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Groaning, man and wife would crawl out of a trailer. It was too expensive. Here in Danbury were trailers at $350 and some at $700. But where can you get $700? Where can you get the time for a long trip?
The long columns of machines flew soundlessly back to New York, and after an hour and a half at a good clip we saw the flaming sky. Skyscrapers shone from top to bottom. Over the earth gleamed the flowing lights of the cinemas and the theatres?
Carried away by the storm of life, we decided to devote the evening to acquaintanceship with entertainment for common people.
A "nickel" is what Americans call a small nickel coin of five cents. With all its appearance nocturnal New York tells the pleasure-seeker:
"Give me your nickel! Drop your nickel! Part with your nickel and you will be happy!"
The clicking noise comes out of the large amusement stores. Here stand scores of pinball tables of all kinds. You drop a nickel in the proper slot; automatically a cue is liberated by a spring, and the pleasure-seeker, having decided to spend the evening in revelry, can shoot a steel ball five times. For a certain number of points won he receives a card-board certificate from the master of the establishment. A half-year spent at regular play and, in consequence of the regular dropping of nickels, the reveller has the necessary number of points to receive his prize—one of those beautiful prizes that stand on the shelf. That may be a glass vase or an aluminium cocktail-shaker, or a table clock, or a cheap fountain pen or safety razor. In brief, here are all the treasures at the mere sight of which the heart of a housewife, a child, or a gangster contracts with sweetness. Americans spend hours in such lonely entertainment, in a concentrated, indifferent ma
Having finished with the pinball, one may go to an automatic soothsayer. She sits in a glass case, yellow-faced and thin. Before her in semicircle lies cards. It is taken for granted that you must drop a nickel. Then the soothsayer comes to life. Her head begins to bob, her chest to heave, and a wax arm glides over the cards. This is no spectacle for impressionable people. It is all so stupid and so horrible that one is in danger of losing one's mind. A half-minute later the fortune-teller freezes into her previous position. Now you must pull a handle. From the crack falls the prophecy of your fate. It is in most cases a portrait of your future wife and a short description of her attributes.
The stores of these idiotic wonders are disgusting even when they are located in the centre of a city full of tinsel and noise. But somewhere on the East Side, in the dark alleys, where the sidewalks and pavements are littered with the refuse of the daytime trade, among signboards which testify to the extreme poverty (here you can get a shave for five cents, lodging for fifteen), such a store, dimly lighted, dirty, where two or three figures silently and joylessly click at pinball, where by comparison an ordinary game of billiards becomes a genuine triumph of culture and intellect—there it is mortal boredom.
The head can ache from work. But it can also ache from amusement.
After the amusement stores we found ourselves in another strange amusement establishment.
The clatter of jazz imitates so far as possible the clatter of the elevated railway. People crowd around a glass booth in which sits a live cashier girl with a set, waxy smile on her face. This is a theatre called "Burlesque." This is a variety show for thirty-five cents.
The hall was full, and the young, determined ushers placed people anywhere at all. Some did not find seats. They stood in the aisles without taking their eyes off the stage.
On the stage a woman sang. She did not know how to sing. She bad the kind of voice that did not entitle her to hold forth even at birthday parties for the most indulgent relatives. She also danced. One did not have to be a balletomane to realize that this person would never become a ballerina. Yet the public smiled approvingly. Apparently in this audience there were no fanatics of singing and no balletomanes. The audience had come here for something else.
The "something else" was explained when this singer of songs and dancer of dances suddenly began to tittup across the stage, casting off her clothes as she cut her capers. She cast them off quite slowly so that the audience might examine this artistic mise en scene in all its detail. Suddenly the jazz cackled, the music stopped, and with a bedroom scream the girl ran into the wings. The young men who filled the hall applauded enthusiastically. A master of ceremonies, a man of athletic appearance dressed in a di
"If you applaud harder she will take off something else."
Such an explosion of applause broke loose then as even Mattia Battistini or A
The performer again passed across the stage, sacrificing what little was left of her garments. To satisfy the theatre censorship, she held a bit of clothing before her with one hand.
After the first dancer and singer another came out and repeated exactly what her predecessor had done. The third one did what the second had done. The fourth, fifth, and sixth did not make any new contributions. They sang without voice and without ear, and they danced with the grace of a kangaroo. But they disrobed. The other ten girls took their turns in faithfully repeating the same performance.
The only difference between them was that some were brunettes (these were fewer in number), while others were light-haired lambs (there were more of these).
This Zulu solemnity continued for several hours. It is pornography mechanized to such an extent that it acquires a kind of industrial and factory character. There is as little eroticism in this spectacle as in a serial production of vacuum cleaners or adding machines.
A small soundless rain fell on the street. But had there been a storm with thunder and lightning it would not have been heard.
New York itself thunders and gleams much more thoroughly than any storm. It is an excruciating city. It constantly rivets all attention to itself. It makes your eyes ache.
Yet it is impossible not to look upon it.
6. Papa and Mamma
BEFORE DEPARTING from Moscow we had collected numerous letters of introduction. It was explained to us that America was the land of letters of introduction. Without them you could not turn around.
Americans of our acquaintance whom we visited before departure at once and in silence sat down at their typewriters and began to pound out:
"Dear Sir: My friends, whom I commend to your attention . . ."
And so on and so forth. "Regards to your wife"—and in brief all that is proper to write on such occasions. They knew beforehand what we had come for.
The correspondent of the New York Times, Walter Duranty, wrote with incredible speed, taking the cigarette out of his mouth only in order to swallow some Crimean Madeira. We carried away from him a dozen letters. In farewell he told us:
"Go, go to America! It is much more interesting there now than here in your Russia. With you everything goes up." He indicated with his hand the rising steps of a stairway. "With you here everything is clear. But with us everything is not yet clear. And no one knows what may happen."
A colossal catch awaited us at Louis Fischer's, a journalist well known in American left-wing circles. He spent at least half of his working day on us.