Nevertheless Galatea Dunkel was the only one in the gang who wasn't afraid of Dean and could sit there calmly, with her face hanging out, telling him off in front of everybody. There were earlier days in Denver when Dean had everybody sit in the dark with the girls and just talked, and talked, and talked, with a voice that was once hypnotic and strange and was said to make the girls come across by sheer force of persuasion and the content of what he said. This was when he was fifteen, sixteen. Now his disciples were married and the wives of his disciples had him on the carpet for the sexuality and the life he had helped bring into being. I listened further.
"Now you're going East with Sal," Galatea said, "and what do you think you're going to accomplish by that? Camille has to stay home and mind the baby now you're gone – how can she keep her job? – and she never wants to see you again and I don't blame her. If you see Ed along the road you tell him to come back to me or I'll kill him "
Just as flat as that. It was the saddest night. I felt as if I was with strange brothers and sisters in a pitiful dream. Then a complete silence fell over everybody; where once Dean would have talked his way out, he now fell silent himself, but standing in front of everybody, ragged and broken and idiotic, right under the lightbulbs, his bony mad face covered with sweat and throbbing veins, saying, "Yes, yes, yes," as though tremendous revelations were pouring into him all the time now, and I am convinced they were, and the others suspected as much and were frightened. He was BEAT – the root, the soul of Beatific. What was he knowing? He tried all in his power to tell me what he was knowing, and they envied that about me, my position at his side, defending him and drinking him in as they once tried to do. Then they looked at me. What was I, a stranger, doing on the West Coast this fair night? I recoiled from the thought.
"We're going to Italy," I said, I washed my hands of the whole matter. Then, too, there was a strange sense of maternal satisfaction in the air, for the girls were really looking at Dean the way a mother looks at the dearest and most errant child, and he with his sad thumb and all his revelations knew it well, and that was why he was able, in tick-tocking silence, to walk out of the apartment without a word, to wait for us downstairs as soon as we'd made up our minds about time. This was what we sensed about the ghost on the sidewalk. I looked out the window. He was alone in the doorway, digging the street. Bitterness, recriminations, advice, morality, sadness – everything was behind him, and ahead of him was the ragged and ecstatic joy of pure being.
"Come on, Galatea, Marie, let's go hit the jazz joints and forget it. Dean will be dead someday. Then what can you say to him?"
"The sooner he's dead the better," said Galatea, and she spoke officially for almost everyone in the room.
"Very well, then," I said, "but now he's alive and I'll bet you want to know what he does next and that's because he's got the secret that we're all busting to find and it's splitting his head wide open and if he goes mad don't worry, it won't be your fault but the fault of God."
They objected to this; they said I really didn't know Dean; they said he was the worst scoundrel that ever lived and I'd find out someday to my regret. I was amused to hear them protest so much. Roy Johnson rose to the defense of the ladies and said he knew Dean better than anybody, and all Dean was, was just a very interesting and even amusing con-man. I went out to find Dean and we had a brief talk about it.
"Ah, man, don't worry, everything is perfect and fine." He was rubbing his belly and licking his lips.
4
The girls came down and we started out on our big night, once more pushing the car down the street. "Wheeoo! let's go!" cried Dean, and we jumped in the back seat and clanked to the little Harlem on Folsom Street.
Out we jumped in the warm, mad night, hearing a wild tenorman bawling horn across the way, going "EE-YAH! EE-YAH! EE-YAH!" and hands clapping to the beat and folks yelling, "Go, go, go!" Dean was already racing across the street with his thumb in the air, yelling, "Blow, man, blow!" A bunch of colored men in Saturday-night suits were whooping it up in front. It was a sawdust saloon with a small bandstand on which the fellows huddled with their hats on, blowing over people's heads, a crazy place; crazy floppy sponren wandered around sometimes in their bathrobes, bottles clanked in alleys. In back of the joint in a dark corridor beyond the splattered toilets scores of men and women stood against the wall drinking wine-spodiodi and spitting at the stars – wine and whisky. The behatted tenorman was blowing at the peak of a wonderfully satisfactory free idea, a rising and falling riff that went from "EE-yah!" to a crazier "EE-de-lee-yah!" and blasted along to the rolling crash of butt-scarred drums hammered by a big brutal Negro with a bullneck who didn't give a damn about anything but punishing his busted tubs, crash, rattle-ti-boom, crash. Uproars of music and the tenorman had it and everybody knew he had it. Dean was clutching his head in the crowd, and it was a mad crowd. They were all urging that tenorman to hold it and keep it with cries and wild eyes, and he was raising himself from a crouch and going down again with his horn, looping it up in a clear cry above the furor. A six-foot skinny Negro woman was rolling her bones at the man's hornbell, and he just jabbed it at her, "Ee! ee! ee!"
Everybody was rocking and roaring. Galatea and Marie with beer in their hands were standing on their chairs, shaking and jumping. Groups of colored guys stumbled in from the street, falling over one another to get there. "Stay with it, man!" roared a man with a foghorn voice, and let out a big groan that must have been heard clear out in Sacramento, ah-haa! "Whoo!" said Dean. He was rubbing his chest, his belly; the sweat splashed from his face. Boom, kick, that drummer was kicking his drums down the cellar and rolling the beat upstairs with his murderous sticks, rattlety-boom! A big fat man was jumping on the platform, making it sag and creak. "Yoo!" The pianist was only pounding the keys with spread-eagled fingers, chords, at intervals when the great tenorman was drawing breath for another blast – Chinese chords, shuddering the piano in every timber, chink, and wire, boing! The tenorman jumped down from the platform and stood in the crowd, blowing around; his hat was over his eyes; somebody pushed it back for him. He just hauled back and stamped his foot and blew down a hoarse, laughing blast, and drew breath, and raised the horn and blew high, wide, and screaming in the air. Dean was directly in front of him with his face lowered to the bell of the horn, clapping his hands, pouring sweat on the man's keys, and the man noticed and laughed in his horn a long quivering crazy laugh, and everybody else laughed and they rocked and rocked; and finally the tenorman decided to blow his top and crouched down and held a note in high C for a long time as everything else crashed along and the cries increased and I thought the cops would come swarming from the nearest precinct. Dean was in a trance. The tenorman's eyes were fixed straight on him; he had a madman who not only understood but cared and wanted to understand more and much more than there was, and they began dueling for this; everything came out of the horn, no more phrases, just cries, cries, "Baugh" and down to "Beep!" and up to "EEEEE!" and down to clinkers and over to sideways-echoing horn-sounds. He tried everything, up, down, sideways, upside down, horizontal, thirty degrees, forty degrees, and finally he fell back in somebody's arms and gave up and everybody pushed around and yelled, "Yes! Yes! He blowed that one!" Dean wiped himself with his handkerchief.
Then up stepped the tenorman on the bandstand and asked for a slow beat and looked sadly out the open door over people's heads and began singing "Close Your Eyes." Things quieted down a minute. The tenorman wore a tattered suede jacket, a purple shirt, cracked shoes, and zoot pants without press; he didn't care. He looked like a Negro Hassel. His big brown eyes were concerned with sadness, and the singing of songs slowly and with long, thoughtful pauses. But in the second chorus he got excited and grabbed the mike and jumped down from the bandstand and bent to it. To sing a note he had to touch his shoetops and pull it all up to blow, and he blew so much he staggered from the effect, and only recovered himself in time for the next long slow note. "Mu-u-u-usic pla-a-a-a-a-a-ay!" He leaned back with his face to the ceiling, mike held below. He shook, he swayed. Then he leaned in, almost falling with his face against the mike. "Ma-a-a-ake it dream-y for dan-cing" – and he looked at the street outside with his lips curled in scorn, Billie Holiday's hip sneer – "while we go ro-man-n-n-cing" – he staggered sideways – "Lo-o-o-ove's holi-da-a-ay" – he shook his head with disgust and weariness at the whole world – "Will make it seem" – what would it make it seem? everybody waited; he mourned – "O-kay." The piano hit a chord. "So baby come on just clo-o-o-ose your pretty little ey-y-y-y-yes" – his mouth quivered, he looked at us, Dean and me, with an expression that seemed to say, Hey now, what's this thing we're all doing in this sad brown world? – and then he came to the end of his song, and for this there had to be elaborate preparations, during which time you could send all the messages to Garcia around the world twelve times and what difference did it make to anybody? because here we were dealing with the pit and prunejuice of poor beat life itself in the god-awful streets of man, so he said it and sang it, "Close – your – " and blew it way up to the ceiling and through to the stars and on out – "Ey-y-y-y-y-y-es" – and staggered off the platform to brood. He sat in the corner with a bunch of boys and paid no attention to them. He looked down and wept. He was the greatest.