The book of other people - By Zadie Smith Page 0,74

typography and layout put on dialectical thought. According to Perkus, to read the New Yorker was to find that you always already agreed, not with the New Yorker but, much more dismayingly, with yourself. I tried hard to understand. Apparently here was the paranoia Susan Eldred had warned me of: the New Yorker’s font was controlling, perhaps attacking, Perkus Tooth’s mind. To defend himself he frequently retyped their articles and printed them out in simple Courier, an attempt to dissolve the magazine’s oppressive context. Once, I’d entered his apartment to find him on his carpet with a pair of scissors, furiously slicing up and rearranging an issue of the magazine, trying to shatter its spell on his brain. ‘So, how’, he asked me another time, apropos of nothing, ‘does a New Yorker writer become a New Yorker writer?’ The falsely casual ‘so’ masking a pure anxiety. It wasn’t a question with an answer.

But I’m confused in this account, surely. Can we have discussed so much the very first time? The New Yorker, at least. Giuliani’s auctioning 42nd Street to Disney. Mailer on NASA as a bureaucracy stifling dreams. J. Edgar Hoover in the Mafia’s thrall, hyping Reds, instilling self-patrolling fear in the American Mind. In the midst of these variations the theme was always ingeniously and excitingly retrieved. In short, some human freedom had been leveraged from view at the level of consciousness itself.

Liberty had been narrowed, winnowed, amnesiacked. Perkus Tooth used this word without explaining, and in the way that the Mafia itself would: to mean a whack, a rub-out. Everything that mattered most was a victim in this perceptual murder plot. Further: always to blame was everyone; when rounding up the suspects, begin with yourself. Complicity, including his own, was Perkus Tooth’s only doubtless conviction. The worst thing was to be sure you knew what you knew, the mistake the New Yorker’s font induced. The horizon of everyday life was a mass daydream - below it lay the crucial material, the crux. By now we’d paid for our burgers and returned to his apartment. At his dinette table we sat and he strained some pot for seeds, then rolled another joint. The dope came out of a little plastic box marked with a laser-printed label reading CHRONIC in rainbow colors, a kind of brand name. We smoked the new joint relentlessly to a nub and went on talking, Perkus now free to gesticulate as he hadn’t at Jackson Hole. Yet he never grew florid, never, in all his ferment, hyperventilated or, like some epileptic, bit his tongue. The feverish words were delivered with a merciless cool. Like the cut of his suit, wrinkled though it might be. And the obsessively neat lettering on the VHS tape and on his CDs. Perkus Tooth might have one crazy eye, but it served almost as a warning not to underestimate his scruples, how attentively he measured his listener’s skepticism, making those minute adjustments that were the signature of his or anyone’s sanity - the interpersonal realpolitik of persuasion. The eye was mad and the rest of him was almost steely.

Perkus rifled through his CDs to find a record he wished to play for me, a record I didn’t know - Peter Blegvad’s ‘(Something Else) Is Working Harder’. The song was an angry and incoherent blues, it sounded to me, gnarled with disgruntlement at those who ‘get away with murder’. Then, as if riled by the music, he turned and said, almost savagely, ‘So, I’m not a rock critic, you know.’

‘Okay.’ This was a point I found easy enough to grant.

‘People will say I am, because I wrote for Rolling Stone - but I hardly ever write about music.’ In fact, the broadsides hung in his rooms seemed to be full of references to pop songs, but I hesitated to point out the contradiction.

He seemed to read my mind. ‘Even when I do, I don’t use that language.’

‘Oh.’

‘Those people, the rock critics, I mean - do you want to know what they really are?’

‘Oh, sure - what are they?’

‘Super-high-functioning autistics. Oh, I don’t mean they’re diagnosed or anything. But I diagnose them that way. They’ve got Asperger’s Syndrome. I mean, in the same sense that, say, David Byrne or Al Gore has it. They’re brilliant, but they’re social misfits.’

‘Uh, how do you know?’ As far as I knew, I’d never met anyone with Asperger’s Syndrome, or, for that matter, a rock critic. (Although I had once seen David Byrne at a party.)