foliage of memory. Feel, oh poet, the warm knife of thought swift stride and slit in the ready garden.
“Soon the hot seed will come to thwart the knife’s progress. The hot seed will come in a joyous burst-birth of reeking undergrowth and swamp forest.
“Walk toward the houses of the city of your memory, oh, poet! Houses that are protuberances on the skin of streets—warts, tumors, pimples, corns, nipples, sebaceous cysts, hard and soft chancres.
“Like the gums of false teeth, red are the signs imploring you to enter the game paths lit by iron flowers. Like ants under a new-turned stone, hysterical are the women who run there clad in the silk tights of pleasure, oiled with fish slime. Women whose only delight is to rub the jaded until it becomes irritated and grows new things, pimples of a…”
Throwing his arms around her, Balso interrupted her recitation by sticking his tongue into her mouth. But when he closed his eyes to heighten the fun, he felt that he was embracing tweed. He opened them and saw that what he held in his arms was a middle aged woman dressed in a mannish suit and wearing hornrimmed glasses.
“My name is Miss McGeeney,” she said. “I am a writer as well as a school teacher. Let’s discuss something.”
Balso wanted to bash her jaw in, but he found that he could not move. He tried to curse, but could only say: “How interesting. On what are you working?”
“At present I am writing a biography of Samuel Perkins. Stark, clever, disillusioned stuff, with a tenderness devoid of sentiment, yet touched by pity and laughter and irony. Into this book I hope to put the whimsical humor, the kindly satire of a mellow life.
“On the surface Samuel Perkins: Smeller [for so I call it] is simply a delightful story for children. The discriminating adult soon discovers, however, that it sprang from the brain of a kindly philosopher, that it is a genial satire on humanity.
“Under the title I intend placing as motto a verse from Juvenal: ‘Who is surprised to see a goiter in the Alps? Quistumidum guttur miratur in Alpibus?’ I feel that this quotation strikes the keynote of the work.
“But who is Samuel Perkins, you are probably wondering. Samuel Perkins is the biographer of E. F. Fitzgerald. And who is Fitzgerald? You are of course familiar with D. B. Hobson’s life of Boswell. Well, E. F. Fitzgerald is the author of a life of Hobson. The subject of my biography, Samuel Perkins, wrote a life of Fitzgerald.
“Sometime ago, a publisher asked me to write a biography, and I decided to do one of E. F. Fitzgerald. Fortunately, before commencing my study, I met Samuel Perkins who told me that he had written a biography of Fitzgerald the biographer of Hobson the biographer of Boswell. This news did not discourge me, but, on the contrary, made me determine to write a life of Perkins and so become another link in a brilliant literary chain. It seems to me that someone must surely take the hint and write the life of Miss McGreeney, the woman who wrote the biography of the man who wrote the biography of the man who wrote the biography of the man who wrote the biography of Boswell. And that, ad infinitum, we will all go rattling down the halls of time, each one in his or her turn a tin can on the tail of Doctor Johnson._
“But there are other good reasons for writing a life of Perkins. He was a great, if peculiar, genius with a character that lends itself most readily to biography.
“At an age when most men’s features are regular, before his personality had been able to elevate any one portion of his physiognomy over the rest, Perkins’ face was dominated by his nose. This fact I have ascertained from a collection of early photographs lent me by a profound admirer of Perkins and a fellow practitioner of his art. I refer to Robert Jones, author of a book called Nosologie.
“When I met Perkins for the first time, his face reminded me of the body of a man I had known at college. According to gossip