Henry Miller

by Tropic Of Capricorn [lit]

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  blood and cartilage; to fly only with your immutable self which, if you stop a moment to reflect, is always equipped with wings. Flying this way, in full daylight, has advantages over the ordinary night-flying which everybody indulges in. You can leave off from moment to moment, as quick and decisive as stepping on a brake; there is no difficulty in finding your other self, because the moment you leave off, you are your other self, which is to say, the so-called whole self. Only, as the Blooming-dale experience goes to prove, this whole self, about which so much boasting has been done, falls apart very easily. The smell of linoleum, for some strange reason, will always make me fall apart and collapse on the floor. It is the smell of all the unnatural things which were glued together in me, which were assembled, so to say, by negative consent.

  It is only after the third meal that the morning gifts, bequeathed by the phony alliances of the ancestors, begin to drop away and the true rock of the self, the happy rock sheers up out of the muck of the soul. With nightfall the pinhead universe begins to expand. It expands organically, from an infinitesimal nuclear speck, in the way that minerals or star-dusters form. It eats into the surrounding chaos like a rat boring through store cheese. All chaos could be gathered together on a pinhead, but the self, microscopical at the start, works up to a universe from any point in space. This is not the self about which books are written, but the ageless self whith has been fanned out through millenary ages to men with names and dates, the self which begins and ends as a worm, which is the worm in the cheese called the world. Just as the slightest breeze can set a vast forest in motion so, by some unfathomable impulse from within, the rock-like self can begin to grow, and in this growth nothing can prevail against it. It's like Jack Frost at work, and the whole world a window-pane. No hint of labour, no sound, no struggle, no rest;

  relentless, remorseless, unremitting, the growth of the self goes on. Only two items on the bill of fare: the self and the not-self. And an eternity in which to work it out. In this eternity, which has nothing to do with time or space, there are interludes in which something like a thaw sets in. The form

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  of the self breaks down, but the self, like climate, remains. In the night the amorphous matter of the self assumes the most fugitive forms: error seeps in through the portholes and the wanderer is unlatched from his door. This door which the body wears, if opened out on to the world, leads to annihilation. It is the door in every fable out of which the magician steps; nobody has ever read of him returning home through the selfsame door. If opened inward there are infinite doors, all resembling trapdoors: no horizons are visible, no airlines, no rivers, no maps, no tickets. Each couche is a halt for the night only, be it five minutes or ten thousand years. The doors have no handles and they never wear out. Most important to note - there is no end in sight. All these halts for the night, so to speak, are like abortive explorations of a myth. One can feel his way about, take bearings, observe passing phenomena; one can even feel at home. But there is no taking root. Just at the moment when one begins to feel "established" the whole terrain founders, the soil underfoot is afloat, the constellations are shaken loose from their moorings, the whole known universe, including the imperishable self, starts moving silently, ominously, shudderingly serene and unconcerned, towards an unknown, unseen destination. All the doors seem to be opening at once; the pressure is so great that an implosion occurs and in the swift plunge the skeleton bursts asunder. It was some such gigantic collapse which Dante must have experienced when he situated himself in Hell; it was not a bottom which he touched, but a core, a dead centre from which time itself is reckoned. Here the comedy begins, for here it is seen to be divine.

  All this by way of saying that in going through the revolving door of the Amarillo dance hall one night some twelve or fourteen years ago, the great event took place. The interlude which I think of as the Land of Fuck, a realm of time more than of space, is for me the equivalent of that Purgatory which Dante has described in nice detail. As I put my hand on the brass rail of the revolving door to leave the Amarillo Dance Hall, all that I had previously been, was, and about to be, foundered. There was nothing unreal about it; the very time

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  in which I was born passed away, carried off by a mightier stream. Just as I had previously been bundled out of the womb, so now I was shunted back to some timeless vector where the process of growth is kept in abeyance. I passed into the world of effects. There was no fear, only a feeling of fatality. My spine was socketed to the node; I was up against the coccyx of an implacable new world. In the plunge the skeleton blew apart, leaving the immutable ego as helpless as a squashed louse.

  If from this point I do not begin, it is because there is no beginning. If I do not fly at once to the bright land it is because wings are of no avail. It is zero hour and the moon is at nadir...

  Why I think of Maxie Schnadig I don't know, unless it is because of Dostoievski. The night I sat down to read Dostoievski for the first time was a most important event in my life, even more important than my first love. It was the first deliberate, conscious act which had significance for me; it changed the whole face of the world. Whether it is true that the clock stopped that moment when I looked up after the first deep gulp I don't know any more. But the world stopped dead for a moment, that I know. It was my first glimpse into the soul of a man, or shall I say simply that Dostoievski was the first man to reveal his soul to me? Maybe I have been a bit queer before that, without realizing it, but from the moment that I dipped into Dostoievski I was definitely, irrevocably, contentedly queer. The ordinary waking, work-a-day world was finished for me. Any ambition of desire I had to write was also killed - for a long time to come. I was like those men who have been too long in the trenches, too long under fire. Ordinary human suffering, ordinary human jealousy, ordinary human ambitions - it was just so much shit to me.

  I can visualize best my condition when I think of my relations with Maxie and his sister Rita. At the time Maxie and I were both interested in sport. We used to go swimming together a great deal, that I remember well. Often we passed the whole day and night at the beach. I had only met Maxie's sister once or twice; whenever I brought up her name Maxie would rather frantically begin to talk about something else.

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  That annoyed me because I was really bored to death with Maxie's company, tolerating him only because he loaned me money readily and bought me things which I needed. Every time we started for the beach I was in hopes his sister would turn up unexpectedly. But no, he always managed to keep her out of reach. Well, one day as we were undressing in the bath house and he was showing me what a fine tight scrotum he had, I said to him right out of the blue - "listen, Maxie, that's all right about your nuts, they're fine and dandy, and there's nothing to worry about but where in hell is Rita all the time, why don't you bring her along some time and let me take a good look at her quim... yes, quim, you know what I mean." Maxie, being a Jew from Odessa, had never heard the word quim before. He was deeply shocked by my words and yet at the same time intrigued by this new word. In a sort of daze he said to me - "Jesus, Henry, you oughtn't to say a thing like that to me!" "Why not?" I answered. "She's got a cunt, your sister, hasn't she?" I was about to add something else when he broke into a terrific fit of laughter. That saved the situation, for the time being. But Maxie didn't like the idea at all deep down. All day long it bothered him, though he never referred to our conversation again. No, he was very silent that day. The only form of revenge he could think of was to urge me to swim far beyond the safety zone in the hope of tiring me out and letting me drown. I could see so clearly what was in his mind that I was possessed with the strength of ten men. Damned if I would go drown myself just because his sister like all other women happened to have a cunt.

  It was at Far Rockaway where this took place. After we had dressed and eaten a meal I suddenly decided that I wanted to be alone and so, very abruptly, at the comer of a street. I shook hands and said g
ood-bye. And there I was! Almost instantaneously I felt alone in the world, alone as one feels only in moments of extreme anguish. I think I was picking my teeth absentmindedly when this wave of loneliness hit me full on, like a tornado. I stood there on the street comer and sort of felt myself all over to see if I had been hit by something. It was inexplicable, and at the same time it was very wonderful,

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  very exhilarating, like a double tonic, I might say. When I say that I was at Far Rockaway I mean that I was standing at the end of the earth, at a place called Xanthos, if there be such a place, and surely there ought to be a word like this to express no place at all. If Rita had come along then I don't think I would have recognized her. I had become an absolute stranger standing in the very midst of my own people. They looked crazy to me, my people, with their newly sunbumed faces and their flannel trousers and their dock-work stockings. They had been bathing like myself because it was a pleasant, healthy recreation and now like myself they were full of sun and food and a little heavy with fatigue. Up until this loneliness hit me I too was a bit weary, but suddenly, standing there completely shut off from the world, I woke up with a start I became so electrified that I didn't dare move for fear I would charge like a bull or start to climb the wall of a building or else dance and scream. Suddenly I realized that all this was because I was really a brother to Dostoievski, that perhaps I was the only man in all America who knew what he meant in writing those books. Not only that, but I felt all the books I would one day write myself germinating inside me: they were bursting inside like ripe cocoons. And since up to this time I had written nothing but fiendishly long letters about everything and nothing, it was difficult for me to realize that there must come a time when I should begin, when I should put down the first word, the first-real word. And this time was now! That was what dawned on me.

  I used the word Xanthos a moment ago. I don't know whether there is a Xanthos or not, and I really don't care one way or another, but there must be a place in the world, perhaps in the Grecian islands, where you come to the end of the known world and you are thoroughly alone and yet you are not frightened of it but rejoice, because at this dropping off place you can feel the old ancestral world which is eternally young and new and fecundating. You stand there, wherever the place is, like a newly hatched chick beside its eggshell. This place is Xanthos, or as it happened in my case. Far Rockaway.

  There I was! It grew dark, a wind came up, the streets

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  became deserted, and finally it began to pour cats and dogs. Jesus, that finished me! When the rain came down, and I got it smack in the face staring at the sky, I suddenly began to bellow with joy. I laughed and laughed and laughed, exactly like an insane man. Nor did I know what I was laughing about. I wasn't thinking of a thing. I was just overwhelmed with joy, just crazy with delight in finding myself absolutely alone. If then and there a nice juicy quim had been handed me on a platter, if all the quims in the world had been afforded me for to make my choice, I wouldn't have batted an eyelash. I had what no quim could give me. And just about at that point, thoroughly drenched but still exultant, I thought of the most irrelevant thing in the world - carfare! Jesus, the bastard Maxie had walked off without leaving me a sou. There I was with my fine budding antique world and not a penny in my jeans. Herr Dostoievski Junior had now to begin to walk here and there peering into friendly and un-friendly faces to see if he could pry loose a dime. He walked from one end of Far Rockaway to the other but nobody seemed to give a fuck about handing out carfare in the rain. Walking about in that heavy animal stupor which comes with begging I got to thinking of Maxie the window-trimmer and how the first time I spied him he was standing in the show-window dressing a mannikin. And from that in a few minutes to Dostoievski, then the world stopped dead, and then, like a great rose bush opening in the night, his sister Rita's warm, velvety flesh.

  Now this what is rather strange ... A few minutes after I thought of Rita, her private and extraordinary quim, I was in the train bound for New York and dozing off with a marvellous languid erection. And stranger still, when I got out of the train, when I had walked but a block or two from the station, whom should I bump into rounding a comer but Rita herself. And as though she had been informed telepathically of what was going on in my brain, Rita too was hot under the whiskers. Soon we were sitting in a chop suey joint, seated side by side in a little booth, behaving exactly like a pair of rabbits in rut. On the dance floor we hardly moved. We were wedged in tight and we stayed that way, letting them jog and jostle us

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  about as they might. I could have taken her home to my place, as I was alone at the time, but no, I had a notion to bring her back to her own home, stand her up in the vestibule and give her a fuck right under Maxie's nose - which I did. In the midst of it I thought again of the mannikin in the show window and of the way he had laughed that afternoon when I let drop the word quim. I was on the point of laughing aloud when suddenly I felt that she was coming, one of those long drawn-out orgasms such as you get now and then in a Jewish cunt. I had my hands under her buttocks, the tips of my fingers just inside her cunt, in the lining, as it were; as she began to shudder I lifted her from the ground and raised her gently up and down on the end of my cock. I thought she would go off her nut completely, the way she began to carry on. She must have had four or five orgasms like that in the air, before I put her feet down on the ground. I took it out without spilling a drop and made her lie down in the vestibule. Her hat had rolled off into a corner and her bag had spilled open and a few coins had tumbled out. I note this because just before I gave it to her good and proper I made a mental note to pocket a few coins for my carfare home. Anyway, it was only a few hours since I had said to Maxie in the bath house that I would like to take a look at his sister's quim, and here it was now smack, up against me, sopping wet and throwing out one squirt after another. If she had been fucked before she had never been fucked properly, that's a cinch. And I myself was never in such a fine cool collected scientific frame of mind as now lying on the floor of the vestibule right under Maxie's nose, pumping it into the private, sacred, and extraordinary quim of his sister Rita. I could have held it in indefinitely - it was incredible how detached I was and yet thoroughly aware of every quiver and jolt she made. But somebody had to pay for making me walk around in the rain grubbing a dime. Somebody had to pay for the ecstasy produced by the germination of all those unwritten books inside me. Somebody had to verify the authenticity of this private, concealed cunt which had been plaguing me for weeks and months. Who better qualified than I? I thought so hard and fast between orgasms

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  that my cock must have grown another inch or two. Finally I decided to make an end of it by turning her over and back-scuttling her. She balked a bit at first, but when she felt the thing slipping out of her she nearly went crazy. "Oh yes, oh yes, do it, do it!" she gibbered, and with that I really got excited, I had hardly slipped it into her when I felt it coming, one of those long agonizing spurts from the tip of the spinal column. I shoved it in so deep that I felt as if something had given way. We fell over, exhausted, the both of us, and panted like dogs. At the same time, however, I had the presence of mind to feel around for a few coins. Not that it was necessary, because she had already loaned me a few dollars, but to make up for the carfare which I was lacking in Far Rockaway. Even then, by Jesus, it Wasn't finished. Soon I felt her groping about, first with her hands, then with her mouth. I had still a sort of semi hard-on. She got it into her mouth and she began to caress it with her tongue. I saw stars. The next thing I knew her feet were around my neck and my tongue up her twat. And then I had to get over her again and shove it in, up to the hilt. She squirmed around like an eel, so help me God. And then she began to come again, long, drawn-out, agonizing orgasms, with a whimpering and gibbering that was hallucinating. Finally I had to pull it out and tell her to stop. What a quim! And I had only asked to take a look at it!

  Maxie with his talk
of Odessa revived something which I had lost as a child. Though I had never a very dear picture of Odessa the aura of it was like the little neighbourhood in Brooklyn which meant so much to me and from which I had been torn away too soon. I get a very definite feeling of it every time I see an Italian painting without perspective: if it is a picture of a funeral procession, for example, it is exactly the sort of experience which I knew as a child, one of intense immediacy. If it is a picture of the open street, the women sitting in the windows are sitting on the street and not above it and away from it. Everything that happens is known immediately by everybody, just as among primitive people. Murder is in the air, chance rules.

  Just as in the Italian primitives this perspective is lacking, so

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  in the little old neighbourhood from which I was uprooted as a child there were these parallel vertical planes on which everything took place and through which, from layer to layer, everything was communicated, as if by osmosis. The frontiers were sharp, dearly defined, but they were not impassable. I lived then, as a boy, dose to the boundary between the north and the south side. I was just a little bit over on the north side, just a few steps from a broad thoroughfare called North Second Street, which was for me the real boundary line between the north and the south side. The actual boundary was Grand Street, which led to Broadway Ferry, but this street meant nothing to me, except that it was already beginning to be filled with Jews. No, North Second Street was the mystery street, the frontier between two worlds. I was living, therefore, between two boundaries, the one real, the other imaginary - as I have lived all my life. There was a little street, just a block long which lay between Grand Street and North Second Street, called Fillmore Place. This little street was obliquely opposite the house my grandfather owned and in which we lived. It was the most enchanting street I have ever seen in all my life. It was the ideal street - for a boy, a lover, a maniac, a drunkard, a crook, a lecher, a thug, an astronomer, a musician, a poet, a tailor, a shoemaker, a politician. In fact this was just the sort of street it was, containing just such representatives of the human race, each one a world unto himself and all living together harmoniously and inharmoniously, but together, a solid corporation, a dose-knit human spore which could not disintegrate unless the street itself disintegrated.