Saga Of Arturo Bandini - Ask The Dust Part 1

ASK THE DUST.

JOHN FANTE.

Introduction.

I was a young man, starving and drinking and trying to be a writer. I did most of my reading at the downtown L.A. Public Library, and nothing that I read related to me or to the streets or to the people about me. It seemed as if everybody was playing word-tricks, that those who said almost nothing at all were considered excellent writers. Their writing was an admixture of subtlety, craft and form, and it was read and it was taught and it was ingested and it was pa.s.sed on. It was a comfortable contrivance, a very slick and careful Word-Culture. One had to go back to the pre-Revolution writers of Russia to find any gamble, any pa.s.sion. There were exceptions but those exceptions were so few that reading them was quickly done, and you were left staring at rows and rows of exceedingly dull books. With centuries to look back on, with all their advantages, the moderns just weren't very good.

I pulled book after book from the shelves. Why didn't anybody say something? Why didn't anybody scream out?

I tried other rooms in the library. The section on Religion was just a vast bog - to me. I got into Philosophy. I found a couple of bitter Germans who cheered me for a while, then that was over. I tried Mathematics but upper Maths was just like Religion: it ran right off me. What / needed seemed to be absent everywhere.

I tried Geology and found it curious but, finally, non-sustaining.

I found some books on Surgery and I liked the books on Surgery: the words were new and the ill.u.s.trations were wonderful. I particularly liked and memorized the operation on the mesocolon.

Then I dropped out of Surgery and I was back in the big room with the novelists and short story writers. (When I had enough cheap wine to drink I never went to the library. A library was a good place to be when you had nothing to drink or to eat, and the landlady was looking for you and for the back rent money. In the library at least you had the use of the toilet facilities.) I saw quite a number of other b.u.ms in there, most of them asleep on top of their books.

I kept on walking around the big room, pulling the books off the shelves, reading a few lines, a few pages, then putting them back.

Then one day I pulled a book down and opened it, and there it was. I stood for a moment, reading. Then like a man who had found gold in the city dump, I carried the book to a table. The lines rolled easily across the page, there was a flow. Each line had its own energy and was followed by another like it. The very substance of each line gave the page a form, a feeling of something carved into it. And here, at last, was a man who was not afraid of emotion. The humour and the pain were intermixed with a superb simplicity. The beginning of that book was a wild and enormous miracle to me.

I had a library card. I checked the book out, took it to my room, climbed into my bed and read it, and I knew long before I had finished that here was a man who had evolved a distinct way of writing. The book was Ask the Dust and the author was John Fante. He was to be a lifetime influence on my writing. I finished Ask the Dust and looked for other books of Fante's in the library. I found two: Dago Red and Wait Until Spring, Bandini. They were of the same order, written of and from the gut and the heart.

Yes, Fante had a mighty effect upon me. Not long after reading these books I began living with a woman. She was a worse drunk than I was and we had some violent arguments, and often I would scream at her, 'Don't call me a son of a b.i.t.c.h! I am Bandini, Arturo Bandini!

Fante was my G.o.d and I knew that the G.o.ds should be left alone, one didn't bang at their door. Yet I liked to guess about where he had lived on Angel's Flight and I imagined it possible that he still lived there. Almost every day I walked by and I thought, is that the window Camilla crawled through? And, is that the hotel door? Is that the lobby? I never knew.

Thirty-nine years later I reread Ask the Dust. That is to say, I reread it this year and it still stands, as do Fante's other works, but this one is my favourite because it was my first discovery of the magic. There are other books beside Dago Red and Wait Until Spring, Bandini. They are Full of Life and The Brotherhood of the Grape. And, at the moment, Fante has a novel in progress, A Dream of Bunker Hill.

Through other circ.u.mstances, I finally met the author this year [1979]. There is much more to the story of John Fante. It is a story of terrible luck and a terrible fate and of a rare and natural courage. Some day it will be told but I feel that he doesn't want me to tell it here. But let me say that the way of his words and the way of his way are the same: strong and good and warm.

That's enough. Now this book is yours.

Charles Bukowski

Chapter One.

One night I was sitting on the bed in my hotel room on Bunker Hill, down in the very middle of Los Angeles. It was an important night in my life, because I had to make a decision about the hotel. Either I paid up or I got out: that was what the note said, the note the landlady had put under the door. A great problem, deserving acute attention. I solved it by turning out the lights and going to bed.

In the morning I awoke, decided that I should do more physical exercise, and began at once. I did several bending exercises. Then I washed my teeth, tasted blood, saw pink on the toothbrush, remembered the advertis.e.m.e.nts, and decided to go out and get some coffee.

I went to the restaurant where I always went to the restaurant and I sat down on the stool before the long counter and ordered coffee. It tasted pretty much like coffee, but it wasn't worth the nickel. Sitting there I smoked a couple of cigarettes, read the box scores of the American League games, scrupulously avoided the box scores of National League games, and noted with satisfaction that Joe DiMaggio was still a credit to the Italian people, because he was leading the league in batting.

A great hitter, that DiMaggio. I walked out of the restaurant, stood before an imaginary pitcher, and swatted a home run over the fence. Then I walked down the street towards Angel's Flight, wondering what I would do that day. But there was nothing to do, and so I decided to walk around the town.

I walked down Olive Street past a dirty yellow apartment house that was still wet like a blotter from last night's fog, and I thought of my friends Ethie and Carl, who were from Detroit and had lived there, and I remembered the night Carl hit Ethie because she was going to have a baby, and he didn't want a baby. But they had the baby and that's all there was to that. And I remembered the inside of that apartment, how it smelled of mice and dust, and the old women who sat in the lobby on hot afternoons, and the old woman with the pretty legs. Then there was the elevator man, a broken man from Milwaukee, who seemed to sneer every time you called your floor, as though you were such a fool for choosing that particular floor, the elevator man who always had a tray of sandwiches in the elevator, and a pulp magazine.

Then I went down the hill on Olive Street, past the horrible frame houses reeking with murder stories, and on down Olive to the Philharmonic Auditorium, and I remembered how I'd gone there with Helen to listen to the Don Cossack Choral Group, and how I got bored and we had a fight because of it, and I remembered what Helen wore that day - a white dress, and how it made me sing at the loins when I touched it. Oh that Helen - but not here.

And so I was down on Fifth and Olive, where the big street cars chewed your ears with their noise, and the smell of gasoline made the sight of the palm trees seem sad, and the black pavement still wet from the fog of the night before.

So now I was in front of the Biltmore Hotel, walking along the line of yellow cabs, with all the cab drivers asleep except the driver near the main door, and I wondered about these fellows and their fund of information, and I remembered the time Ross and I got an address from one of them, how he leered salaciously and then took us to Temple Street, of all places, and whom did we see but two very unattractive ones, and Ross went all the way, but I sat in the parlour and played the phonograph and was scared and lonely.

I was pa.s.sing the doorman of the Biltmore, and I hated him at once, with his yellow braids and six feet of height and all that dignity, and now a black automobile drove to the kerb and a man got out. He looked rich; and then a woman got out, and she was beautiful, her fur was silver fox, and she was a song across the sidewalk and inside the swinging doors, and I thought oh boy for a little of that, just a day and a night of that, and she was a dream as I walked along, her perfume still in the wet morning air.

Then a great deal of time pa.s.sed as I stood in front of a pipe shop and looked, and the whole world faded except that window and I stood and smoked them all, and saw myself a great author with that natty Italian briar, and a cane, stepping out of a big black car, and she was there too, proud as h.e.l.l of me, the lady in the silver fox fur. We registered and then we had c.o.c.ktails and then we danced a while, and then we had another c.o.c.ktail and I recited some lines from Sanskrit, and the world was so wonderful, because every two minutes some gorgeous one gazed at me, the great author, and nothing would do but I had to autograph her menu, and the silver fox girl was very jealous.

Los Angeles, give me some of you! Los Angeles come to me the way I came to you, my feet over your streets, you pretty town I loved you so much, you sad flower in the sand, you pretty town.

A day and another day and the day before, and the library

with the big boys in the shelves, old Dreiser, old Mencken, all the boys down there, and I went to see them, Hya Dreiser, Hya Mencken, Hya, hya: there's a place for me, too, and it begins with B, in the B shelf, Arturo Bandini, make way for Arturo Bandini, his slot for his book, and I sat at the table and just looked at the place where my book would be, right there close to Arnold Bennett; not much that Arnold Bennett, but I'd be there to sort of bolster up the B's, old Arturo Bandini, one of the boys, until some girl came along, some scent of perfume through the fiction room, some click of high heels to break up the monotony of my fame. Gala day, gala dream! But the landlady, the white-haired landlady kept writing those notes: she was from Bridgeport, Connecticut, her husband had died and she was all alone in the world and she didn't trust anybody, she couldn't afford to, she told me so, and she told me I'd have to pay. It was mounting like the national debt, I'd have to pay or leave, every cent of it - five weeks overdue, twenty dollars, and if I didn't she'd hold my trunks; only I didn't have any trunks, I only had a suitcase and it was cardboard without even a strap, because the strap was around my belly holding up my pants, and that wasn't much of a job, because there wasn't much left of my pants. 'I just got a letter from my agent,' I told her. 'My agent in New York. He says I sold another one; he doesn't say where, but he says he's got one sold. So don't worry Mrs Hargraves, don't you fret, I'll have it in a day or so.'

But she couldn't believe a liar like me. It wasn't really a lie; it was a wish, not a lie and maybe it wasn't even a wish, maybe it was a fact, and the only way to find out was watch the mailman, watch him closely, check his mail as he laid it on the desk in the lobby, ask him point blank if he had anything for Bandini. But I didn't have to ask after six months at that 4 hotel. He saw me coming and he always nodded yes or no before I asked: no, three million times; yes, once.

One day a beautiful letter came. Oh, I got a lot of letters, but this was the only beautiful letter, and it came in the morning, and it said (he was talking about The Little Dog Laughed) he had read The Little Dog Laughed and liked it; he said, Mr Bandini, if ever I saw a genius, you are it. His name was Leonardo, a great Italian critic, only he was not known as a critic, he was just a man in West Virginia, but he was great and he was a critic, and he died. He was dead when my airmail letter got to West Virginia, and his sister sent my letter back. She wrote a beautiful letter, too, she was a pretty good critic too, telling me Leonardo had died of consumption but he was happy to the end, and one of the last things he did was sit up in bed and write me about The Little Dog Laughed: a dream out of life, but very important; Leonardo, dead now, a saint in heaven, equal to any apostle of the twelve.

Everybody in the hotel read The Little Dog Laughed, everybody: a story to make you die holding the page, and it wasn't about a dog, either: a clever story, screaming poetry. And the great editor, none but J. C. Hackmuth with his name signed like Chinese said in a letter: a great story and I'm proud to print it. Mrs Hargraves read it and I was a different man in her eyes thereafter. I got to stay on in that hotel, not shoved out in the cold, only often it was in the heat, on account of The Little Dog Laughed. Mrs Grainger in 345, a Christian Scientist (wonderful hips, but kinda old) from Battle Creek, Michigan, sitting in the lobby waiting to die, and The Little Dog Laughed brought her back to the earth, and that look in her eyes made me know it was right and I was right, but I was hoping she would ask about my finances, how I was

getting along, and then I thought why not ask her to lend you a five spot, but I didn't and I walked away snapping my fingers in disgust.

The hotel was called the Alta Loma. It was built on a hillside in reverse, there on the crest of Bunker Hill, built against the decline of the hill, so that the main floor was on the level with the street but the tenth floor was downstairs ten levels. If you had room 862, you got in the elevator and went down eight floors, and if you wanted to go down in the truck room, you didn't go down but up to the attic, one floor above the main floor.

Oh for a Mexican girl! I used to think of her all the time, my Mexican girl. I didn't have one, but the streets were full of them, the Plaza and Chinatown were afire with them, and in my fashion they were mine, this one and that one, and some day when another cheque came it would be a fact. Meanwhile it was free and they were Aztec princesses and Mayan princesses, the peon girls in the Grand Central Market, in the Church of Our Lady, and I even went to Ma.s.s to look at them. That was sacrilegious conduct but it was better than not going to Ma.s.s at all, so that when I wrote home to Colorado to my mother I could write with truth. Dear Mother: I went to Ma.s.s last Sunday. Down in the Grand Central Market I b.u.mped into the princesses accidentally on purpose. It gave me a chance to speak to them, and I smiled and said excuse me. Those beautiful girls, so happy when you acted like a gentleman and all of that, just to touch them and carry the memory of it back to my room, where dust gathered upon my typewriter and Pedro the mouse sat in his hole, his black eyes watching me through that time of dream and reverie. Pedro the mouse, a good mouse but never domesticated, 6 refusing to be petted or house-broken. I saw him the first time I walked into my room, and that was during my heyday, when The Little Dog Laughed was in the current August issue. It was five months ago, the day I got to town by bus from Colorado with a hundred and fifty dollars in my pocket and big plans in my head. I had a philosophy in those days. I was a lover of man and beast alike, and Pedro was no exception; but cheese got expensive, Pedro called all his friends, the room swarmed with them, and I had to quit it and feed them bread. They didn't like bread. I had spoiled them and they went elsewhere, all but Pedro the ascetic who was content to eat the pages of an old Gideon Bible.

Ah, that first day! Mrs Hargraves opened the door to my room, and there it was, with a red carpet on the floor, pictures of the English countryside on the walls, and a shower adjoining. The room was down on the sixth floor, room 678, up near the front of the hill, so that my window was on a level with the green hillside and there was no need for a key, for the window was always open. Through that window I saw my first palm tree, not six feet away, and sure enough I thought of Palm Sunday and Egypt and Cleopatra, but the palm was blackish at its branches, stained by carbon monoxide coming out of the Third Street Tunnel, its crusted trunk choked with dust and sand that blew in from the Mojave and Santa Ana deserts.

Dear Mother, I used to write home to Colorado, Dear Mother, things are definitely looking up. A big editor was in town and I had lunch with him and we have signed a contract for a number of short stories, but I won't try to bore you with all the details, dear mother, because I know you're not interested in writing, and I know Papa isn't, but it levels down to a swell contract, only it doesn't begin for a couple of months. So send me ten dollars, mother, send me five, mother dear, because the editor (I'd tell you his name only 1 know you're not interested in such things) is all set to start me out on the biggest project he's got.

Dear Mother, and Dear Hackmuth, the great editor -they got most of my mail, practically all of my mail. Old Hackmuth with his scowl and his hair parted in the middle, great Hackmuth with a pen like a sword, his picture was on my wall autographed with his signature that looked Chinese. Hya Hackmuth, I used to say, Jesus how you can write! Then the lean days came, and Hackmuth got big letters from me. My G.o.d, Mr Hackmuth, something's wrong with me: the old zip is gone and I can't write anymore. Do you think, Mr Hackmuth, that the climate here has anything to do with it? Please advise. Do you think, Mr Hackmuth, that I write as well as William Faulkner? Please advise. Do you think, Mr Hackmuth, that s.e.x has anything to do with it, because, Mr Hackmuth, because, because, and I told Hackmuth everything. I told him about the blonde girl I met in the park. I told him how I worked it, how the blonde girl tumbled. I told him the whole story, only it wasn't true, it was a crazy lie - but it was something. It was writing, keeping in touch with the great, and he always answered. Oh boy, he was swell! He answered right off, a great man responding to the problems of a man of talent. n.o.body got that many letters from Hackmuth, n.o.body but me, and I used to take them out and read them over, and kiss them. I'd stand before Hackmuth's picture crying out of both eyes, telling him he picked a good one this time, a great one, a Bandini, Arturo Bandini, me.

The lean days of determination. That was the word for it, determination: Arturo Bandini in front of his typewriter two 8 full days in succession, determined to succeed; but it didn't work, the longest siege of hard and fast determination in his life, and not one line done, only two words written over and over across the page, up and down, the same words: palm tree, palm tree, palm tree, a battle to the death between the palm tree and me, and the palm tree won: see it out there swaying in the blue air, creaking sweetly in the blue air. The palm tree won after two fighting days, and I crawled out of the window and sat at the foot of the tree. Time pa.s.sed, a moment or two, and I slept, little brown ants carousing in the hair on my legs.

Chapter Two.

I was twenty then. What the h.e.l.l, I used to say, take your time, Bandini. You got ten years to write a book, so take it easy, get out and learn about life, walk the streets. That's your trouble: your ignorance of life. Why, my G.o.d, man, do you realize you've never had any experience with a woman? Oh yes I have, oh I've had plenty. Oh no you haven't. You need a woman, you need a bath, you need a good swift kick, you need money. They say it's a dollar, they say it's two dollars in the swell places, but down on the Plaza it's a dollar; swell, only you haven't got a dollar, and another thing, you coward, even if you had a dollar you wouldn't go, because you had a chance to go once in Denver and you didn't. No, you coward, you were afraid, and you're still afraid, and you're glad you haven't got a dollar.

Afraid of a woman! Ha, great writer this! How can he write about women, when he's never had a woman? Oh you lousy fake, you phony, no wonder you can't write! No wonder there wasn't a woman in the The Little Dog Laughed. No wonder it wasn't a love story, you fool, you dirty little schoolboy.

To write a love story, to learn about life.

Money arrived in the mail. Not a cheque from the mighty Hackmuth, not an acceptance from The Atlantic Monthly or The Sat.u.r.day Evening Post. Only ten dollars, only a fortune. My mother sent it: some dime insurance policies, Arturo, I had them taken up for their cash value, and this is your share. But it was ten dollars; one ma.n.u.script or another, at least something had been sold.

Put it in your pocket, Arturo. Wash your face, comb your hair, put some stuff on to make you smell good while you stare into the mirror looking for grey hairs; because you're worried Arturo, you're worried, and that brings grey hair. But there was none, not a strand. Yeah, but what of that left eye? It looked discoloured. Careful, Arturo Bandini: don't strain your eyesight, remember what happened to Tarkington, remember what happened to James Joyce.

Not bad, standing in the middle of the room, talking to Hackmuth's picture, not bad, Hackmuth, you'll get a story out of this. How do I look, Hackmuth? Do you sometimes wonder, Herr Hackmuth, what I look like? Do you sometimes say to yourself, I wonder if he's handsome, that Bandini fellow, author of that brilliant The Little Dog Laughed?

Once in Denver there was another night like this, only I was not an author in Denver, but I stood in a room like this and made these plans, and it was disastrous because all the time in that place I thought about the Blessed Virgin and thou shah not commit adultery and the hard-working girl shook her head sadly and had to give it up, but that was a long time ago and tonight it will be changed.

I climbed out the window and scaled the incline to the top of Bunker Hill. A night for my nose, a feast for my nose, smelling the stars, smelling the flowers, smelling the desert, and the dust asleep, across the top of Bunker Hill. The city spread out like a Christmas tree, red and green and blue. h.e.l.lo, old houses, beautiful hamburgers singing in cheap cafes. Bing Crosby singing too. She'll treat me gently. Not those girls of my childhood, those girls of my boyhood, 12 those girls of my university days. They frightened me, they were diffident, they refused me; but not my princess, because she will understand. She, too, has been scorned.

Bandini, walking along, not tall but solid, proud of his muscles, squeezing his fist to revel in the hard delight of his biceps, absurdly fearless Bandini, fearing nothing but the unknown in a world of mysterious wonder. Are the dead restored? The books say no, the night shouts yes. I am twenty, I have reached the age of reason, I am about to wander the streets below, seeking a woman. Is my soul already smirched, should I turn back, does an angel watch over me, do the prayers of my mother allay my fears, do the prayers of my mother annoy me?

Ten dollars: it will pay the rent for two and a half weeks, it will buy me three pairs of shoes, two pair of pants, or one thousand postage stamps to send material to the editors; indeed! But you haven't any material, your talent is dubious, your talent is pitiful, you haven't any talent, and stop lying to yourself day after day because you know The Little Dog Laughed is no good, and it will always be no good.

So you walk along Bunker Hill, and you shake your fist at the sky, and I know what you're thinking, Bandini. The thoughts of your father before you, lash across your back, hot ire in your skull, that you are not to blame: this is your thought, that you were born poor, son of miseried peasants, driven because you were poor, fled from your Colorado town because you are poor, hoping to write a book to get rich, because those who hated you back there in Colorado will not hate you if you write a book. You are a coward, Bandini, a traitor to your soul, a feeble liar before your weeping Christ. This is why you write, this is why it would be better if you died.

13.Yes, it's true: but I have seen houses in Bel-Air with cool lawns and green swimming pools. I have wanted women whose very shoes are worth all I have ever possessed. I have seen golf clubs on Sixth Street in the Spalding window that make me hungry just to grip them. I have grieved for a necktie like a holy man for indulgences. I have admired hats in Robinson's the way critics gasp at Michelangelo.

I took the steps down Angel's Flight to Hill Street: a hundred and forty steps, with tight fists, frightened of no man, but scared of the Third Street Tunnel, scared to walk through it - claustrophobia. Scared of high places too, and of blood, and of earthquakes; otherwise, quite fearless, excepting death, except the fear Til scream in a crowd, except the fear of appendicitis, except the fear of heart trouble, even that, sitting in his room holding the clock and pressing his jugular vein, counting out his heartbeats, listening to the weird purr and whirr of his stomach. Otherwise, quite fearless.

Here is an idea with money: these steps, the city below, the stars within throwing distance: boy meets girl idea, good setup, big money idea. Girl lives in that grey apartment house, boy is a wanderer. Boy - he's me. Girl's hungry. Rich Pasadena girl hates money. Deliberately left Pasadena millions 'cause of ennui, weariness with money. Beautiful girl, gorgeous. Great story, pathological conflict. Girl with money phobia: Freudian setup. Another guy loves her, rich guy. I'm poor. I meet rival. Beat him to death with caustic wit and also lick him with fists. Girl impressed, falls for me. Offers me millions. I marry her on condition she'll stay poor. Agrees. But ending happy: girl tricks me with huge trust fund day we get married. I'm indignant but I forgive her 'cause I love her. Good idea, but something missing: Collier's story. Dearest Mother, thanks for the ten dollar bill. My agent 14.announces the sale of another story, this time to a great magazine in London, but it seems they do not pay until publication, and so your little sum will come in handy for various odds and ends.

I went to the burlesque show. I had the best seat possible, a dollar and ten cents, right under a chorus of forty frayed bottoms: some day all of these will be mine: I will own a yacht and we will go on South Sea Cruises. On warm afternoons they will dance for me on the sun deck. But mine will be beautiful women, selections from the cream of society, rivals for the joys of my stateroom. Well, this is good for me, this is experience, I am here for a reason, these moments run into pages, the seamy side of life.

Then Lola Linton came on, slithering like a satin snake amid the tumult of whistling and pounding feet, Lola Linton lascivious, slithering and looting my body, and when she was through, my teeth ached from my clamped jaws and I hated the dirty lowbrow swine around me, shouting their share of a sick joy that belonged to me.

If Mamma sold the policies things must be tough for the Old Man and I shouldn't be here. When I was a kid pictures of Lola Lintons used to come my way, and I used to get so impatient with the slow crawl of time and boyhood, longing for this very moment, and here I am, and I have not changed nor have the Lola Lintons, but I fashioned myself rich and I am poor.

Main Street after the show, midnight: neon tubes and a light fog, honky tonks and all night picture houses. Second-hand stores and Filipino dance halls, c.o.c.ktails 15 cents, continuous entertainment, but I had seen them all, so many times, spent so much Colorado money in them. It left me lonely like a thirsty man holding a cup, and I walked towards the Mexican Quarter with a feeling of sickness without pain. Here was the Church of Our Lady, very old, the adobe blackened with age. For sentimental reasons I will go inside. For sentimental reasons only. I have not read Lenin, but I have heard him quoted religion is the opium of the people. Myself, I am an atheist: I have read The Anti-Christ and I regard it as a capital piece of work. I believe in the transvaluation of values, Sir. The Church must go, it is the haven of the b.o.o.boisie, of b.o.o.bs and bounders and all Brummagem mountebanks.

I pulled the huge door open and it gave a little cry like weeping. Above the altar sputtered the blood-red eternal light, illuminating in crimson shadow the quiet of almost two thousand years. It was like death, but I could remember screaming infants at baptism too. I knelt. This was habit, this kneeling. I sat down. Better to kneel, for the sharp bite at the knees was a distraction from the awful quiet. A prayer. Sure, one prayer: for sentimental reasons. Almighty G.o.d, I am sorry I am now an atheist, but have You read Nietzche? Ah, such a book! Almighty G.o.d, I will play fair in this. I will make You a proposition. Make a great writer out of me, and I will return to the Church. And please, dear G.o.d, one more favour: make my mother happy. I don't care about the Old Man; he's got his wine and his health, but my mother worries so. Amen.

I closed the weeping door and stood on the steps, the fog like a huge white animal everywhere, the Plaza like our courthouse back home, s...o...b..und in white silence. But all sounds travelled swift and sure through the heaviness, and the sound I heard was the click of high heels. A girl appeared. She wore an old green coat, her face moulded in a green scarf tied under the chin. On the stairs stood Bandini.

'h.e.l.lo, honey,' she said, smiling, as though Bandini were her husband, or her lover. Then she came to the first step and looked up at him. 'How about it, honey? Want me to show you a good time?'

Bold lover, bold and brazen Bandini.

'Nab,' he said. 'No thanks. Not tonight.'

He hurried away, leaving her looking after him, speaking words he lost in flight. He walked half a block. He was pleased. At least she had asked him. At least she had identified him as a man. He whistled a tune from sheer pleasure. Man about town has universal experience. Noted writer tells of night with woman of the streets. Arturo Bandini, famous writer, reveals experience with Los Angeles prost.i.tute. Critics acclaim book finest written.

Bandini (being interviewed prior to departure for Sweden): 'My advice to all young writers is quite simple. I would caution them never to evade a new experience. I would urge them to live life in the raw, to grapple with it bravely, to attack it with naked fists.'

Reporter: 'Mr Bandini, how did you come to write this book which won you the n.o.bel Award?'

Bandini: 'The book is based on a true experience which happened to me one night in Los Angeles. Every word of that book is true. I lived that book, I experienced it.'

Enough. I saw it all. I turned and walked back towards the church. The fog was impenetrable. The girl was gone. I walked on: perhaps I could catch up with her. At the corner saw her again. She stood talking to a tall Mexican. They walked, crossed the street and entered the Plaza. I followed. My G.o.d, a Mexican! Women like that should draw the colour line. I hated him, the Spick, the Greaser. They walked under 5 banana trees in the Plaza, their feet echoing in the fog. I heard the Mexican laugh. Then the girl laughed. They crossed 16.17.the street and walked down an alley that was the entrance to Chinatown. The oriental neon signs made the fog pinkish At a rooming house next door to a chop suey restaurant they turned and climbed the stairs. Across the street upstairs a dance was in progress. Along the little street on both sides yellow cabs were parked. I leaned against the front fender of the cab in front of the rooming house and waited. I lit a cigarette and waited. Until h.e.l.l freezes over, I will wait. Until G.o.d strikes me dead, I will wait.

A half hour pa.s.sed. There were sounds on the steps. The door opened. The Mexican appeared. He stood in the fog, lit a cigarette, and yawned. Then he smiled absently, shrugged, and walked away, the fog swooping upon him. Go ahead and smile. You stinking Greaser - what have you got to smile about? You come from a bashed and busted race, and just because you went to the room with one of our white girls, you smile. Do you think you would have had a chance, had I accepted on the church steps?

A moment later the steps sounded to the click of her heels, and the girl stepped into the fog. The same girl, the same green coat, the same scarf. She saw me and smiled. 'h.e.l.lo, honey. Wanna have a good time?' Easy now, Bandini.

'Oh,' I said. 'Maybe. And maybe not. Whatcha got?' 'Come up and see, honey.' Stop sn.i.g.g.e.ring, Arturo. Be suave. 'I might come up,' I said. 'And then, I might not.' 'Aw honey, come on.' The thin bones of her face, the odour of sour wine from her mouth, the awful hypocrisy of her sweetness, the hunger for money in her eyes. Bandini speaking: 'What's the price these days?' She took my arm, pulled me towards the door, but gently.

18 'You come on up, honey. We'll talk about it up there.' 'I'm really not very hot,' said Bandini. 'I - I just came from a wild party.'

Hail Mary full of grace, walking up the stairs, I can't go through with it. I've got to get out of it. The halls smelling of c.o.c.kroaches, a yellow light at the ceiling, you're too aesthetic for all this, the girl holding my arm, there's something wrong with you, Arturo Bandini, you're a misanthrope, your whole life is doomed to celibacy, you should have been a priest, Father O'Leary talking that afternoon, telling us the joys of denial, and my own mother's money too, Oh Mary conceived without sin, pray for us who have recourse to thee - until we got to the top of the stairs and walked down a dusty dark hall to a room at the end, where she turned out the light and we were inside.

A room smaller than mine, carpetless, without pictures, a bed, a table, a wash-stand. She took off her coat. There was a blue print dress underneath. She was bare-legged. She took off the scarf. She was not a real blonde. Black hair grew at the roots. Her nose was crooked slightly. Bandini on the bed, put himself there with an air of casualness, like a man who knew how to sit on a bed.

Bandini: 'Nice place you got here.' My G.o.d I got to get out of here, this is terrible. The girl sat beside me, put her arms around me, pushed her b.r.e.a.s.t.s against me, kissed me, flecked my teeth with a cold tongue. I jumped to my feet. Oh think fast, my mind, dear mind of mine please get me out of this and it will never happen again. From now on I will return to my Church. Beginning this day my life shall run like sweet water.

The girl lay back, her hands behind her neck, her legs over the bed. I shall smell lilacs in Connecticut, no doubt, 19.before I die, and see the clean white small reticent churches of my youth, the pasture bars I broke to run away. 'Look,' I said. 'I want to talk to you.' She crossed her legs. 'I'm a writer,' I said. 'I'm gathering material for a book.' 'I knew you were a writer,' she said. 'Or a business man, or something. You look spiritual, honey.'

'I'm a writer, see. I like you and all that. You're okay, I like you. But I want to talk to you, first.' She sat up.

'Haven't you any money, honey?'

Money - ho. And I pulled it out, a small thick roll of dollar bills. Sure I got money, plenty of money, this is a drop in the bucket, money is no object, money means nothing to me. 'What do you charge?' 'It's two dollars, honey.'

Then give her three, peel it off easily, like it was nothing at all, smile and hand it to her because money is no object, there's more where this came from, at this moment Mamma sits by the window holding her rosary, waiting for the Old Man to come home, but there's money, there's always money.

She took the money and slipped it under the pillow. She was grateful and her smile was different now. The writer wanted to talk. How were conditions these days? How did she like this kind of life? Oh, come on honey, let's not talk, let's get down to business. No, I want to talk to you, this is important, new book, material. I do this often. How did you ever get into this racket. Oh honey, Chrissakes, you going to ask me that too? But money is no object, I tell you. But my time is valuable, honey. Then here's a couple more bucks. That makes five, my G.o.d, five bucks and I'm not out of here yet, how I hate you, you filthy. But you're cleaner than me because you've got no mind to sell, just that poor flesh.

She was overwhelmed, she would do anything. I could have it any way I wanted it, and she tried to pull me to her, but no, let's wait a while. I tell you I want to talk to you, I tell you money is no object, here's three more, that makes eight dollars, but it doesn't matter. You just keep that eight bucks and buy yourself something nice. And then I snapped my fingers like a man remembering something, something important, an engagement.

'Say!' I said. 'That reminds me. What time is it?'

Her chin was at my neck, stroking it. 'Don't you worry about the time, honey. You can stay all night.'

A man of importance, ah yes, now I remembered, my publisher, he was getting in tonight by plane. Out at Burbank, away out in Burbank. Have to grab a cab and taxi out there, have to hurry. Goodbye, goodbye, you keep that eight bucks, you buy yourself something nice, goodbye, goodbye, running down the stairs, running away, the welcome fog in the doorway below, you keep that eight bucks, oh sweet fog I see you and I'm coming, you clean air, you wonderful world, I'm coming to you, goodbye, yelling up the stairs, I'll see you again, you keep that eight dollars and buy yourself something nice. Eight dollars pouring out of my eyes. Oh Jesus kill me dead and ship my body home, kill me dead and make me die like a pagan fool with no priest to absolve me, no extreme unction, eight dollars, eight dollars .. .