Nathanael West: Novels & Other Writings (LOA #93): The Dream Life of Balso Snell / Miss Lonelyhearts / A Cool Million / The Day of the Locust / other writings / letters
840
Nathanael West: Novels & Other Writings (LOA #93): The Dream Life of Balso Snell / Miss Lonelyhearts / A Cool Million / The Day of the Locust / other writings / letters
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Overview
In the Dada-inspired The Dream Life of Balso Snell (1931), he freely mixes high-flown literary and religious allusions with erotic and scatological humor. Miss Lonelyhearts (1933) presents, in a series of grotesque, starkly etched episodes, the spiritual breakdown of a newspaper columnist overwhelmed by his readers’ suffering. By contrast, A Cool Million (1934) reduces the eternal optimism of Horatio Alger’s novels to a brutal, cartoonish farce. In his last work, The Day of the Locust (1939), West renders with hallucinatory precision the reverse side of the Hollywood dream, as he choreographs a cast of failures, has-beens, and deluded glamour-seekers in what becomes an apocalyptic dance of death.
Also included is a generous sampling of West’s other surviving work, ranging from freewheeling improvisations and grotesque comic tales to more mainstream work written with Hollywood or Broadway in mind, and including his anti-war satire Good Hunting and his adaptation of Francis Ile’s famous crime novel Before the Fact. The uncollected West shows him as a writer who embodied the contradictions and crazy-quilt exuberance of American culture—and raises the question of how he might have developed had his career not been cut short. Selected correspondence with William Carlos Williams, F. Scott Fitzgerald, Malcolm Cowley, Bennett Cerf, and others rounds out the volume and sets West’s literary life in fuller context.
LIBRARY OF AMERICA is an independent nonprofit cultural organization founded in 1979 to preserve our nation’s literary heritage by publishing, and keeping permanently in print, America’s best and most significant writing. The Library of America series includes more than 300 volumes to date, authoritative editions that average 1,000 pages in length, feature cloth covers, sewn bindings, and ribbon markers, and are printed on premium acid-free paper that will last for centuries.
Product Details
| ISBN-13: | 9781883011284 |
|---|---|
| Publisher: | Library of America |
| Publication date: | 08/01/1997 |
| Series: | Library of America Series |
| Pages: | 840 |
| Product dimensions: | 5.18(w) x 8.15(h) x 1.25(d) |
About the Author
Sacvan Bercovitch (1933–2014), volume editor, was the 2007 recipient of the Bode-Pearson Prize for Lifetime Achievement in American Studies, the author of The Puritan Origins of the American Self, and editor of the multi-volume Cambridge History of American Literature.
Read an Excerpt
CHAPTER ONE
THE DAY OF THE LOCUST
1
Around quitting time, Tod Hackett heard a great din on the road outside his office. The groan of leather mingled with the jangle of iron and over all beat the tattoo of a thousand hooves. He hurried to the window.
An army of cavalry and foot was passing. It moved like a mob; its lines broken, as though fleeing from some terrible defeat. The dolmans of the hussars, the heavy shakos of the guards, Hanoverian light horse, with their flat leather caps and flowing red plumes, were all jumbled together in bobbing disorder. Behind the cavalry came the infantry, a wild sea of waving, sabertaches, sloped muskets, crossed shoulder belts and swinging cartridge boxes. Tod recognized the scarlet infantry of England with their white shoulder pads, the black infantry of the Duke of Brunswick, the French grenadiers with their enormous white gaiters, the Scotch with bare knees under plaid skirts.
While he watched, a little fat man, wearing a cork sun-helmet, polo shirt and knickers, darted around the corner of the building in pursuit of the army.
"Stage Nine—you bastards—Stage Nine!" he screamed through a small megaphone.
The cavalry put spur to their horses and the infantry broke into a dogtrot. The little man in the cork hat ran after them, shaking his fist and cursing.
Tod watched until they had disappeared behind half a Mississippi steamboat, then put away his pencils and drawing board, and left the office. On the sidewalk outside the studio he stood for a moment trying to decide whether to walk home or take a streetcar.He had been in Hollywood less than three months and still found it a very exciting place, but he was lazy and didn't like to walk. He decided to take the streetcar as far as Vine Street and walk the rest of the way.
A talent scout for National Films had brought Tod to the Coast after seeing some of his drawings in an exhibit of undergraduate work at the Yale School of Fine Arts. He had been hired by telegram. If the scout had met Tod, he probably wouldn't have sent him to Hollywood to learn set and costume designing. His large, sprawling body, his slow blue eyes and sloppy grin made him seem completely without talent, almost doltish in fact.
Yet, despite his appearance, he was really a very complicated young man with a whole set of personalities, one inside the other like a nest of Chinese boxes. And "The Burning of Los Angeles," a picture he was soon to paint, definitely proved he had talent.
He left the car at Vine Street. As he walked along, he examined the evening crowd. A great many of the people wore sports clothes which were not really sports clothes. Their sweaters, knickers, slacks, blue flannel jackets with brass buttons were fancy dress. The fat lady in the yachting cap was going shopping, not boating; the man in the Norfolk jacket and Tyrolean hat was returning, not from a mountain, but an insurance office; and the girl in slacks and sneaks with a bandanna around her head had just left a switchboard, not a tennis court.
Scattered among these masqueraders were people of a different type. Their clothing was somber and badly cut, bought from mail-order houses. While the others moved rapidly, darting into stores and cocktail bars, they loitered on the corners or stood with their backs to the shop windows and stared at everyone who passed. When their stare was returned, their eyes filled with hatred. At this time Tod knew very little about them except that they had come to California to die.
He was determined to learn much more. They were the people he felt he must paint. He would never again do a fat red barn, old stone wall or sturdy Nantucket fisherman. From the moment he had seen them, he had known that, despite his race, training and heritage, neither Winslow Homer nor Thomas Ryder could be his masters and he turned to Goya and Daumier.
He had learned this just in time. During his last year in art school, he had begun to think that he might give up painting completely. The pleasures he received from the problems of composition and color had decreased as his facility had increased and he had realized that he was going the way of all his classmates, toward illustration or mere handsomeness. When the Hollywood job had come along, he had grabbed it despite the arguments of his friends who were certain that he was selling out and would never paint again.
He reached the end of Vine Street and began the climb into Pinyon Canyon. Night had started to fall.
The edges of the trees burned with a pale violet light and their centers gradually turned from deep purple to black. The same violet piping, like a Neon tube, outlined the tops of the ugly, humpbacked hills and they were almost beautiful.
But not even the soft wash of dusk could help the houses. Only dynamite would be of any use against the Mexican ranch houses, Samoan huts, Mediterranean villas, Egyptian and Japanese temples, Swiss chalets, Tudor cottages, and every possible combination of these styles that lined the slopes of the canyon.
When he noticed that they were all of plaster, lath and paper, he was charitable and blamed their shape on the materials used. Steel, stone and brick curb a builder's fancy a little, forcing him to distribute his stresses and weights and to keep his corners plumb, but plaster and paper know no law, not even that of gravity.
On the corner of La Huerta Road was a miniature Rhine castle with tarpaper turrets pierced for archers. Next to it was a little highly colored shack with domes and minarets out of the Arabian Nights. Again he was charitable. Both houses were comic, but he didn't laugh. Their desire to startle was so eager and guileless.
It is hard to laugh at the need for beauty and romance, no matter how tasteless, even horrible, the results of that need are. But it is easy to sigh. Few things are sadder than the truly monstrous.
2
The house he lived in was a nondescript affair called the San Bernardino Arms. It was an oblong three stories high, the back and sides of which were of plain, unpainted stucco, broken by even rows of unadorned windows. The facade was the color of diluted mustard and its windows, all double, were framed by pink Moorish columns which supported turnip-shaped lintels.
His room was on the third floor, but he paused for a moment on the landing of the second. It was on that floor that Faye Greener lived, in 208. When someone laughed in one of the apartments he started guiltily and continued upstairs.
As he opened his door a card fluttered to the floor. "Honest Abe Kusich," it said in large type, then underneath in smaller italics were several endorsements, printed to look like press notices.
'... the Lloyds of Hollywood' ... Stanley Rose.
'Abe's word is better than Morgan's bonds'—Gail Brenshaw.
On the other side was a penciled message:
"Kingpin fourth, Solitair sixth. You can make some real dough on those nags."
After opening the window, he took off his jacket and lay down on the bed. Through the window he could see a square of enameled sky and a spray of eucalyptus. A light breeze stirred its long, narrow leaves, making them show first their green side, then their silver one.
He began to think of "Honest Abe Kusich" in order not to think of Faye Greener. He felt comfortable and wanted to remain that way.
Abe was an important figure in a set of lithographs called "The Dancers" on which Tod was working. He was one of the dancers. Faye Greener was another and her father, Harry, still another. They changed with each plate, but the group of uneasy people who formed their audience remained the same. They stood staring at the performers in just the way that they stared at the masqueraders on Vine Street. It was their stare that drove Abe and the others to spin crazily and leap into the air with twisted backs like hooked trout.
Despite the sincere indignation that Abe's grotesque depravity aroused in him, he welcomed his company. The little man excited him and in that way made him feel certain of his need to paint.
He had first met Abe when he was living on Ivar Street, in a hotel called the Chateau Mirabella. Another name for Ivar Street was "Lysol Alley," and the Chateau was mainly inhabited by hustlers, their managers, trainers and advance agents.
In the morning its halls reeked of antiseptic. Tod didn't like this odor. Moreover, the rent was high because it included police protection, a service for which he had no need. He wanted to move, but inertia and the fact that he didn't know where to go kept him in the Chateau until he met Abe. The meeting was accidental.
He was on the way to his room late one night when he saw what he supposed was a pile of soiled laundry lying in front of the door across the hall from his own. Just as he was passing it, the bundle moved and made a peculiar noise. He struck a match, thinking it might be a dog wrapped in a blanket. When the light flared up, he saw it was a tiny man.
The match went out and he hastily lit another. It was a male dwarf rolled up in a woman's flannel bathrobe. The round thing at the end was his slightly hydrocephalic head. A slow, choked snore bubbled from it.
The hall was cold and draughty. Tod decided to wake the man and stirred him with his toe. He groaned and opened his eyes.
"You oughn't to sleep there."
"The hell you say," said the dwarf, closing his eyes again.
"You'll catch cold."
This friendly observation angered the little man still more.
"I want my clothes!" he bellowed.
The bottom of the door next to which he was lying filled with light. Tod decided to take a chance and knock. A few seconds later a woman opened it part way.
"What the hell do you want?" she demanded.
"There's a friend of yours out here who ..."
Neither of them let him finish.
"So what!" she barked, slamming the door.
"Give me my clothes, you bitch!" roared the dwarf.
She opened the door again and began to hurl things into the hall. A jacket and trousers, a shirt, socks, shoes and underwear, a tie and hat followed each other through the air in rapid succession. With each article went a special curse.
Tod whistled with amazement.
"Some gal!"
"You bet," said the dwarf. "A lollapalooza—all slut and a yard wide."
He laughed at his own joke, using a high-pitched cackle more dwarflike than anything that had come from him so far, then struggled to his feet and arranged the voluminous robe so that he could walk without tripping. Tod helped him gather his scattered clothing.
"Say, mister," he asked, "could I dress in your place?"
Tod let him into his bathroom. While waiting for him to reappear, he couldn't help imagining what had happened in the woman's apartment. He began to feel sorry for having interfered. But when the dwarf came out wearing his hat, Tod felt better.
The little man's hat fixed almost everything. That year Tyrolean hats were being worn a great deal along Hollywood Boulevard and the dwarf's was a fine specimen. It was the proper magic green color and had a high, conical crown. There should have been a brass buckle on the front, but otherwise it was quite perfect.
The rest of his outfit didn't go well with the hat. Instead of shoes with long points and a leather apron, he wore a blue, double-breasted suit and a black shirt with a yellow tie. Instead of a crooked thorn stick, he carried a rolled copy of the Daily Running Horse.
"That's what I get for fooling with four-bit broads," he said by way of greeting.
Tod nodded and tried to concentrate on the green hat. His ready acquiescence seemed to irritate the little man.
"No quiff can give Abe Kusich the fingeroo and get away with it," he said bitterly. "Not when I can get her leg broke for twenty bucks and I got twenty."
He took out a thick billfold and shook it at Tod.
"So she thinks she can give me the fingeroo, hah? Well, let me tell ..."
Tod broke in hastily.
"You're right, Mr. Kusich."
The dwarf came over to where Tod was sitting and for a moment Tod thought he was going to climb into his lap, but he only asked his name and shook hands. The little man had a powerful grip.
"Let me tell you something, Hackett, if you hadn't come along, I'da broke in the door. That dame thinks she can give me the fingeroo, but she's got another thinkola coming. But thanks anyway."
"Forget it."
"I don't forget nothing. I remember. I remember those who do me dirt and those who do me favors."
He wrinkled his brow and was silent for a moment.
"Listen," he finally said, "seeing as you helped me, I got to return it. I don't want anybody going around saying Abe Kusich owes him anything. So I'll tell you what. I'll give you a good one for the fifth at Caliente. You put a fiver on its nose and it'll get you twenty smackeroos. What I'm telling you is strictly correct."
Tod didn't know how to answer and his hesitation offended the little man.
"Would I give you a bum steer?" he demanded, scowling. "Would I?"
Tod walked toward the door to get rid of him.
"No," he said.
"Then why won't you bet, hah?"
"What's the name of the horse?" Tod asked, hoping to calm him.
The dwarf had followed him to the door, pulling the bathrobe after him by one sleeve. Hat and all, he came to a foot below Tod's belt.
"Tragopan. He's a certain, sure winner. I know the guy who owns him and he gave me the office."
"Is he a Greek?" Tod asked.
He was being pleasant in order to hide the attempt he was making to maneuver the dwarf through the door.
"Yeh, he's a Greek. Do you know him?"
"No."
"No?"
"No," said Tod with finality.
"Keep your drawers on," ordered the dwarf, "all I want to know is how you know he's a Greek if you don't know him?"
His eyes narrowed with suspicion and he clenched his fists.
Tod smiled to placate him.
"I just guessed it."
"You did?"
The dwarf hunched his shoulders as though he were going to pull a gun or throw a punch. Tod backed off and tried to explain.
"I guessed he was a Greek because Tragopan is a Greek word that means pheasant."
The dwarf was far from satisfied.
"How do you know what it means? You ain't a Greek?"
"No, but I know a few Greek words."
"So you're a wise guy, hah, a know-it-all."
He took a short step forward, moving on his toes, and Tod got set to block a punch.
"A college man, hah? Well, let me tell ..."
His foot caught in the wrapper and he fell forward on his hands. He forgot Tod and cursed the bathrobe, then got started on the woman again.
"So she thinks she can give me the fingeroo."
He kept poking himself in the chest with his thumbs.
"Who gave her forty bucks for an abortion? Who? And another ten to go to the country for a rest that time. To a ranch I sent her. And who got her fiddle out of hock that time in Santa Monica? Who?"
"That's right," Tod said, getting ready to give him a quick shove through the door.
But he didn't have to shove him. The little man suddenly darted out of the room and ran down the hall, dragging the bathrobe after him.
A few days later, Tod went into a stationery store on Vine Street to buy a magazine. While he was looking through the rack, he felt a tug at the bottom of his jacket. It was Abe Kusich, the dwarf, again.
"How's things?" he demanded.
Tod was surprised to find that he was just as truculent as he had been the other night. Later, when he got to know him better, he discovered that Abe's pugnacity was often a joke. When he used it on his friends, they played with him like one does with a growling puppy, staving off his mad rushes and then baiting him to rush again.
"Fair enough," Tod said, "but I think I'll move."
He had spent most of Sunday looking for a place to live and was full of the subject. The moment he mentioned it, however, he knew that he had made a mistake. He tried to end the matter by turning away, but the little man blocked him. He evidently considered himself an expert on the housing situation. After naming and discarding a dozen possibilities without a word from Tod, he finally hit on the San Bernardino Arms.
"That's the place for you, the San Berdoo. I live there, so I ought to know. The owner's strictly from hunger. Come on, I'll get you fixed up swell."
"I don't know, I ..." Tod began.
The dwarf bridled instantly, and appeared to be mortally of fended.
"I suppose it ain't good enough for you. Well, let me tell you something, you ..."
Tod allowed himself to be bullied and went with the dwarf to Pinyon Canyon. The rooms in the San Berdoo were small and not very clean. He rented one without hesitation, however, when he saw Faye Greener in the hall.
COLLECTED ESSAYS
By JAMES BALDWIN
THE LIBRARY OF AMERICA Copyright © 1998 Literary Classics of the United States, Inc.. All rights reserved.
TAILER
Table of Contents
| THE DREAM LIFE OF BALSO SNELL | 1 |
| MISS LONELYHEARTS | 55 |
| A COOL MILLION | 127 |
| THE DAY OF THE LOCUST | 239 |
| OTHER WRITINGS | |
| Euripides—A Playwright | 393 |
| "Through the Hole in the Mundane Millstone" | 397 |
| Some Notes on Violence | 399 |
| Some Notes on Miss L | 401 |
| Business Deal | 403 |
| Soft Soap for the Barber | 407 |
| UNPUBLISHED WRITINGS AND FRAGMENTS | |
| The Impostor | 411 |
| Western Union Boy | 425 |
| Mr. Potts of Pottstown | 429 |
| The Adventurer | 445 |
| Three Eskimos | 456 |
| Burn the Cities | 458 |
| Tibetan Night | 461 |
| Proposal to the Guggenheim Foundation | 465 |
| Good Hunting, A Play in Three Acts | 467 |
| Before the Fact, A Screen Play | 621 |
| "A Cool Million": A Screen Story | 745 |
| UntitledOutline | 755 |
| LETTERS | |
| To Beatrice Matheiu, April 12, 1930 | 769 |
| To The New York World-Telegram, October 20, 1931 | 769 |
| To William Carlos Williams, late 1931 | 770 |
| To Milton Abernethy, April 26, 1932 | 772 |
| To William Carlos Williams, c. April 1932 | 773 |
| To William Carlos Williams, May 13, 1932 | 775 |
| To Minna and Milton Abernethy, February 17, 1933 | 777 |
| To Minna and Milton Abernethy, March 24, 1933 | 777 |
| To Minna and Milton Abernethy, April 11, 1933 | 778 |
| To Minna and Milton Abernethy, May? 1933 | 779 |
| To Edmund Wilson, July 25, 1933 | 780 |
| To Minna and Milton Abernethy, July 27, 1933 | 781 |
| To F. Scott Fitzgerald, September 11, 1934 | 782 |
| To Bennett Cerf, May? 1938 | 782 |
| To Bennett Cerf, June 7, 1938 | 784 |
| To Bennett Cerf, July 11, 1938 | 785 |
| To Josephine Conway, September 19, 1938 | 786 |
| To Josephine Conway, October 21, 1938 | 788 |
| To Bennett Cerf, January 6, 1939 | 789 |
| To Saxe Commins, February 14, 1939 | 790 |
| To F. Scott Fitzgerald, April 5, 1939 | 791 |
| To Edmund Wilson, April 6, 1939 | 792 |
| To Malcolm Cowley, May 11, 1939 | 794 |
| To F. Scott Fitzgerald, June 30, 1939 | 795 |
| To Edmund Wilson, June 30, 1939 | 796 |
| To Bob Brown, February 14, 1940 | 797 |
| To Bennett Cerf, February 14, 1940 | 799 |
| To Bennett Cerf, March 11, 1940 | 799 |
| To Bennett Cerf, March 30, 1940 | 800 |
| Chronology | 803 |
| Note on the Texts | 813 |
| Notes | 820 |