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Ideas for Monroe Fieldbinder Story Collection, 27 August 1. Monroe watches a house burn down. Or Monroe’s house burns down, symbolizing destruction of the structure of his life as estate attorney, a plunging into chaos and disorientation, etc. 2. Monroe has enormous sex organ — the adoration of women only sharpens and defines by opposition his sense of self-loathing and disgust. 3. Monroe Fieldbinder sees psychologist to bounce ideas off him. One of Fieldbinder’s ideas is that the phenomenon of modem party-dance is incompatible with self-consciousness, makes for staggeringly unpleasant situations (obvious resource: Amherst/Mt. Holyoke mixer ‘68) for the at all self-conscious person. Modem party-dance is simply writhing to suggestive music. It is ridiculous, silly to watch and excruciatingly embarrassing to perform. It is ridiculous, and yet absolutely everyone does it, so that it is the person who does not want to do the ridiculous thing who feels out of place and uncomfortable and self-conscious… in a word, ridiculous. Right out of Kafka: the person who does not want to do the ridiculous thing is the person who is ridiculous. (Idea: Kafka at an AmherstlMt. Holyoke mixer, never referred to by name, only as “F.K.,” only one not dancing…) Modern party-dance an evil thing. 4. Monroe Fieldbinder’s psychologist has movable chair like that idiot Jay. Lampoon Jay unmercifully in Fieldbinder collection. Make Jay look like an idiot.
10. 1990
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The reason Lenore Beadsman’s red toy car had a spidery network of scratches in the paint on the right side was that by the driveway of the home of Alvin and Clarice Spaniard, in Cleveland Heights, lived a large, hostile brown shrub, bristling with really thorny branches. The bush hung out practically halfway across the drive, and scratched hell out of whatever or whoever came up. “Scritch,” was the noise Lenore heard as the thorns squeaked in their metal grooves in the side of her car, or rather “Scriiiiitch,” a sound like fingernails on aluminum siding, a tooth-shiver for Lenore.
The only other thing even remotely irritating about the Spaniard home was the fact that the front doorknob was right in the middle of the door, rather than over on the right or left side, where door-knobs really should be, and so the door never seemed to swing open so much as just fall back, when someone opened it. There was also the very incidental fact that the house had a funny smell about it, on the inside, as if something not quite right were growing on the underside of some of the carpets in some of the rooms.
But it was on the whole a very nice home, a two-story brick home with a huge elaborate antenna on the roof, a home in which lived Alvin Spaniard, Clarice Spaniard, Stonecipher Spaniard, and Spatula Spaniard (the latter named for Ruth Spatula Spaniard, Alvin Spaniard’s mother).
Alvin Spaniard, Vice President of Advertising in Charge of Gauging Product-Perception, Stonecipheco Baby Food Products, opened the door to Lenore’s ring and stepped nimbly aside as the door seemed to fall back at him, and asked Lenore in, calling to Clarice and the kids that Lenore was here. Alvin immediately offered Lenore gin.
“No thank you,” Lenore said. “Gin makes me cough.”
Alvin Spaniard liked gin a lot. Lenore asked for a seltzer-and-lime. “You do know it’s family theater night,” Alvin said quietly as they moved in the direction of the living room.
“Clarice told me on the phone. I really need to talk to her, though. I sort of hoped I could grab her during intermission or something.”
In the living room, under hanging Mexican Aztec woven tapestries featuring suns and bird-gods with their heads at angles inappropriate with respect to their necks, Stonecipher, who was five, and Spatula, who was four, were playing Chutes and Ladders with Clarice, who was twenty-six, and who was only ostensibly playing Chutes and Ladders, while really watching an Olympic recap on television, in preparation for family theater, with a gin-and-tonic. It was quarter of eight.
“Hey guys, here’s Aunt Lenore to play Chutes and Ladders with you;” said Clarice. She winked at Lenore.
“Super,” said Lenore.
Chutes and Ladders was perhaps the most sadistic board game ever invented. Adults loathed the game; children loved it. The universe thus dictated that an adult invariably got snookered into playing the game with a child. Certain rolls of the dice entitled you to certain movements on the board, some of which movements entitled you to move up ladders toward the base of the golden ladder at the top of the board (the climbing of which ladder represented the ultimate telos and reward-in-itself of the whole game). Moving up ladders was desirable because it saved time and spins and tiresome movements on the board, square by square. Except there were chutes. Certain rolls of the dice got you into board positions where you fell into chutes and slid ass-over-teakettle all the way down to the bottom of the board, where the whole process started all over again. The chances of falling into chutes increased as you climbed more ladders and got higher and higher. A long and tedious climb up ladder after ladder until the End was in sight was usually nixed by a plummet down one of the seven chutes whose mouths yawned near the base of the golden ladder at the top. The children found this sudden dashing of hopes and return to the recreational drawing board unbelievably fun. The game made Lenore feel like throwing its board at the wall.