Tristessa (3 page)

THE WILD WAY Tristessa stands legs spread in the middle of the room to explain something, like a junkey on a corner in Harlem or anyplace, Cairo, Bang Bombayo and the whole Fellah Ollah Lot from Tip of Bermudy to wings of albatross ledge befeathering the Arctic Coastline, only the poison they serve out of Eskimo Gloogloo seals and eagles of Greenland, ain't as bad as that German Civilization morphine she (an Indian) is forced to subdue and die to, in her native earth.

MEANWHILE THE CAT is comfortably ensconced at Cruz's face place where she lies at the foot of the bed, curled, the way she sleeps all night while Tristessa curls at the head and they hook feet like sisters or like mother and daughter and make one little bed do comfortably for two—The little pink kitkat is so certain (despite all his fleas crossing the bridge of his nose or wandering over his eyelids)—that everything is alright—that all is well in the world (at least now)—he wants to be near Cruz's face, where all is well—He (it's a little She) he doesnt notice the bandages and the sorrow and the drunksick horrors she's having, he just knows she's the lady all day her legs are in the kitchen and every now and then she dumps him food, and besides she plays with him on the bed and pretends she's gonna beat him up and holds and scolds him and he yurks in little face into little head and blinks his eyes and flaps back his ears to wait for the beating but she's only playing with him—So now he sits in front of Cruz and even though we may gesture like maniacs as we talk and occasionally a rough hand is waved right by its whiskers almost hitting it or El Indio might roughly decide to throw a newspaper on the bed and land it right on his head, still he sits digging all of us with eyes closed and curled up under Cat Buddha style, meditating among our mad endeavors like the Dove above—I wonder: “Does kittykat know there's a pigeon on the clothes closet.” I wish my relatives from Lowell were here to see how people and animals live in Mexico—

But the poor little cat is one mass of fleas, but he doesnt mind, he doesnt keep scratching like American cats but just endures—I pick him up and he's just a skinny little skeleton with great balloons of fur—Everything is so poor in Mexico, people are poor, and yet everything they do is happy and carefree, no matter what is—Tristessa is a junkey and she goes about it skinny and carefree, where an American would be gloomy—But she coughs and complains all day, and by same law, at intervals, the cat explodes into furious scratching that doesnt help—

MEANWHILE I KEEP smoking, my cigarette goes out, and I reach into the ikon for a light from the candle flame, in a glass—I hear Tristessa say something that I interpret to mean “Ack, that stupid fool is using our altar for a light”—To me it's nothing unusual or strange, I just want a light—but perceiving the remark or maintaining belief in the remark without knowing what it was, I ulp and hold back and instead get a light from El Indio, who then shows me later, by quick devout prayer-ito with a piece of newspaper, getting his light indirectly and with a touch and a prayer—Perceiving the ritual I do it too, to get my light a few minutes later—I make a little French prayer: “
Excuse mué ma ‘Dame
”—making emphasis on
Dame
because of Damema the Mother of Buddhas.

So I feel less guilty about my smoke and I know all of a sudden all of us will go to heaven straight up from where we are, like golden phantoms of Angels in Gold Strap we go hitch hiking the Deus Ex Machina to heights Apocalyptic, Eucalyptic, Aristophaneac and Divine—I suppose, and I wonder what the cat might think—To Cruz I say “Your cat is having golden thoughts (su gata tienes pensas de or)” but she doesnt understand for a thousand and one billion manifold reasons swimming in the swarm of her milk thoughts Buddha-buried in the stress of her illness enduring—“
What's pensas?
“ she yells to the others, she doesnt know that the cat is having golden thoughts—But the cat loves her so, and stays there, little behind to her chin, purring, glad, eyes X-closed and stoopy, kitty kitkat like the Pinky I'd just lost in New York run over on Atlantic Avenue by the swerve dim madtraffics of Brooklyn and Queens, the automatons sitting at wheels automatically killing cats every day about five or six a day on the same road. “But this cat will die the normal Mexican death—by old age or disease—and be a wise old big burn in the alleys around, and you'll see him (dirty as rags) flitting by the garbage heap like a rat, if Cruz ever gets to throw it out—But Cruz won't, and so cat stays at her chin-point like a little sign of her good intentions.”

EL INDIO GOES out and gets meat sandwiches and now the cat goes mad yelling and mewing for some and El Indio throws her off the bed—but Cat finally gets a bite of meat and ronches at it like a mad little Tiger and I think “If she was as big as the one in the Zoo, she'd look at me with big green eyes before eating me.” I'm having the fairy tale of Saturday night, having a good time actually because of the booze and the good cheer and the careless people—enjoying the little animals—noticing the little Chihuahua pup now meekly waiting for a bite of meat or bread with her tail curled in and woe, if she ever inherits the earth it'll be because of meek—Ears curled back and even whimpering the little Chihuahua smalldog fear-cry—Nevertheless she's been alternately watching us and sleeping all night, and her own reflections on the subject of Nirvana and death and mortals biding time till death, are of a whimpering high frequency terrified tender variety—and the kind that says ‘Leave me alone, I am so delicate' and you leave her alone in her little fragile shell like the shell of canoes over the ocean deeps—I wish I could communicate to all these creatures and people, in the flush of my moonshine goodtimes, the cloudy mystery of the magic milk to be seen in Mind's Deep Imagery where we learn that everything is nothing—in which case they wouldnt worry any more, except after the instant they think to worry again—All of us trembling in our mortality boots, born to die, BORN TO DIE I could write it on the wall and on Walls all over America—Dove in wings of peace, with her Noah Menagery Moonshine eyes; dog with clitty claws black and shiny, to die is born, trembles in her purple eyes, her little weak bloodvessels down the ribs; yea the ribs of Chihuahua, and Tristessa's ribs too, beautiful ribs, her with her aunts in Chihuahua also born to die, beautiful to be ugly, quick to be dead, glad to be sad, mad to be had—and the El Indio death, born to die, the man, so he plies the needle of Saturday Night every night is Saturday night and goes wild to wait, what else can he do,—The death of Cruz, the drizzles of religion falling on her burial fields, the grim mouth planted the satin of the earth coffin, . . . I moan to recover all that magic, remembering my own
impending
death, ‘If only I had the magic self of babyhood when I remembered what it was like before I was born, I wouldnt worry about death now knowing both to be the same empty dream'—But what will the Rooster say when it dies, and someone hacks a knife at its fragile chin—And sweet Hen, she who eats out of Tristessa's paw a globule of beer, her beak miffling like human lips to chirn up the milk of the beer—when she dies, sweet hen, Tristessa who loves her will save her lucky bone and wrap it in red thread and keep it in her belongings, nevertheless sweet Mother Hen of our Arc of Noah Night, she the golden purveyor and reaches so far back you can't find the egg that prompted her outward through the first original shell, they'll hack and whack at her tail with hacksaws and make mincemeat out of her that you run through an iron grinder turning handle, and would you wonder why she trembles from fear of punishment too? And the death of the cat, little dead rat in the gutter with twisted yickface—I wish I could communicate to all their combined fears of death the Teaching that I have heard from Ages of Old, that recompenses all that pain with soft reward of perfect silent love abiding up and down and in and out everywhere past, present, and future in the Void unknown where nothing happens and all simply is what it is. But they know that themselves, beast and jackal and love woman, and my Teaching of Old is indeed so old they've heard it long ago before my time.

I become depressed and I gotta go home. Everyone of us,
born to die.

BRIGHT EXPLANATION OF the crystal clarity of all the Worlds, I need, to show that we'll all be all right—The measurement of robot machines at this time is rather irrelevant or at any time—The fact that Cruz cooked with a smoky kerosene stove big pottery-fulls of carne meat-general from a whole heifer, bites of veal, pieces of veal tripe and heifer brains and heifer forehead bones . . . this wouldn't ever send Cruz to hell because no one's told her to stop the slaying, and even if someone had, Christ or Buddha or Holy Mohammed, she would still be safe from harm—though by God the heifer ain't—

The little kitty is mewing rapidly for meat—himself a little piece of quivering meat—soul eats soul in the general emptiness.

“STOP COMPLAININ!” I yell to the cat as he raves on the floor and finally jumps and joins us on the bed—The hen is rubbing her long feathery side gently imperceptibly against my shoe-tip and I can barely feel it and look in time to recognize, what a gentle touch it is from Mother Maya—She's the Magic henlayer without origin, the limitless chicken with its head cut off—The cat is mewing so violently I begin to worry for the chicken, but no the cat is merely meditating now quietly over a piece of smell on the floor, and I give the poor little fellow a whirr a purr on the thin sticky shoulders with my fingertip—Time to go, I've petted the cat, said goodbye to God the Dove, and wanta leave the heinous kitchen in the middle of a vicious golden dream—It's all taking place in one vast mind, us in the kitchen, I don't believe a word of it or a substantial atom-empty hunk of flesh of it, I see right through it, right through our fleshy forms (hens and all) at the bright amethyst future whiteness of reality—I am worried but I aint glad—“Foo,” I say, and rooster looks at me, “what z he mean by
foo
!” and Rooster goes “Cork a Loodle Doo” a real Sunday morning (which it is now, 2 A M) Squawk and I see the brown corners of the dream house and remember my mother's dark kitchen long ago on cold streets in the other part of the same dream as this cold present kitchen with its drip-pots and horrors of Indian Mexico City—Cruz is feebly trying to say goodnight to me as I prepare to go, I've petted her several times a pat on the shoulder thinking that's what she wanted at the right moments and reassured her I loved her and was on her side “but I had no side of my own,” I lie to myself—I've wondered what Tristessa thought of my patting her—for awhile I almost thought she was her mother, one wild moment I divined this: “Tristessa and El Indio are brother and sister, and this is their Mother, and they're driving her crazy yakking in the night about poison and morphine'—Then I realize: “Cruz is a junkey too, uses three gramos a month, she'll be on the same time and antenna of their dream trouble, moaning and groaning they'll all three go through the rest of their lives sick. Addiction and affliction. Like diseases of the mad, insane inside encephilitises of the brain where you knock out your health purposely to hold a feeling of feeble chemical gladness that has no basis in anything but the thinking-mind—Gnosis, they will certainly change me the day they try to lay morphine on me. And on ye.”

Though the shot has done me some good and I haven't touched the bottle since, a kind of weary gladness has come over me tinged with wild strength—the morphine has gentlized my concerns but I'd rather not have it for the weakness it brings to my ribs,—I shall have them bashed in—“I don't want no more morphine after this,” I vow, and I yearn to get away from all the morphine talk which, after sporadic listens, has finally wearied me.

I get up to go, El Indio will go with me, walk me to the corner, though at first he argues with them as though he wanted to stay or wanted something further—We go out quickly, Tristessa closes the door in back of us, I don't even give her a close look, just a glance as she closes indicating I'll see her later—El Indio and I walk vigorously down the slimey rainy aisles, turn right, and cut out to the market street, I've already commented on his black hat, and now here I am on the street with the famous Black Bastard—I've already laughed and said “You're just like Dave” (Tristessa's ex husband) “you even wear the black hat” as I'd seen Dave one time, on Redondas—in the moil and wild of a warm Friday night with buses parading slowly by and mobs on the sidewalk; Dave hands the package to his boy, the seller calls the cop, cop comes running, boy hands it back to Dave, Dave says ‘Okay take it and ron' and tosses it back and boy hits ledge of a flying bus and hangs in to the crowd with his loins his body hanging over the street and his arms rigidly holding the bus door pole, the cops can't catch, Dave meanwhile has vamoosed into a saloon, removed his legendary black hat, and sat at the counter with other men looking straight ahead—cops no find—I had admired Dave for his guts, now admire El Indio for
his
—As we come out of the Tristessa tenement he lets loose a whistle and a shout at a bunch of men on the corner, we walk right along and they spread and we come up to the corner and walk right on talking, I've not paid attention to what he's done, all I wanta do is go straight home—It's started to drizzle—

“YA VOY DORMIENDO, I go sleep now” says El Indio putting his palms together at side of his mouth—I say “Okay” then he makes a further elaborate statement I think repeating in words what done before by sign, I fail to acknowledge complete understanding of his new statement, he disappointedly says “Yo un untiende” (you dont understand) but I do understand that he wants to go home and go to bed—“Okay” I say—We shake—We then go through an elaborate smiling routine on the streets of man, in fact on broken cobbles of Redondas—