the moon's four days off the full and there's a square patch of moonlight on the wall and it's looking at me like a big blind milky eye, a wall eye. joke. goddam silly simile. writers. everything has to be like something else. my head is as fluffy as whipped cream but not as sweet. more similes. i could vomit just thinking about the lousy racket. i could vomit anyway. i probably will. don't push me. give me time. the wbrms in my solar plexus crawl and crawl and crawl. i would be better off in bed but there would be a dark animal underneath the bed and the dark animal would crawl around rustling and hump himself and bump the underside of the bed, then i would let out a yell that wouldn't make any sound except to me. a dream yell, a yell in a nightmare. there is nothing to be afraid of and i am not afraid because there is nothing to be afraid of, but just the same i was lying like that once in bed and the dark animal was doing it to me, bumping himself against the underside of the bed, and i had an orgasm. that disgusted me more than any other of the nasty things i have done. i'm dirty. i need a shave. my hands are shaking. i'm sweating. i smell foul to myself. the shirt under my arms is wet and on the chest and back. the sleeves are wet in the folds of the elbows. the glass on the table is empty. it would take both hands to pour the stuff now. i could get one out of the bottle maybe to brace me. the taste of the stuff is sickening. and it wouldn't get me anywhere. in the end i won't be able to sleep even and the whole world will moan in the horror of tortured nerves. good stuff, huh, wade? more. it's all right for the first two or three days and then it is negative. you suffer and you take a drink and for a little while it is better, but the price keeps getting higher and higher and what you get for it is less and less and then there is always the point where you get nothing but nausea. then you call veriinger. all right, verringer, here i come. there isn't any verringer any more. he's gone to cuba or he is dead. the queen has killed him. poor old verringer, what a fate, to die in bed with a queen—that kind of queen. come on, wade, let's get up and go places. places where we haven't ever been and aren't ever going back to when we have been. does this sentence make sense? no. okay, i'm not asking any money for it. a short pause here for a long commercial. well, i did it. i got up. what a man. i went over to the couch and here i am kneeling beside the couch with my hands down on it and my face in my hands, crying. then i prayed and despised myself for praying. grade three drunk despising himself. what the hell are you praying to, you fool? if a well man prays, that's faith. a sick man prays and he is just scared. nuts to prayer. this is the world you made and you make it all by yourself and what little outside help you got—well you made that too. stop praying, you jerk. get up on your feet and take that drink. it's too late for anything else now. well, i took it. both hands. poured it in the glass too. hardly spilled a drop. now if i can hold it without vomiting. better add some water. now lift it slow. easy, not too much at a time. it gets warm. it gets hot. if i could stop sweating. the glass is empty. it's down on the table again. there's a haze over the moonlight but i set that glass down in spite of it, carefully, carefully, like a spray of roses in a tall vase. the roses nod their heads with dew. maybe i'm a rose. brother, have i got dew. now to get upstairs. maybe a short one straight for the journey. no? okay, whatever you say. take it upstairs when i get there. if i get there, something to look forward to. if i make it upstairs i am entitled to compensation. a token of regard from me to me. i have such a beautiful love for myself—and the sweet part of it—no rivals. double space. been up and came down. didn't like it upstairs. the altitude makes my heart flutter. but i keep hitting these typewriter keys. what a magician is the subconscious. if only 'it would work regular hours. there was moonlight upstairs too. probably the same moon. no variety about the moon. it comes and goes like the milkman and the moon's milk is always the same. the milk's moon is always — hold it, chum. you've got your feet crossed. this is no time to get involved in the case history of the moon. you got enough case history to take care of the whole damn valley. she was sleeping on her side without sound. her knees drawn up. too still i thought. you always make some sound when you sleep. maybe not asleep, maybe just trying to sleep. if i went closer i would know. might fall down too. one of her eyes opened — or did it? she looked at me or did she? no. would have sat up and said, are you sick, darling? yes, i am sick, darling. but don't give it a thought, darling, because this sick is my sick and not your sick, and let you sleep still and lovely and never remember and no slime from me to you and nothing come near you that is grim and gray and ugly. you're a louse, wade. three adjectives, you lousy writer. can't you even stream-of-consciousness you louse without getting it in three adjectives for chris-sake? i came downstairs again holding on to the rail my guts lurched with the steps and i held them together with a promise. i made the main floor and i made the study and i made the couch and i waited for my heart to slow down. the bottle is handy. one thing you can say about wade's arrangements the bottle is always handy. nobody hides it, nobody locks it up. nobody says, don't you think you've had enough, darling? you'll make yourself sick, darling. nobody says that. just sleep on side softly like roses. i gave candy too much money. mistake. should have started him with a bag of peanuts and worked up to a banana. then a little real change, slow and easy, always keep him eager. you give him a big slug of the stuff to begin with and pretty soon he has a stake. he can live in mexico for a month, live high wide and nasty, on what it costs here for a day. so when he gets that stake, what does he do? well, does a man ever have enough money, if he thinks he can get more? maybe it's all right. maybe i ought to kill the shiny-eyed bastard. a good man died for me once, why not a cockroach in a white jacket? forget candy. there's always a way to blunt a needle. the other i shall never forget. it's carved on my liver in green fire. better telephone. losing control. feel them jumping, jumping, jumping. better call someone quick before the pink things crawl on my face. better call, call, call. call sioux city sue. hello, operator, giv( me long distance. hello, long distance, get me sioux city sue. what's her number? no have number, just name, operator. you'll find her walking along tenth street, on the shady side, under the tall corn trees with their spreading ears. . . . all right, operator, all right. just cancel the whole program and let me tell you something, i mean, ask you something. who's going to pay for all those snazzy parties gifford is throwing in london, if you cancel my long distance call? yeah, you think your job is solid. you think. here, i better talk to gifford direct. get him on the line. his valet just brought in his tea. if he can't talk we'll send over somebody that can. now what did i write that for? what was i trying not to think about? telephone. better telephone now. getting very bad, very, very . . . that was all. i folded the sheets up small and pushed them down into my inside breast pocket behind the note case. i went over to the french windows and opened them wide and stepped out onto the terrace. the moonlight was a little spoiled. but it was summer in idle valley and summer is never quite spoiled. i stood there looking at the motionless colorless lake and thought and wondered. then i heard a shot.