Final Analysis - Catherine Crier [32]
It was 5:30 PM when Felix met Fannie for their date. Although he wasn’t in love with her, he enjoyed her company. She put him at ease and allowed him to be himself. He had gotten tickets to La Ronde, a performance based on the 1897 play Der Reigen (Hands Around) by Austrian writer Arthur Schnitzler. The story begins with the seduction of a soldier by a prostitute, who transmits syphilis during their encounter. The disease is then passed on to each subsequent and interconnected character in subsequent acts until it finally reaches the Count who, in the end, makes love to the prostitute from the first scene, thus closing the circle. The play was still considered somewhat risqué and had sparked outrage when it was first performed in Germany in the early part of the twentieth century. It had been labeled “obscene,” and for a time, was banned from the theater.
As the performance progressed, Felix confided to Fannie that he was seeing a psychiatrist and had an appointment the previous day. Fannie noticed that he seemed more glib than his usual somber self. During his previous visit to New York, he had confided his unhappiness at home—due, primarily, to his relationship with his mother. Now, he seemed more displeased with his naval assignment to Brooklyn and expressed his desire to be stationed somewhere in Europe.
Smiling, Felix turned to Fannie and announced that he had contemplated suicide.
Staring back, Fannie giggled. He couldn’t be serious, she thought, he was grinning when he made the pronouncement.
“I’ve already tried it once,” he announced. Felix said he had actually turned on the gas burners in his house, but while waiting for death, “had grown bored with the whole thing.”
Unsure how to respond, Fannie grabbed his hand to comfort him and recounted the story of her brother’s suicide several months earlier while he was on active duty in the army. As Fannie told the sad tale, she found Felix’s response worrisome. Suddenly, he was listening very intently, inquiring about every detail, particularly regarding the method her brother had employed.
After the theater, Felix and Fannie returned to her place where they spent the night together. The following afternoon, they attended a matinee featuring Marcel Marceau, but once the film ended, Felix became frighteningly sullen and announced that he wanted to go home.
“Call me the minute you get to Harrison,” Fannie begged when he dropped her off around 5:30 that Sunday evening. She knew that his parents, Eric and Johanna Polk, had traveled to Rochester for the weekend to visit their daughter, Evelyn. With Felix’s brother, John, stationed overseas, there would be no one at home to look after him.
Felix sounded increasingly dejected when he telephoned from Harrison just after 7 PM. Worried, Fannie phoned him again later that evening. She was relieved when he picked up the line just after 10 PM, but became distraught as she listened.
“It’s too late for the world,” Felix repeated over and over into the receiver. “Too late, too late.”
Fannie tried to console Felix, but he soon admonished “don’t call back anymore” and hung up the phone.
Frantic, and convinced that Felix was in trouble, Fannie begged her mother to phone the police.
It was nearing 10:30 PM when Felix sat down at the typewriter. He felt compelled to release his emotions on paper:
I have done what for a long time, I know I must do. When a rock is thrown into water it sinks. It must sink, as now must I. My minds (sic) is so heavy with wretchedness, with utter loneliness, with an unknown past, a frightening future and an intolerable past present that no choice remains. I don’t fear death at all. What it is, but non-life. And what is life but a continuous torture? This final act is not sudden or impetuous. I have known that someday it