Slouching Towards Bethlehem

• W
  .
  B
  .
  YEATS
  

this book
is called
Slouching Towards Bethlehem
because for several years now certain lines from the Yeats poem which appears two pages back have reverberated in my inner ear as if they were surgically implanted there. The widening gyre, the falcon which does not hear the falconer, the gaze blank and pitiless as the sun; those have been my points of reference, the only images against which much of what I was seeing and hearing and thinking seemed to make any pattern. “Slouching Towards Bethlehem” is also the title of one piece in the book, and that piece, which derived from some time spent in the Haight-Ashbury district of San Francisco, was for me both the most imperative of all these pieces to write and the only one that made me despondent after it was printed. It was the first time I had dealt directly and flatly with the evidence of atomization, the proof that things fall apart: I went to San Francisco because I had not been able to work in some months, had been paralyzed by the conviction that writing was an irrelevant act, that the world as I had understood it no longer existed. If I was to work again at all, it would be necessary for me to come to terms with disorder. That was why the piece was important to me. And after it was printed I saw that, however directly and flatly I thought I had said it, I had failed to get through to many of the people who read and even liked the piece, failed to suggest that I was talking about something more general than a handful of children wearing mandalas on their foreheads. Disc jockeys telephoned my house and wanted to discuss (on the air) the incidence of “filth” in the Haight-Ashbury, and acquaintances congratulated me on having finished the piece “just in time,” because “the whole fad’s dead now,
fini
,
kaput
.
”
I suppose almost everyone who writes is afflicted some of the time by the suspicion that nobody out there is listening, but it seemed to me then (perhaps because the piece was important to me) that I had never gotten a feedback so universally beside the point.

Almost all of the pieces here were written for magazines during 1965, 1966, and 1967, and most of them, to get that question out of the way at the outset, were “my idea.” I was asked to go up to the Carmel Valley and report on Joan Baez’s school there; I was asked to go to Hawaii; I think I was asked to write about John Wayne; and I was asked for the short essays on “morality,” by
The American Scholar
,
and on “self-respect,” by
Vogue
.
Thirteen of the twenty pieces were published in
The Saturday Evening Post
.
Quite often people write me from places like Toronto and want to know (demand to know) how I can reconcile my conscience with writing for
The Saturday Evening Post;
the answer is quite simple. The
Post
is extremely receptive to what the writer wants to do, pays enough for him to be able to do it right, and is meticulous about not changing copy. I lose a nicety of inflection now and then to the
Post
,
but do not count myself compromised. Of course not all of the pieces in this book have to do, in a “subject” sense, with the general breakup, with things falling apart; that is a large and rather presumptuous notion, and many of these pieces are small and personal. But since I am neither a camera eye nor much given to writing pieces which do not interest me, whatever I do write reflects, sometimes gratuitously, how I feel.

I am not sure what more I could tell you about these pieces. I could tell you that I liked doing some of them more than others, but that all of them were hard for me to do, and took more time than perhaps they were worth; that there is always a point in the writing of a piece when I sit in a room literally papered with false starts and cannot put one word after another and imagine that I have suffered a small stroke, leaving me apparently undamaged but actually aphasic. I was in fact as sick as I have ever been when I was writing “Slouching Towards Bethlehem”; the pain kept me awake at night and so for twenty and twenty-one hours a day I drank gin-and-hot-water to blunt the pain and took Dexedrine to blunt the gin and wrote the piece. (I would like you to believe that I kept working out of some real professionalism, to meet the deadline, but that would not be entirely true; I did have a deadline, but it was also a troubled time, and working did to the trouble what gin did to the pain.) What else is there to tell? I am bad at interviewing people. I avoid situations in which I have to talk to anyone’s press agent. (This precludes doing pieces on most actors, a bonus in itself.) I do not like to make telephone calls, and would not like to count the mornings I have sat on some Best Western motel bed somewhere and tried to force myself to put through the call to the assistant district attorney. My only advantage as a reporter is that I am so physically small, so temperamentally unobtrusive, and so neurotically inarticulate that people tend to forget that my presence runs counter to their best interests. And it always does. That is one last thing to remember:
writers are always selling somebody out
.

this
is a story about love and death in the golden land, and begins with the country. The San Bernardino Valley lies only an hour east of Los Angeles by the San Bernardino Freeway but is in certain ways an alien place: not the coastal California of the subtropical twilights and the soft westerlies off the Pacific but a harsher California, haunted by the Mojave just beyond the mountains, devastated by the hot dry Santa Ana wind that comes down through the passes at 100 miles an hour and whines through the eucalyptus windbreaks and works on the nerves. October is the bad month for the wind, the month when breathing is difficult and the hills blaze up spontaneously. There has been no rain since April. Every voice seems a scream. It is the season of suicide and divorce and prickly dread, wherever the wind blows.

The Mormons settled this ominous country, and then they abandoned it, but by the time they left the first orange tree had been planted and for the next hundred years the San Bernardino Valley would draw a kind of people who imagined they might live among the talismanic fruit and prosper in the dry air, people who brought with them Midwestern ways of building and cooking and praying and who tried to graft those ways upon the land. The graft took in curious ways. This is the California where it is possible to live and die without ever eating an artichoke, without ever meeting a Catholic or a Jew. This is the California where it is easy to Dial-A-Devotion, but hard to buy a book. This is the country in which a belief in the literal interpretation of Genesis has slipped imperceptibly into a belief in the literal interpretation of
Double Indemnity
,
the country of the teased hair and the Capris and the girls for whom all life’s promise comes down to a waltz-length white wedding dress and the birth of a Kimberly or a Sherry or a Debbi and a Tijuana divorce and a return to hairdressers’ school. “We were just crazy kids,” they say without regret, and look to the future. The future always looks good in the golden land, because no one remembers the past.

Here is where the hot wind blows and the old ways do not seem relevant, where the divorce rate is double the national average and where one person in every thirty-eight lives in a trailer. Here is the last stop for all those who come from somewhere else, for all those who drifted away from the cold and the past and the old ways. Here is where they are trying to find a new life style, trying to find it in the only places they know to look: the movies and the newspapers. The case of Lucille Marie Maxwell Miller is a tabloid monument to that new life style.

Imagine Banyan Street first, because Banyan is where it happened. The way to Banyan is to drive west from San Bernardino out Foothill Boulevard, Route
66:
past the Santa Fe switching yards, the Forty Winks Motel. Past the motel that is nineteen stucco tepees:
“
sleep in a wigwam
—
get more for your wampum
.
”
Past Fontana Drag City and the Fontana Church of the Nazarene and the Pit Stop A Go-Go; past Kaiser Steel, through Cucamonga, out to the Kapu Kai Restaurant-Bar and Coffee Shop, at the corner of Route
66
and Carnelian Avenue. Up Carnelian Avenue from the Kapu Kai, which means “Forbidden Seas,” the subdivision flags whip in the harsh wind.

“
HALF-ACRE RANCHES! SNACK BARS! TRAVERTINE ENTRIES!
$95
down
.
”
It is the trail of an intention gone haywire, the flotsam of the New California. But after a while the signs thin out on Carnelian Avenue, and the houses are no longer the bright pastels of the Springtime Home owners but the faded bungalows of the people who grow a few grapes and keep a few chickens out here, and then the hill gets steeper and the road climbs and even the bungalows are few, and here—desolate, roughly surfaced, lined with eucalyptus and lemon groves—is Banyan Street.

Like so much of this country, Banyan suggests something curious and unnatural. The lemon groves are sunken, down a three- or four-foot retaining wall, so that one looks directly into their dense foliage, too lush, unsettlingly glossy, the greenery of nightmare; the fallen eucalyptus bark is too dusty, a place for snakes to breed. The stones look not like natural stones but like the rubble of some unmentioned upheaval. There are smudge pots, and a closed cistern. To one side of Banyan there is the flat valley, and to the other the San Bernardino Mountains, a dark mass looming too high, too fast, nine, ten, eleven thousand feet, right there above the lemon groves. At midnight on Banyan Street there is no light at all, and no sound except the wind in the eucalyptus and a muffled barking of dogs. There may be a kennel somewhere, or the dogs may be coyotes.

Banyan Street was the route Lucille Miller took home from the twenty-four-hour Mayfair Market on the night of October 7, 1964, a night when the moon was dark and the wind was blowing and she was out of milk, and Banyan Street was where, at about 12:30 a. m. , her 1964Volkswagen came to a sudden stop, caught fire, and began to burn. For an hour and fifteen minutes Lucille Miller ran up and down Banyan calling for help, but no cars passed and no help came. At three o’clock that morning, when the fire had been put out and the California Highway Patrol officers were completing their report, Lucille Miller was still sobbing and incoherent, for her husband had been asleep in the Volkswagen. “What will I tell the children, when there’s nothing left, nothing left in the casket,” she cried to the friend called to comfort her. “How can I tell them there’s nothing left?”

In fact there was something left, and a week later it lay in the Draper Mortuary Chapel in a closed bronze coffin blanketed with pink carnations. Some 200 mourners heard Elder Robert E. Denton of the Seventh-Day Adventist Church of Ontario speak of “the temper of fury that has broken out among us.” For Gordon Miller, he said, there would be “no more death, no more heartaches, no more misunderstandings.” Elder Ansel Bristol mentioned the “peculiar” grief of the hour. Elder Fred Jensen asked “what shall it profit a man, if he shall gain the whole world, and lose his own soul?” A light rain fell, a blessing in a dry season, and a female vocalist sang “Safe in the Arms of Jesus.” A tape recording of the service was made for the widow, who was being held without bail in the San Bernardino County Jail on a charge of first-degree murder.