The Purple Decades (27 page)
Read The Purple Decades Online
Authors: Tom Wolfe
“I'm ⦠stoned,” says Sandy. “I took some acid, and I ⦠took too much and it's going very bad.”
“We wanted to save that acid for the trip back,” Kesey says. “We wanted to have some for the Rockies.”
“I didn't take
that much
”âhe's trying to explain it, but now a Beatles record is playing over the loudspeaker of the bus and it's raining into his head like needlesâ“but it's bad.”
that much
”âhe's trying to explain it, but now a Beatles record is playing over the loudspeaker of the bus and it's raining into his head like needlesâ“but it's bad.”
Kesey looks exasperated, but he tries some condolence. “Lookâjust stay with it. Listen to the musicâ”
“Listen to the
music!
” Sandy yells. “Christ! Try and stop me!”
music!
” Sandy yells. “Christ! Try and stop me!”
Kesey says very softly: “I know how you feel, Sandy. I've been there myself. But you just have to stay with it”âwhich makes Sandy feel good:
he's with me
. But then Kesey says, “But if you think I'm going to be your guide for this trip, you're sadly mistaken.” And he walks off.
he's with me
. But then Kesey says, “But if you think I'm going to be your guide for this trip, you're sadly mistaken.” And he walks off.
Sandy starts feeling very paranoid. He walks off, away from the house, and comes upon some sort of greeny glade in the woods. Babbs and Gretchen Fetchin are lying on the ground in the shade, just lazing
on it, but Babbs's legs shift and his arms move and Gretch's legs shift, and Sandy sees ⦠Babbs and Gretch in a
pond
, swimming languidly. He knows they are on ground, and yet they are
in the water
âand he says,
on it, but Babbs's legs shift and his arms move and Gretch's legs shift, and Sandy sees ⦠Babbs and Gretch in a
pond
, swimming languidly. He knows they are on ground, and yet they are
in the water
âand he says,
“How is it?”
“Wet!” says Babbs.
âandâmarvelousâit is very niceâas if Babbs knows exactly what is in his mindâ
synch
âand is going to swing with it. We are all one brain out here and we are all on the bus, after all. And suddenly there in the Florida glade it is like the best of the whole Prankster thing all over again.
synch
âand is going to swing with it. We are all one brain out here and we are all on the bus, after all. And suddenly there in the Florida glade it is like the best of the whole Prankster thing all over again.
Â
He came back to the house at dark, into the yard, and there were a million stars in the sky, like tiny neon bulbs, and you could see them between the leaves of the trees, and the trees seemed to be covered with a million tiny neon bulbs, and the bus, it broke up into a sculpture of neon bulbs, millions of them massed together to make a bus, like a whole nighttime of neon dust, with every particle a neon bulb, and they all vibrated like a huge friendly neon cicada universe.
He goes down to the water where the Pranksters all are, a little inlet, and it is dark and placid and he gets in and wades out until the water laps almost even with his mouth, which makes it very secure and warm and calm and nice and he looks at the stars and then at a bridge in the distance. All he can see of the bridge is the lights on it, swooping strands of lights, rising, rising, risingâand just then Chuck Kesey comes gliding toward him through the water, smiling, like a great friendly fish. Chuck
knows
and it is very niceâand the lights of the bridge keep rising, rising, until they merge with the stars, until there is a bridge leading right up into heaven.
knows
and it is very niceâand the lights of the bridge keep rising, rising, until they merge with the stars, until there is a bridge leading right up into heaven.
A Problem in Etiquette
In which the guest of honor, the famous architect, asked if he could “bring someone,” and the host and hostess try to decide if they dare seat Someone between Chuck Brassbender of Morgan Guaranty and Harmsden Grousestalker of Sullivan & Cromwell, as originally planned.
A
t 2 or 3 or 4 a.m., somewhere along in there, on August 25, 1966, his forty-eighth birthday, in fact, Leonard Bernstein woke up in the dark in a state of wild alarm. That had happened before. It was one of the forms his insomnia took. So he did the usual. He got up and walked around a bit. He felt groggy. Suddenly he had a vision, an inspiration. He could see himself, Leonard Bernstein, the
egregio maestro,
walking out on stage in white tie and tails in front of a full orchestra. On one side of the conductor's podium is a piano. On the other is a chair with a guitar leaning against it. He sits in the chair and picks up the guitar. A guitar! One of those halfwitted instruments, like the accordion, that are made for the Learn-To-Play-in-Eight-Days E-Z-Diagram 110-IQ fourteen-year-olds of Levittown! But there's a reason. He has an anti-war message to deliver to this great starched white-throated audience in the symphony hall. He announces to them: “I love.” Just that. The effect is mortifying. All at once a Negro rises up from out of the curve of the grand piano and starts saying things like, “The audience is curiously embarrassed.” Lenny tries to start again, plays some quick numbers on the piano, says, “I love.
Amo ergo sum.”
The Negro rises again and says, “The audience thinks he ought to get up and walk out. The audience thinks, âI am ashamed even to nudge my neighbor.'” Finally, Lenny gets off a heartfelt anti-war speech and exits.
t 2 or 3 or 4 a.m., somewhere along in there, on August 25, 1966, his forty-eighth birthday, in fact, Leonard Bernstein woke up in the dark in a state of wild alarm. That had happened before. It was one of the forms his insomnia took. So he did the usual. He got up and walked around a bit. He felt groggy. Suddenly he had a vision, an inspiration. He could see himself, Leonard Bernstein, the
egregio maestro,
walking out on stage in white tie and tails in front of a full orchestra. On one side of the conductor's podium is a piano. On the other is a chair with a guitar leaning against it. He sits in the chair and picks up the guitar. A guitar! One of those halfwitted instruments, like the accordion, that are made for the Learn-To-Play-in-Eight-Days E-Z-Diagram 110-IQ fourteen-year-olds of Levittown! But there's a reason. He has an anti-war message to deliver to this great starched white-throated audience in the symphony hall. He announces to them: “I love.” Just that. The effect is mortifying. All at once a Negro rises up from out of the curve of the grand piano and starts saying things like, “The audience is curiously embarrassed.” Lenny tries to start again, plays some quick numbers on the piano, says, “I love.
Amo ergo sum.”
The Negro rises again and says, “The audience thinks he ought to get up and walk out. The audience thinks, âI am ashamed even to nudge my neighbor.'” Finally, Lenny gets off a heartfelt anti-war speech and exits.
For a moment, sitting there alone in his home in the small hours of the morning, Lenny thought it might just work and he jotted the idea
down. Think of the headlines: BERNSTEIN ELECTRIFIES CONCERT AUDIENCE WITH ANTI-WAR APPEAL. But then his enthusiasm collapsed. He lost heart. Who the hell was this Negro rising up from the piano and informing the world what an ass Leonard Bernstein was making of himself? It didn't make sense, this superego Negro by the concert grand.
down. Think of the headlines: BERNSTEIN ELECTRIFIES CONCERT AUDIENCE WITH ANTI-WAR APPEAL. But then his enthusiasm collapsed. He lost heart. Who the hell was this Negro rising up from the piano and informing the world what an ass Leonard Bernstein was making of himself? It didn't make sense, this superego Negro by the concert grand.
Â
Mmmmmmmmmmmmmmmm
. These are nice. Little Roquefort cheese morsels rolled in crushed nuts. Very tasty. Very subtle. It's the way the dry sackiness of the nuts tiptoes up against the dour savor of the cheese that is so nice, so subtle. Wonder what the Black Panthers eat here on the hors d'oeuvre trail? Do the Panthers like little Roquefort cheese morsels rolled in crushed nuts this way, and asparagus tips in mayonnaise dabs, and
meatballs petites au Coq Hardi
, all of which are at this very moment being offered to them on gadrooned silver platters by maids in black uniforms with hand-ironed white aprons ⦠The butler will bring them their drinks ⦠Deny it if you wish to, but such are the
pensées métaphysiques
that rush through one's head on these Radical Chic evenings just now in New York. For example, does that huge Black Panther there in the hallway, the one shaking hands with Felicia Bernstein herself, the one with the black leather coat and the dark glasses and the absolutely unbelievable Afro, Fuzzy-Wuzzy-scale, in factâis he, a Black Panther, going on to pick up a Roquefort cheese morsel rolled in crushed nuts from off the tray, from a maid in uniform, and just pop it down the gullet without so much as missing a beat of Felicia's perfect Mary Astor voice â¦
. These are nice. Little Roquefort cheese morsels rolled in crushed nuts. Very tasty. Very subtle. It's the way the dry sackiness of the nuts tiptoes up against the dour savor of the cheese that is so nice, so subtle. Wonder what the Black Panthers eat here on the hors d'oeuvre trail? Do the Panthers like little Roquefort cheese morsels rolled in crushed nuts this way, and asparagus tips in mayonnaise dabs, and
meatballs petites au Coq Hardi
, all of which are at this very moment being offered to them on gadrooned silver platters by maids in black uniforms with hand-ironed white aprons ⦠The butler will bring them their drinks ⦠Deny it if you wish to, but such are the
pensées métaphysiques
that rush through one's head on these Radical Chic evenings just now in New York. For example, does that huge Black Panther there in the hallway, the one shaking hands with Felicia Bernstein herself, the one with the black leather coat and the dark glasses and the absolutely unbelievable Afro, Fuzzy-Wuzzy-scale, in factâis he, a Black Panther, going on to pick up a Roquefort cheese morsel rolled in crushed nuts from off the tray, from a maid in uniform, and just pop it down the gullet without so much as missing a beat of Felicia's perfect Mary Astor voice â¦
Felicia is remarkable. She is beautiful, with that rare burnished beauty that lasts through the years. Her hair is pale blond and set just so. She has a voice that is “theatrical,” to use a term from her youth. She greets the Black Panthers with the same bend of the wrist, the same tilt of the head, the same perfect Mary Astor voice with which she greets people like Jason, John and D.D., Adolph, Betty, Gian-Carlo, Schuyler, and Goddard, during those
après
-concert suppers she and Lenny are so famous for. What evenings! She lights the candles over the dining-room table, and in the Gotham gloaming the little tremulous tips of flame are reflected in the mirrored surface of the table, a bottomless blackness with a thousand stars, and it is that moment that Lenny loves. There seem to be a thousand stars above and a thousand stars below, a room full of stars, a penthouse duplex full of stars, a Manhattan tower full of stars, with marvelous people drifting through the heavens, Jason Robards, John and D. D. Ryan, Gian-Carlo Menotti, Schuyler Chapin, Goddard Lieberson, Mike Nichols, Lillian Hellman, Larry Rivers, Aaron Copland, Richard Avedon, Milton and
Amy Greene, Lukas Foss, Jennie Tourel, Samuel Barber, Jerome Robbins, Steve Sondheim, Adolph and Phyllis Green, Betty Comden, and the Patrick O'Neals â¦
après
-concert suppers she and Lenny are so famous for. What evenings! She lights the candles over the dining-room table, and in the Gotham gloaming the little tremulous tips of flame are reflected in the mirrored surface of the table, a bottomless blackness with a thousand stars, and it is that moment that Lenny loves. There seem to be a thousand stars above and a thousand stars below, a room full of stars, a penthouse duplex full of stars, a Manhattan tower full of stars, with marvelous people drifting through the heavens, Jason Robards, John and D. D. Ryan, Gian-Carlo Menotti, Schuyler Chapin, Goddard Lieberson, Mike Nichols, Lillian Hellman, Larry Rivers, Aaron Copland, Richard Avedon, Milton and
Amy Greene, Lukas Foss, Jennie Tourel, Samuel Barber, Jerome Robbins, Steve Sondheim, Adolph and Phyllis Green, Betty Comden, and the Patrick O'Neals â¦
⦠and now, in the season of Radical Chic, the Black Panthers. That huge Panther there, the one Felicia is smiling her tango smile at, is Robert Bay, who just forty-one hours ago was arrested in an altercation with the police, supposedly over a .38-caliber revolver that someone had, in a parked car in Queens at Northern Boulevard and 104th Street or some such unbelievable place, and taken to jail on a most unusual charge called “criminal facilitation.” And now he is out on bail and walking into Leonard and Felicia Bernstein's thirteen-room penthouse duplex on Park Avenue. Harassment & Hassles, Guns & Pigs, Jail & Bailâthey're
real,
these Black Panthers. The very idea of them, these real revolutionaries, who actually put their lives on the line, runs through Lenny's duplex like a rogue hormone. Everyone casts a glance, or stares, or tries a smile, and then sizes up the house for the somehow delicious counterpoint ⦠Deny it if you want to! but one
does
end up making such sweet furtive comparisons in this season of Radical Chic ⦠There's Otto Preminger in the library and Jean vanden Heuvel in the hall, and Peter and Cheray Duchin in the living room, and Frank and Domna Stanton, Gail Lumet, Sheldon Harnick, Cynthia Phipps, Burton Lane, Mrs. August Heckscher, Roger Wilkins, Barbara Walters, Bob Silvers, Mrs. Richard Avedon, Mrs. Arthur Penn, Julie Belafonte, Harold Taylor, and scores more, including Charlotte Curtis, women's news editor of
The New York Times
, America's foremost chronicler of Society, a lean woman in black, with her notebook out, standing near Felicia and big Robert Bay, and talking to Cheray Duchin.
real,
these Black Panthers. The very idea of them, these real revolutionaries, who actually put their lives on the line, runs through Lenny's duplex like a rogue hormone. Everyone casts a glance, or stares, or tries a smile, and then sizes up the house for the somehow delicious counterpoint ⦠Deny it if you want to! but one
does
end up making such sweet furtive comparisons in this season of Radical Chic ⦠There's Otto Preminger in the library and Jean vanden Heuvel in the hall, and Peter and Cheray Duchin in the living room, and Frank and Domna Stanton, Gail Lumet, Sheldon Harnick, Cynthia Phipps, Burton Lane, Mrs. August Heckscher, Roger Wilkins, Barbara Walters, Bob Silvers, Mrs. Richard Avedon, Mrs. Arthur Penn, Julie Belafonte, Harold Taylor, and scores more, including Charlotte Curtis, women's news editor of
The New York Times
, America's foremost chronicler of Society, a lean woman in black, with her notebook out, standing near Felicia and big Robert Bay, and talking to Cheray Duchin.
Cheray tells her: “I've never met a Pantherâthis is a first for me!” ⦠never dreaming that within forty-eight hours her words will be on the desk of the President of the United States â¦
This is a first for me
. But she is not alone in her thrill as the Black Panthers come trucking on in, into Lenny's house, Robert Bay, Don Cox the Panthers' Field Marshal from Oakland, Henry Miller the Harlem Panther defense captain, the Panther womenâChrist, if the Panthers don't know how to get it all together, as they say, the tight pants, the tight black turtlenecks, the leather coats, Cuban shades, Afros. But real Afros, not the ones that have been shaped and trimmed like a topiary hedge and sprayed until they have a sheen like acrylic wall-to-wallâbut like funky, natural, scraggly ⦠wild â¦
. But she is not alone in her thrill as the Black Panthers come trucking on in, into Lenny's house, Robert Bay, Don Cox the Panthers' Field Marshal from Oakland, Henry Miller the Harlem Panther defense captain, the Panther womenâChrist, if the Panthers don't know how to get it all together, as they say, the tight pants, the tight black turtlenecks, the leather coats, Cuban shades, Afros. But real Afros, not the ones that have been shaped and trimmed like a topiary hedge and sprayed until they have a sheen like acrylic wall-to-wallâbut like funky, natural, scraggly ⦠wild â¦
These are no civil-rights Negroes wearing gray suits three sizes too bigâ
âno more interminable Urban League banquets in hotel ballrooms
where they try to alternate the blacks and whites around the tables as if they were stringing Arapaho beadsâ
where they try to alternate the blacks and whites around the tables as if they were stringing Arapaho beadsâ
â
these are
real men!
these are
real men!
Shoot-outs, revolutions, pictures in
Life
magazine of policemen grabbing Black Panthers like they were Vietcongâsomehow it all runs together in the head with the whole thing of how
beautiful
they are.
Sharp as a blade
. The Panther womenâthere are three or four of them on hand, wives of the Panther 21 defendants, and they are so lean, so
lithe
, as they say, with tight pants and Yoruba-style headdresses, almost like turbans, as if they'd stepped out of the pages of
Vogue,
although no doubt
Vogue
got it from them. All at once every woman in the room knows exactly what Amanda Burden meant when she said she was now anti-fashion because “the sophistication of the baby blacks made me rethink my attitudes.” God knows the Panther women don't spend thirty minutes in front of the mirror in the morning shoring up their eye holes with contact lenses, eyeliner, eye shadow, eyebrow pencil, occipital rim brush, false eyelashes, mascara, Shadow-Ban for undereye and Eterna Creme for the corners ⦠And here they are, right in front of you, trucking on into the Bernsteins' Chinese yellow duplex, amid the sconces, silver bowls full of white and lavender anemones, and uniformed servants serving drinks and Roquefort cheese morsels rolled in crushed nutsâ
Life
magazine of policemen grabbing Black Panthers like they were Vietcongâsomehow it all runs together in the head with the whole thing of how
beautiful
they are.
Sharp as a blade
. The Panther womenâthere are three or four of them on hand, wives of the Panther 21 defendants, and they are so lean, so
lithe
, as they say, with tight pants and Yoruba-style headdresses, almost like turbans, as if they'd stepped out of the pages of
Vogue,
although no doubt
Vogue
got it from them. All at once every woman in the room knows exactly what Amanda Burden meant when she said she was now anti-fashion because “the sophistication of the baby blacks made me rethink my attitudes.” God knows the Panther women don't spend thirty minutes in front of the mirror in the morning shoring up their eye holes with contact lenses, eyeliner, eye shadow, eyebrow pencil, occipital rim brush, false eyelashes, mascara, Shadow-Ban for undereye and Eterna Creme for the corners ⦠And here they are, right in front of you, trucking on into the Bernsteins' Chinese yellow duplex, amid the sconces, silver bowls full of white and lavender anemones, and uniformed servants serving drinks and Roquefort cheese morsels rolled in crushed nutsâ
But it's all right. They're
white
servants, not Claude and Maude, but white South Americans. Lenny and Felicia are geniuses. After a while, it all comes down to servants. They are the cutting edge in Radical Chic. Obviously, if you are giving a party for the Black Panthers, as Lenny and Felicia are this evening, or as Sidney and Gail Lumet did last week, or as John Simon of Random House and Richard Baron, the publisher, did before that; or for the Chicago Eight, such as the party Jean vanden Heuvel gave; or for the grape workers or Bernadette Devlin, such as the parties Andrew Stein gave; or for the Young Lords, such as the party Ellie Guggenheimer is giving next week in
her
Park Avenue duplex; or for the Indians or the SDS or the G.I. coffee shops or even for the Friends of the Earthâwell, then, obviously you can't have a Negro butler and maid, Claude and Maude, in uniform, circulating through the living room, the library, and the main hall serving drinks and canapes. Plenty of people have tried to think it out. They try to picture the Panthers or whoever walking in bristling with electric hair and Cuban shades and leather pieces and the rest of it, and they try to picture Claude and Maude with the black uniforms coming up and saying, “Would you care for a drink, sir?” They close their eyes and try to picture it
some way,
but there is
no way. One simply cannot see that moment. So the current wave of Radical Chic has touched off the most desperate search for white servants. Carter and Amanda Burden have white servants. Sidney Lumet and his wife Gail, who is Lena Horne's daughter, have three white servants, including a Scottish nurse. Everybody has white servants. And Lenny and Feliciaâthey had it worked out before Radical Chic even started. Felicia grew up in Chile. Her father, Roy Elwood Cohn, an engineer from San Francisco, worked for the American Smelting and Refining Co. in Santiago. As Felicia Montealegre (her mother's maiden name), she became an actress in New York and won the
Motion Picture Daily
critics' award as the best new television actress of 1949. Anyway, they have a house staff of three white South American servants, including a Chilean cook, plus Lenny's English chauffeur and dresser, who is also white, of course. Can one comprehend how perfect that is, given ⦠the times? Well, many of their friends can, and they ring up the Bernsteins and ask them to get South American servants for them, and the Bernsteins are so generous about it, so obliging, that people refer to them, good-naturedly and gratefully, as “the Spic and Span Employment Agency,” with an easygoing ethnic humor, of course.
white
servants, not Claude and Maude, but white South Americans. Lenny and Felicia are geniuses. After a while, it all comes down to servants. They are the cutting edge in Radical Chic. Obviously, if you are giving a party for the Black Panthers, as Lenny and Felicia are this evening, or as Sidney and Gail Lumet did last week, or as John Simon of Random House and Richard Baron, the publisher, did before that; or for the Chicago Eight, such as the party Jean vanden Heuvel gave; or for the grape workers or Bernadette Devlin, such as the parties Andrew Stein gave; or for the Young Lords, such as the party Ellie Guggenheimer is giving next week in
her
Park Avenue duplex; or for the Indians or the SDS or the G.I. coffee shops or even for the Friends of the Earthâwell, then, obviously you can't have a Negro butler and maid, Claude and Maude, in uniform, circulating through the living room, the library, and the main hall serving drinks and canapes. Plenty of people have tried to think it out. They try to picture the Panthers or whoever walking in bristling with electric hair and Cuban shades and leather pieces and the rest of it, and they try to picture Claude and Maude with the black uniforms coming up and saying, “Would you care for a drink, sir?” They close their eyes and try to picture it
some way,
but there is
no way. One simply cannot see that moment. So the current wave of Radical Chic has touched off the most desperate search for white servants. Carter and Amanda Burden have white servants. Sidney Lumet and his wife Gail, who is Lena Horne's daughter, have three white servants, including a Scottish nurse. Everybody has white servants. And Lenny and Feliciaâthey had it worked out before Radical Chic even started. Felicia grew up in Chile. Her father, Roy Elwood Cohn, an engineer from San Francisco, worked for the American Smelting and Refining Co. in Santiago. As Felicia Montealegre (her mother's maiden name), she became an actress in New York and won the
Motion Picture Daily
critics' award as the best new television actress of 1949. Anyway, they have a house staff of three white South American servants, including a Chilean cook, plus Lenny's English chauffeur and dresser, who is also white, of course. Can one comprehend how perfect that is, given ⦠the times? Well, many of their friends can, and they ring up the Bernsteins and ask them to get South American servants for them, and the Bernsteins are so generous about it, so obliging, that people refer to them, good-naturedly and gratefully, as “the Spic and Span Employment Agency,” with an easygoing ethnic humor, of course.
The only other thing to do is what Ellie Guggenheimer is doing next week with her party for the Young Lords in her duplex on Park Avenue at 89th Street, just ten blocks up from Lenny and Felicia. She is giving her party on a Sunday, which is the day off for the maid and the cleaning woman. “Two friends of mine”âshe confides on the telephoneâ“two friends of mine who happen to be ⦠not white âthat's what I hate about the times we live in, the
terms
âwell, they've agreed to be butler and maid ⦠and I'm going to be a maid myself!”
terms
âwell, they've agreed to be butler and maid ⦠and I'm going to be a maid myself!”
Just at this point some well-meaning soul is going to say, Why not do without servants altogether if the matter creates such unbearable tension and one truly believes in equality? Well, even to raise the question is to reveal the most fundamental ignorance of life in the great co-ops and townhouses of the East Side in the age of Radical Chic. Why, my God! servants are not a mere convenience, they're an absolute psychological necessity. Once one is into that life, truly into it, with the morning workout on the velvet swings at Kounovsky's and the late mornings on the telephone, and lunch at the Running Footman, which is now regarded as really better than La Grenouille, Lutèce, Lafayette, La Caravelle, and the rest of the general Frog Pond, less ostentatious, more of the David Hicks feeling, less of the Parish-Hadley look, and thenâwell, then, the idea of not having servants is
unthinkable. But even that does not say it all. It makes it sound like a matter of convenience, when actually it is a sheer and fundamental matter ofâ
having servants
. Does one comprehend?
unthinkable. But even that does not say it all. It makes it sound like a matter of convenience, when actually it is a sheer and fundamental matter ofâ
having servants
. Does one comprehend?
God, what a flood of taboo thoughts runs through one's head at these Radical Chic events ⦠But it's delicious. It is as if one's nerve endings were on red alert to the most intimate nuances of status. Deny it if you want to! Nevertheless, it runs through every soul here. It is the matter of the marvelous contradictions on all sides. It is like the delicious shudder you get when you try to force the prongs of two horseshoe magnets together â¦
them
and
us â¦
them
and
us â¦
For example, one's own servants, although white, are generally no problem. A discreet, euphemistic word about what sort of party it is going to be, and they will generally be models of correctness. The euphemisms are not always an easy matter, however. When talking to one's white servants, one doesn't really know whether to refer to blacks as
blacks, Negroes, or colored people
. When talking to other ⦠well,
cultivated
persons, one says
blacks
, of course. It is the only word, currently, that implicitly shows one's awareness of the dignity of the black race. But somehow when you start to say the word to your own white servants, you hesitate. You can't get it out of your throat. Why?
Counter-guilt!
You realize that you are about to utter one of those touchstone words that divide the cultivated from the uncultivated, the attuned from the unattuned, the
hip
from the dreary. As soon as the word comes out of your mouthâyou know it before the first vocable pops on your lipsâyour own servant is going to size you up as one of those
limousine liberals
, or whatever epithet they use, who are busy pouring white soul all over the black movement, and would you do as much for the white lower class, for the domestics of the East Side, for example, fat chance, sahib. Deny it if you want to! but such are the delicious little agonies of Radical Chic. So one settles for
Negro
, with the hope that the great god Culturatus has laid the ledger aside for the moment ⦠In any case, if one is able to make that small compromise, one's own servants are no real problem. But the elevator man and the doormanâthe death rays they begin projecting, the curt responses, as soon as they see it is going to be one of
those
parties! Of course, they're all from Queens, and so forth, and one has to allow for that. For some reason the elevator men tend to be worse about it than the doormen, even; less sense of
politesse,
perhaps.
blacks, Negroes, or colored people
. When talking to other ⦠well,
cultivated
persons, one says
blacks
, of course. It is the only word, currently, that implicitly shows one's awareness of the dignity of the black race. But somehow when you start to say the word to your own white servants, you hesitate. You can't get it out of your throat. Why?
Counter-guilt!
You realize that you are about to utter one of those touchstone words that divide the cultivated from the uncultivated, the attuned from the unattuned, the
hip
from the dreary. As soon as the word comes out of your mouthâyou know it before the first vocable pops on your lipsâyour own servant is going to size you up as one of those
limousine liberals
, or whatever epithet they use, who are busy pouring white soul all over the black movement, and would you do as much for the white lower class, for the domestics of the East Side, for example, fat chance, sahib. Deny it if you want to! but such are the delicious little agonies of Radical Chic. So one settles for
Negro
, with the hope that the great god Culturatus has laid the ledger aside for the moment ⦠In any case, if one is able to make that small compromise, one's own servants are no real problem. But the elevator man and the doormanâthe death rays they begin projecting, the curt responses, as soon as they see it is going to be one of
those
parties! Of course, they're all from Queens, and so forth, and one has to allow for that. For some reason the elevator men tend to be worse about it than the doormen, even; less sense of
politesse,
perhaps.
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