The White Album
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In the part of Malibu where I lived from January of 1971 until quite recently we all knew one another’s cars, and watched for them on the highway and at the Trancas Market and at the Point Dume Gulf station. We exchanged information at the Trancas Market. We left packages and messages for one another at the Gulf station. We called one another in times of wind and fire and rain, we knew when one another’s septic tanks needed pumping, we watched for ambulances on the highway and helicopters on the beach and worried about one another’s dogs and horses and children and corral gates and Coastal Commission permits. An accident on the highway was likely to involve someone we knew. A rattlesnake in my driveway meant its mate in yours. A stranger’s campfire on your beach meant fire on both our slopes.
In fact this was a way of life I had not expected to find in Malibu. When I first moved in 1971 from Hollywood to a house on the Pacific Coast Highway I had accepted the conventional notion that Malibu meant the easy life, had worried that we would be cut off from “the real world,” by which I believe I meant daily exposure to the Sunset Strip. By the time we left Malibu, seven years later, I had come to see the spirit of the place as one of shared isolation and adversity, and I think now that I never loved the house on the Pacific Coast Highway more than on those many days when it was impossible to leave it, when fire or flood had in fact closed the highway. We moved to this house on the highway in the year of our daughter’s fifth birthday. In the year of her twelfth it rained until the highway collapsed, and one of her friends drowned at Zuma Beach, a casualty of Quaaludes. One morning during the fire season of 1978, some months after we had sold the house on the Pacific Coast Highway, a brush fire caught in Agoura, in the San Fernando Valley. Within two hours a Santa Ana wind had pushed this fire across 25,000 acres and thirteen miles to the coast, where it jumped the Pacific Coast Highway as a half-mile fire storm generating winds of 100 miles per hour and temperatures up to 2500 degrees Fahrenheit. Refugees huddled on Zuma Beach. Horses caught fire and were shot on the beach, birds exploded in the air. Houses did not explode but imploded, as in a nuclear strike. By the time this fire storm had passed 197 houses had vanished into ash, many of them houses which belonged or had belonged to people we knew. A few days after the highway reopened I drove out to Malibu to see Amado Vazquez, who had, some months before, bought from the Freed estate all the stock at Arthur Freed Orchids, and had been in the process of moving it a half-mile down the canyon to his own new nursery, Zuma Canyon Orchids. I found him in the main greenhouse at what had been Arthur Freed Orchids. The place was now a range not of orchids but of shattered glass and melted metal and the imploded shards of the thousands of chemical beakers that had held the Freed seedlings, the new crosses. “I lost three years,” Amado Vazquez said, and for an instant I thought we would both cry. “You want today to see flowers,” he said then, “we go down to the other place.” I did not want that day to see flowers. After I said goodbye to Amado Vazquez my husband and daughter and I went to look at the house on the Pacific Coast Highway in which we had lived for seven years. The fire had come to within 125 feet of the property, then stopped or turned or been beaten back, it was hard to tell which. In any case it was no longer our house.
1976—78
Table of Contents
I. THE WHITE ALBUM
The White Album
II. CALIFORNIA REPUBLIC
James Pike, American
Holy Water
Many Mansions
The Getty
Bureaucrats
Good Citizens
Notes Toward A Dreampolitik
III. WOMEN
The Women’s Movement
Doris Lessing
Georgia O’Keeffe
IV. SOJOURNS
In The Islands
In Hollywood
In Bed
On The Road
On The Mall
In Bogotá
At the Dam
V. ON THE MORNING AFTER THE SIXTIES
On the Morning After the Sixties
Quiet Days In Malibu