Thomas Pynchon - Bleeding Edge

Putzboy went on into a Wall Street apprenticeship, and has probably been through several more wives by now. Heidi, relieved to be single, pursued a career in academia, having recently been given tenure at City College in the pop-culture department.

“You totally pulled my meatloaf out of the microwave on that one,” Heidi airily, “don’t think I’m not eternally grateful.”

“What choice did I have, you always thought you were Grace Kelly.”

“Well, I was. Am.”

“Not career Grace Kelly,” Maxine points out. “Only, specifically, Rear Window Grace Kelly. Back when we used to surveil the windows across the street.”

“You sure about that? You know what that makes you.”

“Thelma Ritter, yeah, but maybe not. I thought I was Wendell Corey.”

Teen mischief. If there can be haunted houses, there can also be karmically challenged apartment buildings, and the one they liked to spy on, The Deseret, has always made The Dakota look like a Holiday Inn. The place has obsessed Maxine for as long as she can remember. She grew up across the street from where it still looms over the neighborhood, trying to pass as just another stolid example of Upper West Side apartment house, twelve stories and a full square block of sinister clutter—helical fire escapes at each corner, turrets, balconies, gargoyles, scaled and serpentine and fanged creatures in cast iron over the entrances and coiled around the windows. In the central courtyard stands an elaborate fountain, surrounded by a circular driveway big enough to allow a couple of stretch limos to sit there and idle, with room left over for a Rolls-Royce or two. Film crews come here to shoot features, commercials, series, blasting huge volumes of light into the unappeasable maw of the entranceway, keeping everybody for blocks around up all night. Though Ziggy claims to have a classmate who lives there, it’s far from Maxine’s social circle, key money even for a studio in The Deseret said to run $300,000 and up.

At some point back in high school, Maxine and Heidi bought cheap binoculars down on Canal and took to lurking in Maxine’s bedroom, sometimes into the early A.M., staring over at the lighted windows across the way, waiting for something to happen. Any appearance of a human figure was a major event. At first Maxine found it romantic, all the mutually disconnected lives going on in parallel—later she came to take more of a what you’d call gothic approach. Other buildings might be haunted, but this one seemed itself the undead thing, the stone zombie, rising only when night fell, stalking unseen through the city to work out its secret compulsions.

The girls kept hatching schemes to sneak in, swanning, or possibly pigeoning, their way up to the gate carrying street Chanel bags and disguised in designer dresses from East Side consignment shops, but never got further than a long, leering vertical scan from an Irish doorman, a glance at a clipboard. “No instructions,” shrugging elaborately. “Till I see it on here, you understand what I’m saying,” bidding them a peevish good day, the gate clanging shut. When Irish eyes are not smiling, you should have a better story or a good pair of running shoes.

This went on until the fitness craze of the eighties, when it dawned on The Deseret management that the pool on the top floor could serve as the focus of a health club, open to visitors, and be good for some nice extra revenue, which is how Maxine was finally allowed upstairs—though, as an outsider or “club member,” she still has to go around to the back entrance and take the freight elevator. Heidi has declined to have anything more to do with the place.

“It’s cursed. You notice how early the pool closes, nobody wants to be there at night.”

“Maybe the management don’t want to pay overtime.”

“I heard it’s run by the mob.”

“Which mob exactly, Heidi? And what difference does it make?”

Plenty, as it would turn out.

Later that afternoon Maxine has an appointment with her emotherapist, who happens to share with Horst an appreciation of silence as one of the world’s unpriceable commodities, though maybe not in the same way. Shawn works out of a walk-up near the Holland Tunnel approach. The bio on his Web site refers vaguely to Himalayan wanderings and political exile, but despite claims to an ancient wisdom beyond earthly limits, a five-minute investigation reveals Shawn’s only known journey to the East to’ve been by Greyhound, from his native Southern California, to New York, and not that many years ago. A Leuzinger High School dropout and compulsive surfer, who has taken a certain amount of board-inflicted head trauma while setting records at several beaches for wipeouts in a season, Shawn has in fact never been closer to Tibet than television broadcasts of Martin Scorsese’s Kundun (1997). That he continues to pay an exorbitant rent on this place and its closetful of twelve identical black Armani suits, speaks less to spiritual authenticity than to a gullibility, otherwise seldom observed, among New Yorkers able to afford his fees.

For a couple of weeks now, Maxine has been showing up for sessions to find her youthful guru increasingly bent out of shape by the news from Afghanistan. Despite impassioned appeals from around the world, two colossal statues of the Buddha, the tallest standing statues of him in the world, carved in the fifth century from a sandstone cliffside near Bamiyan, have been for a month now dynamited and repeatedly shelled by the Taliban government, till finally being reduced to rubble.

“Fuckin rugriders,” as Shawn expresses it, “‘offensive to Islam’ so blow it up, that’s their solution to everything.”

“Isn’t there something,” Maxine gently recalls, “about if the Buddha’s in your way on the path to enlightenment it’s OK to kill him?”

“Sure, if you’re a Buddhist. These are Wahhabists. They’re pretending it’s spiritual, but it’s political, like they can’t deal with having any competition around.”

“Shawn, I’m sorry. But aren’t you supposed to be above this?”

“Whoa, overattached me. Think about it—all it takes is, like, a idle thumb on a space bar to turn ‘Islam’ into ‘I slam.’”

“Thought-provoking, Shawn.”

A glance at the TAG Heuer on his wrist, “Hope you don’t mind if we run a little short today, Brady Bunch marathon, you understand…?” Shawn’s devotion to reruns of the well-known seventies sitcom have drawn comment all up and down his client list. He can footnote certain episodes as other teachers might the sutras, with the three-part family trip to Hawaii seeming to be a particular favorite—the bad-luck tiki, Greg’s near-fatal wipeout, Vincent Price’s cameo as an unstable archaeologist…

“I’ve always been more of a Jan-gets-a-wig person myself,” Maxine was once careless enough to admit.

“Interesting, Maxine. You want to, like, talk about it?” Beaming at her with that vacant, perhaps only Californian, the-Universe-is-a-joke-but-you-don’t-get-it smile which so often drives her to un-Buddhist daydreams seething with rage. Maxine doesn’t want to say “airhead” exactly, though she guesses if somebody put a tire gauge in his ear it might read a couple psi below spec.

Later at Kugelblitz, Ziggy gone off to krav maga with Nigel and his sitter, Maxine picks up Otis and Fiona, who are soon in front of the living-room Tube about to watch The Aggro Hour, featuring both of Otis’s currently favorite superheroes—Disrespect, notable for his size and attitude, which could be called proactive, and The Contaminator, in civilian life a kid who’s obsessively neat about always making his bed and picking up his room but who, when out on duty as TC, becomes a lonely fighter for justice who goes around strewing garbage through disagreeable government agencies, greedy corporations, even entire countries nobody likes much, rerouting waste lines, burying his antagonists beneath mountains of toxic grossness. Trying for poetic justice. Or, as it seems to Maxine, making a big mess.