfenbein, raising his glass, let us drink to the wonders of the Western World. May they soon be no more! It’s getting late and I have monopolized the floor. Next time we will discuss more ecumenical subjects. Maybe I will tell you about my Carmen Sylva days. I mean the cafe, not the Queen. Though I can say that I once slept in her palace … in the stable, that is. Remind me to tell you more about Jacob Ben Ami. He was much more than a voice…

  As we were taking leave he asked if he could see us to our door. With pleasure, I said.

  Walking down the street he stopped to give vent to an inspiration. May I suggest, he said, that if you have not yet fixed on a title for your book that you call it This Gentile World! It would be most appropriate even if it makes no sense. Use a nom de plume like Boguslavsky—that will confuse the reader still more.

  I am not always so voluble, he added, but you, the two of you, are the Grenze type, and for a derelict from Transylvania that is like an aperitif. I always wanted to write novels, foolish ones, like Dickens. The Mr. Pickwick kind. Instead I became a playboy. Well, I will say goodnight now. Elfenbein is my pseudonym; the real name would astonish you. Look up Deuteronomy, Chapter i3. ‘If there arise among you a—. He was seized with a violent fit of sneezing. The Seltzer water! he exclaimed. Maybe I should go to a Turkish Bath. It’s time for another influenza epidemic. Good night now! Onward as to war! Don’t forget the lion of Judah! You can see him in the movies, when the music starts up. He imitated the growl. Thai, he said, is to show that he is still awake.

  16.

  Why should we always go out of our way to describe the wretchedness and the imperfections of our life, and to unearth characters from wild and remote corners of our country?

  Thus Gogol begins Part n of his unfinished novel.

  I was now well into the novel—my own—but still I had no clear idea where it was leading me, nor did it matter, since Pop was pleased with all that had been shown him thus far, the money was always forthcoming, we ate and drank well, the birds were scarcer now but still they sang. Thanksgiving had come and gone, and my chess game had improved somewhat. Moreover, no one had discovered our whereabouts, none of our pestilential cronies, I mean. Thus I was able to explore the streets at will, which I did with a vengeance because the air was sharp and biting, the wind whistled, and my brain ever in a whirl drove me on face forward, forced me to ferret out streets, memories, buildings, odors (of rotting vegetables), abandoned ferry slips, storekeepers long dead, saloons converted into dime stores, cemeteries still redolent with the punk of mourners.

  The wild and remote corners of the earth were all about me, only a stone’s throw from the boundary which marked off our aristocratic precinct. I had only to cross the line, the Grenze, and I was in the familiar world of childhood, the land of the poor and happily demented, the junk yard where all that was dilapidated, useless and germ ridden was salvaged by the rats who refused to desert the ship.

  As I roamed about gazing into shop windows, peering into alleyways, and never anything but drear desolation, I thought of the Negroes whom we visited regularly and of how uncontaminated they appeared to be. The sickness of the Gentiles had not destroyed their laughter, their gift of speech, their easy-going ways. They had all our diseases to combat and our prejudices as well, yet they remained impervious.

  The one who owned the collection of erotica had grown very fond of me; I had to be on guard lest he drive me into a corner and pinch my ass. Never did I dream that one day he would be seizing my books too and adding them to his astounding collection. He was a wonderful pianist, I should add. He had that dry pedal technique I relished so much in Count Basie and Fats Waller. They could all play some instrument, these lovable souls. And if there were no instrument they made music with fingers and palms—on table tops, barrels or anything to hand.

  I had introduced no unearthed characters as yet in the novel. I was still timid. More in love with words than with psychopathic devaginations. I could spend hours at a stretch with Walter Pater, or even Henry James, in the hope of lifting a beautifully turned phrase. Or I might sit and gaze at a Japanese print, say The Fickle Type of Utamaro, in the effort to force a bridge between a vague, dreamy fugue of an image and a living colored wood-block. I was ever frantically climbing ladders to pluck a ripe fig from some exotic overhanging garden of the past. The illustrated pages of a magazine like the Geographic could hold me spell-bound for hours. How work in a cryptic reference to some remote region of Asia Minor, some little known site, for example, where a Hittite monster of a monarch had left colossal statues to commemorate his flea-blown ego? Or I might dig up an old history book—one of Mommsen’s, let us say—in order to fetch up with a brilliant analogy between the skyscrapered canyons of Wall Street and the congested districts of Rome under the Emperors. Or I might become interested in sewers, the great sewers of Paris, or some other metropolis, whereupon it would occur to me that Hugo or some other French writer had made use of such a theme, and I would take up the life of this novelist merely to find out what had impelled him to take such an interest in sewers.

  Meanwhile, as I say, the wild and remote corners of our country were right to hand. I had only to stop and buy a bunch of radishes to unearth a weird character. Did an Italian funeral parlor look intriguing I would step inside and inquire the price of a coffin. Everything that was beyond the Grenze excited me. Some of my most cherished cosmococcic miscreants, I discovered, inhabited this land of desolation. Patrick Garstin, the Egyptologist, was one. (He had come to look more like a gold-digger than an archaelogist.) Donate lived here too. Donate, the Sicilian lad, who in taking an axe to his old man had luckily chopped off only one arm. What aspirations he had, this budding parricide! At seventeen he was dreaming of getting a job in the Vatican. In order, he said, to become better acquainted with St. Francis!

  Making the rounds from one alkali bed to another, I brought my geography, ethnology, folk lore and gunnery up to date. The architecture teemed with atavistic anomalies. There were dwellings seemingly transplanted from the shores of the Caspian, huts out of Andersen’s fairy tales, shops from the cool labyrinths of Fez, spare cart wheels and sulkies without shafts, bird cages galore and always empty, chamber pots, often of majolica and decorated with pansies or sun flowers, corsets, crutches and the handles and ribs of umbrellas … an endless array of bric-a-brac all marked manufactured in Hagia Triada. And what midgets! One, who pretended to speak only Bulgarian—he was really a Moldavian—lived in a dog kennel in the rear of his shack. He ate with the dog—out of the same tin plate. When he smiled he showed only two teeth, huge ones, like a canine’s. He could bark too, or sniff and growl like a cur.

  None of this did I dare to put into the novel. No, the novel I kept like a boudoir. No Dreck. Not that all the characters were respectable or impeccable. Ah no! Some whom I had dragged in for color were plain Schmucks. (Prepucelos.) The hero, who was also the narrator and to whom I bore a slight resemblance, had the air of a trapezoid cerebralist. It was his function to keep the merry-go-round turning. Now and then he treated himself to a free ride.

  What element there was of the bizarre and the outlandish intrigued Pop no end. He had wondered—openly—how a young woman, the author, in other words, came by such thoughts, such images. It had never occurred to Mona to say: From another incarnation! Frankly, I would hardly have known what to say myself. Some of the goofiest images had been stolen from almanacs, others were born of wet dreams. What Pop truly enjoyed, it seemed, was the occasional introduction of a dog or a cat. (He couldn’t know, of course, that I was mortally afraid of dogs or that I loathed cats.) But I could make a dog talk. And it was doggy talk, no mistake about it. My true reason for inserting these creatures of a lower order was to show contempt for certain characters in the book who had gotten out of hand. A dog, properly inspired, can make an ass of a
queen. Besides, if I wished to ridicule a current idea which was anathema to me all I had to do was to impersonate a mutt, lift my hind leg and piss on it.

  Despite all the foolery, all the shenanigans, I nevertheless managed to create a sort of antique glaze. My purpose was to impart such a finish, such a patina, that every page would gleam like star dust. This was the business of authorship, as I then conceived it. Make mud puddles, if necessary, but see to it that they reflect the galactic varnish. When giving an idiot voice mix the jabberwocky with high-flown allusions to such subjects as paleontology, quadratics, hyperboreanism. A line from one of the mad Caesars was always pertinent. Or a curse from the lips of a scrofulous dwarf. Or just a sly Hamsun-esque quip, like—Going for a walk, Froken? The cowslips are dying of thirst. Sly, I say, because the allusion, though far-fetched, was to Froken’s habit of spreading her legs, when she thought she was well out of sight, and making water.

  These rambles taken to relax or to obtain fresh inspiration—often only to aerate the testicles—had a disturbing effect upon the work in progress. Rounding a corner at a sixty degree angle, it could happen that a conversation (with a locomotive engineer or a jobless hod-carrier) ended only a few minutes previously would suddenly blossom into a dialogue of such length, such extravagance, that I would find it impossible, on returning to my desk, to resume the thread of my narrative. For every thought that entered my head the hodcarrier or whoever would have some comment to make. No matter what answer I made the conversation continued. It was as if these corky nobodies had made up their minds to derail me.

  Occasionally this same sort of bitchery would start up with statues, particularly chipped and dismantled ones. I might be loitering in some backyard gazing absent-mindedly at a marble head with one ear missing and presto! it would be talking to me … talking in the language of a pro-Consul. Some crazy urge would seize me to caress the battered features, whereupon, as if the touch of my hand had restored it to life, it would smile at me. A smile of gratitude, needless to say. Then an even stranger thing might happen. An hour later, say, passing the plate glass window of an empty shop, who would greet me from the murky depths but the same pro-Consul! Terror-stricken, I would press my nose against the show-window and stare. There he was—an ear missing, the nose bitten off. And his lips moving! A retinal haemorrhage, I would murmur, and move on. God help me if he visits me in my sleep!

  Thus, not so strangely, I developed a kind of painter’s eye. Often I made it my business to return to a certain spot in order to review a still life which I had passed too hurriedly the day before or three days before. The still life as I term it, might be an artless arrangement of objects which no one in his senses would have bothered to look at twice. For example—a few playing cards lying face up on the sidewalk and next to them a toy pistol or the head of a missing chicken. Or an open parasol torn to shreds sticking out of a lumberjack’s boot, and beside the boot a tattered copy of The Golden Ass pierced with a rusty jack-knife. Wondering what so fascinated me in these chance arrangements, it would suddenly dawn on me that I had detected similar configurations in the painter’s world. Then it would be an all night task to recall which painting, which painter, and where I had first stumbled upon it. Extraordinary, when one takes up the pursuit of such chimeras, to discover what amazing trivia, what sheer insanity, infests some of the great masterpieces of art.

  But the most distinctive feature associated with these jaunts, rambles, forays and reconnoiterings was the realm, panoramic in recollection, of gesture. Human gestures. All borrowed from the animal and insect worlds. Even those of refined individuals, or pseudo-refined, such as morticians, lackeys, ministers of the gospel, major-domos. The way a certain nobody, when taken by surprise, threw back his head and whinnied, would stick in my crop long after I had ceased to remember his words and deeds. There were novelists, I discovered, who made a specialty of exploiting such idiosyncrasies, who thought nothing of resorting to a little trick like the whinnying of a horse when they wished to remind the reader of a character mentioned sixty pages back. Craftsmen, the critics called them. Crafty, certainly.

  Yes, in my stumbling, bumbling way I was making all manner of discoveries. One of them was that one cannot hide his identity under cover of the third person, nor establish his identity solely through the use of the first person singular. Another was—not to think before a blank page. Ce n’est pas moi, le roi, c’est l’autonome. Not I, but the Father within me, in other words.

  Quite a discipline, to get words to trickle without fanning them with a feather or stirring them with a silver spoon. To learn to wait, wait patiently, like a bird of prey, even though the flies were biting like mad and the birds chirping insanely. Before Abraham was … Yes, before the Olympian Goethe, before the great Shakespeare, before the divine Dante or the immortal Homer, there was the Voice and the Voice was with every man. Man has never lacked for words. The difficulty arose only when man forced the words to do his bidding. Be still, and wait the coming of the Lord! Erase all thought, observe the still movement of the heavens! All is flow and movement, light and shadow. What is more still than a mirror, the frozen glassiness of glass—yet what frenzy, what fury, its still surface can yield!

  I wish that you would kindly have the men of the Park Department prune, trim and pare off all the dead wood, twigs, sprigs, stumps, stickers, shooters, sucker-pieces, dirty and shaggy pieces, low, extra low and overhanging boughs and branches from the good trees and to prune them extra close to the bark and to have all the good trees thoroughly and properly sprayed from the base to the very top parts and all through along by all parts of each street, avenue, place, court, lane, boulevard and so on … and thereby give a great deal more light, more natural light, more air, more beauty to all the surrounding areas.

  That was the sort of message I should like to have dispatched at intervals to the god of the literary realm so that I might be delivered from confusion, rescued from chaos, freed of obsessive admiration for authors living and dead whose words, phrases, images barricaded my way.

  And what was it prevented my own unique thoughts from breaking out and flooding the page? For many a year now I had been scurrying to and fro like a pack-rat, borrowing this and that from the beloved masters, hiding them away, my treasures, forgetting where I had stored them, and always searching for more, more, more. In some deep, forgotten pit were buried all the thoughts and experiences which I might properly call my own, and which were certainly unique, but which I lacked the courage to resuscitate. Had some one cast a spell over me that I should labor with arthritic stumps instead of two bold fists? Had some one stood over me in my sleep and whispered: You will never do it, never do it! (Not Stanley certainly, for he would disdain to whisper. Could he not hiss like a snake?) Who then? Or was it that I was still in the cocoon stage, a worm not yet sufficiently intoxicated with the splendor and magnificence of life?

  How does one know that one day he will take wing, that like the humming bird he will quiver in mid-air and dazzle with iridescent sheen? One doesn’t. One hopes and prays and bashes his head against the wall. But it knows. It can bide its time. It knows that all the errors, all the detours, all the failures and frustrations will be turned to account. To be born an eagle one must get accustomed to high places; to be born a writer one must learn to like privation, suffering, humiliation. Above all, one must learn to live apart. Like the sloth, the writer clings to his limb while beneath him life surges by steady, persistent, tumultuous. When ready plop! he falls into the stream and battles for life. Is it not something like that? Or is there a fair, smiling land where at an early age the budding writer is taken aside, instructed in his art, guided by loving masters and, instead of falling thwack into mid-stream he glides like an eel through sludge, mire and ooze?

  I had time unending for such vagaries in the course of my daily routine; like poplars they sprang up beside me as I labored in thought, as I walked the streets for inspiration, or as I put my head on the pillow to drown myself in sleep. What a w
onderful life, the literary life! I would sometimes say to myself. Meaning this in-between realm crowded with interlacing, intertwining boughs, branches, leaves, stickers, suckers and what not. The mild activity associated with my work not only failed to drain my energy but stimulated it. I was forever buzzing, buzzing. If now and then I complained of exhaustion it was from not being able to write, never from writing too much. Did I fear, unconsciously, that if I succeeded in letting myself go I would be speaking with my own voice? Did I fear that once I found that buried treasure which I had hidden away I would never again know peace, never know surcease from toil?

  The very thought of creation—how absolutely unapproachable it is! Or its opposite, chaos. Impossible ever to posit such a thing as the un-created. The more deeply we gaze the more we discover of order in disorder, the more of law in lawlessness, the more of light in darkness. Negation—the absence of things—is unthinkable; it is the ghost of a thought. Everything is humming, pushing, waxing, waning, changing—has been so since eternity. And all according to inscrutable urges, forces, which, when we recognize them, we call laws. Chaos! We know nothing of chaos. Silence! Only the dead know it. Nothingness! Blow as hard as you like, something always remains.

  When and where does creation cease? And what can a mere writer create that has not already been created? Nothing. The writer rearranges the gray matter in his noodle. Ho makes a beginning and an end—the very opposite of creation!—and in between, where he shuffles around, or more properly is shuffled around, there is born the imitation of reality: a book. Some books have altered the face of the world. Re-arrangement, nothing more. The problems of life remain. A face may be lifted, but one’s age is indelible. Books have no effect. Authors have no effect. The effect was given in the first Cause. Where wert thou, when I created the world? Answer that and you have solved the riddle of creation!