Now knock. Knock knock. Father Flanagan’s voice: ‘Who sent ya?’ Christ, for Christ’s sake, ya dumb mick. Inside … it’s … very … relaxing. Because there’s not a winner in the crowd. All derelicts, especially those potbellied babies with fat numbered accounts at Crédit Suisse. So you can really unpin your hair, Cinderella. And admit that what we have here is the drop-off. What a relief! Just to throw in the cards, order a Coke, and take a spin around the floor with an old friend like say that peachy twelve-year-old Hollywood kid who pulled a Boy Scout knife and robbed me of my very beautiful oval-shaped Cartier watch. The Nigger Queen Kosher Café! The cool green, restful as the grave, rock bottom!
That’s why I drug: mere dry meditation isn’t enough to get me there, keep me there, keep me there, hidden and happy with Father Flanagan and his Outcast of Thousands, him and all the other yids, nigs, spiks, fags, dykes, dope fiends, and commies. Happy to be down there where you belong: Yassah, massuh! Except—the price is too high, I’m killing myself.” Then, scrapping the sleazy stand-up-comic tone: “I am, you know. But meeting you has made me change my mind. I wouldn’t object to living. Provided you lived with me, Jonesy.
It means risking a cure; and it is a risk. I’ve done it once before. At a clinic in Vevey; and every night the mountains collapsed on me, and every morning I wanted to drown myself in Lac Léman. But if I did it, would you? We could go back to the States and buy a filling station. No, no foolin’. I’ve always wanted to run a filling station. Somewhere in Arizona. Or Nevada. Last Chance for Gas. It would be real quiet, and you could write stories. Basically, I’m pretty healthy. I’m a good cook, too.”
Denny offered me drugs, but I refused, and he never insisted, though once he said: “Scared?” Yes, but not of drugs; it was Denny’s derelict life that frightened me, and I wanted to emulate him not at all. Strange to remember, but I had preserved the faith: I thought of myself as a serious young man seriously gifted, not an opportunistic layabout, an emotional crook who had drilled Miss Langman till she geysered Guggenheims. I knew I was a bastard but forgave myself because, after all, I was a born bastard—a talented one whose sole obligation was to his talent.
Despite the nightly upheavals, the brandy heartburns and wine-sour stomachs, I managed every day to turn out five or six pages of a novel; nothing must be allowed to disrupt that, and Denny was in that sense an ominous presence, a heavy passenger—I felt if I didn’t free myself that, like Sinbad and the burdensome Old Man, I’d have to cart Denny piggyback the rest of his life. Yet I liked him, at least I didn’t want to leave him while he was still uncontrollably narcotized.
So I told him to take the cure. But added: “Let’s not make promises. Afterward, you may want to throw yourself at the foot of the cross or end up scrubbing bedpans for Dr. Schweitzer. Or maybe that’s my destiny.” How optimistic I was in those sheltered days!—battling tsetse flies and scraping bedpans with my tongue would be honeyed nirvana compared to the sieges I’ve since withstood.
It was decided that Denny would travel alone to the clinic in Vevey. We said good-bye at the Gare de Lyon; he was somewhat high on something and looked, with his fresh-colored face—the face of a severe, avengeful angel—twenty years old. His rattling conversation ranged from filling stations to the fact that he had once visited Tibet. At the last Denny said, “If it goes wrong, please do this: destroy everything that’s mine. Burn all my clothes. My letters. I wouldn’t want Peter having the pleasure.”
We agreed not to communicate until Denny had left the clinic; then, presumably, we could meet for a holiday at one of the coastal villages near Naples—Positano or Ravello.
As I had no intention of doing so, or of seeing Denny again if it could be avoided, I moved out of the rue du Bac apartment and into a small room under the eaves of the Hotel Pont Royal. At the time the Pont Royal had a leathery little basement bar that was the favored swill bucket of haute Boheme’s fatbacks. Walleyed, pipe-sucking, pasty-hued Sartre and his spinsterish moll, De Beauvoir, were usually propped in a corner like an abandoned pair of ventriloquist’s dolls.
I often saw Koestler there, never sober; an aggressive runt very free with his fists. And Camus—reedy, diffident in a razory way, a man with crisp brown hair, eyes liquid with life, and a troubled, perpetually listening expression: an approachable person. I knew that he was an editor at Gallimard, and one afternoon I introduced myself to him as an American writer who had published a book of short stories—would he read it, with the thought of Gallimard printing a translation? Later, Camus returned the copy I sent him, with a note saying that his English was insufficient to the task of passing judgment but that he felt I had an ability to create character and tension. “However, I find these stories too abrupt and unrealized. But if you should have other material, please let me see it.” Afterward, whenever I encountered Camus at the Pont Royal, and once at a Gallimard garden party that I gate-crashed, he always nodded and smiled encouragement.
Another customer of this bar, whom I met there and who was friendly enough, was the Vicomtesse Marie Laure de Noailles, esteemed poet, a saloniste who presided over a drawing room where the ectoplasmic presences of Proust and Reynaldo Hahn were at any moment expected to materialize, the eccentric spouse of a rich sports-minded Marseillais aristocrat, and an affectionate, perhaps undiscriminating, comrade of contemporary Julien Sorels: my slot machine exactly. Mais alors—another young American adventurer, Ned Rorem, had emptied that jackpot.
Despite her defects—rippling jowls, bee-stung lips, and middle-parted coiffure that eerily duplicated Lautrec’s portrait of Oscar Wilde—one could see what Rorem saw in Marie Laure (an elegant roof over his head, someone to promote his melodies in the stratospheres of musical France), but the reverse does not hold. Rorem was from the Midwest, a Quaker queer—which is to say, a queer Quaker—an intolerable combination of brimstone behavior and self-righteous piety.
He thought himself Alcibiades reborn, sun-painted, golden, and there were many who seconded his opinion, though I was not among them. For one thing, his skull was criminally contoured: flat-backed, like Dillinger’s; and his face, smooth, sweet as cake batter, was a bad blend of the weak and the willful. However, I’m probably being unfair because I envied Rorem, envied him his education, his far more assured reputation as a coming young fellow, and his superior success at playing Living Dildo to Old Hides, as we gigolos call our female checkbooks. If the subject interests you, you might try reading Ned’s own confessional Paris Diary: it is well written and cruel as only an outlaw Quaker bent on candor could be.
I wonder what Marie Laure thought when she read that book. Of course, she has weathered harsher pains than Ned’s sniveling revelations could inflict. Her last comrade, or the last known to me, was a hairy Bulgarian painter who killed himself by cutting his wrist and then, wielding a brush and using his severed artery as a palette, covered two walls with a boldly stroked, all-crimson abstract mural.
Indeed, I am indebted to the Pont Royal bar for many acquaintances, including the premier American expatriate, Miss Natalie Barney, an heiress of independent mind and morals who had been domiciled in Paris more than sixty years.
For all those decades Miss Barney had lived in the same apartment, a suite of surprising rooms off a courtyard in the rue de l’Université. Stained-glass windows and stained-glass skylights—a tribute to Art Nouveau that would have sent good old Boaty into mad-dog delirium: Lalique lamps sculpted as bouquets of milky roses, medieval tables massed with photographs of friends framed in gold and tortoiseshell: Apollinaire, Proust, Gide, Picasso, Cocteau, Radiguet, Colette, Sarah Bernhardt, Stein and Toklas, Stravinsky, the queens of Spain and Belgium, Nadia Boulanger, Garbo in a snuggly pose with her old buddy Mercedes D’Acosta, and Djuna Barnes, the last a luscious pimiento-lipped redhead difficult to recognize as the surly author of Nightwood (and latter-day hermit-heroine of Patchin Place). Whatever her calendar age, which must have been eighty and more, Miss Barney, usually attired in virile grey flannel, looked a permanent, pearl-colored fifty. She enjoyed motoring and drove herself about in a canvas-topped emerald Bugatti—around the Bois or out to Versailles on pleasant afternoons. Occasionally, I was asked along, for Miss Barney enjoyed lecturing, and she felt I had much to learn.
Once there was another guest, Miss Stein’s widow. The widow wanted to visit an Italian grocery where, she said, it was possible to buy a unique white truffle that came from the hills around Turin. The store was in a distant neighborhood. As our car drove through it, the widow suddenly said: “But aren’t we near Romaine’s studio?” Miss Barney, while directing at me a disquietingly speculative glance, replied: “Shall we stop there? I have a key.”
The widow, a mustachioed spider feeling its
