He didn't know where he came from. The delicate New York way of establishing origins is to ask: "Merdeka, hah? What kind of a name is that now?" And to this he would reply that he wasn't a lying Englishman or a loudmouthed Irishman or a perverted Frenchman or a chiseling Jew or a barbarian Russian or a toadying German or a thickheaded Scandihoovian, and if his listener didn't like it, what did he have to say in reply?
He was from an orphanage, and the legend at the orphanage was that a policeman had found him, two hours old, in a garbage can coincident with the death by hemorrhage on a trolley car of a luetic young woman whose name appeared to be Merdeka and who had certainly been recently delivered of a child. No other facts were established, but for generation after generation of orphanage inmates there was great solace in having one of their number who indisputably had got off to a worse start than they.
A watershed of his career occurred when he noticed that he was, for the seventh time that year, reordering prints of scenes from Mr. Howard Hughes's production The Outlaw. These were not the off-the-bust stills of Miss Jane Russell, surprisingly, but were group scenes of Miss Russell suspended by her wrists and about to be whipped. Merdeka studied the scene, growled, "Give it to the bitch!" and doubled the order. It sold out. He canvassed his files for other whipping and torture stills from Desert Song-type movies, made up a special assortment, and it sold out within a week. Then he knew.
The man and the opportunity had come together, for perhaps the fiftieth time in history. He hired a model and took the first specially posed pictures himself. They showed her cringing from a whip, tied to a chair with a clothesline, and herself brandishing the whip.
Within two months Merdeka had cleared six thousand dollars and he put every cent of it back into more photographs and direct-mail advertising. Within a year he was big enough to attract the post office obscenity people. He went to Washington and screamed in their faces:
"My stuff isn't obscene and I'll sue you if you bother me, you stinking bureaucrats! You show me one breast, you show me one behind, you show me one human being touching another in my pictures! You can't and you know you can't! I don't believe in sex and I don't push sex, so you leave me the hell alone! Life is pain and suffering and being scared, so people like to look at my pictures; my pictures are about them, the scared little jerks! You're just a bunch of goddam perverts if you think there's anything dirty about my pictures!"
He had them there; Merdeka's girls always wore at least full panties, bras, and stockings; he had them there. The post office obscenity people were vaguely positive that there was something wrong with pictures of beautiful women tied down to be whipped or burned with hot irons, but what?
The next year they tried to get him on his income tax; those deductions for the Planned Parenthood Federation and the Midtown Hysterectomy Clinic were preposterous, but he proved them with canceled checks to the last nickel. "In fact," he indignantly told them, "I spend a lot of time at the Clinic and sometimes they let me watch the operations. That's how highly they think of me at the Clinic."
The next year he started DEATH: the Weekly Picture Magazine with the aid of a half-dozen bright young grads from the new Harvard School of Communicationeering. As DEATH'S Communicator in Chief (only yesterday he would have been its Publisher, and only fifty years before he would have been its Editor) he slumped biliously in a pigskin-paneled office, peering suspiciously at the closed-circuit TV screen which had a hundred wired eyes throughout DEATH'S offices, sometimes growling over the voice circuit: "You! What's your name?
Boland? You're through, Boland. Pick up your time at the paymaster."
For any reason; for no reason. He was a living legend in his narrow-lapel charcoal flannel suit and stringy bullfighter neckties; the bright young men in their Victorian Revival frock coats and pearl-pinned cravats wondered at his—not "obstinacy"; not when there might be a mike even in the corner saloon; say, his "timelessness."
The bright young men became bright young-old men, and the magazine which had been conceived as a vehicle for deadheading house ads of the mail order picture business went into the black. On the cover of every issue of DEATH was a pictured execution-of-the-week, and no price for one was ever too high. A fifty-thousand-dollar donation to a mosque had purchased the right to secretly snap the Bread Ordeal by which perished a Yemenite suspected of tapping an oil pipeline. An interminable illustrated History of Flagellation was a staple of the reading matter, and the Medical Section (in color) was tremendously popular. So too was the weekly Traffic Report.
When the last of the Compact Ships was launched into the Pacific the event made DEATH because of the several fatal accidents which accompanied the launching; otherwise Merdeka ignored the ships. It was strange that he who had unorthodoxies about everything had no opinion at all about the Compact Ships and their crews. Perhaps it was that he really knew he was the greatest manslayer who ever lived, and even so could not face commanding total extinction, including that of the seaborne leaven. The more articulate Sokeian, who in the name of Rinzei Zen Buddhism was at that time depopulating the immense area dominated by China, made no bones about it: "Even I in my Hate may err; let the celestial vessels be." The opinions of Dr. Spat, European member of the trio, are forever beyond recovery due to his advocacy of the "one-generation" plan.
With advancing years Merdeka's wits cooled and gelled. There came a time when he needed a theory and was forced to stab the button of the intercom for his young-old Managing Communicator and growl at him:
"Give me a theory!" And the M.C. reeled out: "The structural intermesh of DEATH: the Weekly Picture Magazine with Western culture is no random point-event but a rising world-line. Predecessor attitudes such as the Hollywood dogma 'No breasts—blood!' and the tabloid press's exploitation of violence were floundering and empirical. It was Merdeka who sigmaized the convergent traits of our times and asymptotically congruentizes with them publication-wise. Wrestling and the roller-derby as blood sports, the routinization of femicide in the detective tale, the standardization at one million per year of traffic fatalities, the wholesome interest of our youth in gang rumbles, all point toward the Age of Hate and Death. The ethic of Love and Life is obsolescent, and who is to say that Man is the loser thereby? Life and Death compete in the marketplace of ideas for the Mind of Man—"
Merdeka growled something and snapped off the set. Merdeka leaned back. Two billion circulation this week, and the auto ads were beginning to Tip. Last year only the suggestion of a dropped shopping basket as the Dynajetic 16 roared across the page, this year a hand, limp on the pictured pavement. Next year, blood. In February the Sylphella Salon chain ads had Tipped, with a crash, "—and the free optional judo course for slenderized Madame or Mademoiselle: learn how to kill a man with your lovely bare hands, with or without mess as desired."
Applications had risen twenty-eight percent. By God there was a structural intermesh for you!
It was too slow; it was still too slow. He picked up a direct-line phone and screamed into it: "Too slow! What am I paying you people for? The world is wallowing in filth! Movies are dirtier than ever! Kissing!
Pawing! Ogling! Men and women together—obscene! Clean up the magazine covers! Clean up the ads!"
The person at the other end of the direct line was Executive Secretary of the Society for Purity in Communications; Merdeka had no need to announce himself to him, for Merdeka was S.P.C.'s principal underwriter. He began to rattle off at once: "We've got the Mothers'