"The Dud Avacado" [.]
Sep. 9th, 2007 04:57 pmPart two of the book takes diary form, which recalls "Gentleman Prefer Blondes". To our heroine, the turning point was the loss of her passport. 'B.P. Before Passport. Was I going to have to gauge everything that way for the rest of my life?'
<Her romantic travails took an amazing turn in the last 30 pages of the book:>
- And then, as unexpected as a hidden step, I felt myself actually stumble and fall. And there it was, I was in love with him! As simple as that.
- I had a sinister premonition of how embarrassing an homme fatal could be when his charms are no longer fatal to you.
- A split second suspended itself into infinity in the air while my heart pounded furiously and I kept kissing and kissing his knuckles. And then /it/ was over.
- At first I had him sliced like a pie into thirds: one-third High Living (Solider of fortune, gambler, womanizer); one-thrid Low-living (preoccupation with "real" world, anti-phony, anti-tourist,.. on elaborate terms of equality with waiters, etc.); and one-third Serious Artist.
- Now that I felt I completely understood him, I completely despised him. .. The main trouble with being an homme fatal, the really, really crux of the matter was one was so entirely dependent on every single prop.
- "I knew this: you don't have to sleep with anyone to get them to rent you a villa. You don't have to do anything. You just have to be. I've been around and I know who does and who doesn't."
- We kissed right through it. Coming to life in a movie house on West Fourth Street is an apotheosis I'd have to leave to one of those mad seventeenth-century mystics like Herbert of Vaughan to do justice to. It's the end.
From the afterword:
__ the most unsympathetic of all ailments: a bad back
__ Ernest Hemingway said to me. "I liked your book. I liked they way your characters all speak differently." And then added, "My characters all sounds the same because I never listen."
__ Cyril Connolly
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