The Seven Storey Mountain: Fiftieth-Anniversary Edition

  Then I went to Greenwich Village and signed a lease for a one-room apartment and started work on my Ph.D. I suppose the apartment on Perry Street was part of the atmosphere appropriate to an intellectual such as I imagined myself to be and, as a matter of fact, I felt much more important in this large room with a bath and fireplace and French windows leading out on to a rickety balcony than I had felt in the little place ten feet wide behind the Columbia Library. Besides, I now had a shiny new telephone all my own which rang with a deep, discreet, murmuring sort of a bell as if to invite me suavely to expensive and sophisticated pursuits.

  I don’t, as a matter of fact, remember anything very important happening over that telephone, except that I used to make dates with a nurse who was stationed in one of the clinics out at the World’s Fair which opened that year on Flushing Meadows. Also, it was the occasion of a series of furiously sarcastic letters to the telephone company because of various kinds of troubles, mechanical and financial.

  The one I most talked to, over this phone, was Lax. He had a phone which did not even cost him anything, for he was living in the Hotel Taft, tutoring the children of the manager, and having access to an ice-box full of cold chicken at all hours of the day and night. The two principal items of news which he communicated to me, from his point of vantage, were, first, the appearance of Joyce’s Finnegans Wake and, second, the election of Pope Pius XII.

  It was one of those first spring mornings when the new, warm sun is full of all kinds of delights, that I heard about the Pope. I had been sitting on the balcony in a pair of blue dungarees, drinking Coca-Cola, and getting the sun. When I say sitting on the balcony, I mean sitting on the good boards and letting my feet dangle through the place where the boards had broken. This was what I did a great deal of the time, in the mornings, that spring: surveying Perry Street from the east, where it ran up short against a block of brick apartments, to the west, where it ended at the river, and you could see the black funnels of the Anchor liners.

  When I wasn’t sitting on this balcony doing nothing, I was in the room, in the deepest armchair, studying the letters of Gerard Manley Hopkins and his Notebooks and trying to figure out various manuals on prosody and covering little white index cards with notes. For it was my plan to write a Ph.D. dissertation on Hopkins.

  The typewriter that was always open on the desk was sometimes busy when I got a book to review: for I had been doing occasional reviews for the Sunday book sections of the Times and Herald Tribune. But what was better, I sometimes managed to grind out, with labor and anguish, some kind of a poem.

  I had never been able to write verse before I became a Catholic. I had tried, but I had never really succeeded, and it was impossible to keep alive enough ambition to go on trying. I had started once or twice at Oakham, and I had written two or three miserable things at Cambridge. At Columbia, when I thought I was a Red, I got one stupid idea for a poem, about workers working on a dock and bombing planes flying overhead—you know: ominous. When it got on paper it was so silly that not even the magazines on the Fourth Floor would print it. The only other verse I had ever been able to turn out before my Baptism was an occasional line for the Jester.

  In November 1938, I acquired a sudden facility for rough, raw Skeltonic verses—and that lasted about a month, and died. They were not much, but one of them took a prize which it did not deserve. But now I had many kinds of sounds ringing in my ears and they sometimes asked to get on paper. When their rhythms and tones followed Andrew Marvell, the results were best. I always liked Marvell; he did not mean as much to me as Donne or Crashaw (when Crashaw wrote well) but nevertheless there was something about his temper for which I felt a special personal attraction. His moods were more clearly my own than Crashaw’s or even Donne’s.

  When I lived on Perry Street, it was hard to write poems. The lines came slow, and when it was all done, there were very few of them. They were generally rhymed iambic tetrameter, and because I was uneasy with any rhyme that sounded hackneyed, rhyming was awkward and sometimes strange.

  I would get an idea, and walk around the streets, among the warehouses, towards the poultry market at the foot of Twelfth Street, and I would go out on the chicken dock trying to work out four lines of verse in my head, and sit in the sun. And after I had looked at the fireboats and the old empty barges and the other loafers and the Stevens Institute on its bluff across the river in Hoboken, I would write the poem down on a piece of scrap paper and go home and type it out.

  I usually sent it at once to some magazine. How many envelopes I fed to the green mailbox at the corner of Perry Street just before you got to Seventh Avenue! And everything I put in there came back—except for the book reviews.

  The more I failed, the more I was convinced that it was important for me to have my work printed in magazines like the Southern Review or Partisan Review or the New Yorker. My chief concern was now to see myself in print. It was as if I could not be quite satisfied that I was real until I could feed my ambition with these trivial glories, and my ancient selfishness was now matured and concentrated in this desire to see myself externalized in a public and printed and official self which I could admire at my ease. This was what I really believed in: reputation, success. I wanted to live in the eyes and the mouths and the minds of men. I was not so crude that I wanted to be known and admired by the whole world: there was a certain naive satisfaction in the idea of being only appreciated by a particular minority, which gave a special fascination to this urge within me. But when my mind was absorbed in all that, how could I lead a supernatural life, the life to which I was called? How could I love God, when everything I did was done not for Him but for myself, and not trusting in His aid, but relying on my own wisdom and talents?

  Lax rebuked me for all this. His whole attitude about writing was purified of such stupidity, and was steeped in holiness, in charity, in disinterestedness. Characteristically he conceived the function of those who knew how to write, and who had something to say, in terms of the salvation of society. Lax’s picture of America—before which he has stood for twelve years with his hands hanging in helplessness at his sides—is the picture of a country full of people who want to be kind and pleasant and happy and love good things and serve God, but do not know how. And they do not know where to turn to find out. They are surrounded by all kinds of sources of information which only conspire to bewilder them more and more. And Lax’s vision is a vision of the day when they will turn on the radio and somebody will start telling them what they have really been wanting to hear and needing to know. They will find somebody who is capable of telling them of the love of God in language that will no longer sound hackneyed or crazy, but with authority and conviction: the conviction born of sanctity.

  I am not sure whether this conception of his necessarily implied a specific vocation, a definite and particular mission: but in any case, he assumed that it was the sort of thing that should be open to me, to Gibney, to Seymour, to Mark Van Doren, to some writers he admired, perhaps even to somebody who did not know how to talk, but could only play a trumpet or a piano. And it was open to himself also: but for himself, he was definitely waiting to be “sent.”

  In any case, although I had gone before him to the fountains of grace, Lax was much wiser than I, and had clearer vision, and was, in fact, corresponding much more truly to the grace of God than I, and he had seen what was the only important thing. I think he has told what he had to say to many people besides myself: but certainly his was one of the voices through which the insistent Spirit of God was determined to teach me the way I had to travel.

  Therefore, another one of those times that turned out to be historical, as far as my own soul is concerned, was when Lax and I were walking down Sixth Avenue, one night in the spring. The street was all torn up and trenched and banked high with dirt and marked out with red lanterns where they were digging the subway, and we picked our way along the fronts of the dark little stores, going downtown to Greenwich Village. I forget what we were ar
guing about, but in the end Lax suddenly turned around and asked me the question:

  “What do you want to be, anyway?”

  I could not say, “I want to be Thomas Merton the well-known writer of all those book reviews in the back pages of the Times Book Review,” or “Thomas Merton the assistant instructor of Freshman-English at the New Life Social Institute for Progress and Culture,” so I put the thing on the spiritual plane, where I knew it belonged and said:

  “I don’t know; I guess what I want is to be a good Catholic.”

  “What do you mean, you want to be a good Catholic?”

  The explanation I gave was lame enough, and expressed my confusion, and betrayed how little I had really thought about it at all.

  Lax did not accept it.

  “What you should say”—he told me—“what you should say is that you want to be a saint.”

  A saint! The thought struck me as a little weird. I said:

  “How do you expect me to become a saint?”

  “By wanting to,” said Lax, simply.

  “I can’t be a saint,” I said, “I can’t be a saint.” And my mind darkened with a confusion of realities and unrealities: the knowledge of my own sins, and the false humility which makes men say that they cannot do the things that they must do, cannot reach the level that they must reach: the cowardice that says: “I am satisfied to save my soul, to keep out of mortal sin,” but which means, by those words: “I do not want to give up my sins and my attachments.”

  But Lax said: “No. All that is necessary to be a saint is to want to be one. Don’t you believe that God will make you what He created you to be, if you will consent to let Him do it? All you have to do is desire it.”

  A long time ago, St. Thomas Aquinas had said the same thing—and it is something that is obvious to everybody who ever understood the Gospels. After Lax was gone, I thought about it, and it became obvious to me.

  The next day I told Mark Van Doren:

  “Lax is going around saying that all a man needs to be a saint is to want to be one.”

  “Of course,” said Mark.

  All these people were much better Christians than I. They understood God better than I. What was I doing? Why was I so slow, so mixed up, still, so uncertain in my directions and so insecure?

  So at great cost I bought the first volume of the Works of St. John of the Cross and sat in the room on Perry Street and turned over the first pages, underlining places here and there with a pencil. But it turned out that it would take more than that to make me a saint: because these words I underlined, although they amazed and dazzled me with their import, were all too simple for me to understand. They were too naked, too stripped of all duplicity and compromise for my complexity, perverted by many appetites. However, I am glad that I was at least able to recognize them, obscurely, as worthy of the greatest respect.

  III

  WHEN THE SUMMER CAME I SUB-LET THE APARTMENT ON Perry Street to Seymour’s wife and went up-state, into the hills behind Olean. Lax’s brother-in-law had a cottage, on top of a hill, from which you could see miles over New York and Pennsylvania—miles of blue hill-tops and wooded ridges, miles of forest smudged here and there, in the dry weeks, with smoke, and gashed open, in the neighboring valley, by the lumbermen. All day and all night the silence of the wood was broken by the coughing of oil-pumps, and when you passed through the trees you could see long metal arms moving back and forth clumsily in the shadows of the glade, because the hills were full of oil.

  So Benjie, Lax’s brother-in-law, gave us this place, and let us live there, trusting more than he should have in our ability to live in a house for more than a week without partially destroying it.

  Lax and I and Rice moved in to the cottage, and looked around for places to put our typewriters. There was one big room with a huge stone fireplace and the works of Rabelais and a table which we presently ruined, feeding ourselves on it with hamburgers and canned beans and untold quarts of milk. There was a porch which looked out over the hills and where we eventually erected a trapeze. It was very pleasant to sit on the step of this porch, and look at the valley in the quiet evening, and play the drums. We had a pair of bongos, a Cuban double-drum, which is played two-handed and gives several different tones, depending where and how you hit it.

  In order to make sure we would have plenty of books, we went down to the library at St. Bonaventure’s College where this time, being baptized, I was no longer scared of the Friars. The librarian was Father Irenaeus, who looked up at us through his glasses and recognized Lax with ingenuous surprise. He always seemed to be surprised and glad to see everybody. Lax introduced us to him: “This is Ed Rice, this is Tom Merton.”

  “Ah! Mr. Rice.... Mr. Myrtle.” Father Irenaeus took us both in, with the eyes of a rather bookish child, and shook hands without embarrassment.

  “Merton,” said Lax, “Tom Merton.”

  “Yes, glad to know you, Mr. Myrtle,” said Father Irenaeus.

  “They were at Columbia too,” said Lax.

  “Ah, Columbia,” said Father Irenaeus. “I studied at the Columbia Library School,” and then he took us into his own library and with reckless trust abandoned all the shelves to us. It never occurred to him to place any limit upon the appetites of those who seemed to like books. If they wanted books, well, this was a library. He had plenty of books, that was what a library was for. You could take as many as you liked, and keep them until you were through: he was astonishingly free of red tape, this happy little Franciscan. When I got to know the Friars a little better, I found out that this trait was fairly universal. Those who love rigid and methodical systems have their life of penance all cut out for them if they enter the Franciscans, and especially if they become superiors. But as far as I know, Father Irenaeus has never been robbed of his books on a larger scale than any other librarian, and on the whole, the little library at St. Bonaventure’s was always one of the most orderly and peaceful I have ever seen.

  Presently we came out of the stacks with our arms full.

  “May we take all these, Father?”

  “Sure, sure, that’s fine, help yourself.”

  We signed a vague sort of a ticket, and shook hands.

  “Good-bye, Mr. Myrtle,” said the Friar, and stood in the open door and folded his hands as we started down the steps with our spoils.

  I still did not know that I had discovered a place where I was going to find out something about happiness.

  The books we took back to the cottage were hardly opened all summer: but anyway, they were there, lying around, in case we needed something to read. But really they were not necessary: for we eventually found places that proved very suitable for our typewriters, and all started writing novels. Rice wrote a novel called The Blue Horse. It took him about ten days. It was about a hundred and fifty pages long, illustrated. Lax wrote several fragments of novels which presently coalesced into one called The Spangled Palace. But the thing I got started on grew longer and longer and longer and eventually it was about five hundred pages long, and was called first Straits of Dover and then The Night Before the Battle, and then The Labyrinth. In its final form, it was shorter, and had been half rewritten, and it went to several publishers but to my great sorrow never got printed—at least I was sorry about it in those days, but now I am full of self-congratulation at the fact that those pages escaped the press.

  It was partly autobiographical, and therefore it took in some of the ground that this present book had covered: but it took in much more of the ground that I have avoided covering this time. Besides, I found the writing of it easier and more amusing if I mixed up a lot of imaginary characters in my own story. It is a pleasant way to write. When the truth got dull, I could create a diversion with a silly man called Terence Metrotone. I later changed him to Terence Park, after I showed the first draft of the book to my uncle, who abashed me by concluding that Terence Metrotone was a kind of an acrostic for myself That was, as a matter of fact, very humiliating, because I had mad
e such a fool of the character.

  The mere pleasure of sitting on top of this wooded mountain, with miles of country and cloudless sky to look at, and birds to listen to all day, and the healthy activity of writing page after page of novel, out under a tree facing the garage, made those weeks happy ones, in a natural sort of a way.

  We could have made even more of it than we did. I think we all had a sort of a feeling that we could be hermits up on that hill: but the trouble was that none of us really knew how and I, who was in a way the most articulate, as well as the least sensible, whenever it came to matters of conduct and decisions concerning good and evil, still had the strongest urges to go down into the valleys and see what was on at the movies, or play the slot machines, or drink beer.

  The best we could do about expressing our obscure desire of living lives that were separate and in some sense dedicated was to allow our beards to grow, which they did more or less slowly. Lax ended up with the best. It was black and solemn. Rice’s was rather ragged, but it looked fine when he grinned, because he had big teeth and slanting eyes like an Eskimo. I myself entertained the secret belief that I looked like Shakespeare. I was still wearing the thing when I went to New York, later, and I took it to the World’s Fair. I was standing thus bearded in a side-show that had something to do with Africa, and a young man who was not an explorer, but wore a white explorer’s outfit, took me to be indeed an explorer because of the beard. Or at least he plied me with some knowing questions about central Africa. I think we were both trading on our knowledge of that wonderful movie, Dark Rapture.