began to speak volubly, the words crowding out of him like traffic, trying to make up for the absence of the cars. Volubility came easily to Max Ophuls, but it was just one of his many techniques of concealment, and he was never more hidden than when he seemed most open. For the greater part of his life he had been a burrower, a man of secrets, whose job it was to uncover the mysteries of others while protecting his own, and when by choice or necessity he spoke the use of paradox had long been his preferred disguise. They moved down the empty freeway so swiftly that it seemed they were standing still, with the ocean to their right and the city beginning to twinkle to their left, and it was of the city that Max decided to speak because he knew he had already said too much about himself, shown too much, like an amateur. So now he praised the city, commended it precisely for the qualities that were commonly held to be its greatest faults. That the city had no focal point, he professed hugely to admire. The idea of the center was in his view outdated, oligarchic, an arrogant anachronism. To believe in such a thing was to consign most of life to the periphery, to marginalize and in doing so to devalue. The decentered promiscuous sprawl of this giant invertebrate blob, this jellyfish of concrete and light, made it the true democratic city of the future. As India navigated the hollow freeways her father lauded the city’s bizarre anatomy, which was fed and nourished by many such congealed and flowing arteries but needed no heart to drive its mighty flux. That it was a desert in disguise caused him to celebrate the genius of human beings, their ability to populate the earth with their imaginings, to bring water to the wilderness and bustle to the void; that the desert had its revenge on the complexions of its conquerors, drying them, ingraining lines and furrows, provided those triumphant mortals with the salutary lesson that no victory was absolute, that the struggle between earthlings and the earth could never be decided in favor of either combatant, but swung back and forth through all eternity. That it was a hidden city, a city of strangers, appealed to him most of all. In the Forbidden City of the Chinese emperors, only royalty had the privilege of remaining occult. In this brilliant burg, however, secrecy was freely available to all comers. The modern obsession with intimacy, with the revelation of the self to the other, was not to Max’s taste. An open city was a naked whore, lying invitingly back and turning every trick; whereas this veiled and difficult place, this erotic capital of the obscure stratagem, knew precisely how to arouse and heighten our metropolitan desires.
She was used to such soliloquies, his fugues on themes of this or that; used, also, to his habit of half-humorous perversity. But now his praisesong seemed to cross a frontier and bear him away from her into a shadow. When he claimed to admire the city’s powerful gangs for the thrilling casual potency of their violence and the tag artists for their transient encrypted graffiti; when he praised the earthquakes for their majesty and the landslides for their reproof to human vanity; when with no apparent irony he celebrated the junk food of America and waxed lyrical about the new banality of diet cola; when he admired the strip malls for their neon and the chain stores for their ubiquity; when he declined to criticize the produce on sale in the farmers’ markets, the visually delightful apples that tasted like cotton puffs, the bananas made of pulped paper, the odorless flowers, calling them symbols of the inevitable triumph of illusion over reality that was the single most obvious truth about the history of the human race; when he, who had been a model of probity in his own public (though not sexual) life, admitted to secret feelings of admiration for a corrupt local official because of the flamboyant daring of his corruption and, contradicting himself,
Debbie Gould, L.J. Garland