It was all very mechanical-but that's the way planetside life is.
PRETTY LITTLE BIRDIES
December 1, 1983:
Benny "Eggs" Benedict, plump, smallish, and balding, a popular columnist for the New York* News-Times, sat down to compose his daily essay. According to his usual procedure, he breathed deeply, relaxed every muscle, and gradually forced all verbalization in his brain to stop. When he had reached the Void he waited to see what would float up to fill the vacuum. What surfaced was:
Pretty little birdies
Picking in the turdies
*Terran Archives 2803: New York was a city-state or island in the midwestem part of the Unistat. It seems to have been a center of religious worship, and many came there to walk about, probably in deep meditation, within an enormous female statue, the goddess of these primitives. Various authorities identify this divinity as Columbia, Marilyn Monroe, Liberty, or Mother Fucker-all of these being names widely recorded in Unistat glyphs: Perhaps her true name will never be known.
Benny felt a rush of nostalgia. The jingle had been popular in Brooklyn when he was a schoolboy in the antediluvian era of the 1930s. Back then, in the Dark Ages of Roosevelt II, many Brooklyn peddlers still had horse-drawn carts, and the horses, as is common with their species, left piles of horse shit in the streets as they went about their itineraries. Sparrows would peck in these steaming piles of dung for undigested oats, and a Brooklyn child would exclaim, on seeing this:
"Pretty little birdies
Picking in the turdies!"
To which another child would usually reply:
"He's a poet
Though his looks don't show it!"
Benny reflected that this little bit of kidlore had stuck in his memory for nearly half a century and that it must therefore contain some profound Meaning. He began pounding the Mac Plus, offering the birdie-turdie poemlet as a perfect example of an American haiku-the juxtaposition of two images, without comment by the author, in a way that suggested far more than it actually said.
"Birds," Benny wrote, "are traditional symbols of beauty, from Bacon's nightingales to Keats's skylark, throughout our whole poetic tradition. Horse manure, on the other hand, is regarded with revulsion and loathing. Yet the sparrows, indifferent to human standards, blithely pick in the manure, seeking the food they know is there. The poem is telling us that human likes and dislikes are arbitrary, squinty-eyed, chauvinistic, and irrelevant to nature's own grand design strategy."
Benny went on to assert that he had only been able to see this profundity in the jingle now, after he had spent six months meditating at the Manhattan Zen Center. "This rhyme is the Essence of Zen," he concluded.
It was probably the least successful column Benny ever wrote. Virtually nobody understood it and everybody was bored by it. Some readers even wrote protesting letters complaining that the column had been in questionable taste.
Benny was depressed by this reaction. He felt it had been a stroke of genius on his part to rescue from oblivion a genuine American haiku; but even more than that, writing the column had triggered a vast stream of recollections about 1930s Brooklyn which gave him a renewed sense of Roots he had hoped to share. Why, how many still alive could remember the procedure when the meter man from Monopolated Edison appeared in a Brooklyn neighborhood in those days? The kids were dispatched as runners, racing from house to house, shouting "Mon Ed! Mon Ed!" Everybody would then remove the bags of salt which they kept over the electric meters to deflect the readings downward and thereby lower the electric bill.
It seemed like only yesterday that Benny himself had raced from house to house shouting, "Mon Ed! Mon Ed!" And people had rushed to move the bags of salt to closets where the meter man wouldn't see them. Benny hadn't thought of those days in more than four decades, yet they lived on in Memory Storage and could be activated again by something as simple as the jingle about the pretty little birdies. And Benny's whole attitude toward Mon Edison had been shaped by those experiences; he still regarded the "public" utility with a mixture of fear and loathing.
As a student of Zen, Benny knew that such negative emotions were bad for the nervous system and he often tried to regard Mon Ed without bias. It was impossible. He had learned to forgive Hitler, Stalin, even Nixon, but Mon Edison was still so charged with emotion that he could not think of it without his blood pressure rising. Besides, they had just raised their rates again in October. At the memory of that, Benny's Zen crumbled entirely.
"Public utilities are a monopolist's heaven and a consumer's hell," he growled, knowing he was not yet a Buddha.
But then he cheered up as another bit of 1930s kidlore came back to him. It was a silly ritual, really, but it used to keep them amused, even hilarious, back in sixth grade. It would begin with somebody asking, "Who shit in the sink?"
"You shit!" another would reply.
"Bullshit," the first would riposte.
"Who shit?" a third would then ask.
"Frank shit," somebody would answer.
"Bullshit," Frank would object.
"Who shit?"
"Joe shit," Frank would say, getting Joe into the game.
"Bullshit," Joe would pay promptly.
And so it would go: "Who shit?" "Pete shit." "Bullshit!" "Who shit?" "Jerry shit." "Bullshit!"… And on, and on, until everybody was bored-which among schoolboys might take quite a long time.
Benny was so overwhelmed with nostalgia that he decided to go visit his mother at the Brooklyn Senior Citizens' Home, even though the old lady had been a bit neurotic ever since she was knocked on her ass by a pursesnatcher three years ago on July 23, 1981.
AMERICAN HAIKU
The only one in New York who really grokked Benny Benedict's column about the pretty little birdies was Jus-tin Case, a mild, fortyish man who looked Gay but wasn't. Case wrote excruciatingly intelligent music criticism. Since he read about this example of American folk haiku while very, very, very stoned on Columbian Gold, he immediately conceived that it would be even more folkish and beautiful if recited with an old, Dark Age Brooklyn accent, viz:
"Pretty little boidies
Picking in the toidies!"
He was so enamored of this that he quoted it, whenever he was drunk or stoned, for several months. The whole winter-spring season of 1983-84, if you mingled with the intelligentsia in Manhattan, you were likely to hear Case declaiming, in a style based partly on Orson Welles and partly on Charles Laughton, "Pretty little boidies/Pickmg in the toidies!" This finally found its way into Case's NBI file-"Subject is inclined to quoting obscene poetry in mixed company"-and was even fed to the Beast.
The NBI had a file on Case because one of their informants had stated that he was a frequent associate of Blake Williams. In fact, Case detested Williams and only was seen in his presence because it was impossible to go to the best parties on the Isle of Manhattan without encountering him. Oddly enough, the informant knew that quite well-but she also knew that her fees depended on the number of new suspects she reported each month.
Case's NBI dossier remained always small. As a Congressional Medal of Honor winner in Vietnam, he was not the sort of man the Bureau cared to spy on too closely, since it would be embarrassing if they were caught. Besides, they couldn't make head or tails out of his phone conversations, which were all about such inscrutable matters as whether Beethoven's obsession with his nephew represented repressed paternal impulses, latent homosexuality, or the desire to be a mother, and whether all three elements were expressed in the tonic chord of the bassoon under the dominant chord of the tutti in the opening of the Ninth.