Just Kids [39]
Sandy had spent much time working in England, the London of Mary Quant, plastic raincoats, and Syd Barrett. She had long nails and I marveled at her technique of lifting the arm of the record player so as to not damage her manicure. She took simple, elegant photographs and always had a Polaroid camera on hand. It was Sandy who lent Robert his first Polaroid camera and served as a valued critic and confidante in critiquing his earliest photographs. Sandy was supportive to both of us and was able to ride, without judgment, the transitions Robert went through as a man and an artist.
Her environment suited Robert more than me, but it was a nice respite from the clutter of our tiny room. If I needed a shower or just wanted to daydream in an atmosphere of light and space, her door was always open. I often sat on the floor next to my favorite object, a large bowl of hammered silver resembling a glowing hubcap with a single gardenia swimming in its center. I would listen to Beggars Banquet over and over while its fragrance permeated the all but empty room.
I also befriended a musician named Matthew Reich. His living space was totally utilitarian, with nothing of his own except an acoustic guitar and a black-and-white composition book containing his lyrics and disjointed observations written with inhuman velocity. He was wiry and obviously obsessed with Bob Dylan. Everything about him—his hair, dress, and demeanor—reflected the style of Bringing It All Back Home. He had married the actress Geneviève Waïte in an apparent whirlwind courtship. She quickly realized Matthew was intelligent though somewhat unhinged, and not a relative of Bob Dylan. She ran off with Papa John from the Mamas and the Papas and left Matthew prowling the halls of the hotel dressed in a snap tab-collar shirt and pegged pants.
Although he mirrored Bob Dylan, there still wasn’t anyone like Matthew. Robert and I were fond of him but Robert could only take him in small doses. Matthew was the first musician I met in New York. I could relate to his Dylan fixation, and as he put together a song, I saw possibilities in shaping my own poems into songs.
I never knew whether his speedy speech patterns reflected amphetamine use or an amphetamine mind. He would often lead me up blind alleys or through an endless labyrinth of incomprehensible logic. I felt like Alice with the Mad Hatter, negotiating jokes without punch lines, and having to retrace my steps on the chessboard floor back to the logic of my own peculiar universe.
I had to work long hours to make up for the advance I got at Scribner’s. After a time, I got a promotion and started work even earlier, waking at six and walking to Sixth Avenue to get the F train to Rockefeller Center. The subway fare was twenty cents. At seven I opened the safe, filled the registers, and got things ready for the day ahead, platooning duties with the head cashier. I was making a little more money but I preferred having my own section and ordering books. I finished work at seven and usually walked home.
Robert would greet me, impatient to show me something he was working on. One evening, having read my notebook, he designed a totem for Brian Jones. It was shaped like an arrow, with rabbit hair for the White Rabbit, a line from Winnie the Pooh, and a locket-sized portrait of Brian. We finished it together and hung it over our bed.
“Nobody sees as we do, Patti,” he said again. Whenever he said things like that, for a magical space of time, it was if we were the only two people in the world.
Robert finally was able to have his impacted wisdom teeth extracted. He felt bad for a few days but was also relieved. Robert was sturdy but he was prone to infection, so