Robert Silverberg - Dying Inside

So, then, I have to go downtown to the University and forage for dollars again. It doesn’t take much cash to keep me going—$200 a month will do nicely—but I’m running low, and I don’t dare try to borrow from my sister again. The students will shortly be needing their first term papers of the semester; that’s always a steady business. The weary, eroding brain of David Selig is once more for hire. I should be able to pick up $75 worth of work on this lovely golden October morning. The air is crisp and clear. A high-pressure system covers New York City, banishing humidity and haze. In such weather my fading powers still flourish. Let us go then, you and I, when the morning is spread out against the sky. To the Broadway-IRT subway. Have your tokens ready, please.

You and I. To whom do I refer? I’m heading downtown alone, after all. You and I.

Why, of course I refer to myself and to that creature which lives within me, skulking in its spongy lair and spying on unsuspecting mortals. That sneaky monster within me, that ailing monster, dying even more swiftly than I. Yeats once wrote a dialogue of self and soul; why then shouldn’t Selig, who is divided against himself in a way poor goofy Yeats could never have understood, speak of his unique and perishable gift as though it were some encapsulated intruder lodged in his skull? Why not? Let us go then, you and I. Down the hall. Push the button. Into the elevator. There is a stink of garlic in it. These peasants, these swarming Puerto Ricans, they leave their emphatic smells everywhere. My neighbors. I love them. Down. Down.

It is 10:43 A.M., Eastern Daylight Savings Time. The current temperature reading in Central Park is 57°. The humidity stands at 28% and the barometer is 30.30 and falling, with the wind northeast at 11 miles per hour. The forecast is for fair skies and sunny weather today, tonight, and tomorrow, with the highs in the low to middle 60’s. The chance of precipitation is zero today and 10% tomorrow. Air quality level is rated good. David Selig is 41 and counting. Slightly above medium height, he has the lean figure of a bachelor accustomed to his own meager cooking, and his customary facial expression is a mild, puzzled frown. He blinks a lot. In his faded blue denim jacket, heavy-duty boots, and 1969-vintage striped bells he presents a superficially youthful appearance, at least from the neck down; but in fact he looks like some sort of refugee from an illicit research laboratory where the balding, furrowed heads of anguished middle-aged men are grafted to the reluctant bodies of adolescent boys. How did this happen to him? At what point did his face and scalp begin to grow old? The dangling cables of the elevator hurl shrieks of mocking laughter at him as he descends from his two-room refuge on the twelfth floor. He wonders if those rusty cables might be even older than he is. He is of the 1935 vintage. This housing project, he suspects, might date from 1933 or 1934. The Hon. Fiorello H. LaGuardia, Mayor. Though perhaps it’s younger—just immediately pre-war, say. (Do you remember 1940, Duvid? That was the year we took you to the World’s Fair. This is the trylon, that’s the perisphere.) Anyway the buildings are getting old. What isn’t?

The elevator halts grindingly at the 7th floor. Even before the scarred door opens I detect a quick mental flutter of female Hispanic vitality dancing through the girders. Of course, the odds are overwhelming that the summoner of the elevator is a young Puerto Rican wife—the house is full of them, the husbands are away at work at this time of day—but all the same I’m pretty certain that I’m reading her psychic emanations and not just playing the hunches. Sure enough. She is short, swarthy, maybe about 23 years old, and very pregnant. I can pick up the double neural output clearly: the quicksilver darting of her shallow, sensual mind and the furry, blurry thumpings of the fetus, about six months old, sealed within her hard bulging body. She is flat-faced and broad-hipped, with little glossy eyes and a thin, pinched mouth. A second child, a dirty girl of about two, clutches her mother’s thumb. The babe giggles up at me and the woman favors me with a brief, suspicious smile as they enter the elevator.

They stand with their backs toward me. Dense silence. Buenos dias, señora. Nice day, isn’t it, ma’am? What a lovely little child. But I remain mute. I don’t know her; she looks just like all the others who live in this project, and even her cerebral output is standard stuff, unindividuated, indistinguishable: vague thoughts of plantains and rice, this week’s lottery results, and tonight’s television highlights. She is a dull bitch but she is human and I love her. What’s her name? Maybe it’s Mrs. Altagracia Morales. Mrs. Amantina Figueroa. Mrs. Filomena Mercado. I love their names. Pure poetry. I grew up with plump clumping girls named Sondra Wiener, Beverly Schwartz, Sheila Weisbard. Ma’am, can you possibly be Mrs. Inocencia Fernandez? Mrs. Clodomira Espinosa? Mrs. Bonifacia Colon? Perhaps Mrs. Esperanza Dominguez. Esperanza. Esperanza. I love you, Esperanza. Esperanza springs eternal in the human breast. (I was there last Christmas for the bullfights. Esperanza Springs, New Mexico; I stayed at the Holiday Inn. No, I’m kidding.) Ground floor. Nimbly I step forward to hold the door open. The lovely stolid pregnant chiquita doesn’t smile at me as she exits.

To the subway now, hippity-hop, one long block away. This far uptown the tracks are still elevated. I sprint up the cracking, peeling staircase and arrive at the station level hardly winded at all. The results of clean living, I guess. Simple diet, no smoking, not much drinking, no acid or mesc, no speed. The station, at this hour, is practically deserted. But in a moment I hear the wailing of onrushing wheels, metal on metal, and simultaneously I pick up the blasting impact of a sudden phalanx of minds all rushing toward me at once out of the north, packed aboard the five or six cars of the oncoming train. The compressed souls of those passengers form a single inchoate mass, pressing insistently against me. They quiver like trembling jellylike bites of plankton squeezed brutally together in some oceanographer’s net, creating one complex organism in which the separate identities of all are lost. As the train glides into the station I am able to pick up isolated blurts and squeaks of discrete selfhood: a fierce jab of desire, a squawk of hatred, a pang of regret, a sudden purposeful inner mumbling, rising from the confusing totality the way odd little scraps and stabs of melody rise from the murky orchestral smear of a Mahler symphony. The power is deceptively strong in me today. I’m picking up plenty. This is the strongest it’s been in weeks. Surely the low humidity is a factor. But I’m not deceived into thinking that the decline in my ability has been checked. When I first began to lose my hair, there was a happy period when the process of erosion seemed to halt and reverse itself, when new patches of fine dark floss began to sprout on my denuded forehead. But after an initial freshet of hope I took a more realistic view: this was no miraculous reforestation but only a twitch of the hormones, a temporary cessation of decay, not to be relied upon. And in time my hairline resumed its retreat. So too in this instance. When one knows that something is dying inside one, one learns not to put much trust in the random vitalities of the fleeting moment. Today the power is strong yet tomorrow I may hear nothing but distant tantalizing murmurs.

I find a seat in the corner of the second car, open my book, and wait out the ride downtown. I am reading Beckett again, Malone Dies; it plays nicely to my prevailing mood, which as you have noticed is one of self-pity. My time is limited. It is thence that one fine day, when all nature smiles and shines, the rack lets loose its black unforgettable cohorts and sweeps away the blue for ever. My situation is truly delicate. What fine things, what momentous things, I am going to miss through fear, fear of falling back into the old error, fear of not finishing in time, fear of revelling, for the last time, in a last outpouring of misery, impotence and hate. The forms are many in which the unchanging seeks relief from its formlessness. Ah yes, the good Samuel, always ready with a word or two of bleak comfort.