Riders Of The Purple Wage Part 2

"There's Rex Luscus," Chib says. "He's being interviewed outside the Folk Center. Quite a crowd."

THE PELLUCIDAR BREAKTHROUGH.

Luscus' middle name should have been Upmanship. A man of great erudition, with privileged access to the Library of Greater LA computer, and of Ulyssean sneakiness, he is always scoring over his colleagues.

He it was who founded the Go-Go School of Criticism.

Primalux Ruskinson, his great compet.i.tor, did some extensive research when Luscus announced the t.i.tle of his new philosophy. Ruskinson triumphantly announced that Luscus had taken the phrase from obsolete slang, current in the mid-twentieth century.

Luscus, in the fido interview next day, said that Ruskinson was a rather shallow scholar, which was to be expected.

_Go-go_ was taken from the Hottentot language. In Hottentot, _go-go_ meant to examine, that is, to keep looking until something about the object in this case, the artist and his works has been observed.

The critics got in line to sign up at the new school. Ruskinson thought of committing suicide, but instead accused Luscus of having blown his way up the ladder of success.

Luscus replied on fido that his personal life was his own, and Ruskinson was in danger of being sued for violation of privacy. However, he deserved no more effort than a man striking at a mosquito.

"What the h.e.l.l's a mosquito?" say millions of viewers. "Wish the bighead would talk language we could understand."

Luscus' voice fades off for a minute while the interpreters explain, having just been slipped a note from a monitor who's run off the word through the station's encyclopedia.

Luscus rode on the novelty of the Go-Go School for two years.

Then he re-established his prestige, which had been slipping somewhat, with his philosophy of the Totipotent Man.

This was so popular that the Bureau of Cultural Development and Recreation requisitioned a daily one-hour slot for a year-and-a-half in the initial program of totipotentializing.

Grandpa Winnegan's penned comment in his_ Private e.j.a.c.u.l.a.t.i.o.ns_: What about The Totipotent Man, that apotheosis of individuality and complete psychosomatic development, the democratic ubermensch, as recommended by Rex Luscus, the s.e.xually one-sided? Poor old Uncle Sam! Trying to force the proteus of his citizens into a single stabilized shape so he can control them. And at the same time trying to encourage each and every to bring to flower his inherent capabilities -- if any! The poor old long-legged, chin-whiskered, milk-hearted, flint-brained schizophrenic! Verily, the left hand knows not what the right hand is doing. As a matter of fact, the right hand doesn't know what the right hand is doing.

"What about the totipotent man?" Luscus replied to the chairman during the fourth session of the _Luscan Lecture Series_. "How does he conflict with the contemporary Zeitgeist? He doesn't. The totipotent man is the imperative of our times. He must come into being before the Golden World can be realized. How can you have a Utopia without Utopians, a Golden World with men of bra.s.s?"

It was during this Memorable Day that Luscus gave his talk on The Pellucidar Breakthrough and thereby made Chibiabos Winnegan famous. And more than incidentally gave Luscus his biggest score over his compet.i.tors.

"Pellucidar? Pellucidar?" Ruskinson mutters. "Oh, G.o.d, what's Tinker Bell doing now?"

"It'll take me some time to explain why I use this phrase to describe Winnegan's stroke of genius," Luscus continues. "First, let me seem to detour

FROM THE ARCTIC TO ILLINOIS.

"Now, Confucius once said that a bear could not fart at the North Pole without causing a big wind in Chicago.

"By this he meant that all events, therefore, all men, are interconnected in an unbreakable web. What one man does, no matter how seemingly insignificant, vibrates through the strands and affects every man."

Ho Chung Ko, before his fido on the 30th level of Lhasa, Tibet, says to his wife, "That white p.r.i.c.k has got it all wrong. Confucius didn't say that. Lenin preserve us! I'm going to call him up and give him h.e.l.l."

His wife says, "Let's change the channel. Pai Ting Place is on now, and . . ."

Ngombe, 10th level, Nairobi: "The critics here are a bunch of black b.a.s.t.a.r.ds. Now you take Luscus; he could see my genius in a second. I'm going to apply for emigration in the morning."

Wife: "You might at least ask me if I want to go! What about the kids . . . mother . . . friends . . . dog . . . ?" and so on into the lionless night of self-luminous Africa.

". . . ex-president Radinoff," Luscus continues, "once said that this is the 'Age of the Plugged-In Man.' Some rather vulgar remarks have been made about this, to me, insighted phrase. But Radinoff did not mean that human society is a daisy chain. He meant that the current of modern society flows through the circuit of which we are all part. This is the Age of Complete Interconnection. No wires can hang loose; otherwise we all short-circuit. Yet, it is undeniable that life without individuality is not worth living. Every man must be a _hapax legomenon_ . . ."

Ruskinson jumps up from his chair and screams, "I know that phrase! I got you this time, Luscus!

He is so excited he falls over in a faint, symptom of a widespread hereditary defect. When he recovers, the lecture is over. He springs to the recorder to run off what he missed. But Luscus has carefully avoided defining The Pellucidar Breakthrough. He will explain it at another lecture.

Grandpa, back at the scope, whistles. "I feel like an astronomer. The planets are in orbit around our house, the sun. There's Accipiter, the closest, Mercury, although he's not the G.o.d of thieves but their nemesis. Next, Benedictine, your sad-sack Venus. Hard, hard, hard! The sperm would batter their heads flat against that stony ovum. You sure she's pregnant?

"Your Mama's out there, dressed fit to kill and I wish someone would. Mother Earth headed for the perigee of the gummint store to waste your substance."

Grandpa braces himself as if on a rolling deck, the blue-black veins on his legs thick as strangling vines on an ancient oak. "Brief departure from the role of Herr Doktor Sternscheissdreckschnuppe, the great astronomer, to that of der Unterseeboot Kapitan von Schooten die Fischen in der Barrel. Ach! I zee yet das tramp Schteamer, Deine Mama, yawing, pitching, rolling in the seas of alcohol. Compa.s.s lost; rhumb dumb. Three sheets to the wind. Paddlewheels spinning in the air. The black gang sweating their b.a.l.l.s off, stoking the furnaces of frustration. Propellers tangled in the nets of neurosis. And the Great White Whale a glimmer in the black depths but coming up fast, intent on broaching her bottom, too big to miss. Poor d.a.m.ned vessel, I weep for her. I also vomit with disgust.

"Fire one! Fire two! Baroom! Mama rolls over, a jagged hole in her hull but not the one you're thinking of. Down she goes, nose first, as befits a devoted f.e.l.l.a.t.i.oneer, her huge aft rising into the air. Blub, blub! Full fathom five!

"And so back from undersea to outer s.p.a.ce. Your sylvan Mars, Red Hawk, has just stepped out of the tavern. And Luscus, Jupiter, the one-eyed All-Father of Art, if you'll pardon my mixing of Nordic and Latin mythologies, is surrounded by his swarm of satellites."

EXCRETION IS THE BITTER PART OF VALOR.

Luscus says to the fido interviewers. "By this I mean that Winnegan, like every artist, great or not, produces art that is, first, secretion, unique to himself, then excretion. Excretion in the original sense of 'sifting out.' Creative excretion or discrete excretion. I know that my distinguished colleagues will make fun of this a.n.a.logy, so I hereby challenge them to a fido debate whenever it can be arranged.

"The valor comes from the courage of the artist in showing his inner products to the public. The bitter part comes from the fact that the artist may be rejected or misunderstood in his time. Also from the terrible war that takes place in the artist with the disconnected or chaotic elements, often contradictory, which he must unite and then mold into a unique ent.i.ty. Hence my 'discrete excretion' phrase.

Fido interviewer: "Are we to understand that everything is a big pile of s.h.i.t but that art makes a strange sea-change, forms it into something golden and illuminating?"

"Not exactly. But you're close. I'll elaborate and expound at a later date. At present, I want to talk about Winnegan. Now, the lesser artists give only the surface of things; they are photographers. But the great ones give the interiority of objects and beings. Winnegan, however, is the first to reveal more than one interiority in a single work of art. His invention of the alto-relief multilevel technique enables him to epiphanize -- show forth -- subterranean layer upon layer."

Primalux Ruskinson, loudly, "The Great Onion Peeler of Painting!"

Luscus, calmly after the laughter has died: "In one sense, that is well put. Great art, like an onion, brings tears to the eyes. However, the light on Winnegan's paintings is not just a reflection; it is sucked in, digested, and then fractured forth. Each of the broken beams makes visible, not various aspects of the figures beneath, but whole figures. Worlds, I might say.

"I call this The Pellucidar Breakthrough. Pellucidar is the hollow interior of our planet, as depicted in a now forgotten fantasy-romance of the twentieth-century writer, Edgar Rice Burroughs, creator of the immortal Tarzan."

Ruskinson moans and feels faint again. "Pellucid! Pellucidar! Luscus, you punning exhumist b.a.s.t.a.r.d!"

"Burroughs' hero penetrated the crust of Earth to discover another world inside. This was, in some ways, the reverse of the exterior, continents where the surface seas are, and vice versa. Just so, Winnegan has discovered an inner world, the obverse of the public image Everyman projects. And, like Burroughs' hero, he has returned with a stunning narrative of psychic dangers and exploration.

"And just as the fictional hero found his Pellucidar to be populated with stone-age men and dinosaurs, so Winnegan's world is, though absolutely modern in one sense, archaic in another. Abysmally pristine. Yet, in the illumination of Winnegan's world, there is an evil and inscrutable patch of blackness, and that is paralleled in Pellucidar by the tiny fixed moon which casts a chilling and unmoving shadow.

"Now, I did intend that the ordinary 'pellucid' should be part of Pellucidar. Yet 'pellucid' means 'reflecting light evenly from all surfaces' or 'admitting maximum pa.s.sage of light without diffusion or distortion.' Winnegan's paintings do just the opposite. But -- under the broken and twisted light, the acute observer can see a primeval luminosity, even and straight. This is the light that links all the fractures and multilevels, the light I was thinking of in my earlier discussion of the 'Age of the Plugged-In Man' and the polar bear.

"By intent scrutiny, a viewer may detect this, feel, as it were, the photonic fremitus of the heartbeat of Winnegan's world."

Ruskinson almost faints. Luscus' smile and black monocle make him look like a pirate who has just taken a Spanish galleon loaded with gold.

Grandpa, still at the scope, says, "And there's Maryam bint Yusuf, the Egyptian backwoodswoman you were telling me about. Your Saturn, aloof, regal, cold, and wearing one of those suspended whirling manycolored hats that're all the rage. Saturn's rings? Or a halo?"

"She's beautiful, and she'd make a wonderful mother for my children," Chib says.

"The chic of Araby. Your Saturn has two moons, mother and aunt. Chaperones! You say she'd make a good mother! How good a wife! Is she intelligent?"

"She's as smart as Benedictine."

"A dumbs.h.i.t then. You sure can pick them. How do you know you're in love with her? You've been in love with twenty women in the last six months."

"I love her. This is it."

"Until the next one. Can you really love anything but your painting? Benedictine's going to have an abortion, right?"

"Not if I can talk her out of it," Chib says. "To tell the truth, I don't even like her any more. But she's carrying my child."

"Let me look at your pelvis. No, you're male. For a moment, I wasn't sure, you're so crazy to have a baby."

"A baby is a miracle to stagger s.e.xtillions of infidels."

"It beats a mouse. But don't you know that Uncle Sam has been propagandizing his heart out to cut down on propagation? Where've you been all your life?"

"I got to go, Grandpa."

Chib kisses the old man and returns to his room to finish his latest painting. The door still refuses to recognize him, and he calls the gummint repair shop, only to be told that all technicians are at the Folk Festival. He leaves the house in a red rage. The bunting and balloons are waving and bobbing in the artificial wind, increased for this occasion, and an orchestra is playing by the lake.

Through the scope, Grandpa watches him walk away.

"Poor devil! I ache for his ache. He wants a baby, and he is ripped up inside because that poor devil Benedictine is aborting their child. Part of his agony, though he doesn't know it, is identification with the doomed infant. His own mother has had innumerable -- well, quite a few -- abortions. But for the grace of G.o.d, he would have been one of them, another nothingness. He wants this baby to have a chance, too. But there is nothing he can do about it, nothing.

"And there is another feeling, one which he shares with most of humankind. He knows he's screwed up his life, or something has twisted it. Every thinking man and woman knows this. Even the smug and dimwitted realize this unconsciously. But a baby, that beautiful being, that unsmirched blank tablet, unformed angel, represents a new hope. Perhaps it won't screw up. Perhaps it'll grow up to be a healthy confident reasonable good-humored unselfish loving man or woman. 'It won't be like me or my next-door neighbor,' the proud, but apprehensive, parent swears.

"Chib thinks this and swears that his baby will be different. But, like everybody else, he's fooling himself. A child has one father and mother, but it has trillions of aunts and uncles. Not only those that are its contemporaries; the dead, too. Even if Chib fled into the wilderness and raised the infant himself, he'd be giving it his own unconscious a.s.sumptions. The baby would grow up with beliefs and att.i.tudes that the father was not even aware of. Moreover, being raised in isolation, the baby would be a very peculiar human being indeed.

"And if Chib raises the child in this society, it's inevitable that it will accept at least part of the att.i.tudes of its playmates, teachers, and so on ad nauseam.

"So, forget about making a new Adam out of your wonderful potential-teeming child, Chib. If it grows up to become at least half-sane, it's because you gave it love and discipline and it was lucky in its social contacts and it was also blessed at birth with the right combination of genes. That is, your son or daughter is now both a fighter and a lover.

ONE MAN'S NIGHTMARE IS ANOTHER MAN'S WET DREAM.

Grandpa says.

"I was talking to Dante Alighieri just the other day, and he was telling me what an inferno of stupidity, cruelty, perversity, atheism, and outright peril the sixteenth century was. The nineteenth left him gibbering, hopelessly searching for adequate enough invectives.

"As for this age, it gave him such high-blood pressure, I had to slip him a tranquilizer and ship him out via time machine with an attendant nurse. She looked much like Beatrice and so should have been just the medicine he needed -- maybe."

Grandpa chuckles, remembering that Chib, as a child, took him seriously when he described his time-machine visitors, such notables as Nebuchadnezzar, King of the Gra.s.s-Eaters; Samson, Bronze Age Riddler and Scourge of the Philistines; Moses, who stole a G.o.d from his Kenite father-in-law and who fought against circ.u.mcision all his life; Buddha, the Original Beatnik; No-Moss Sisyphus, taking a vacation from his stone-rolling; Androcles and his buddy, the Cowardly Lion of Oz; Baron von Richthofen, the Red Knight of Germany; Beowulf; Al Capone; Hiawatha; Ivan the Terrible; and hundreds of others.

The time came when Grandpa became alarmed and decided that Chib was confusing fantasy with reality. He hated to tell the little boy that he had been making up all those wonderful stories, mostly to teach him history. It was like telling a kid there wasn't any Santa Claus.

And then, while he was reluctantly breaking the news to his grandson, he became aware of Chib's barely suppressed grin and knew that it was his turn to have his leg pulled. Chib had never been fooled or else had caught on without any shock. So, both had a big laugh and Grandpa continued to tell of his visitors.

"There are no time machines," Grandpa says. "Like it or not, Miniver Cheevy, you have to live in this your time.

"The machines work in the utility-factory levels in a silence broken only by the chatter of a few mahouts. The great pipes at the bottom of the seas suck up water and bottom sludge. The stuff is automatically carried through pipes to the ten production levels of LA. There the inorganic chemicals are converted into energy and then into the matter of food, drink, medicines, and artifacts. There is very little agriculture or animal husbandry outside the city walls, but there is superabundance for all. Artificial but exact duplication of organic stuff, so who knows the difference?

"There is no more starvation or want anywhere, except among the self-exiles wandering in the woods. And the food and goods are shipped to the pandoras and dispensed to the receivers of the purple wage. _The purple wage_. A madison-avenue euphemism with connotations of royalty and divine right. Earned by just being born.

"Other ages would regard ours as a delirium, yet ours has benefits others lacked. To combat transiency and rootlessness, the megalopolis is compartmented into small communities. A man can live all his life in one place without having to go elsewhere to get anything he needs. With this has come a provincialism, a small-town patriotism and hostility towards outsiders. Hence, the b.l.o.o.d.y juvenile gang-fights between towns. The intense and vicious gossip. The insistence on conformity to local mores.

"At the same time, the small-town citizen has fido, which enables him to see events anywhere in the world. Intermingled with the trash and the propaganda, which the government thinks is good for the people, is any amount of superb programs. A man may get the equivalent of a Ph.D. without stirring out of his house.

"Another Renaissance has come, a fruition of the arts comparable to that of Pericles' Athens and the city-states of Michelangelo's Italy or Shakespeare's England. Paradox. More illiterates than ever before in the world's history. But also more literates. Speakers of cla.s.sical Latin outnumber those of Caesar's day. The world of aesthetics bears a fabulous fruit. And, of course, fruits.

"To dilute the provincialism and also to make international war even more unlikely, we have the world policy of_ h.o.m.ogenization_. The voluntary exchange of a part of one nation's population with another's. Hostages to peace and brotherly love. Those citizens who can't get along on just the purple wage or who think they'll be happier elsewhere are induced to emigrate with bribes.

"A Golden World in some respects; a nightmare in others. So what's new with the world? It was always thus in every age. Ours has had to deal with overpopulation and automation. How else could the problem be solved? It's Buridan's a.s.s (actually, the a.s.s was a dog) all over again, as in every time. Buridan's a.s.s, dying of hunger because it can't make up its mind which of two equal amounts of food to eat.

"History: a _pons asinorum_ with men the a.s.ses on the bridge of time.

"No, those two comparisons are not fair or right. It's Hobson's horse, the only choice being the beast in the nearest stall. Zeitgeist rides tonight, and the devil take the hindmost!