Miss Lonelyhearts, by Nathanael West

Miss Lonelyhearts in the Dismal Swamp

Soon after Mrs. Doyle left, Miss Lonelyhearts became physically sick and was unable to leave his room. The first two days of his illness were blotted out by sleep, but on the third day, his imagination began again to work.

He found himself in the window of a pawnshop full of fur coats, diamond rings, watches, shotguns, fishing tackle, mandolins. All these things were the paraphernalia of suffering. A tortured high light twisted on the blade of a gift knife, a battered horn grunted with pain.

He sat in the window thinking. Man has a tropism for order. Keys in one pocket, change in another. Mandolins are tuned G D A E. The physical world has a tropism for disorder, entropy. Man against Nature . . . the battle of the centuries. Keys yearn to mix with change. Mandolins strive to get out of tune. Every order has within it the germ of destruction. All order is doomed, yet the battle is worth while.

A trumpet, marked to sell for $2.49, gave the call to battle and Miss Lonelyhearts plunged into the fray. First he formed a phallus of old watches and rubber boots, then a heart of umbrellas and trout flies, then a diamond of musical instruments and derby hats, after these a circle, triangle, square, swastika. But nothing proved definitive and he began to make a gigantic cross. When the cross became too large for the pawnshop, he moved it to the shore of the ocean. There every wave added to his stock faster than he could lengthen its arms. His labors were enormous. He staggered from the last wave line to his work, loaded down with marine refuse — bottles, shells, chunks of cork, fish heads, pieces of net.

Drunk with exhaustion, he finally fell asleep. When he awoke, he felt very weak, yet calm.

There was a timid knock on the door. It was open and Betty tiptoed into the room with her arms full of bundles. He made believe that he was asleep.

“Hello,” he said suddenly.

Startled, she turned to explain. “I heard you were sick, so I brought some hot soup and other stuff.”

He was too tired to be annoyed by her wide-eyed little mother act and let her feed him with a spoon. When he had finished eating, she opened the window and freshened the bed. As soon as the room was in order, she started to leave, but he called her back.

“Don’t go, Betty.”

She pulled a chair to the side of his bed and sat there without speaking.

“I’m sorry about what happened the other day,” he said. “I guess I was sick.”

She showed that she accepted his apology by helping him to excuse himself. “It’s the Miss Lonelyhearts job. Why don’t you give it up?”

“And do what?”

“Work in an advertising agency, or something.”

“You don’t understand, Betty, I can’t quit. And even if I were to quit, it wouldn’t make any difference. I wouldn’t be able to forget the letters, no matter what I did.”

“Maybe I don’t understand,” she said, “but I think you’re making a fool of yourself.”

“Perhaps I can make you understand. Let’s start from the beginning. A man is hired to give advice to the readers of a newspaper. The job is a circulation stunt and the whole staff considers it a joke. He welcomes the job, for it might lead to a gossip column, and anyway he’s tired of being a leg man. He too considers the job a joke, but after several months at it, the joke begins to escape him. He sees that the majority of the letters are profoundly humble pleas for moral and spiritual advice, that they are inarticulate expressions of genuine suffering. He also discovers that his correspondents take him seriously. For the first time in his life, he is forced to examine the values by which he lives. This examination shows him that he is the victim of the joke and not its perpetrator.”

Although he had spoken soberly, he saw that Betty still thought him a fool. He closed his eyes.

“You’re tired,” she said. “I’ll go.”

“No, I’m not tired. I’m just tired of talking, you talk a while.”

She told him about her childhood’ on a farm and of her love for animals, about country sounds and country smells and of how fresh and clean everything in the country is. She said that he ought to live there and that if he did, he would find that all his troubles were city troubles.

While she was talking, Shrike burst into the room. He was drunk and immediately set up a great shout, as though he believed that Miss Lonelyhearts was too near death to hear distinctly. Betty left without saying good-by.

Shrike had evidently caught some of her farm talk, for he said: “My friend, I agree with Betty, you’re an escapist. But I do not agree that the soil is the proper method for you to use.”

Miss Lonelyhearts turned his face to the wall and pulled up the covers. But Shrike was unescapable. He raised his voice and talked through the blankets into the back of Miss Lonelyhearts’ head.

“There are other methods, and for your edification I shall describe them. But first let us do the escape to the soil, as recommended by Betty:

“You are fed up with the city and its teeming millions. The ways and means of men, as getting and lending and spending, you lay waste your inner world, are too much with you. The bus takes too long, while the subway is always crowded. So what do you do? So you buy a farm and walk behind your horse’s moist behind, no collar or tie, plowing your broad swift acres. As you turn up the rich black soil, the wind carries the smell of pine and dung across the fields and the rhythm of an old, old work enters your soul. To this rhythm, you sow and weep and chivy your kine, not kin or kind, between the pregnant rows of corn and taters. Your step becomes the heavy sexual step of a dance-drunk Indian and you tread the seed down into the female earth. You plant, not dragon’s teeth, but beans and greens . . .

“Well, what do you say, my friend, shall it be the soil?”

Miss Lonelyhearts did not answer. He was thinking of how Shrike had accelerated his sickness by teaching him to handle his one escape, Christ, with a thick glove of words.

“I take your silence to mean that you have decided against the soil. I agree with you. Such a life is too dull and laborious. Let us now consider the South Seas:

“You live in a thatch hut with the daughter of the king, u slim young maiden in whose eyes is an ancient wisdom. I Her breasts are golden speckled pears, her belly a melon, and her odor is like nothing so much as a jungle fern. In the evening, on the blue lagoon, under the silvery moon, to your love you croon in the soft sylabelew and vocabelew of her langorour tongorour. Your body is golden brown like hers, and tourists have need of the indignant finger of the missionary to point you out. They envy you your breech clout and carefree laugh and little brown bride and fingers instead of forks. But you don’t return their envy, and when a beautiful society girl comes to your hut in the night, seeking to learn the secret of your happiness, you send her back to her yacht that hangs on the horizon like a nervous racehorse. And so you dream away the days, fishing, hunting, dancing, swimming, kissing, and picking flowers to twine in your hair . . .

“Well, my friend, what do you think of the South Seas?” Miss Lonelyhearts tried to stop him by making believe that he was asleep. But Shrike was not fooled.

“Again silence,” he said, “and again you are right. The South Seas are played out and there’s little use in imitating Gauguin. But don’t be discouraged, we have only scratched the surface of our subject. Let us now examine Hedonism, or take the cash and let the credit go . . .

“You dedicate your life to the pursuit of pleasure. No over-indulgence, mind you, but knowing that your body is a pleasure machine, you treat it carefully in order to get the most out of it. Golf as well as booze, Philadelphia Jack O’Brien and his chest-weights as well as Spanish dancers. Nor do you neglect the pleasures of the mind. You fornicate under pictures by Matisse and Picasso, you drink from Renaissance glassware, and often you spend an evening beside the fireplace with Proust and an apple. Alas, after much good fun the day comes when you realize that soon you must die. You keep a stiff upper lip and decide to give a last party. You invite all your old mistresses, trainers, artists and boon companions. The guests are dressed in black, the waiters are coons, the table is a coffin carved for you by Eric Gill. You serve caviar and blackberries and licorice candy and coffee without cream. After the dancing girls have finished, you get to your feet and call for silence in order to explain your philosophy of life. ‘Life,’ you say, ‘is a club where they won’t stand for squawks, where they deal you only one hand and you must sit in. So even if the cards are cold and marked by the hand of fate, play up, play up like a gentleman and a sport. Get tanked, grab what’s on the buffet, use the girls upstairs, but remember, when you throw box cars, take the curtain like a dead game sport, don’t squawk.’ . . .

“I won’t even ask you what you think of such an escape. You haven’t the money, nor are you stupid enough to manage it. But we come now to one that should suit you much better . . .

“Art! Be an artist or a writer. When you are cold, warm yourself before the flaming tints of Titian, when you are hungry, nourish yourself with great spiritual foods by listening to the noble periods of Bach, the harmonies of Brahms and the thunder of Beethoven. Do you think there is anything in the fact that their names all begin with B? But don’t take a chance, smoke a 3 B pipe, and remember these immortal lines: When to the suddenness of melody the echo parting falls the failing day. What a rhythm! Tell them to keep their society whores and pressed duck with oranges. For you Part vivant, the living art, as you call it. Tell them that you know that your shoes are broken and that there are pimples on your face, yes, and that you have buck teeth and a club foot, but that you don’t care, for tomorrow they are playing Beethoven’s last quartets in Carnegie Hall and at home you have Shakespeare’s plays in one volume.”

After art, Shrike described suicide and drugs. When he had finished with them, he came to what he said was the goal of his lecture.

“My friend, I know of course that neither the soil, nor the South Seas, nor Hedonism, nor art, nor suicide, nor drugs, can mean anything to us. We are not men who swallow camels only to strain at stools. God alone is our escape. The church is our only hope, the First Church of Christ Dentist, where He is worshiped as Preventer of Decay. The church whose symbol is the trinity new-style: Father, Son and Wirehaired Fox Terrier . . . And so, my good friend, let me dictate a letter to Christ for you:

Dear Miss Lonelyhearts of Miss Lonelyhearts —

I am twenty-six years old and in the newspaper game. Life for me is a desert empty of comfort. I cannot find pleasure in food, drink, or women — nor do the arts give me joy any longer. The Leopard of Discontent walks the streets of my city; the Lion of Discouragement crouches outside the walls of my citadel. All is desolation and a vexation of the spirit. I feel like hell. How can. I believe, how can I have faith in this day and age? Is it true that the greatest scientists believe again in you?

I read your column and like it very much. There you once wrote: ‘When the salt has lost its savour, who shall savour it again?’ Is the answer: ‘None but the Saviour?’

Thanking you very much for a quick reply, I remain yours truly,

A Regular Subscriber”

http://ebooks.adelaide.edu.au/w/west/nathanael/miss-lonelyhearts/chapter8.html

Last updated Tuesday, March 4, 2014 at 12:30