Portnoy's Complaint - Philip Roth [65]
I open to the first page of my play and begin to read aloud to Morty as we start off in the truck, through Irvington, the Oranges, on toward the West—Illinois! Indiana! Iowa! O my America of the plains and the mountains and the valleys and the rivers and the canyons … It is with just such patriotic incantations as these that I have begun to put myself to sleep at night, after jerking off into my sock. My radio play is called Let Freedom Ring! It is a morality play (now I know) whose two major characters are named Prejudice and Tolerance, and it is written in what I call “prose-poetry.” We pull into a diner in Dover, New Jersey, just as Tolerance begins to defend Negroes for the way they smell. The sound of my own humane, compassionate, Latinate, alliterative rhetoric, inflated almost beyond recognition by Roget’s Thesaurus (a birthday gift from my sister)—plus the fact of the dawn and my being out in it—plus the tattooed counterman in the diner whom Morty calls “Chief”—plus eating for the first time in my life home-fried potatoes for breakfast—plus swinging back up into the cab of the truck in my Levis and lumber jacket and moccasins (which out on the highway no longer seem the costume that they do in the halls of the high school)—plus the sun just beginning to shine over the hilly farmlands of New Jersey, my state!—I am reborn! Free, I find, of shameful secrets! So clean-feeling, so strong and virtuous-feeling—so American! Morty pulls back onto the highway, and right then and there I take my vow, I swear that I will dedicate my life to the righting of wrongs, to the elevation of the downtrodden and the underprivileged, to the liberation of the unjustly imprisoned. With Morty as my witness—my manly left-wing new-found older brother, the living proof that it is possible to love mankind and baseball both (and who loves my older sister, whom I am ready to love now, too, for the escape hatch with which she has provided the two of us), who is my link through the A.V.C. to Bill Mauldin, as much my hero as Corwin or Howard Fast—to Morty, with tears of love (for him, for me) in my eyes, I vow to use “the power of the pen” to liberate from injustice and exploitation, from humiliation and poverty and ignorance, the people I now think of (giving myself gooseflesh) as The People.
I am icy with fear. Of the girl and her syph! of the father and his friends! of the brother and his fists! (even though Smolka has tried to get me to believe what strikes me as wholly incredible, even for goyim: that both brother and father know, and neither cares, that Bubbles is a “hoor”). And fear, too, that beneath the kitchen window, which I plan to leap out of if I should hear so much as a footstep on the stairway, is an iron picket fence upon which I will be impaled. Of course, the fence I am thinking of surrounds the Catholic orphanage on Lyons Avenue, but I am by now halfway between hallucination and coma, and somewhat woozy, as though I’ve gone too long without food. I see the photograph in the Newark News, of the fence and the dark puddle of my blood on the sidewalk, and the caption from which my family will never recover: INSURANCE MAN’S SON LEAPS TO DEATH.
While I sit freezing in my igloo, Mandel is basting in his own perspiration—and smells it. The body odor of Negroes fills me with compassion, with “prose-poetry”—Mandel I am less indulgent of: “he nauseates me” (as my mother says of him), which isn’t to suggest that he is any less hypnotic a creature to me than Smolka is. Sixteen and Jewish just like me, but there all resemblance ends: he wears his hair in a duck’s ass, has sideburns down to his jawbone, and sports one-button roll suits and pointy black shoes, and Billy Eckstine collars bigger than Billy Eckstine’s!