by Anthology
They talk a while, about the city mostly, about their variant scenes. Sparring, but he's interested. Dori yawns with pretended disinterest and gets up to leave. Lester notes that Dori is taller than he is. It doesn't bother him. He gets her phone number.
Lester crashes in a Holiday Inn. Next day he leaves town. He spends a week in a flophouse in Tijuana with his Great American Novel, which sucks. Despondent and terrified he writes himself little cheering notes: "Burroughs was almost fifty when he wrote Nova Express! Hey boy, you only thirty-three! Burnt-out! Washed up! Finished! A bit of flotsam! And in that flotsam your salvation! In that one grain of wood. In that one bit of that irrelevance. If you can bring yourself to describe it. . ."
It's no good. He's fucked. He knows he is, too, he's been reading over his scrapbooks lately, those clippings of yellowing newsprint, thinking: it was all a box, man! El Cajon! You'd think: wow, a groovy youth-rebel Rock Writer, he can talk about anything, can't he? Sex, dope, violence, Mazola parties with teenage Indonesian groupies, Nancy Reagan publicly fucked by a herd of clapped-out bull walruses… but when you actually read a bunch of Lester Bangs Rock Reviews in a row, the whole shebang has a delicate hermetic whiff, like so many eighteenth-century sonnets. It is to dance in chains; it is to see the whole world through a little chromed window of Silva-Thin 'shades…
Lester Bangs is nothing if not a consummate romantic. He is, after all, a man who really no kidding believes that Rock and Roll Could Change the World, and when he writes something which isn't an impromptu free lesson on what's wrong with Western Culture and how it can't survive without grabbing itself by the backbrain and turning itself inside-out, he feels like he's wasted a day. Now Lester, fretfully abandoning his typewriter to stalk and kill flophouse roaches, comes to realize that he will have to turn himself inside out. Grow, or die. Grow into something but he has no idea what. He feels beaten.
So Lester gets drunk. Starts with Tecate, works his way up to tequila. He wakes up with a savage hangover. Life seems hideous and utterly meaningless. He abandons himself to senseless impulse. Or, in alternate terms, Lester allows himself to follow the numinous artistic promptings of his holy intuition. He returns to San Francisco and calls Dori Seda.
Dori, in the meantime, has learned from friends that there is indeed a rock journalist named "Lester Bangs" who's actually kind of famous. He once appeared on stage with the J. Geils Band "playing" his typewriter. He's kind of a big deal, which probably accounts for his being kind of an asshole. On a dare Dori calls Lester Bangs in New York, gets his answering machine, and recognizes the voice. It was him, all right. Through some cosmic freak, she met Lester Bangs and he tried to pick her up! No dice, though. More Lonely Nights, Dori!
Then Lester calls. He's back in town again. Dori's so flustered she ends up being nicer to him on the phone than she means to be.
She goes out with him. To rock clubs. Lester never has to pay; he just mutters at people, and they let him in and find him a table. Strangers rush up to gladhand Lester and jostle round the table and pay court. Lester finds the music mostly boring, and it's no pretense; he actually is bored, he's heard it all. He sits there sipping club sodas and handing out these little chips of witty guru insight to these sleaze-ass Hollywood guys and bighaired coke-whores in black Spandex. Like it was his job.
Dori can't believe he's going to all this trouble just to jump her bones. It's not like he can't get women, or like their own relationship is all that tremendously scintillating. Lester's whole set-up is alien. But it is kind of interesting, and doesn't demand much. All Dori has to do is dress in her sluttiest Goodwill get-up, and be This Chick With Lester. Dori likes being invisible, and watching people when they don't know she's looking. She can see in their eyes that Lester's people wonder Who The Hell Is She? Dori finds this really funny, and makes sketches of his creepiest acquaintances on cocktail napkins. At night she puts them in her sketch books and writes dialogue balloons. It's all really good material.
Lester's also very funny, in a way. He's smart, not just hustler-clever but scary-crazy smart, like he's sometimes profound without knowing it or even wanting it. But when he thinks he's being most amusing, is when he's actually the most depressing. It bothers her that he doesn't drink around her; it's a bad sign. He knows almost nothing about art or drawing, he dresses like a jerk, he dances like a trained bear. And she's fallen in love with him and she knows he's going to break her goddamn heart.
Lester has put his novel aside for the moment. Nothing new there; he's been working on it, in hopeless spasms, for ten years. But now juggling this affair takes all he's got.
Lester is terrified that this amazing woman is going to go to pieces on him. He's seen enough of her work now to recognize that she's possessed of some kind of genuine demented genius. He can smell it; the vibe pours off her like Everglades swamp-reek. Even in her frowsy house robe and bunny slippers, hair a mess, no makeup, half-asleep, he can see something there like Dresden china, something fragile and precious. And the world seems like a maelstrom of jungle hate, sinking into entropy or gearing up for Armageddon, and what the hell can anybody do? How can he be happy with her and not be punished for it? How long can they break the rules before the Nova Police show?
But nothing horrible happens to them. They just go on living.
Then Lester blunders into a virulent cloud of Hollywood money. He's written a stupid and utterly commercial screenplay about the laff-a-minute fictional antics of a heavy-metal band, and without warning he gets eighty thousand dollars for it.
He's never had so much money in one piece before. He has, he realizes with dawning horror, sold out.
To mark the occasion Lester buys some freebase, six grams of crystal meth, and rents a big white Cadillac. He fast-talks Dori into joining him for a supernaturally cool Kerouac adventure into the Savage Heart of America, and they get in the car laughing like hyenas and take off for parts unknown.
Four days later they're in Kansas City. Lester's lying in the back seat in a jittery Hank Williams half-doze and Dori is driving. They have nothing left to say, as they've been arguing viciously ever since Albuquerque.
Dori, white-knuckled, sinuses scorched with crack, loses it behind the wheel. Lester's slammed from the back seat and wakes up to find Dori knocked out and drizzling blood from a scalp wound. The Caddy's wrapped messily in the buckled ruins of a sidewalk mailbox.
Lester holds the resultant nightmare together for about two hours, which is long enough to flag down help and get Dori into a Kansas City trauma room.
He sits there, watching over her, convinced he's lost it, blown it; it's over, she'll hate him forever now. My God, she could have died! As soon as she comes to, he'll have to face her. The thought of this makes something buckle inside him. He flees the hospital in headlong panic.
He ends up in a sleazy little rock dive downtown where he jumps onto a table and picks a fight with the bouncer. After he's knocked down for the third time, he gets up screaming for the manager, how he's going to ruin that motherfucker, and the club's owner shows up, tired and red-faced and sweating. The owner, whose own tragedy must go mostly unexpressed here, is a fat white-haired cigar-chewing third-rater who attempted, and failed, to model his life on Elvis's Colonel Parker. He hates kids, he hates rock and roll, he hates the aggravation of smart-ass doped-up hippies screaming threats and pimping off the hard work of businessmen just trying to make a living.
He has Lester hauled to his office backstage and tells him all this. Toward the end, the owner's confused, almost plaintive, because he's never seen anyone as utterly, obviously, and desperately fucked-up as Lester Bangs, but who can still be coherent about it and use phrases like "rendered to the factor of machinehood" while mopping blood from his punched nose.
And Lester, trembling and red-eyed, tells him: fuck you Jack, I could run this jerkoff place, I could do everything you do blind drunk, and make this place a fucking legend in American culture, you booshwah sonofabitch.
Yeah punk if you
had the money, the owner says.
I've got the money! Let's see your papers, you evil cracker bastard! In a few minutes Lester is the owner-to-be on a handshake and an earnestcheck.
Next day he brings Dori roses from the hospital shop downstairs. He sits next to the bed; they compare bruises, and Lester explains to her that he has just blown his fortune. They are now tied down and beaten in the corn-shucking heart of America. There is only one possible action left to complete this situation.
Three days later they are married in Kansas City by a justice of the peace.
Needless to say marriage does not solve any of their problems. It's a minor big deal for a while, gets mentioned in rock-mag gossip columns; they get some telegrams from friends, and Dori's mom seems pretty glad about it. They even get a nice note from Julie Burchill, the Marxist Amazon from New Musical Express who has quit the game to write for fashion mags, and her husband Tony Parsons the proverbial "hip young gunslinger" who now writes weird potboiler novels about racetrack gangsters. Tony & Julie seem to be making some kind of a go of it. Kinda inspirational.
For a while Dori calls herself Dori Seda-Bangs, like her good friend Aline Kominsky-Crumb, but after a while she figures what's the use? and just calls herself Dori Bangs which sounds plenty weird enough on its own.
Lester can't say he's really happy or anything, but he's sure busy. He renames the club "Waxy's Travel Lounge," for some reason known only to himself. The club loses money quickly and consistently. After the first month Lester stops playing Lou Reed's Metal Machine Music before sets, and that helps attendance some, but Waxy's is still a club which books a lot of tiny weird college-circuit acts that Albert Average just doesn't get yet. Pretty soon they're broke again and living on Lester's reviews.
They'd be even worse off, except Dori does a series of promo posters for Waxy's that are so amazing that they draw people in, even after they've been burned again and again on weird-ass bands only Lester can listen to.
After a couple of years they're still together, only they have shrieking crockery-throwing fights and once, when he's been drinking, Lester wrenches her arm so badly Dori's truly afraid it's broken. It isn't, luckily, but it's sure no great kick being Mrs Lester Bangs. Dori was always afraid of this: that what he does is work and what she does is cute. How many Great Women Artists are there anyway, and what happened to 'em? They went into patching the wounded ego and picking up the dropped socks of Mr Wonderful, that's what. No big mystery about it.
And besides, she's thirty-six and still barely scraping a living. She pedals her beat-up bike through the awful Kansas weather and sees these yuppies cruise by with these smarmy grins: hey we don't have to invent our lives, our lives are invented for us and boy does that ever save a lot of soul-searching.
But still somehow they blunder along; they have the occasional good break. Like when Lester turns over the club on Wednesdays to some black kids for (eeeh!) "disco nite" and it turns out to be the, beginning of a little Kansas City rap-scratch scene, which actually makes the club some money. And Polyrock, a band Lester hates at first but later champions to global megastardom, cuts a live album in Waxy's.
And Dori gets a contract to do one of those twenty-second animated logos for MTV, and really gets into it. It's fun, so she starts doing video animation work for (fairly) big bucks and even gets a Macintosh II from a video-hack admirer in Silicon Valley. Dori had always loathed feared and despised computers but this thing is different. This is a kind of art that nobody's ever done before and has to be invented from leftovers, sweat and thin air! It's wide open and way rad!
Lester's novel doesn't get anywhere, but he does write a book called A Reasonable Guide to Horrible Noise which becomes a hip coffee table cult item with an admiring introduction by a trendy French semiotician. Among other things, this book introduces the term "chipster" which describes a kind of person who, well, didn't really exist before Lester described them but once he'd pointed 'em out it was obvious to everybody.
But they're still not happy. They both have a hard time taking the "marital fidelity" notion with anything like seriousness. They have a vicious fight once, over who gave who herpes, and Dori splits for six months and goes back to California. Where she looks up her old girlfriends and finds the survivors married with kids, and her old boyfriends are even seedier and more pathetic than Lester. What the hell, it's not happiness but it's something. She goes back to Lester. He's gratifyingly humble and appreciative for almost six weeks.
Waxy's does in fact become a cultural legend of sorts, but they don't pay you for that; and anyway it's hell to own a bar while attending sessions of Alcoholics Anonymous. So Lester gives in, and sells the club. He and Dori buy a house, which turns out to be far more hassle than it's worth, and then they go to Paris for a while, where they argue bitterly and squander all their remaining money.
When they come back Lester gets, of all the awful things, an academic gig. For a Kansas state college. Lester teaches Rock and Popular Culture. In the '70s there'd have been no room for such a hopeless skidrow weirdo in a, like, Serious Academic Environment, but it's the late '90s by now, and Lester has outlived the era of outlawhood. Because who are we kidding? Rock and Roll is a satellite-driven worldwide information industry which is worth billions and billions, and if they don't study major industries then what the hell are the taxpayers funding colleges for?
Self-destruction is awfully tiring. After a while, they just give it up. They've lost the energy to flame-out, and it hurts too much; besides it's less trouble just to live. They eat balanced meals, go to bed early, and attend faculty parties where Lester argues violently about the parking privileges.
Just after the turn of the century, Lester finally gets his novel published, but it seems quaint and dated now, and gets panned and quickly remaindered. It would be nice to say that Lester's book was rediscovered years later as a Klassic of Litratchur but the truth is that Lester's no novelist; what he is, is a cultural mutant, and what he has in the way of insight and energy has been eaten up. Subsumed by the Beast, man. What he thought and said made some kind of difference, but nowhere near as big a difference as he'd dreamed.
In the year 2015, Lester dies of a heart attack while shoveling snow off his lawn. Dori has him cremated, in one of those plasma flash-cremators that are all the mode in the twenty-first-century undertaking business. There's a nice respectful retrospective on Lester in the New York Times Review of Books but the truth is Lester's pretty much a forgotten man; a colorful footnote for cultural historians who can see the twentieth century with the unflattering advantage of hindsight.
A year after Lester's death they demolish the remnants of Waxy's Travel Lounge to make room for a giant high-rise. Dori goes out to see the ruins. As she wanders among the shockingly staid and unromantic rubble, there's another of those slips in the fabric of Fate, and Dori is approached by a Vision.
Thomas Hardy used to call it the Immanent Will and in China it might have been the Tao, but we late twentieth-century postmoderns would probably call it something soothingly pseudoscientific like the "genetic imperative." Dori, being Dori, recognizes this glowing androgynous figure as The Child They Never Had.
"Don't worry, Mrs Bangs," the Child tells her, "I might have died young of some ghastly disease, or grown up to shoot the President and break your heart, and anyhow you two woulda been no prize as parents." Dori can see herself and Lester in this Child, there's a definite nacreous gleam in its right eye that's Lester's, and the sharp quiet left eye is hers; but behind the eyes where there should be a living breathing human being there's nothing, just kind of chill galactic twinkling.
"And don't feel guilty for outliving him either," the Child tells her, "because you're going to have what we laughingly call a natural death, which means you're going to die in the company of strangers hooked up to tubes when you're old and helpless."
"But did it mean anything?" Dori says.
"If you mean were you Immortal Artists leaving indelible graffiti in
the concrete sidewalk of Time, no. You've never walked the earth as gods, you were just people. But it's better to have a real life than no life." The Child shrugs. "You weren't all that happy together, but you did suit each other, and if you'd both married other people instead, there would have been four people unhappy. So here's your consolation: you helped each other."
"So?" Dori says.
"So that's enough. Just to shelter each other, and help each other up. Everything else is gravy. Someday, no matter what, you go down forever. Art can't make you immortal. Art can't Change the World. Art can't even heal your soul. All it can do is maybe ease the pain a bit or make you feel more awake. And that's enough. It only matters as much as it matters, which is zilch to an ice-cold interstellar Cosmic Principle like yours truly. But if you try to live by my standards it will only kill you faster. By your own standards, you did pretty good, really."
"Well okay then," Dori says.
After this purportedly earth-shattering mystical encounter, her life simply went right on, day following day, just like always. Dori gave up computer-art; it was too hairy trying to keep up with the hotshot high-tech cutting edge, and kind of undignified, when you came right down to it. Better to leave that to hungry kids. She was idle for a while, feeling quiet inside, but finally she took up watercolors. For a while Dori played the Crazy Old Lady Artist and was kind of a mainstay of the Kansas regionalist art scene. Granted, Dori was no Georgia O'Keeffe, but she was working, and living, and she touched a few people's lives.
Or, at least, Dori surely would have touched those people, if she'd been there to do it. But of course she wasn't, and didn't. Dori Seda never met Lester Bangs. Two simple real-life acts of human caring, at the proper moment, might have saved them both; but when those moments came, they had no one, not even each other. And so they went down into darkness, like skaters, breaking through the hard bright shiny surface of our true-facts world.
