One Flew Over the Cuckoo's Nest - Ken Kesey [36]
She’s given to turning up the speed this way on days like, say, when you got somebody to visit you or when the VFW brings down a smoker show from Portland—times like that, times you’d like to hold and have stretch out. That’s when she speeds things up.
But generally it’s the other way, the slow way. She’ll turn that dial to a dead stop and freeze the sun there on the screen so it don’t move a scant hair for weeks, so not a leaf on a tree or a blade of grass in the pasture shimmers. The clock hands hang at two minutes to three and she’s liable to let them hang there till we rust. You sit solid and you can’t budge, you can’t walk or move to relieve the strain of sitting, you can’t swallow and you can’t breathe. The only thing you can move is your eyes and there’s nothing to see but petrified Acutes across the room waiting on one another to decide whose play it is. The old Chronic next to me has been dead six days, and he’s rotting to the chair. And instead of fog sometimes she’ll let a clear chemical gas in through the vents, and the whole ward is set solid when the gas changes into plastic.
Lord knows how long we hang this way.
Then, gradually, she’ll ease the dial up a degree, and that’s worse yet. I can take hanging dead still better ’n I can take that sirup-slow hand of Scanlon across the room, taking three days to lay down a card. My lungs pull for the thick plastic air like getting it through a pinhole. I try to go to the latrine and I feel buried under a ton of sand, squeezing my bladder till green sparks flash and buzz across my forehead.
I strain with every muscle and bone to get out of that chair and go to the latrine, work to get up till my arms and legs are all ashake and my teeth hurt. I pull and pull and all I gain is maybe a quarter-inch off the leather seat. So I fall back and give up and let the pee pour out, activating a hot salt wire down my left leg that sets off humiliating alarms, sirens, spotlights, everybody up yelling and running around and the big black boys knocking the crowd aside right and left as the both of them rush headlong at me, waving awful mops of wet copper wires cracking and spitting as they short with the water.
About the only time we get any letup from this time control is in the fog; then time doesn’t mean anything. It’s lost in the fog, like everything else. (They haven’t really fogged the place full force all day today, not since McMurphy came in. I bet he’d yell like a bull if they fogged it.)
When nothing else is going on, you usually got the fog or the time control to contend with, but today something’s happened: there hasn’t been any of these things worked on us all day, not since shaving. This afternoon everything is matching up. When the swing shift comes on duty the clock says four-thirty, just like it should. The Big Nurse dismisses the black boys and takes a last look around the ward. She slides a long silver hatpin out of the iron-blue knot of hair back of her head, takes off her white cap and sets it careful in a cardboard box (there’s mothballs in that box), and drives the hatpin back in the hair with a stab of her hand.
Behind the glass I see her tell everyone good evening. She hands the little birthmarked swing-shift nurse a note; then her hand reaches out to the control panel in the steel door, clacks on the speaker in the day room: “Good evening, boys. Behave yourselves.” And turns the music up louder than ever. She rubs the inside of her wrist across her window; a disgusted look shows the fat black boy who just reported on duty that he better get to cleaning it, and he’s at the glass with a paper towel before she’s so much as locked the ward door behind her.
The machinery in the walls whistles, sighs, drops into a lower gear.
Then, till night, we eat and shower and go back to sit in the