Women and Men (58 page)

And he it is who says, "One may wish to substitute one good for another if . . . well ... if
what
has happened?" and who says at some later point in the morning’s curve, "One may frame, yes?, a
law
of substitution which will embrace equality of price, yes?, between commodities, yes?, as well as the phenomenon of increasing scarcity," and who says, "given an extra dollar of income—a raise in New York, a rise in London, yes?—why one may choose to spend the whole dollar or spend some part of it—and since this dollar is in addition to one’s normal income heretofore, one may call it
marginal,
yes?, and since what happens to it in one’s hand or purse or under the mattress, eh?, or in the tight back pocket of your preshrunk bluejeans or a slot in the old money belt (he tapped his paunch above the silver horseshoe of his western belt) depends on one’s own personal inclination to hold on to it or blow it, and since to be inclined or favorable is
propendere
in Latin which one may safely bet that less than one percent in this room would read even if they could, why one calls the amount of extra consumption generated by an extra dollar of income the (yes?)
marginal
(yes?) . . .
pro
. . .
pens
. . .
i
. . .
ty
... to
consume
—or MPC—which one may picture . . . like so"—the chalk consuming itself like a comet, the graph squaring and lining and dashing itself off before one and one’s male and female classmates on the heretofore washed blackboard as if what moves the chalk were that Invisible Hand Rail speaks of, which a great thinker named Smith said guides each individual through his own mere wish for "security and gain" to use his capital "to promote an end which was no part of his intention"—namely, the interest of society as a whole. So let him alone, let him be—and a roomful of hands write down the words (but did he
say
them? and is this, then, telepathy?)
laissez-faire,
which is the same in Spanish. Yet if embedded in everyone else’s property one’s property is one’s own, the shtik is more co-op than condominium— face—"One may plot," "One may represent," "One may argue"—and then like magic his back was turned, and he said, "One" to the board chalked erased chalked erased, washed with the manual action of his mind into soft, gray-white nebulae of layers—his thing, one thought, his world! one thought. And one said it to Amy, whose soft, pale hair surrounds one by surrounding her ear and her receiver at her end, which is a desk at a foundation—
foundation,
the word attracts, envelopes, envelopes and erases all the curves one can think to draw between the vertical and horizontal with their reminders of the hypotenuse of junior year in Port Adams, that shortcut to Diane’s through used-car lot, church playground, shopping center’s parking lot where Mother Susan’s trunk was rifled while she was in buying a last-minute buttondown for one’s birthday with, under the rear collar button, a fag-tag loop Diane with Visine clearing up her eyes crept up behind one one day and snipped off—a beeline, no curve like these curves a professor sweeps away with a black-sleeved thrust of himself and all his Ones enveloped by Amy’s foundation, which is her job, from which at twenty-three years old in the morning from eight miles away her invisible hand touches one’s unemployed pyjama cloth, augments one’s marginal suspense, propounds yea extends one’s capacity to hunt down the curve of one’s desire, down from up where hovering hung-up above the landing pad, strutted, outstretched, and hang-gliding, flapped and blown by winds from the window of the sky, one seems to reach one’s base for the first time, to make love,
juntarse
(for love is reflexive, one has found out for oneself not in the book), consuming the reflexes as Amy’s real job consumed (when she called at nine-fifteen in the morning) consumed and erased the picture of the ecognome skating his thing, his thought, across the slate walls of a carpeted cave, the bell you see but don’t hear of the mountainous bell curve showing the normal symmetry of error, and the tilted long-tailed

skew capturing the odds on oddity, yeah, those far-out deviations that may upset the science of one’s laws, her real job nine to five consumed one’s own ragged schoolkid schedule and one’s late bed and one’s eighteen-year-old unemployed pyjama cloth and until she then asked for information and one felt a flickering substitution of the older man in question for oneself, and one said, "James Mayn," etcetera, consumed even almost the black synthetic cloth of the amazing Rail’s shirt susceptible to butter more than bullets until now just nightfall at one’s roll-top desk angry that the phone was not Amy, hungry for peanut butter in the kitchen on the far side of one’s parents’ secret junta of sounds and lingering here to feel, if one can,
one hand
through all one’s assignments, one modulus through Music, Spanish, English, Physics, Eco, a curve (say) that’s coming from far off and that when it gets here doesn’t meet either of the two half-lines half-framing it notched vertical and horizontal which Dr. Roger Rail likes almost as much as his curve, a line with dots on it, scheduled stops on a crooked airline’s great arc of route, spots of double quantity where vertical and horizontal by thought’s invisible lines intersect on their way elsewhere.

"Ships in the night," one’s mother is heard to say to one’s father, who says, "Well, not quite," and then without warning, "Oh Suze!" Then, "Let go of dependence, Marv." "Oh Suze." "It’s hard, Marv, I can’t do it myself sometimes, it
has
to be hard." "Suze." "Friends." "Friends."

The husky voice is made naked of its huskiness—its husk, one adds, reading, "As population doubles and redoubles, it is exactly as if the globe were being halved in size," but wondering if the globe is not also a template constant and unbroken and even like the temple of one’s home limitless if understood—hearing, "Can I make you a cup of tea while you’re getting dressed?" and "But Marv, we’re surviving, and risk is always, you know, painful—no thanks, I’ve been on a juice trip all day—and Marv I don’t feel I’m being, you know,
had
any more—you know?—hey I
am
dressed, I’m going like this." So one thinks of the clothes of her date, wondering who phoned.

Fading down a warp into dark dimension not like humor, no, not like humor, a curve by the amazing aroused unsuited professor, but the curve itself maybe
not
amazing with dots on it, etcetera, then suddenly a new curve crossing the northwest-southeast curve southwest up to northeast, but, unlike Rail, his curves obvious, oh Amy the whole thing obvious to the point at which it might fade out on you—on one—into such a rolling tilt (trick of the eye or not) that the first curve’s point escaped up the black sleeve of the bald man’s shirt just as he said, "Concave," and was saying, "One may plot . . ." and bringing the chalk toward his mouth so that concave became an elbow’s right angle at the instant that the unknown but not nameless girl (just a hair more voluptuous than likewise blonde twenty-three-year-old Amy who is worth a hundred of her who though unknown is also known elsewhere in the space-time of the classroom’s fall as Mary Minsky) outlining and again and again outlining her name, decorating her name in soft pencil in her notebook near one’s elbow so that one moved one’s desk closer to see, suddenly crossed her orange legs—snug orange tights for November—as if she were getting ready to start filling up an exam booklet: upon which instant of rising value the attention of the hunched vertical
maestro
(teacher) at the board and that of one’s sedentary own horizon met from two distances at what would have been an equilibrium (even given the difference between one’s own side perspective and Rail’s frontal) had not some doubt come into play as to the behavior of the variable in question, for had one here an instance of suddenly increased demand causing the price of equilibrium to travel right up the supply curve, or, since the quantity of what was available had perhaps (though one couldn’t tell for sure)
not
increased, had one here (had
we
here) a supply shift where the commodity or good becomes harder to get (whether really lessened or artificially lessened) so that equilibrium price now traveled leftward up the demand curve?

Was she, in short, more in demand or was there less of her available, as the eye ran neutrally landing here upon all her points curving always through the locus of all her possible points into the void of one’s own surplus shortage opening around one a space of fifty-minute hours bound into an autumn of weeks during which the class’s course deepened and was the same, was nothing next to all that came between each gradually numberless class meeting, was also one room one went on in from one point to another, straight or around, until against the trips between two parents in one home, between two homes instead of one, two domiciles with one empty ceiling on what to expect, between two parents become one-at-a-time-in-their-lives, the points thrown out by the amazing Rail could sometimes seem one conscious curve of all history—resources, costs, alternatives, the menu of choices along the production-possibility frontier—at the same time that as one smiled at his salt and gusto and the pomp of his sheer brain, his One everlasting and his fraction fractured by fractions, the incestuous blackboard deepening from rasure to
rasa
(while
cielo raso,
ceiling, is now not above but
adelante,
before), and his secret yen (he said) to open up the Rockefellers, dissolve the mysteries of distribution and oligopoly pricing to see strange profits rise during recession like energy made of nothing, new pride out of depression, one might fall inertly or grow into the inner or under concavity described by Rail’s waterfall contoured down the big blackboard with such
alegria,
such
potencia,
such Latin heat and so
repente
that the snap of the chalk split in mid-course released from the class
en conjunto
a laugh of relief that, across the cosmic vacancy of the board he had been moved to
saltar de gozo,
leap with joy—
exalta-cionarse
if one’s dictionary can hold such a word—pouring, precipitating, sending that curve down that slate sky to transcend, beat, swamp, wipe out points and show concavity itself, that the
maestro
may
muestre
how a bowed-out, concave curvature of the production-possibility frontier depicts the "law of increasing relative costs." But the waterfall was due to retract its short life, for the red-faced bearded student Donald—Donald Dooley—who came with knapsack crammed to the seams and topped by a tight-rolled down sleeping bag as if to pillow him against tripper’s whiplash was always challenging Rail.

Let there be curves for all events! cried Rail—the tool, though, has no more use than its user gives it.

I have a vision, however, Donald the knapsack man breaks in, I see a geographer in his tower formulating countries by their shape.

Meanwhile the economist, says Rail, cannot
conduct controlled
experiments.

But what, says Donald Dooley, will this neutral policy-science of yours do for those unknown statistics that don’t get their fair share of the gross national theory?

The question all in all joins one and one’s fellow students for a moment uneasily against the man in the black shirt and on behalf of the guy who with his knapsack has come in out of the urban wilderness to ask what he has to ask. But Rail has a southwest-northeast curve up his sleeve and out it comes. But not a
curve
at first sight—a straight line he calls a curve which then vibrates and loosens into local hammocks stretching and bowing while that straight line from corner to corner holds firm. For one has here (yes?)—the words are withheld for a moment of awful possibility during which someone at the controls on the other, the far, dark side of the blackboard seems to have thrown onto it the lines of this possibility that, having overlooked what will now be shown one, will reveal to one that one is a prisoner concentrated in one’s own home, though which home one hasn’t time to see—the one within striking distance of golf port and air course or the one near the long, narrow women’s restaurant with the big plate-glass window on a street in the City.

"No tools are neutral," Rail was saying—and the point would go on into the next week if
week
is the word—and
de repente
one saw form on the board a second southwest-northeast hypotenuse hammocked below with saggier bows likewise labeled with national initials—"Put these in your provisions for the long trip, Donald"—for here were graphs of injustice, graphed inequalities, on one side income distribution, on the other concentrations of wealth compared to yearly earned income. Rail’s points were two (but do they fade as one makes them, Amy?): first, that pre-industrial economies showed more inequality of income than advanced economies while holdings of wealth were spread less equally in advanced economies than are annual earned incomes; second, that these inequality curves implied in advance a wish to guard against extreme inequality, yes?

But while all eyes turned to Donald Dooley’s quite electrifying "No!" and to his combed
barba
and his blue-eyed iron and the lumps and pricks and metal-looking edges packing the khaki knapsack occupying the desk seat beside his, one’s own eyes found in the silver horseshoe bell curve lying on its side buckling Rail’s belt and half hidden in the stress of his paunch the making of new equals, like equations so weird that like digits on the same Invisible Hand their kinship was the void with which they threatened sight. Hey!

And while one heard the campus camper Donald the survivor
al campo raso,
the
viajero y autostopista,
retort in another medium but like a standard metal template laid down for pattern, "You’re telling us those curves defend the workingman under capitalism but you know as well as I do except it doesn’t freak you out that they secretly annihilate socialism, and those curves whatever you call them are next-door neighbor to that Italian Pareto whom you yourself would never call a Fascist maniac" (laughter set loose in the room, rising like hope, falling like breath, like eyes before staring power) "yes that Fascist statistician who made those charts you know that show that income is distributed the same in all countries no matter what political institution and tax system you have, and as for no controlled experiment, Doctor Rail, what about the man in the big bank across the river—what’s his name? you know—who says O.K., guys, we raise the interest rate tomorrow morning, and Doctor Rail none of your equations is telling us that the workers spend what they get and the capitalists get what they spend and telling us that we own seventy-five percent of the world through multinationals and if you want the GNP of Iran your same old equation C plus I plus G ought to be divided by CIA—because the CIA rents Iran, mon," one found Rail looking at one and saying what he then seemed to see that one knew (though perhaps not able to imagine one looking back to the night when one had leafed beyond, leaped ahead of, next day’s assignment through the skewed and sacred text like a diviner celebrating chance), "Lorenz curve, Donald, Lorenz curve," but Dooley cried, "What
is
economics, Rail?" and Rail, looking all around the room while simultaneously up the warp of the girl’s lap next to one, said quietly for a laugh, "It means ‘housekeeping’—Greek for managing a household," and when Dooley groaned and reached over and slapped his knapsack, Rail turned his attention to one and said, "Larry, I haven’t seen your hand up this term, what do
you
think of these curves?"