by Mario Puzo
So I went to the party and met Osano. He never let on that he remembered that interview, and neither did I. But a week later I got a letter from him asking me if I would come in to see him and have lunch about a job he had to offer me.
Chapter 23
I took the job with Osano for many different reasons. The job was interesting and prestigious. Since Osano had been appointed the editor of the most influential literary supplement in the country a few years ago, he had trouble with people working for him and so I would be his assistant. The money was good, and the work wouldn’t interfere with my novel. And then I was too happy at home; I was becoming too much of a bourgeois hermit. I was happy, but my life was dull. I craved some excitement, some danger. I had vague fleeting memories of my running away to Vegas and how I had actually relished the loneliness and despair I felt then. Is that so crazy, to remember unhappiness with such delight and to despise happiness you hold in your hand?
But most of all, I took the job because of Osano himself. He was, of course, the most famous writer in America. Praised for his string of successful novels, notorious for his scrapes with the law and his revolutionary attitude toward society. Infamous for his scandalous sexual misbehavior. He fought against everybody and everything. And yet at the party where Eddie Lancer had taken me to meet him he charmed and fascinated everyone. And the people at the party were the cream of the literary world and no slouches at being charming and difficult in their own right.
And I have to admit Osano charmed me. At the party he got into a furious argument with one of the most powerful literary critics in America, who was also a close friend and supporter of his work. But the critic had dared voice the opinion that nonfiction writers were creating art and that some critics were artists. Osano swarmed all over him. “You bloodsucking cocksucker,” he shouted, drink balanced in one hand, his other hand poised as if ready to throw a punch. “You have the fucking nerve to make a living off real writers and then say you’re the artist? You don’t even know what art is. An artist creates out of nothing but himself, do you understand that, you fucking asshole? He’s like a fucking spider, the cobwebs are packed away in his body. And you pricks just come along and blow them away with your fucking housewife brooms after he spins them out. You’re good with a broom, you fucking jerkoff, that’s all you are.” His friend was stunned because he had just praised Osano’s nonfiction books and said they were art.
And Osano walked away to a group of women who were waiting to lionize him. There were a couple of feminists in the group, and he wasn’t with them two minutes before his group again became the center of attention. One of the women was shouting at him furiously as he listened to her with amused contempt, his sneaky green eyes glowing like a cat’s. Then he was off.
“You women want equality and you don’t even understand power plays,” he said. “Your hole card is your cunt, and you show it to your opponents face up. You give it away. And without your cunts you have no power at all. Men can live without affection but not without sex. Women have to have affection and can do without sex.” At this last statement the women swarmed over him with furious protests.
But he stood them off. “Women are complaining about marriage when they are getting the best bargain they will ever get in their lives. Marriage is like those bonds you buy. There is inflation and there is devaluation. The value keeps going down and down for men. You know why? Women become less and less valuable as they grow older. And then we’re stuck with them like an old car. Women don’t age as well as men. Can you imagine a fifty-year-old broad being able to con a twenty-year-old kid into bed? And very few women have the economic power to buy youth as men do.”
One woman shouted, “I have a twenty-year-old lover.” She was a good-looking woman of about forty.
Osano grinned at her wickedly. “I congratulate you,” he said. “But what about when you’re fifty? With the young girls giving it away so easily you’ll have to catch them coming out of grammar school and promise them a ten-speed bike. And do you think your young lovers fall in love with you as young women do with men? You haven’t got that old Freudian father image working for you as we do. And I must repeat, a man at forty looks more attractive than he does at twenty. At fifty he can still be very attractive. It’s biological.”
“Bullshit,” the attractive forty-year-old woman said. “Young girls make fools out of you old guys and you believe their bullshit. You’re not any more attractive, you just have more power. And you have all the laws on your side. When we change that, we’ll change everything.”
“Sure,” Osano said. “You’ll get laws passed so that men will have to get operations to make themselves look uglier when they get older. In the name of fair play and equal rights. You may even get our balls cut off legally. That doesn’t change the truth now.” He paused and said, “You know the worst line of poetry? Browning. ‘Grow old along with me! The best is yet to be…‘“
I just hung around and listened. What Osano was saying struck me as mostly bullshit. For one thing we had different ideas about writing. I hated literary talk, though I read all the critics and bought all the critical reviews.
What the hell was being an artist? It was not sensitivity. It was not intelligence. It was not anguish. Not ecstasy. That was all bullshit.
The truth was that you were like a safe cracker fiddling with the dial and listening to the tumblers click into place. And after a couple of years the door might swing open and you could start typing. And the hell of it was that what was in the safe was most times not all that valuable.
It was just fucking hard work and a pain in the ass in the bargain. You couldn’t sleep at night. You lost all your confidence with people and the outside world. You became a coward, a malingerer in everyday living. You ducked the responsibilities of your emotional life, but after all, it was the only thing you could do. And maybe that was why I was even proud of all the junk I wrote for pulp magazines and book reviews. It was a skill I had, finally a craft. I wasn’t just a lousy fucking artist.
Osano never understood that. He had always striven to be an artist and turned out some art and near art. Just as years later he never understood the Hollywood thing, that the movie business was young, like a baby not yet toilet-trained, so you couldn’t blame it for shitting all over everybody.
One of the women said, “Osano, you have such a great track record with women. What’s the secret of your success?”
Everybody laughed, including Osano. I admired him even more, a guy with five ex-wives who could afford to laugh.
Osano said, “I tell them it has to be a hundred percent my way and no percent their way before they move in with me. They understand their position and they accept. I always tell them that when they are no longer satisfied with the arrangement to just move out. No arguments, no explanations, no negotiations, just leave. And I can’t understand it. They say yes when they move in, and then they break the rules. They try to get it ten percent their way. And when they don’t get it, they start a fight.”
“What a marvelous proposition,” another woman said. “And what do they get in return?”
Osano looked around, and with a perfectly straight face he said, “A fair fuck.” Some of the women began to boo.
When I decided to take the job with him, I went back and read everything he’d written. His early work was first-rate, with sharp, precise scenes like etchings. The novels held together glued by character and story. And a lot of ideas working. His later books became deeper, more thoughtful, the prose more pompous. He was like an important man wearing his decorations. But all his novels invited the critics in, gave them a lot of material to work on, to interpret, to discuss, to stab around. But I thought his last three books were lousy. The critics didn’t.
I started a new life. I drove to New York every day and worked from 11 A.M. to all hours. The offices of the review were huge, part of the newspaper which distributed it. The pace was hectic: books came in literally by the thousands every month, and we had spac
e for only about sixty reviews each week. But all the books had to be at least skimmed. On the job Osano was genuinely kind to everybody who worked for him. He always asked me about my novel and volunteered to read it before publication and give me some editorial advice, but I was too proud to show it to him. Despite his fame and my lack of it, I thought I was the better novelist.
After long evenings working on the schedule of books to be reviewed and whom to give them to, Osano would drink from the bottle of whiskey he kept in his desk and give me long lectures on literature, the life of a writer, publishers, women and anything else that was bugging him at that particular time. He had been working on his big novel, the one that he thought would win him the Nobel Prize, for the last five years. He had already collected an enormous advance on it, and the publisher was getting nervous and pushing him. Osano was really pissed off about that. “That prick,” he said. “He told me to read the classics for inspiration. That ignorant fuck. Have you ever tried to read the classics over again? Jesus, those old fuckers like Hardy and Tolstoy and Galsworthy had it made. They took forty pages to let out a fart. And you know why? They had their readers trapped. They had them by the balls. No TV, no radio, no movies. No traveling unless you wanted cysts over your asshole from bouncing around on stagecoaches. In England you couldn’t even get fucked. Maybe that’s why the French writers were more disciplined. The French at least were into fucking, not like those English Victorian jerkoffs. Now I ask you why should a guy with a TV set and a beach house read Proust?”
I’d never been able to read Proust, so I nodded. But I had read everybody else and couldn’t see TV or a beach house taking their place.
Osano kept going. “Anna Karenina, they call it a masterpiece. It’s a full-of-shit book. It’s an educated upper-class guy condescending to women. He never shows you what that broad really feels or thinks. He gives us the conventional outlook of that time and place. And then he goes on for three hundred pages on how to run a Russian farm. He sticks that right in there as if anybody gives a shit. And who gives a shit about that asshole Vronsky and his soul? Jesus, I don’t know who’s worse, the Russians or the English. That fucking Dickens and Trollope, five hundred pages were nothing to them. They wrote when they had time off from tending their garden. The French kept it short at least. But how about that fucking Balzac? I defy! I defy! anybody to read him today.”
He took a slug of whiskey and gave out a sigh. “None of them knew how to use language. None of them except Flaubert, and he’s not that great. Not that Americans are that much better. That fuck Dreiser doesn’t even know what words mean. He’s illiterate, I mean that. He’s a fucking aborigine. Another nine-hundred-page pain in the ass. None of those fucking guys could get published today, and if they did, the critics would murder them. Boy, those guys had it made then. No competition.” He paused and sighed wearily. “Merlyn, my boy, we’re a dying breed, writers like us. Find another racket, hustle TV shit, do movies. You can do that stuff with your finger up your ass.” Then, exhausted, he would lie on the couch he kept in his office for his afternoon snooze. I tried to cheer him up.
“That could be a great idea for an Esquire article,” I told him. “Take about six classics and murder them. Like that piece you did on modern novelists.”
Osano laughed. “Jesus, that was fun. I was kidding and just using it for a power play to give myself more juice and everybody got pissed off. But it worked. It made me bigger and them smaller. And that’s the literary game, only those poor assholes didn’t know it. They jerked themselves off in their ivory towers and thought that would be enough.”
“So this should be easy,” I said. “Except that the professor critics will jump on you.”
Osano was getting interested. He got up from the couch and went to his desk. “What classic do you hate most?”
“Silas Marner,” I said. “And they still teach it in schools.”
“Old dykey George Eliot,” Osano said. “The schoolteachers love her. OK, that’s one. I hate Anna Karenina most. Tolstoy is better than Eliot. Nobody gives a shit about Eliot anymore, but the profs will come out screaming when I hit Tolstoy.”
“Dickens?” I said.
“A must,” Osano said. “But not David Copperfield. I gotta admit I love that book. He was really a funny guy, that Dickens. I can get him on the sex stuff, though. He was some fucking hypocrite. And he wrote a lot of shit. Tons of it.”
We started making the list. We had the decency not to molest Flaubert and Jane Austen. But when I gave him Goethe’s Young Werther, he clapped me on the back and howled. “The most ridiculous book ever written,” he said. “I’ll make German hamburger out of it.”
Finally we had a list:
Silas Marner
Anna Karenina
Young Werther
Dombey and Son
The Scarlet Letter
Lord Jim
Moby Dick
Proust (Everything)
Hardy (Anything)
“We need one more for an even ten,” Osano said.
“Shakespeare,” I suggested.
Osano shook his head. “I still love Shakespeare. You know it’s ironic; he wrote for money, he wrote fast, he was an ignorant lowlife, yet nobody could touch him. And he didn’t give a shit whether what he wrote was true or not just so long as it was beautiful or touching. How about ‘Love is not love which alters when it alteration finds’? And I could give you tons. But he’s too great. Even though I always hated that fucking phony Macduff and that moron Othello.”
“You still need one more,” I said.
“Yeah,” said Osano, grinning with delight. “Let’s see. Dostoevsky. He’s the guy. How about Brothers Karamazov?”
“I wish you luck,” I said.
Osano said thoughtfully, “Nabokov thinks he’s shit.”
“I wish him luck too,” I said.
So we were stuck, and Osano decided to go with just nine. That would make it different from the usual ten of anything anyway. I wondered why we couldn’t get up to ten.
He wrote the article that night and it was published two months later. He was brilliant and infuriating, and all through it he dropped little hints how his great novel in progress would have none of the faults of these classics and would replace them all. The article started a furious uproar, and there were articles all over the country attacking him and insulting his novel in progress, which was just what he wanted. He was a first-rate hustler, Osano. Cully would be proud of him. And I made a note that the two of them should meet someday.
In six months I became Osano’s right-hand man. I loved the job. I read a lot of books and gave notes on them to Osano so that he could assign them for review to the free-lancers we used. Our offices were an ocean of books; you were swamped with them, you tripped over them, they covered our desks and chairs. They were like those masses of ants and worms covering a dead carcass. I had always loved and revered books, but now I could understand the contempt and disdain of some intellectual reviewers and critics; they served as valets to heroes.
But I loved the reading part, especially novels and biographies. I couldn’t understand the science books or philosophy or the more erudite critics, so Osano shoveled them off to other specialized assistants. It was his pleasure to take on the heavyweight literary critics who came out with books, and he usually murdered them. When they called or wrote to protest, he told them that he “umpired the ball, not the player,” which lowbrow chatter inflamed them the more. But always keeping his Nobel Prize in mind, he treated some critics very respectfully, gave a lot of space for their articles and books. There were very few exceptions. He especially hated English novelists and French philosophers. And yet as time went on, I could see that he hated the job and goofed off from it as much as he could.
And he used his position shamelessly. The publishers’ public relations girls soon learned that if they had a “hot” book they wanted to get reviewed, they had only to take Osano out to lunch and lay a big line of bullshit on him
. If the girls were young and pretty, he would kid around and make them understand in a nice way that he would trade space for a piece of ass. He was that upfront about it. Which to me was shocking. I thought that happened only in the movie business. He used the same bargaining techniques on reviewers looking for free-lance work. He had a big budget and we commissioned a lot of reviews that we would pay for but never use. And he always kept his bargains. If they came across, he came across. By the time I arrived he had a nice long string of girlfriends who had access to the most influential literary review in America on the strength of their sexual generosity. I loved the contrast of this with the high intellectual and moral tone of the review.
I often stayed late with him in the office on our deadline nights and we would go out for dinner and a drink together, after which he would go get shacked. He would always want to fix me up, but I kept telling him I was happily married. This developed into a standing joke. “You still not tired of fucking your wife?” he would ask. Just like Cully. I wouldn’t answer, just ignore him. It was none of his business. He would shake his head and say, “You’re the tenth wonder. Married a hundred years and still like fucking your wife.” Sometimes I would give him an irritated look, and he’d say, quoting from some writer I’d never read, “No villain need be. Time is the enemy.” It was his favorite quote. He used it often.
And working there, I got a taste of the literary world. I had always dreamed about being part of it. I thought of it as a place where no one quarreled or bargained about money. That since these were the people who created the heroes you loved in their books, the creators were like them. And of course, I found out that they were the same as anybody else, only crazier. And I found out that Osano hated all these people too. He’d give me lectures.
