by Bill Zehme
3
“Your place looks like the world’s fair,” I said.
“Does it?” He turned his eyes toward it absently. “I have been glancing into some of the rooms. Let’s go to Coney Island, old sport.”
—Nick Carraway to Jay Gatsby,
F. Scott Fitzgerald
The Great Gatsby
Paths are taken but also given. Fate, stars, moons—he would later listen carefully to what they told him about who he was and why and how and where he would go. He shared his birthday with Cassius Clay/Muhammad Ali, which he would take as a sign—identities/invincibility. (Others born January 17, about which he cared less: Benjamin Franklin, Al Capone, acting theorist Konstantin Stanislavsky, silent-comedy director Mack Sennett—all of whom, like him, followed their divergent instincts unyieldingly.) His day of birth, he would discover, came with an astrological mandate—that he would do exactly what he was supposed to do and do it no matter what anyone else thought and no one would ever tell him otherwise. (Was anyone else really there?) He would never ask permission nor would he ever understand the meaning of permission. Thus, the hollerings of his father would increasingly become mere racket to him, an unpleasant din he would drown by whatever means most amused him. He lived for amusement, so much so that he became amusement—and that was his path and he went forth determined and oblivious. Now whenever a new passion enraptured him, he absorbed it entirely, became proficient at it, commanded it, finally showed it off to others (this last was most imperative to the plan). A new and finer hyperkinesia flamed throughout his awkward body, made it adroit, precise, confidant. When amused, when amusing, he beamed, he was beautiful. When his father forced him to attend athletic summer camp or play Little League baseball—well, there would be photographs in family albums of a boy sodden in unspeakable misery, quite limp/lost, quite out of context. Stanley later regretted doing that to him, humiliating his son by assuming that he was like any/every other template of American boyhood, that his son was anything at all like the boy that even he himself had been. No, here was a different boy with a mission. (Very serious about it … maybe funny to others … wasn’t trying to be funny …) And there would be, in all actuality, without metaphor, a different drummer—a very very extremely different drummer—and the different boy found the different drummer’s drumming in short order and then great changes took hold. Hence, the march of a lifetime ensued.
Everything enlarged. Beginning with the house. They moved to the best part of town, to King’s Point, long considered the most prestigious corner of Great Neck—albeit to a relatively new and modest subsection therein. This was summer 1956; the property at 21 Grassfield Road cost $52,000; houses here were built on lush berms and set far back from the street. Now there were five bedrooms, including Margaret’s on the lower level near a laundry facility and a smallish den which would become a sanctum most hallowed (and often forbidden)—the place a certain mind’s eye pictured whenever feats were performed in the outside world that had been born and practiced endlessly down there. Anyway, this would be the last family home they would all know together.
Stanley Kaufman’s career in costume jewelry had obviously also enlarged, though not without struggle and frayed nerves and ongoing dreams of escape and hopeless irritability attendant. He would eventually call this house—sturdily spread, tri-leveled, prefab-sided, with attached two-car garage, on enormous lot—“the best investment of my life.” His job responsibilities were by now more than commensurate with his talents—besides fully engaging his bright business acumen, he was even designing KARU product lines of earrings and pendants and such. Still, however, working with his father and his father’s partner gave him much tsouris, much doubt. “The truth is, I had just bought the house and things were terrible downtown. You’ve got to understand—at no time in all the years I was with my father did I ever have any feeling of security. I had to be a very, very conservative person because I could be out of a job at any moment. These two men were at it almost every day of the week—‘We’re gonna break up this goddamned business!’ I’d not only hear it at the office, I used to drive home with my father maybe three days out of five and it was always a rehash. I thought, Forget it! It was awful. Nothing pleasant about it at all. So the commitment of the new house came with the headache of Can I sustain this?”
Chaos at work required perfect o-r-d-e-r at home—order unimaginable, thus unachievable, in a household where three young children grew and cavorted. And so, too, the rages enlarged. Janice took/accepted the brunt. Stanley, the otherwise good and loving husband and father, would have to vent and rant for years to come. (Was there no aspect of his world that he could control?! How he tried-picking out furniture and decor for the house, selecting clothes for Janice and the kids, shopping for groceries, designating basic tasks for all—but damned if the results ever turned out exactly as he wished.) His frustrations and furies were to be a Grassfield Road continuum. His wife heaved her sweet deep sighs and patiently understood—she once wrote a poem and handed it to him and left the room—
“I’m wishy washy, dull as can be;
No one asked you to marry me.
But you liked those traits and gave me a boost;
For that I let you Rule the Roost….
If I choose something that I like to wear,
You say, “No. Wear this.” As if you care.
But other times, I don’t know why,
You’re so indifferent, you make me cry.
Now try to be nice—let’s not fight,
Tell me, which dress should I wear tonight?”
The children, however, could not abide the storms. They witnessed their father carping at their mother, wishing she could stop him, knowing that she wouldn’t. “For the most part,” Michael remembered, “she just took it. Here was this fragile little woman—I was amazed that she didn’t cry when he yelled at her. She hardly ever did. Sometimes she would even start it by asking him a stupid question. She drew it out. Carol, Andy, and I would look at each other and go, ‘Why is she doing it?’ We’d see it coming and think, ‘Watch out! Let’s head for our rooms!’ But they somehow were able to have a sense of humor about it. I think he once had a T-shirt made up for her that said, DON’T YELL AT ME! And she had one made for him that said, I’M NOT YELLING!”
Carol turned from infant to teen with the cacophony ever resounding, wincing at it always. “I saw her as a doormat, a victim,” she recalled. “He’d bark, ‘You left the lights on!’ ‘Burnt steak again!’ ‘Where’d you get this meat from?!’ I’d be sitting there with knots in my stomach. It was almost like having an alcoholic father, in terms of not wanting your friends to see what was happening—and sometimes they did. I remember seething inside and thinking, ‘Just tell him to shut up!’ Later, I’d sometimes tell her, ‘Leave. Just pack your bags, take us and leave.’ Mostly, I just went and turned up the stereo.”
Andy kept silent about it. Then and for always. Excused himself from the table, from the room, from the family, from the reality. He rarely spoke of his father’s noise to anyone for the rest of his life; it never really came up in normal conversations; of course, he would make an inadvertent point of never actually having normal conversations; they never really came up. (Certainly, he would personally withstand gusts of that same anger as he grew and tested paternal patience.) But he paid enough attention to the tone of the torrents-shrill, nasal, sibilant, snappish, relentless. Strangely, he would one day know a particularly bilious lounge singer who seemed to replicate, bleat for bleat, the singular staccato of Stanley Kaufman’s fulminations. Enlarged on them, even. And though he would have a very special affection for the unpleasant lounge singer, he never really approved of all that terrible yelling. It just wasn’t very nice.
Storms came and went, trailing wakes of regret. Regret brought reprieves, big fun happy ones. Coney Island was best. It became a family ritual, beginning when Carol was tiny, continuing on through always. Janice loaded the kids into the car and Stanley took the D trai
n from town after work and they’d meet in the parking lot and nights of wonder unfolded. Rainbow lights swirled and spun; saltwater breeze swept calliope music into the muddle of screams, laughter, shills, nonsense. Such was Coney—that, plus neat sideshow freaks. (Upon arrival, every time, two big wide eyes got bigger and wider and danced better dances. What was seen here, heard here, was what lived behind those eyes since forever. Home. This. Best place anywhere. Absolutely. He always said so.) Food came first, per ritual. Stanley filled the bellies of his brood with fabulous Nathan’s Famous hot dogs and french fries, then chow mein on rolls, then corn on the cob, then custard, then jelly apples and cotton candy. (Cotton candy: Oh!) Then they rode everything, repeatedly—the Steeplechase, the Parachutes, the Rotowhirl, the Wonder Wheel and the mountainous, monsterous Cyclone. But of course—the Cyclone!—towering behemoth, legendary roller coaster of the gods, famous for its seemingly ninety-degree plunge toward certain death. It was, to be sure, Andy’s favorite, would always be. He made a prop of it. For every turn on the ride, he created elaborate performances around the bliss/terror. He liked to announce in shrieks at the apex: “We’re all going to die!!” He liked to feign desperate protests before boarding —Oh please, no, please-please-please, I-don’t-wanna, noooooo!!! Best of all, he liked to disembark weeping hysterically, until his father or mother or someone told him to knock it off, at which point his face resumed repose and he smiled and said, “Okay.” (Could turn on a dime. Like that. Liked doing that like that. Interesting. Was only fooling. No, really.)
Coney Island stayed inside of him.
Performances picked up. Got more daring. He had transferred to Baker Hill Elementary after the move to King’s Point, then quickly found a new wooded nook behind the school playground for his stagecraft. Boy in bushes continued apace with aforementioned flights. He would recall spending weeks in class expressing himself only in the voice of Jerry Lewis. (“And I had never seen Jerry Lewis.” Nasal, hyperspastic, self-infantilizing. “I just could not talk unless I talked like a little boy.” More and more teacherparentconferences redux.) In cold weather, he furthered his inadvertent study of response testing: At his mother’s insistence, he wore layer upon layer upon layer upon layer of clothing to prevent chill. Then, upon entering school, he methodically—never hurriedly—removed each layer after layer after layer after layer, which incited laughter and discomfort and derision among his classmates and teachers alike. He grew to enjoy each beat of the process, each pursuant guffaw and groan and glare.
He began to add even more layers.
He never did it to be funny, of course, possibly.
Anyway, they all got bored with it.
He was, after all, nuts.
Meanwhile, in his new bedroom on Grassfield Road, the wall-camera business began wearing upon his mother. In his ninth summer, she demanded that he just stop. He would choose to remember it this way: “She said, ‘You cannot do these shows anymore unless you have an audience. Even if it’s only one person watching you.’ She thought, Now he can’t do them anymore—ha ha ha! This was very bad, in that he was onto something big by now. Panicked, he sought solution; his brother could not have been less interested, was always outside playing, anyway; friends were not an option, really; finally, he noticed another person in his family, female, two years of age, very malleable. “My sister loved bubble gum. So what I would do was bribe her. I’d give her a piece of bubble gum every day if she would just sit in the room. Also, I wasn’t shy in front of her, because she didn’t know how to talk. So she would be my audience—and that was my loophole. I got my mother on that one.”
Big break came the year before. Out of the blue. Changed everything. Started everything. Thus the panic and the desperate need for practice. Finally, for once, he had acquired a proper audience—not a gaggle of bemused/hectoring onlookers (as with schoolyard), or a loophole (as would his sister become), but an actual rapt assemblage that sat in little folding chairs to watch him. “I had a movie projector, and a friend of the family asked me if I would show some movies at his daughter’s birthday party. I said sure and I did some stuff between films.” Whatever the stuff, no memory would be retained. Musical chairs? Fun with phonograph? Magic tricks? All very likely. Certainly all would figure later, very much later, and also sooner. But this was his fleeting debut at something really real. It was a taste. It filled him with ideas. He got to do in public that which was previously private or semi-such. Gently, tentatively, he had performed for children who wanted and expected him to perform for them. And they seemed to kind of enjoy him. Little birthday party children, they liked him. This was very very good. He would do more. He could see it very clearly.
February 13, 1975 (3:04 A.M.):
He had left the club, loaded his stuff back into his father’s car, driven the quiet Long Island Expressway from town back to Great Neck, back to Grassfield Road. Things had gone well enough—his work with the pitiful F. Man was only getting better and better and more fragile so as to almost crumble like brittle ash but never really. “Laughing at me? Or … laughing weeth me?” Grandma Pearl always told him with with with. Also E. was probably perfect by now, at least for these crowds—voice very strong, legs and hips electric, needed only better costume. Phonograph, drums, songs, fooling, teasing, lying in/for fun—fine so far. Good nights, okay nights, bad nights, just moving forward. Anyway, Budd and Rick really liked him and always gave him time, and the NBC people were supposed to come to see him work soon, something about some new show that might happen, and he already did that Dean Martin summer thing last year, so it was building and building. Mommy and Daddy were sleeping, of course, and he smushed his ice cream and took it down to his room and opened his sand-colored Pen-Tab Wire Bound Theme Book (90 Sheets; 69 cents) on which he had chicken-scrawled across the cover, as he did with everything he wrote in, “This book belongs to Andy Kaufman.” (He had started this one last May, slowly filling it with short stories and ideas, almost always in the dead of night, because it was quiet and he needed to sleep all day, anyway.) Now he would make notes for the novel, whatever the novel would be whenever he got around to writing it. It would be huge, he knew that, and it would be about a boy who grew up to become the world’s greatest entertainer (himself, he hoped; you have to write what you know plus make-believe things) and it would deal with a mountain and getting over the mountain that no one had ever gotten over before and it would have lots of cataclysmic adventures and amusement park rides. He dated the page, checked the clock, recorded the time, and wrote the word earthquake and then filled line after line with other brief notions, scene ideas, diagrammatic plot points like seeing of beautiful “angel” at foot of mountain and occasional meetings w/future self; as star, businessman, bum, intellectual writer, millionaire, etc. Mainly, the plan here was to flash forward and backward a lot by way of fantasies and he was remembering now about how he first started out, way back at the birthday parties, which would be how this character—who was going to have the name Huey Williams—also started and he wrote:
entertaining the kids—great performance,
his ego is up—after he leaves then,
he meets future self (star) & is inspired …
He was very inspired, of course. But he had to wait wait wait after that first party and better prepare himself for the next one. He knew this was going to be his racket: the birthday parties. He would be a kid entertainer, making amusement amid cake and candles and ice cream and cookies. (Oh!) Grandpa Paul always created big hambone spectacles at his grandchildren’s parties—he would bring new cartoons for the projector and do old magic tricks and tease the kids and make everyone laugh. What Grandpa Paul did, he could do, too. He just needed a little more practice. Carol watched him practice until he was ready.
