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- Herausgeber: DigiCat
- Kategorie: Geisteswissenschaft
- Sprache: Englisch
- Veröffentlichungsjahr: 2022
Nathanael West's 'The Day of the Locust' is a powerful and bleak depiction of Hollywood's dark underbelly during the Great Depression. Written in a stark, minimalist style, West explores themes of failed dreams, disillusionment, and the desperate pursuit of fame and success in a cutthroat industry. The novel's vivid and grotesque imagery, along with its sharp social commentary, places it firmly within the realm of American modernist literature, alongside works by F. Scott Fitzgerald and John Steinbeck. Through his deeply flawed characters and bleak portrayals of a decaying society, West paints a haunting portrait of the American Dream gone awry. Nathanael West, a contemporary of Fitzgerald and a participant in Hollywood's golden age, brings a uniquely cynical and critical perspective to the glitz and glamour of the film industry. His own experiences in Hollywood undoubtedly influenced the dark and uncompromising tone of 'The Day of the Locust,' allowing him to offer a scathing critique of American society at a time of great upheaval and uncertainty. For readers interested in exploring the darker side of Hollywood and the human psyche, 'The Day of the Locust' is a must-read. West's unflinching examination of the pursuit of fame and fortune in a society on the brink of collapse will leave a lasting impact on those who dare to delve into its pages.
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The Day of the Locust
Table of Contents
2
The house he lived in was a nondescript affair called the San Bernardino Arms. It was an oblong three stories high, the back and sides of which were of plain, unpainted stucco, broken by even rows of unadorned windows. The façade was the color of diluted mustard and its windows, all double, were framed by pink Moorish columns which supported turnip-shaped lintels.
His room was on the third floor, but he paused for a moment on the landing of the second. It was on that floor that Faye Greener lived, in 208. When someone laughed in one of the apartments he started guiltily and continued upstairs.
As he opened his door a card fluttered to the floor. “Honest Abe Kusich,” it said in large type, then underneath in smaller italics were several endorsements, printed to look like press notices.
“... the Lloyds of Hollywood”—Stanley Rose.
“Abe’s word is better than Morgan’s bonds”—Gail Brenshaw.
On the other side was a penciled message:
“Kingpin fourth, Solitair sixth. You can make some real dough on those nags.”
After opening the window, he took off his jacket and lay down on the bed. Through the window he could see a square of enameled sky and a spray of eucalyptus. A light breeze stirred its long, narrow leaves, making them show first their green side, then their silver one.
He began to think of “Honest Abe Kusich” in order not to think of Faye Greener. He felt comfortable and wanted to remain that way.
Abe was an important figure in a set of lithographs called “The Dancers” on which Tod was working. He was one of the dancers. Faye Greener was another and her father, Harry, still another. They changed with each plate, but the group of uneasy people who formed their audience remained the same. They stood staring at the performers in just the way that they stared at the masqueraders on Vine Street. It was their stare that drove Abe and the others to spin crazily and leap into the air with twisted backs like hooked trout.
Despite the sincere indignation that Abe’s grotesque depravity aroused in him, he welcomed his company. The little man excited him and in that way made him feel certain of his need to paint.
He had first met Abe when he was living on Ivar Street, in a hotel called the Chateau Mirabella. Another name for Ivar Street was “Lysol Alley,” and the Chateau was mainly inhabited by hustlers, their managers, trainers and advance agents.
In the morning its halls reeked of antiseptic. Tod didn’t like this odor. Moreover, the rent was high because it included police protection, a service for which he had no need. He wanted to move, but inertia and the fact that he didn’t know where to go kept him in the Chateau until he met Abe. The meeting was accidental.
He was on the way to his room late one night when he saw what he supposed was a pile of soiled laundry lying in front of the door across the hall from his own. Just as he was passing it, the bundle moved and made a peculiar noise. He struck a match, thinking it might be a dog wrapped in a blanket. When the light flared up, he saw it was a tiny man.
The match went out and he hastily lit another. It was a male dwarf rolled up in a woman’s flannel bathrobe. The round thing at the end was his slightly hydrocephalic head. A slow, choked snore bubbled from it.
The hall was cold and draughty. Tod decided to wake the man and stirred him with his toe. He groaned and opened his eyes.
“You oughtn’t to sleep there.”
“The hell you say,” said the dwarf, closing his eyes again.
“You’ll catch cold.”
This friendly observation angered the little man still more.
“I want my clothes!” he bellowed.
The bottom of the door next to which he was lying filled with light. Tod decided to take a chance and knock. A few seconds later a woman opened it part way.
“What the hell do you want?” she demanded.
“There’s a friend of yours out here who ...”
Neither of them let him finish.
“So what!” she barked, slamming the door.
“Give me my clothes, you bitch!” roared the dwarf.
She opened the door again and began to hurl things into the hall. A jacket and trousers, a shirt, socks, shoes and underwear, a tie and hat followed each other through the air in rapid succession. With each article went a special curse.
Tod whistled with amazement.
“Some gal!”
“You bet,” said the dwarf. “A lollapalooza—all slut and a yard wide.”
He laughed at his own joke, using a high-pitched cackle more dwarflike than anything that had come from him so far, then struggled to his feet and arranged the voluminous robe so that he could walk without tripping. Tod helped him gather his scattered clothing.
“Say, mister,” he asked, “could I dress in your place?”
Tod let him into his bathroom. While waiting for him to reappear, he couldn’t help imagining what had happened in the woman’s apartment. He began to feel sorry for having interfered. But when the dwarf came out wearing his hat, Tod felt better.
The little man’s hat fixed almost everything. That year Tyrolean hats were being worn a great deal along Hollywood Boulevard and the dwarf’s was a fine specimen. It was the proper magic green color and had a high, conical crown. There should have been a brass buckle on the front, but otherwise it was quite perfect.
The rest of his outfit didn’t go well with the hat. Instead of shoes with long points and a leather apron, he wore a blue, double-breasted suit and a black shirt with a yellow tie. Instead of a crooked thorn stick, he carried a rolled copy of the Daily Running Horse.
“That’s what I get for fooling with four-bit broads,” he said by way of greeting.
Tod nodded and tried to concentrate on the green hat. His ready acquiescence seemed to irritate the little man.
“No quiff can give Abe Kusich the fingeroo and get away with it,” he said bitterly. “Not when I can get her leg broke for twenty bucks and I got twenty.”
He took out a thick billfold and shook it at Tod.
“So she thinks she can give me the fingeroo, hah? Well, let me tell ...”
Tod broke in hastily.
“You’re right, Mr. Kusich.”
The dwarf came over to where Tod was sitting and for a moment Tod thought he was going to climb into his lap, but he only asked his name and shook hands. The little man had a powerful grip.
“Let me tell you something, Hackett, if you hadn’t come along, I’da broke in the door. That dame thinks she can give me the fingeroo, but she’s got another thinkola coming. But thanks anyway.”
“Forget it.”
“I don’t forget nothing. I remember. I remember those who do me dirt and those who do me favors.”
He wrinkled his brow and was silent for a moment.
“Listen,” he finally said, “seeing as you helped me, I got to return it. I don’t want anybody going around saying Abe Kusich owes him anything. So I’ll tell you what. I’ll give you a good one for the fifth at Caliente. You put a fiver on its nose and it’ll get you twenty smackeroos. What I’m telling you is strictly correct.”
Tod didn’t know how to answer and his hesitation offended the little man.
“Would I give you a bum steer?” he demanded, scowling. “Would I?”
Tod walked toward the door to get rid of him.
“No,” he said.
“Then why won’t you bet, hah?”
“What’s the name of the horse?” Tod asked, hoping to calm him.
The dwarf had followed him to the door, pulling the bathrobe after him by one sleeve. Hat and all, he came to a foot below Tod’s belt.
“Tragopan. He’s a certain, sure winner. I know the guy who owns him and he gave me the office.”
“Is he a Greek?” Tod asked.
He was being pleasant in order to hide the attempt he was making to maneuver the dwarf through the door.
“Yeh, he’s a Greek. Do you know him?”
“No.”
“No?”
“No,” said Tod with finality.
“Keep your drawers on,” ordered the dwarf, “all I want to know is how you know he’s a Greek if you don’t know him?”
His eyes narrowed with suspicion and he clenched his fists.
Tod smiled to placate him.
“I just guessed it.”
“You did?”
The dwarf hunched his shoulders as though he were going to pull a gun or throw a punch. Tod backed off and tried to explain.
“I guessed he was a Greek because Tragopan is a Greek word that means pheasant.”
The dwarf was far from satisfied.
“How do you know what it means? You ain’t a Greek?”
“No, but I know a few Greek words.”
“So you’re a wise guy, hah, a know-it-all.”
He took a short step forward, moving on his toes, and Tod got set to block a punch.
“A college man, hah? Well, let me tell ...”
His foot caught in the wrapper and he fell forward on his hands. He forgot Tod and cursed the bathrobe, then got started on the woman again.
“So she thinks she can give me the fingeroo.”
He kept poking himself in the chest with his thumbs.
“Who gave her forty bucks for an abortion? Who? And another ten to go to the country for a rest that time. To a ranch I sent her. And who got her fiddle out of hock that time in Santa Monica? Who?”
“That’s right,” Tod said, getting ready to give him a quick shove through the door.
But he didn’t have to shove him. The little man suddenly darted out of the room and ran down the hall, dragging the bathrobe after him.
A few days later, Tod went into a stationery store on Vine Street to buy a magazine. While he was looking through the rack, he felt a tug at the bottom of his jacket. It was Abe Kusich, the dwarf, again.
“How’s things?” he demanded.
Tod was surprised to find that he was just as truculent as he had been the other night. Later, when he got to know him better, he discovered that Abe’s pugnacity was often a joke. When he used it on his friends, they played with him like one does with a growling puppy, staving off his mad rushes and then baiting him to rush again.
“Fair enough,” Tod said, “but I think I’ll move.”
He had spent most of Sunday looking for a place to live and was full of the subject. The moment he mentioned it, however, he knew that he had made a mistake. He tried to end the matter by turning away, but the little man blocked him. He evidently considered himself an expert on the housing situation. After naming and discarding a dozen possibilities without a word from Tod, he finally hit on the San Bernardino Arms.
“That’s the place for you, the San Berdoo. I live there, so I ought to know. The owner’s strictly from hunger. Come on, I’ll get you fixed up swell.”
“I don’t know, I ...” Tod began.
The dwarf bridled instantly, and appeared to be mortally offended.
“I suppose it ain’t good enough for you. Well, let me tell you something, you ...”
Tod allowed himself to be bullied and went with the dwarf to Pinyon Canyon. The rooms in the San Berdoo were small and not very clean. He rented one without hesitation, however, when he saw Faye Greener in the hall.
3
Tod had fallen asleep. When he woke again, it was after eight o’clock. He took a bath and shaved, then dressed in front of the bureau mirror. He tried to watch his fingers as he fixed his collar and tie, but his eyes kept straying to the photograph that was pushed into the upper corner of the frame.
It was a picture of Faye Greener, a still from a two-reel farce in which she had worked as an extra. She had given him the photograph willingly enough, had even autographed it in a large, wild hand, “Affectionately yours, Faye Greener,” but she refused his friendship, or, rather, insisted on keeping it impersonal. She had told him why. He had nothing to offer her, neither money nor looks, and she could only love a handsome man and would only let a wealthy man love her. Tod was a “good-hearted man,” and she liked “good-hearted men,” but only as friends. She wasn’t hard-boiled. It was just that she put love on a special plane, where a man without money or looks couldn’t move.
Tod grunted with annoyance as he turned to the photograph. In it she was wearing a harem costume, full Turkish trousers, breastplates and a monkey jacket, and lay stretched out on a silken divan. One hand held a beer bottle and the other a pewter stein.
He had gone all the way to Glendale to see her in that movie. It was about an American drummer who gets lost in the seraglio of a Damascus merchant and has a lot of fun with the female inmates. Faye played one of the dancing girls. She had only one line to speak, “Oh, Mr. Smith!” and spoke it badly.
She was a tall girl with wide, straight shoulders and long, swordlike legs. Her neck was long, too, and columnar. Her face was much fuller than the rest of her body would lead you to expect and much larger. It was a moon face, wide at the cheek bones and narrow at chin and brow. She wore her “platinum” hair long, letting it fall almost to her shoulders in back, but kept it away from her face and ears with a narrow blue ribbon that went under it and was tied on top of her head with a little bow.
She was supposed to look drunk and she did, but not with alcohol. She lay stretched out on the divan with her arms and legs spread, as though welcoming a lover, and her lips were parted in a heavy, sullen smile. She was supposed to look inviting, but the invitation wasn’t to pleasure.
Tod lit a cigarette and inhaled with a nervous gasp. He started to fool with his tie again, but had to go back to the photograph.
Her invitation wasn’t to pleasure, but to struggle, hard and sharp, closer to murder than to love. If you threw yourself on her, it would be like throwing yourself from the parapet of a skyscraper. You would do it with a scream. You couldn’t expect to rise again. Your teeth would be driven into your skull like nails into a pine board and your back would be broken. You wouldn’t even have time to sweat or close your eyes.
He managed to laugh at his language, but it wasn’t a real laugh and nothing was destroyed by it.
If she would only let him, he would be glad to throw himself, no matter what the cost. But she wouldn’t have him. She didn’t love him and he couldn’t further her career. She wasn’t sentimental and she had no need for tenderness, even if he were capable of it.
When he had finished dressing, he hurried out of the room. He had promised to go to a party at Claude Estee’s.
4
Claude was a successful screen writer who lived in a big house that was an exact reproduction of the old Dupuy mansion near Biloxi, Mississippi. When Tod came up the walk between the boxwood hedges, he greeted him from the enormous, two-story porch by doing the impersonation that went with the Southern colonial architecture. He teetered back and forth on his heels like a Civil War colonel and made believe he had a large belly.
He had no belly at all. He was a dried-up little man with the rubbed features and stooped shoulders of a postal clerk. The shiny mohair coat and nondescript trousers of that official would have become him, but he was dressed, as always, elaborately. In the buttonhole of his brown jacket was a lemon flower. His trousers were of reddish Harris tweed with a hound tooth check and on his feet were a pair of magnificent, rust-colored blüchers. His shirt was ivory flannel and his knitted tie a red that was almost black.
While Tod mounted the steps to reach his outstretched hand, he shouted to the butler.
“Here, you black rascal! A mint julep.”
A Chinese servant came running with a Scotch and soda.
After talking to Tod for a moment, Claude started him in the direction of Alice, his wife, who was at the other end of the porch.
“Don’t run off,” he whispered. “We’re going to a sporting house.”
Alice was sitting in a wicker swing with a woman named Mrs. Joan Schwartzen. When she asked him if he was playing any tennis, Mrs. Schwartzen interrupted her.
“How silly, batting an inoffensive ball across something that ought to be used to catch fish on account of millions are starving for a bite of herring.”
“Joan’s a female tennis champ,” Alice explained.
Mrs. Schwartzen was a big girl with large hands and feet and square, bony shoulders. She had a pretty, eighteen-year-old face and a thirty-five-year-old neck that was veined and sinewy. Her deep sunburn, ruby colored with a slight blue tint, kept the contrast between her face and neck from being too startling.
“Well, I wish we were going to a brothel this minute,” she said. “I adore them.”
She turned to Tod and fluttered her eyelids.
“Don’t you, Mr. Hackett?”
“That’s right, Joan darling,” Alice answered for him. “Nothing like a bagnio to set a fellow up. Hair of the dog that bit you.”
“How dare you insult me!”
She stood up and took Tod’s arm.
“Convoy me over there.”
She pointed to the group of men with whom Claude was standing.
“For God’s sake, convoy her,” Alice said. “She thinks they’re telling dirty stories.”
Mrs. Schwartzen pushed right among them, dragging Tod after her.
“Are you talking smut?” she asked. “I adore smut.”
They all laughed politely.
“No, shop,” said someone.
“I don’t believe it. I can tell from the beast in your voices. Go ahead, do say something obscene.”
This time no one laughed.
Tod tried to disengage her arm, but she kept a firm grip on it. There was a moment of awkward silence, then the man she had interrupted tried to make a fresh start.
“The picture business is too humble,” he said. “We ought to resent people like Coombes.”
“That’s right,” said another man. “Guys like that come out here, make a lot of money, grouse all the time about the place, flop on their assignments, then go back East and tell dialect stories about producers they’ve never met.”
“My God,” Mrs. Schwartzen said to Tod in a loud, stagey whisper, “they are talking shop.”
“Let’s look for the man with the drinks,” Tod said.
“No. Take me into the garden. Have you seen what’s in the swimming pool?”
She pulled him along.
The air of the garden was heavy with the odor of mimosa and honeysuckle. Through a slit in the blue serge sky poked a grained moon that looked like an enormous bone button. A little flagstone path, made narrow by its border of oleander, led to the edge of the sunken pool. On the bottom, near the deep end, he could see a heavy, black mass of some kind.
“What is it?” he asked.
She kicked a switch that was hidden at the base of a shrub and a row of submerged floodlights illuminated the green water. The thing was a dead horse, or, rather, a life-size, realistic reproduction of one. Its legs stuck up stiff and straight and it had an enormous, distended belly. Its hammerhead lay twisted to one side and from its mouth, which was set in an agonized grin, hung a heavy, black tongue.
“Isn’t it marvelous!” exclaimed Mrs. Schwartzen, clapping her hands and jumping up and down excitedly like a little girl.
“What’s it made of?”
“Then you weren’t fooled? How impolite! It’s rubber, of course. It cost lots of money.”
“But why?”
“To amuse. We were looking at the pool one day and somebody, Jerry Appis, I think, said that it needed a dead horse on the bottom, so Alice got one. Don’t you think it looks cute?”
“Very.”
“You’re just an old meanie. Think how happy the Estees must feel, showing it to people and listening to their merriment and their oh’s and ah’s of unconfined delight.”
She stood on the edge of the pool and “ohed and ahed” rapidly several times in succession.
“Is it still there?” someone called.
Tod turned and saw two women and a man coming down the path.
“I think its belly’s going to burst,” Mrs. Schwartzen shouted to them gleefully.
“Goody,” said the man, hurrying to look.
“But it’s only full of air,” said one of the women.
Mrs. Schwartzen made believe she was going to cry.
“You’re just like that mean Mr. Hackett. You just won’t let me cherish my illusions.”
Tod was halfway to the house when she called after him. He waved but kept going.
The men with Claude were still talking shop.
“But how are you going to get rid of the illiterate mockies that run it? They’ve got a strangle hold on the industry. Maybe they’re intellectual stumblebums, but they’re damn good businessmen. Or at least they know how to go into receivership and come up with a gold watch in their teeth.”
“They ought to put some of the millions they make back into the business again. Like Rockefeller does with his Foundation. People used to hate the Rockefellers, but now instead of hollering about their ill-gotten oil dough, everybody praises them for what the Foundation does. It’s a swell stunt and pictures could do the same thing. Have a Cinema Foundation and make contributions to Science and Art. You know, give the racket a front.”
Tod took Claude to one side to say good night, but he wouldn’t let him go. He led him into the library and mixed two double Scotches. They sat down on the couch facing the fireplace.
“You haven’t been to Audrey Jenning’s place?” Claude asked.
“No, but I’ve heard tell of it.”
“Then you’ve got to come along.”
“I don’t like pro-sport.”
“We won’t indulge in any. We’re just going to see a movie.”
“I get depressed.”
“Not at Jenning’s you won’t. She makes vice attractive by skillful packaging. Her dive’s a triumph of industrial design.”
Tod liked to hear him talk. He was master of an involved comic rhetoric that permitted him to express his moral indignation and still keep his reputation for worldliness and wit.
Tod fed him another lead. “I don’t care how much cellophane she wraps it in,” he said—“nautch joints are depressing, like all places for deposit, banks, mail boxes, tombs, vending machines.”
“Love is like a vending machine, eh? Not bad. You insert a coin and press home the lever. There’s some mechanical activity inside the bowels of the device. You receive a small sweet, frown at yourself in the dirty mirror, adjust your hat, take a firm grip on your umbrella and walk away, trying to look as though nothing had happened. It’s good, but it’s not for pictures.”
Tod played straight again.
“That’s not it. I’ve been chasing a girl and it’s like carrying something a little too large to conceal in your pocket, like a briefcase or a small valise. It’s uncomfortable.”
“I know, I know. It’s always uncomfortable. First your right hand gets tired, then your left. You put the valise down and sit on it, but people are surprised and stop to stare at you, so you move on. You hide it behind a tree and hurry away, but someone finds it and runs after you to return it. It’s a small valise when you leave home in the morning, cheap and with a bad handle, but by evening it’s a trunk with brass corners and many foreign labels. I know. It’s good, but it won’t film. You’ve got to remember your audience. What about the barber in Purdue? He’s been cutting hair all day and he’s tired. He doesn’t want to see some dope carrying a valise or fooling with a nickel machine. What the barber wants is amour and glamor.”
The last part was for himself and he sighed heavily. He was about to begin again when the Chinese servant came in and said that the others were ready to leave for Mrs. Jenning’s.
