Genius_ The Life and Science of Richard Feynman - James Gleick [246]
He began dating his scientific notes as he worked, something he had never done before. Weiner once remarked casually that his new parton notes represented “a record of the day-to-day work,” and Feynman reacted sharply.
“I actually did the work on the paper,” he said.
“Well,” Weiner said, “the work was done in your head, but the record of it is still here.”
“No, it’s not a record, not really. It’s working. You have to work on paper, and this is the paper. Okay?” It was true that he wrote in astonishing volume as he worked—long trains of thought, almost suitable to serve immediately as lecture notes.
He told Weiner that he had never read a scientific biography he had liked. He thought he would be portrayed either as a bloodless intellectual or a bongo-playing clown. He vacillated and finally let the idea drop. Still, he sat for interviews with historians interested in Far Rockaway and Los Alamos and filled out questionnaires for psychologists interested in creativity. (“Is your scientific problem-solving accompanied by any of the following?” He checked visual images, kinesthetic feelings, and emotional feelings and added “(1) acoustic images, (2) talk to self.” Under “major illnesses” he reported: “Too much to list… . Only adverse effects are laziness during recovery period.”)
For several years he had played drums regularly with a young friend, Ralph Leighton, the son of another Caltech physicist. Leighton had begun taping their sessions, and then he began taping the stories Feynman would tell. He urged him on, calling him Chief and begging to hear the same stories again and again. Feynman told them: how he became known in Far Rockaway as the boy who fixed radios by thinking; how he asked a Princeton librarian for the map of the cat; how his father taught him to see through the tricks of circus mind readers; how he outwitted painters, mathematicians, philosophers, and psychiatrists. Or he would just ramble while Leighton listened. “Today I went over to the Huntington Medical Library,” he said one day—his remaining kidney was presenting problems. “But it’s all interesting, how the kidney works, and everything else. You want me to tell you some interesting things? The damn kidney is the craziest thing in the world!”
Gradually a manuscript began to take shape. Leighton transcribed the tapes and presented them to Feynman for editing. Feynman had strong views about the structure of each story; Leighton realized that Feynman had developed a routine of improvisational performance in which he knew the order and pacing of every laugh. They consciously worked on the key themes. Feynman talked about Arline’s having embarrassed him with a box of “Richard darling, I love you! Putzie” pencils:
RICHARD. And the next morning, all right? Next morning, in the mail, there’s this letter, all right, this postcard, which starts out, “What’s the idea of trying to cut the name off the pencils?”
RALPH. [Laughs] Oh, boy! [Laughs.]
RICHARD. “What do you care what other people think?”
RALPH. Oh, this is——Yeah, this is a good theme.
RICHARD. Hmmm?
RALPH. This is a good theme, because there’s a theme in here. You know, what other people think …
They knew they had a remarkable central figure, a scientist who prided himself not on his achievements in science—these remained deep in the background—but on his ability to see through fraud and pretense and to master everyday life. He underscored these qualities with an exaggerated humility; he took the tone of a boy calling the grownups Mr. and Mrs. and asking politely dangerous questions. He was Holden Caulfield, a plain old straight shooter trying to figure out why so many other people are phonies.
“Pompous fools