7
To Pack and Wear:
2 skirts
2 jerseys or leotards
pullover sweater
pair shoes stockings bra
nightgown, robe, slippers
cigarettes
bourbon
bag with:
shampoo
toothbrush and paste
Basis soap
razor, deodorant
aspirin, prescriptions, Tampax
face cream, powder, baby oil
To Carry:
mohair throw
typewriter
2 legal pads and pens
files
house key
This is a list which was taped inside my closet door in Hollywood during those years when I was reporting more or less steadily. The list enabled me to pack, without thinking, for any piece I was likely to do. Notice the deliberate anonymity of costume: in a skirt, a leotard, and stockings, I could pass on either side of the culture. Notice the mohair throw for trunk-line flights (i. e., no blankets) and for the motel room in which the air conditioning could not be turned off. Notice the bourbon for the same motel room. Notice the typewriter for the airport, coming home: the idea was to turn in the Hertz car, check in, find an empty bench, and start typing the day’s notes.
It should be clear that this was a list made by someone who prized control, yearned after momentum, someone determined to play her role as if she had the script, heard her cues, knew the narrative. There is on this list one significant omission, one article I needed and never had: a watch. I needed a watch not during the day, when I could turn on the car radio or ask someone, but at night, in the motel. Quite often I would ask the desk for the time every half hour or so, until finally, embarrassed to ask again, I would call Los Angeles and ask my husband. In other words I had skirts, jerseys, leotards, pullover sweater, shoes, stockings, bra, nightgown, robe, slippers, cigarettes, bourbon, shampoo, toothbrush and paste, Basis soap, razor, deodorant, aspirin, prescriptions, Tampax, face cream, powder, baby oil, mohair throw, typewriter, legal pads, pens, files and a house key, but I didn’t know what time it was. This may be a parable, either of my life as a reporter during this period or of the period itself.
8
Driving a budget Rent-A-Car between Sacramento and San Francisco one rainy morning in November of 1968 I kept the radio on very loud. On this occasion I kept the radio on very loud not to find out what time it was but in an effort to erase six words from my mind, six words which had no significance for me but which seemed that year to signal the onset of anxiety or fright. The words, a line from Ezra Pound’s “In a Station of the Metro,” were these: Petals on a wet black bough. The radio played “Wichita Lineman” and “I Heard It Through the Grapevine.” Petals on a wet black bough. Somewhere between the Yolo Causeway and Vallejo it occurred to me that during the course of any given week I met too many people who spoke favorably about bombing power stations. Somewhere between the Yolo Causeway and Vallejo it also occurred to me that the fright on this particular morning was going to present itself as an inability to drive this Budget Rent-A-Car across the Carquinas Bridge. The Wichita Lineman was still on the line. I closed my eyes and drove across the Carquinas Bridge, because I had appointments, because I was working, because I had promised to watch the revolution being made at San Francisco State College and because there was no place in Vallejo to turn in a Budget Rent-A-Car and because nothing on my mind was in the script as I remembered it.
9
At San Francisco State College on that particular morning the wind was blowing the cold rain in squalls across the muddied lawns and against the lighted windows of empty classrooms. In the days before there had been fires set and classes invaded and finally a confrontation with the San Francisco Police Tactical Unit, and in the weeks to come the campus would become what many people on it were pleased to call “a battlefield.” The police and the Mace and the noon arrests would become the routine of life on the campus, and every night the combatants would review their day on television: the waves of students advancing, the commotion at the edge of the frame, the riot sticks flashing, the instant of jerky camera that served to suggest at what risk the film was obtained; then a cut to the weather map. In the beginning there had been the necessary “issue,” the suspension of a 22-year-old instructor who happened as well to be Minister of Education for the Black Panther Party, but that issue, like most, had soon ceased to be the point in the minds of even the most dense participants. Disorder was its own point.
I had never before been on a campus in disorder, had missed even Berkeley and Columbia, and I suppose I went to San Francisco State expecting something other than what I found there. In some not at all trivial sense, the set was wrong. The very architecture of California state colleges tends to deny radical notions, to reflect instead a modest and hopeful vision of progressive welfare bureaucracy, and as I walked across the campus that day and on later days the entire San Francisco State dilemma — the gradual politicization, the “issues” here and there, the obligatory “Fifteen Demands,” the continual arousal of the police and the outraged citizenry — seemed increasingly off-key, an instance of the enfants terribles and the Board of Trustees unconsciously collaborating on a wishful fantasy (Revolution on Campus) and playing it out in time for the six o’clock news.”Adjet-prop committee meeting in the Redwood Room,” read a scrawled note on the cafeteria door one morning; only someone who needed very badly to be alarmed could respond with force to a guerrilla band that not only announced its meetings on the enemy’s bulletin board but seemed innocent of the spelling, and so the meaning, of the words it used. “Hitler Hayakawa,” some of the faculty had begun calling S. I. Hayakawa, the semanticist who had become the college’s third president in a year and had incurred considerable displeasure by trying to keep the campus open. “Eichmann,” Kay Boyle had screamed at him at a rally. In just such broad strokes was the picture being painted in the fall of 1968 on the pastel campus at San Francisco State.
The place simply never seemed serious. The headlines were dark that first day, the college had been closed “indefinitely,” both Ronald Reagan and Jesse Unruh were threatening reprisals; still, the climate inside the Administration Building was that of a musical comedy about college life. “No chance we’ll be open tomorrow,” secretaries informed callers. “Go skiing, have a good time.” Striking black militants dropped in to chat with the deans; striking white radicals exchanged gossip in the corridors. “No interviews, no press,” announced a student strike leader who happened into a dean’s office where I was sitting; in the next moment he was piqued because no one had told him that a Huntley-Brinkley camera crew was on campus. “We can still plug into that,” the dean said soothingly. Everyone seemed joined in a rather festive camaraderie, a shared jargon, a shared sense of moment: the future was no longer arduous and indefinite but immediate and programmatic, aglow with the prospect of problems to be “addressed,” plans to be “implemented.” It was agreed all around that the confrontations could be “a very healthy development,” that maybe it took a shutdown “to get something done.” The mood, like the architecture, was 1948 functional, a model of pragmatic optimism.