Finally Rebecca presented herself. She was right out of the Old Testament—dark and sunny clean through. Mona warmed to her immediately, as she would to a lost sister. They were both beautiful. Rebecca was more mature, more solid, more integrated. One felt instinctively that she always preferred the truth. I liked her firm handclasp, the direct flashing look with which she greeted one. She seemed to have none of the usual female pettinesses.
Soon Arthur joined us. He was short, muscular, with a hard, steely twang to his voice and frequently convulsed by explosive spasms of laughter. He laughed just as heartily over his own quips as over the other fellow’s. He was inordinately healthy, vital, jolly, exuberant. He had always been that way and in the old days, when Maude and I first moved into his neighborhood, I was very fond of him. I used to burst in on him all hours of the day and night and give him three- and four-hour resumes of the books I had just read. I remember spending whole afternoons talking of Smerdyakov and Pavel Pavlovitch, or General Ivolgin, or those angelic sprites which surrounded the Idiot, or of the Filippovna woman. He was married then to Irma, who later became one of my associates in the Cosmodemonic Telefloccus Company. In those early days, when I first knew Arthur Raymond, tremendous things occurred—in the mind, I should add. Our conversations were like passages out of The Magic Mountain, only more virulent, more exalted, more sustained, more provocative, more inflammable, more dangerous, more menacing—and much more, ever so much more, exhausting.
I was making a rapid throwback as I stood watching him talk. His sister Renée was trying to keep up a waning conversation with Kronski’s wife. (The latter always went dead on you, no matter how absorbing the theme might be.) I wondered how we would get along, the lot of us, under one roof. Of the two vacant rooms Kronski had already pre-empted the larger one. The six of us were now huddled together in the other room, which was nothing more than a cubbyhole.
“Oh, it’ll do,” Arthur Raymond was saying. “God, you don’t need much room—there’s the whole house. I want you to come. We’re going to have a great time here. God!” He exploded with laughter again.
I knew he was desperate. Too proud, however, to admit that he needed money. Rebecca looked at me expectantly. I read very clearly what was written in her face. Mona spoke up suddenly: “Of course we’ll take it.” Kronski rubbed his hands gleefully. “Sure you will! We’re going to make a grand stew of it, you’ll see.” And then he fell to haggling with them about the price. But Arthur Raymond wouldn’t talk about money. “Make your own terms,” he said, wandering off to the big room where the piano stood. I heard him pounding the piano. I tried to listen but Rebecca stood in front of me and kept plying we with questions.
A few days later we were installed. The first thing we noticed about our new domicile was that everybody was trying to use the bathroom at once. You got to know who the last occupant was by the smell he left behind. The sink was always clogged up with long hairs and Arthur Raymond, who never owned a toothbrush, would use the first one that came to hand. There were too many females about, for another thing. The older sister, Jessica, who was an actress, came frequently and often stayed the night. There was Rebecca’s mother, too, who was always in and out of the place, always wreathed in sorrow, always dragging herself along like a corpse. And then there were Kronski’s friends and Rebecca’s friends and Arthur’s friends and Renée’s friends, to say nothing of the pupils who came at all hours of the day and night. At first it was charming to hear the piano going: snatches of Bach, Ravel, Debussy, Mozart and so on. Then it became exasperating, especially when Arthur Raymond himself was practicing. He went over and over a phrase with the tenacity and persistence of a madman. First with one hand, firmly and slowly; then with the other hand, firmly and slowly. Then two hands, very firmly, very slowly; then more and more rapidly, until he reached the normal tempo. Then twenty times, fifty times, a hundred times. He would advance a little—a few more measures. Ditto. Then back again, like a crab, from the very beginning. Then suddenly he’d scrap it, begin something new, something he liked. He’d play it with all his heart, as if he were giving a concert. But maybe a third of the way through he’d stumble. Silence. He’d go back a few measures, break it down, build it up, slow, fast, one hand, two hands, all together, hands, feet, elbows, knuckles, moving forward like a tank corps, sweeping everything before him, mowing down trees, fences, barns, hedges, walls. It was agonizing to follow him. He was not playing for enjoyment—he was playing to perfect his technique. He was wearing his fingertips off, rubbing his ass smooth. Always advancing, progressing, attacking, conquering, annihilating, mopping up, realigning his forces, throwing out sentries and sentinels, covering his rear, digging himself in, charging in prisoners, segregating the wounded, reconnoitering, ambushing his men, sending up flares, rockets, exploding ammunition plants, railway centers, inventing new torpedoes, dynamos, flame throwers, coding and decoding the messages that came in . . .
A grand teacher, though. A darling teacher. He moved about the room in his khaki shirt, always open at the neck, like a restive panther. He would stand in a corner listening, with his chin in the palm of his hand and the other hand supporting his elbow. He’d walk to the window and look out, humming softly as he followed the pupil’s manful attempts to live up to that perfection which Arthur demanded of all his pupils. If it were a very young pupil he could be as tender as a lamb; he would make the child laugh, would pick her up in his arms and lift her off the stool. “You see . . . ?” and he would very slowly, very gently, very carefully, indicate the way it should be done. He had infinite patience with his young pupils—a beautiful thing to watch. He looked after them as if they were flowers. He tried to reach their souls, tried to soothe them or inflame them, as the case might be. With the older ones it was still more thrilling to observe his technique. With these he was all attention, alert as a porcupine, his legs stanced, swaying, balancing himself, raising and lowering himself on the balls of his feet, the muscles of his face moving rapidly as he followed with glittering eagerness the transition from passage to passage. To these he spoke as if they were masters already. He would suggest this or that manipulation, this or that interpretation. Often interrupting the performance for ten or fifteen minutes at a stretch, he would launch into brilliant expositions of commanding techniques, comparing one with another, evaluating them, comparing a score with a book, one writer with another writer, a palette with a texture, a tone with a personal idiom, and so on. He made music live. He heard music in everything. The young women, when they had concluded a seance, swooned through the hall, unconscious of everything but the flames of genius. Yes, he was a life-giver, a sun-god: he sent them reeling into the street.
Arguing with Kronski he was a different person. That mania for perfection, that pedagogic fury which was such a powerful asset to him as a music teacher, reduced him to ridiculous proportions when he launched into the world of ideas. Kronski toyed with him as a cat toys with a mouse. He delighted in tripping his adversary up. He defended nothing, except his own nimble security. Arthur Raymond had something of the Jack Dempsey style, when it came to a heated discussion. He bore in steadily, always with short, swift jabs, like a chopping block fitted with dancing legs. Now and then he made a lunge, a brilliant lunge, only to find that he was grappling with space. Kronski had a trick of vanishing completely just when he seemed to be on the ropes. You would find him a second later hanging from the chandelier. He had no recognizable strategy, unless it was to elude, to jibe and taunt, to infuriate his opponent, and then do the disappearing stunt. Arthur Raymond seemed to be saying all the time: “Put up your dukes! Fight! Fight, you bastard!” But Kronski had no intention of making a punching bag of himself.
I never caught Arthur Raymond reading a book. I don’t think he read many books, yet he had an amazing knowledge of many things. Whatever he read he remembered with astonishing vividness and accuracy. Aside from my friend Roy Hamilton, he could extract more from a book than anyone I knew. He literally eviscerated the tex
t. Roy Hamilton would proceed millimeter by millimeter, so to speak, lingering over a phrase for days or weeks at a time. It sometimes took him a year or two to finish a small book, but when he was through with it he did seem to have added a cubit to his stature. For him a half-dozen good books were sufficient to supply him with spiritual fodder for the rest of his life. Thoughts to him were living things, as they were to Louis Lambert. Having read one book thoroughly he gave the very real impression of knowing all books. He thought and lived his way through a book, emerging from the experience a new and glorified being. He was the very opposite of the scholar whose stature diminishes with each book he reads. Books for him were what Yoga is to the earnest seeker after truth: they helped him unite with God.
Arthur Raymond, on the other hand, gave the illusion of devouring a book’s contents. He read with muscular attention. Or so I imagined, observing their effect upon him. He read like a sponge, intent upon absorbing the writer’s thoughts. His sole concern was to ingest, to assimilate, to redistribute. He was a vandal. Each new book represented a new conquest. Books fortified his ego. He didn’t grow, he became puffed with pride and arrogance. He looked for corroborations in order to sally forth and give battle. He wouldn’t permit himself to be made over. He could render tribute to the author he admired but he could never bend the knee. He remained adamant and inflexible; his carapace grew thicker and thicker.
He was the type who, upon finishing a book, can talk of nothing else for weeks to come. No matter what one touched upon, in conversing with him, he related it to the book he had just devoured. The curious thing about these hang-overs was that the more he talked about the book the more one felt his unconscious desire to destroy it. At bottom it always seemed to me that he was really ashamed of having permitted another mind to enthrall him. His talk was not of the book but of how thoroughly and penetratingly he, Arthur Raymond, had understood it. To expect him to give a resume of the book was futile. He gave you just enough information about its subject matter to enable you to follow his analyses and elaborations intelligently. Though he kept saying to you—“You must read it, it’s marvelous,” what he meant was—“You can take it from me that it’s an important work, else I shouldn’t be wasting my time discussing it with you.” And what he implied, moreover, was that it was just as well you hadn’t read it because you would never by your own efforts be able to unearth the gems which he, Arthur Raymond, had found in it. “When I get through telling you about it,” he seemed to say, “you won’t need to read it. I know not only what the author said but what he intended to say and didn’t.”
At the time I speak of, one of his passions was Sigmund Freud. I don’t mean to imply that he knew only Freud. No, he spoke as though he had an acquaintance with the whole swarm, from Krafft-Ebing and Stekel on down. He regarded Freud not only as a thinker but as a poet. Kronski, on the other hand, whose reading was wider and deeper in this field, who had the advantage of clinical experience as well, who was then making a comparative study of psychoanalysis and not merely endeavoring to assimilate one new contribution after the other, irritated Arthur Raymond beyond words by what the latter was pleased to call “his corrosive skepticism.”
It was in our cubicle that these discussions, which were not only bitter but interminable, took place. Mona had given up the dance hall and was looking about for work in the theater. Often we all ate together in the kitchen, attempting towards midnight to disperse and reach our respective quarters. But Arthur Raymond had absolutely no regard for time; when he was interested in a subject he thought nothing of food, sleep or sex. If he went to bed at five in the morning he would get up at eight, if he chose to, or remain in bed for eighteen hours. He left it to Rebecca to rearrange his schedule. Naturally this sort of life created an atmosphere of chaos and postponement. When it got too complicated Arthur Raymond would throw up his hands and walk out on it, sometimes remaining away for days. After these periods of absence strange rumors would come floating back, stories which shed quite a different luster upon his character. Apparently these excursions were necessary to complete the physical being; the life of a musician couldn’t possibly satisfy his robust nature. He had to get away occasionally and mix with his cronies—a most incongruous assortment of characters, incidentally. Some of his escapades were innocent and amusing, others were sordid and ugly. Brought up as a sissy, he had found it imperative to develop the brutal side of his nature. He enjoyed picking a quarrel with some burly, blustering idiot much bigger than himself and cold-bloodedly breaking the man’s arm or leg. He had done what so many little fellows always dream of doing—mastered jujitsu. He had done it in order to have the pleasure of insulting the menacing giants who make up the world of bullies which the little man dreads. The bigger they were the better Arthur Raymond liked it. He didn’t dare to use his fists for fear of injuring his hands, but, rather meanly I thought, he would always pretend to fight and then of course take his adversary by surprise. “I don’t admire that in you at all,” I told him once. “If you played me a trick like that I’d break a bottle over your head.” He looked at me in astonishment. He knew that I didn’t care to fight or to wrestle. “I wouldn’t mind,” I added, “if you resorted to those tricks as a last extremity. But you just want to show off. You’re a little bully, and a little bully is even more obnoxious than a big one. Someday you’ll tackle the wrong man. . .”
He laughed. I always interpreted things in a queer way, he said.
“That’s why I like you,” he would say. “You’re unpredictable. You have no code. Really, Henry”—and he would give a hearty guffaw—“you’re essentially treacherous. If we ever make a new world you’ll have no place in it. You don’t seem to understand what it means to give and take. You’re an intellectual hobo. . . . At times I don’t understand you at all. You’re always gay and affable, almost sociable, and yet . . . well, you have no loyalties. I try to be friends wth you . . . we were friends once, you remember. . . but you’ve changed . . . you’re hard inside . . . you’re untouchable. God, you think I’m hard . . . I’m just cocky, pugnacious, full of spirits. You’re the one who’s hard. You’re a gangster, do you know that?” He chuckled. “Yes, Henry, that’s what you are—you’re a spiritual gangster. I don’t trust you . . .”
It nettled him to observe the easy rapport which existed between Rebecca and myself. He wasn’t jealous, nor had he reason to be, but he was envious of my ability to create such a smooth relationship with his wife. He was always telling me of her intellectual attainments, as though that should be the basis of attraction between us, but in a discussion, if Rebecca were present, he behaved towards her as if her opinions were of negligible importance. Mona he listened to with a gravity that was almost comical. He listened, of course, just long enough to hear her out, saying, “Yes, yes, to be sure,” but actually giving no heed whatever to what she was saying.
Alone with Rebecca, watching her cooking a meal or ironing, I had those sort of talks which one can only have with a woman if she belongs to another man. Here there was really that spirit of “give and take” which Arthur Raymond complained of missing in me. Rebecca was earthy and not at all intellectual. She had a sensual nature and she loved to be treated as a woman and not as a mind. We talked of the most simple, homely things sometimes, things which the music master found no interest in whatever.
Talk is only a pretext for other, subtler forms of communication. When the latter are inoperative speech becomes dead. If two people are intent upon communicating with one another it doesn’t matter in the least how bewildering the talk becomes. People who insist upon clarity and logic often fail in making themselves understood. They are always searching for a more perfect transmitter, deluded by the supposition that the mind is the only instrument for the exchange of thought. When one really begins to talk one delivers himself. Words are thrown about recklessly, not counted like pennies. One doesn’t care about grammatical or factual errors, contradictions, lies and so on. One talks. If you are talking to someone who knows
how to listen he understands perfectly, even though the words make no sense. When this kind of talk gets under way a marriage takes place, no matter whether you are talking to a man or a woman. Men talking with other men have as much need of this sort of marriage as women talking with women have. Married couples seldom enjoy this kind of talk, for reasons which are only too obvious.
Talk, real talk, it seems to me, is one of the most expressive manifestations of man’s hunger for unlimited marriage. Sensitive people, people who feel, want to unite in some deeper, subtler, more durable fashion than is permitted by custom and convention. I mean in ways beyond the dreams of social and political utopists. The brotherhood of man, should it ever come about, is only the kindergarten stage in the drama of human relationships. When man begins to permit himself full expression, when he can express himself without fear of ridicule, ostracism or persecution, the first thing he will do will be to pour out his love. In the story of human love we are still at the first chapter. Even there, even in the realm of the purely personal, it is a pretty shoddy account. Have we more than a dozen heroes and heroines of love to hold up as examples? I doubt if we have even as many great lovers as we have illustrious saints. We have scholars galore, and kings and emperors, and statesmen and military leaders, and artists in profusion, and inventors, discoverers, explorers—but where are the great lovers? After a moment’s reflection one is back to Abélard and Héloïse, or to Antony and Cleopatra, or the story of the Taj Mahal. So much of it is fictive, expanded and glorified by the poverty-stricken lovers whose prayers are answered only by myth and legend. Tristan and Isolde —what a powerful spell that legend still casts upon the modern world! In the landscape of romance it stands out like the snow-capped peak of Fujiyama.
There was one observation which I made to myself over and over again as I listened to the interminable wrangles between Arthur Raymond and Kronski. It was to the effect that knowledge divorced from action leads to sterility. Here were two vital young men, each brilliant in his way, and they were arguing passionately night after night about a new approach to the problems of life. An austere individual, leading a sober, modest, disciplined life in the far-off city of Vienna, was responsible for these clashes. All over the Occidental world this wrangling was going on. One had to speak passionately about these theories of Sigmund Freud or not at all, so it seemed. That fact alone is of significance, of far more significance than the theories under discussion. A few thousand people—not hundreds of thousands!—would in the course of the next twenty years submit to the process known as psychoanalysis. The term “psychoanalysis” would gradually lose its magic and become a byword. Its therapeutic value would decrease in proportion to the spread of popular understanding. The wisdom underlying Freud’s explorations and interpretations would diminish in effectiveness with the increasing desire of the neurotic to become readapted to life.