James Schuyler

      Dining Out with Doug and Frank

Not quite yet. First,
around the corner for a visit
to the Bella Landauer Collection
of printed ephemera:
luscious lithos and why did
Fairy Soap vanish and
Crouch and Fitzgerald survive?
Fairy Soap was once a
household word! I've been living
at Broadway and West 74th
for a week and still haven't
ventured on a stroll in
Central Park, two bizarre blocks
away. (Bizarre is for the ex-
town houses, mixing Byzantine
with Gothic and Queen Anne.)
My abstention from the Park
is for Billy Nichols who went
bird-watching there and, for
his binoculars, got his
head beat in. Streaming blood,
he made it to an avenue
where no cab would pick him up
until one did and at
Roosevelt Hospital he waited
several hours before any
doctor took him in hand. A
year later he was dead. But
I'll make the park: I carry
more cash than I should and
walk the street at night
without feeling scared unless
someone scary passes.


Now it's tomorrow,
as usual. Turned out that
Doug (Douglas Crase, the poet)
had to work (he makes his bread
writing speeches): thirty pages
explaining why Eastman Kodak's
semi-slump (?) is just what
the stockholders ordered. He
looked glum, and declined
a drink. By the by did you know
that John Ashbery's grandfather
was offered an investment-in
when George Eastman founded his
great corporation? He turned it
down. Eastman Kodak will survive.
"Yes" and where would our
John be now? I can't imagine him
any different than he is,
a problem which does not arise,
so I went with Frank (the poet,
he makes his dough as a librarian,
botanical librarian at Rutgers
and as a worker he's a beaver:
up at 5:30, home after 7, but
over striped bass he said he
had begun to see the unwisdom
of his ways and next week will
revert to the seven-hour day
for which he's paid. Good. Time
and energy to write. Poetry
takes it out of you, or you
have to have a surge to bring
to it. Words. So useful and
pleasant) to dine at McFeely's
at West 23rd and Eleventh Avenue
by the West River, which is
the right name for the Hudson
when it bifurcates from
the East River to create
Manhattan "an isle of joy."
Take my word for it, don't
(shall I tell you about my
friend who effectively threw
himself under a train in
the Times Square station?
No. Too tender to touch. In
fact, at the moment I've blocked
out his name. No I haven't:
Peter Kemeny, gifted and tormented
fat man) listen to anyone


Oh. At the Battery all
that water becomes the
North River, which seems
to me to make no sense
at all. I always thought
Castle Garden faced Calais.


Peconic Bay scallops, the
tiny, the real ones and cooked
in butter, not breaded and
plunged in deep grease. The food
is good and reasonable (for these
days) but the point is McFeely's
itself – the owner's name or
was it always called that? It's
the bar of the old Terminal Hotel
and someone (McFeely?) has had
the wit to restore it to what
it was: all was there, under
layers of paint and abuse, neglect.
You, perhaps, could put a date
on it: I'll vote for 1881
or the 70's. The ceiling
is florid glass, like the cabbage-rose
runners in the grand old hotels
at Saratoga: when were they built?
The bar is thick and long and
sinuous, virile. Mirrors: are
the decorations on them cut
or etched? I do remember that
above the men's room door the
word Toilet is etched
on a transom. Beautiful lettering,
but nothing to what lurks
within: the three most
splendid urinals I've ever
seen. Like Roman steles. I
don't know what I was going
to say. Yes. Does the Terminal Hotel
itself still function? (Did you
know that "they" sold all the
old mirror glass out of Gage
and Tollner's? Donald Droll has
a fit every time he eats there.)
"Terminal," I surmise, because
the hotel faced the terminal
of the 23rd Street ferry, a
perfect sunset sail to Hoboken
and the yummies of the Clam
Broth House, which, thank God,
still survives. Not many do:
Gage and Tollner's, the Clam Broth House,
McSorley's and now McFeely's. Was
that the most beautiful of the
ferry houses or am I thinking
of Christopher Street? And there
was another uptown that crossed
to Jersey and back but docking
further downtown: it sailed
on two diagonals. And wasn't
there one at 42nd? It couldn't
matter less, they're gone, all
gone and we are left with just
the Staten Island ferry, all
right in its way but how often
do you want to pass Miss Liberty
and see that awesome spiky postcard
view? The river ferryboats were
squat and low like tugs, old
and wooden and handsome, you
were in the water, in the shipping:
Millay wrote a lovely poem about
it all. I cannot accept their
death, or any other death. Bill
Aalto, my first lover (five tumultuous
years found Bill chasing me around
the kitchen table – in Wystan Auden's – house
in Forio d'Ischia – with
a carving knife. He was serious
and so was I and so I wouldn't go
when he wanted to see me when
he was dying of leukemia. Am I
sorry? Not really. The fear had
gone too deep. The last time I
saw him was in the City Center lobby
and he was jolly – if he just
stared at you and the tears began
it was time to cut and run –
and the cancer had made him lose
a lot of weight and he looked
young and handsome as the night
we picked each other up
in Pop Tunick's long-gone gay bar.
Bill never lets me forget that
on the jukebox I kept playing
Lena Horne's "Mad about the Boy."
Why the nagging teasing? It's
a great performance but he
thought it was East Fifties queen
taste. Funny – or, funnily enough –
in dreams, and I dream about him
a lot, he's always the nice guy
I first knew and loved, not
the figure of terror he became.
Oh well. Bill had his hour: he
was a hero, a major in the
Abraham Lincoln Brigade. A dark
Finn who looked not unlike
a butch version of Valentino.
Watch out for Finns. They're
murder when they drink) used
to ride the ferries all the
time, doing the bars along
the waterfront: did you know
that Hoboken has – or had –
more bars to the square inch
(Death. At least twice when
someone I knew and hated
died I felt the joy of vengeance:
I mean I smiled and laughed out
loud: a hateful feeling.
It passes.) to the square inch
than any other city? "Trivia,
Goddess . . ." Through dinner
I wanted to talk more than we
did about Frank's poems. All it
came down to was "experiment
more," "try collages," and "write
some skinny poems" but I like
where he's heading now and
Creative Writing has never
been my trip although I understand
the fun of teaching someone
something fun to do although most people
simply have not got the gift
and where's the point? What
puzzles me is what my friends
find to say. Oh forget it. Reading,
writing, knowing other poets
will do it, if there is
anything doing. The reams
of shit I've read. It would
have been so nice after dinner
to take the ferry boat with Frank
across the Hudson (or West River,
if you prefer). To be on
the water in the dark and
the wonder of electricity –
the real beauty of Manhattan.
Oh well. When they tore down
the Singer Building,
and when I saw the Bogardus building
rusty and coming unstitched in
a battlefield of rubble I deliberately
withdrew my emotional investments
in loving old New York. Except
you can't. I really like
dining out and last night was
especially fine. A full moon
when we parted hung over
Frank and me. Why is this poem
so long? And full of death?
Frank and Doug are young and
beautiful and have nothing
to do with that. Why is this poem
so long? "Enough is as good
as a feast" and I'm a Herrick fan.
I'd like to take that plunge
into Central Park, only I'm
waiting for Darragh Park to phone.
Oh. Doug and Frank. One is light,
the other dark.
Doug is the tall one.

James Schuyler, Collected Poems, Farrar, Straus, and
Giroux, 1995.