The Electric Kool-Aid Acid Test (5 page)

"... the blissful counterstroke ... a considerable new message ..."

A considerable new message ... The current fantasy ... Fantasy is a word Kesey has taken to using more and more, for all sorts of plans, ventures, world views, ambitions.

It is a good word. It is ironic and it isn't. It refers to everything from getting hold of a pickup truck—"that's our fantasy for this weekend"—-to some scary stuff out on the raggedy raggedy edge ... like the current fantasy, which is somehow to be told at the Acid Test Graduation. But how to tell it?

Kesey rummages through the film cans and assorted . .. Archives ... It has never been possible, has it, truly, just to come out and announce the current fantasy, not even in days gone by, when it seemed so simple. Now, you take Goldhill, who was just in here with the truth in his eyes. He will come closer than most. Kesey could see it.

Goldhill was open... and into the pudding. He had his own fantasy, the League for Spi-ri-tu-al Dis-cov-ery, and yet he is the rare kind who might even be willing to move with their fantasy, his and the Pranksters'. It takes a rare kind. Because always comes the moment when it's time to take the Prankster circus further on toward Edge City. And always at that point some good souls are startled: Hey, wait! Like Ralph Gleason with his column in the Chronicle and his own clump of hipness. Gleason is one of those people ... Kesey can remember them all, people who thought he was great so long as his fantasy coincided with theirs. But every time he pushed on further—and he always pushed on further—they became confused and resentful . . .

The tape winds on:

"... the blissful counterstroke ... through workhorse and intercourse ... the blood that was available to him in intercourse ... made us believe he was in the apple sauce for twenty years . . ."

Only lucky dogs and Merry Pranksters can understand this supersonic warble! ...

most likely .. .

". .. the blissful counterstroke . .."

... the current fantasy ... Even back on Perry Lane, where everyone was young and intellectual and analytical, and the sky, supposedly, was the limit—there was no way he could just come right out and say: Come in a little closer, friends ... They had their own fantasy for him: he was a "diamond in the rough." Wellllll, that was all right, being a diamond in the rough. He had gone to Stanford University in 1958 on a creative-writing fellowship, and they had taken him in on Perry Lane because he was such a swell diamond in the rough. Perry Lane was Stanford's bohemian quarter. As bohemias go, Perry Lane was Arcadia, Arcadia just off the Stanford golf course. It was a cluster of two-room cottages with weathery wood shingles in an oak forest, only not just amid trees and greenery, but amid vines, honeysuckle tendrils, all buds and shoots and swooping tendrils and twitterings like the best of Arthur Rackham and
Honey Bear.
Not only that, it had true cultural cachet. Thorstein Veblen had lived there. So had two Nobel Prize winners everybody knew about though the names escaped them. The cottages rented for just $60 a month. Getting into Perry Lane was like getting into a club. Everybody who lived there had known somebody else who lived there, or they would never have gotten in, and naturally they got to know each other very closely too, and there was always something of an atmosphere of communal living. Nobody's door was ever shut on Perry Lane, except when they were pissed off.

It was sweet. Perry Lane was a typical 1950s bohemia. Everybody sat around shaking their heads over America's tailfin, housing-development civilization, and Christ, in Europe, so what if the plumbing didn't work, they had mastered the art of living. Occasionally somebody would suggest an orgy or a three-day wine binge, but the model was always that old Zorba the Greek romanticism of sandals and simplicity and back to first principles. Periodically they would take pilgrimages 40 miles north to North Beach to see how it was actually done.

The main figures on Perry Lane were two novelists, Robin White, who had just written the Harper Prize novel,
Elephant Hill,
and Gwen Davis, a kind of West Coast Dawn Powell. In any case, all the established Perry Laners could see Kesey coming a mile away.

He had Jack London Martin Eden Searching Hick, the hick with intellectual yearnings, written all over him. He was from Oregon—who the hell was ever from Oregon?—and he had an Oregon country drawl and too many muscles and callouses on his hands and his brow furrowed when he was thinking hard, and it was perfect.

White took Kesey under his wing and got him and his wife Faye a cottage on Perry Lane. The Perry Lane set liked the idea at once. He could always be counted on to do
perfect
things. Like the time they were all having dinner—there was a lot of communal dining—and some visitor was going on about the ineffable delicacy of James Baldwin's work, and Kesey keeps eating but also trying to edge a word in saying, well, bub, I dunno, I cain't exactly go along with you there, and the fellow puts down his knife and fork very carefully and turns to the others and says,

"I'll be delighted to listen to what
ever
Mr. Kesey has to say—as soon as he learns to eat from a plate without holding down his meat with his thumb."

Perfect! He had been voted "most likely to succeed" at his high school in Springfield, Oregon, and had graduated from the University of Oregon, where he was all involved in sports and fraternities, the Ail-American Boy bit. He had been a star wrestler in the 174-pound class and a star actor in college plays. He had even gone to Los Angeles after he finished college, and knocked around Hollywood for a while with the idea of becoming a movie star. But the urge to write, to create, had burst up through all this thick lumpy All-American crap somehow, like an unaccountable purslane blossom, and he had started writing, even completing a novel about college athletics,
End of Autumn.
It had never been published, and probably never would be, but he had the longing to do this thing. And his background—it was great, too.

Somehow the Perry Lane set got the idea that his family were Okies, coming out of the Dust Bowl during the Depression, and then up to Oregon, wild, sodden Oregon, where they had fought the land and shot bears and the rivers were swift and the salmon leaped silver in the spring big two-hearted rivers.

His wife Faye—she was from the same kind of background, only she came from Idaho, and they had been high-school sweethearts in Springfield, Oregon, and had run off and gotten married when they were both freshmen in college. They once made a bet as to which of them had been born in the most Low Rent, bottomdog shack, his old place in La Junta, or hers in Idaho. He was dead sure there was no beating La Junta for Rundown until they got to Idaho, and she sure as hell did win that one. Faye was even more soft-spoken than Kesey. She hardly spoke at all. She was pretty and extremely sweet, practically a madonna of the hill country. And their cottage on Perry Lane—well, everybody else's cottage was run-down in a careful bohemian way,
simplicity,
Japanese paper lamp globes and monk's cloth and blond straw rugs and Swedish stainless steel knives and forks and cornflowers sticking out of a hand-thrown pot. But theirs was just plain Low Rent. There was always something like a broken washing machine rusting on the back porch and pigweed, bladderpods, scoke and scurf peas growing ragged out back. Somehow it was. . .
perfect
... to have him and Faye on hand to
learn
as the Perry Lane sophisticates talked about life and the arts.

BEAUTIFUL! . . . THE CURRENT FANTASY . . . BUT HOW TO TELL them?—

about such arcane little matters as Captain Marvel and The Flash ... and The Life—

and the very Superkids—

"... a considerable new message . . . the blissful counter-stroke ..."

—when they had such a nice clear picture of him as the horny-nailed son of the Western sod, fresh from Springfield, Oregon. It was true that his father, Fred Kesey, had started him and his younger brother, Joe, known as Chuck, shooting and fishing and swimming as early as they could in any way manage it, also boxing, running, wrestling, plunging down the rapids of the Willamette and the McKenzie Rivers, on inner-tube rafts, with a lot of rocks and water and sartin' death foamin' down below.

But it was not so they could tame animals, forests, rivers, wild upturned convulsed Oregon. It was more to condition them to do more of what his father had already done a pretty good job

of—claim whatever he can rightly get by being man enough to take it, and not on the frontier, either .. . Kesey Sr. had been part of the 1940s migration from the Southwest—not of "Okies" but of Protestant entrepreneurs who looked to the West Coast as a land of business opportunity. He started out in the Willamette Valley with next to nothing and founded a marketing cooperative for dairy farmers, the Eugene Farmers Cooperative, and built it into the biggest dairy operation in the area, retailing under the name of Darigold. He was one of the big postwar success stories in the Valley—and ended up not in an old homestead with wood sidings and lightning rods but in a modern home in the suburbs, lowslung and pastel, on a street called Debra Lane. The incredible postwar American electro-pastel surge into the suburbs!—it was sweeping the Valley, with superhighways, dream-boat cars, shopping centers, soaring thirty-foot Federal Sign & Signal Company electric supersculptures—Eight New Plexiglas Display Features!—a surge of freedom and mobility, of cars and the money to pay for them and the time to enjoy them and a home where you can laze in a rich pool of pale wall-to-wall or roar through the technological wonderworld in motor launches and, in the case of men like his father, private planes—

The things he would somehow suddenly remember about the old home town—

over here, for example, is the old white clapboard house they used to live in, and behind it, back a ways, is the radio tower of station KORE with a red light blinking on top—and at night he used to get down on his knees to say his prayers and there would be the sky and the light blinking—and he always kind of thought he was praying to that red light. And the old highway used to take a bend right about here, and it seemed like there was always somebody driving through about three or four in the morning, half asleep, and they would see the lights over there in town where it was getting built up and they'd think the road headed straight for the lights and they'd run off the bend and Kesey and his dad would go out to see if they could help the guy draggle himself out of the muck—chasing street lights!—praying to the red beacon light of KORE!—

and a little run-in at Gregg's Drive-in, as it used to be called, it is now Speck's, at Franklin Boulevard at the bridge over the river. That was the big high-school drive-in, with the huge streamlined sculpted pastel display sign with streaming streamlined super-slick A-22 italic script, floodlights, clamp-on trays, car-hop girls in floppy blue slacks, hamburgers in some kind of tissuey wax paper steaming with onions pressed down and fried on the grill and mustard and catsup to squirt all over it from out plastic squirt cylinders. Saturday nights when everybody is out cruising—some guy was in his car in the lot at Gregg's going the wrong way, so nobody could move. The more everybody blew the horns, the more determined the guy got. Like
this
was the test. He rolls up the windows and locks the doors so they can't get at him and keeps boring in.

This guy vs. Kesey. So Kesey goes inside and gets a potato they make the french fries with and comes out and jams it over the guy's exhaust pipe, which causes the motor to conk out and you ain't going
any
which way now, bub. The guy brings charges against Kesey for ruining his engine and Kesey ends up in juvenile court before a judge and tries to tell him how it is at Gregg's Drive-In on a Saturday night: The Life—that

feeling
—The Life—the late 1940s early 1950s American Teenage Drive-in Life was
precisely
what it was all about—but how could you tell anyone about it?

But of course!—the
feeling
—out here at night, free, with the motor running and the adrenaline flowing, cruising in the neon glories of the new American night—it was very Heaven to be the first wave of the most extraordinary kids in the history of the world—only 15, 16, 17 years old, dressed in the
haute couture
of pink Oxford shirts, sharp pants, snaky half-inch belts, fast shoes—with all this Straight-6 and V-8 power underneath and all this neon glamour overhead, which somehow tied in with the technological superheroics of the jet, TV, atomic subs, ultrasonics—Postwar American suburbs—glorious world! and the hell with the intellectual bad-mouthers of America's tailfin civilization... They couldn't know what it was like or else they had it cultivated out of them—the feeling—to be very Superkids ! the world's first generation of the little devils—feeling immune, beyond calamity. One's parents remembered the sloughing common order, War & Depression—but Superkids knew only the emotional surge of the great payoff, when nothing was common any longer—

The Life! A glorious place, a glorious age, I tell you! A very Neon Renaissance—And the myths that actually touched you at that time—not Hercules, Orpheus, Ulysses, and Aeneas—but Superman, Captain Marvel, Batman, The Human Torch, The SubMariner, Captain America, Plastic Man, The Flash—but of course! On Perry Lane, what did they think it was—quaint?—when he talked about the comic-book Superheroes as the honest American myths? It was a fantasy world
already,
this electropastel world of Mom&Dad&Buddy&Sis in the suburbs. There they go, in the family car, a white Pontiac Bonneville sedan—
the family car!
—a huge crazy god-awful-powerful fantasy creature to begin with, 327 horsepower, shaped like twenty-seven nights of lubricious luxury brougham seduction—
you're already there, in
Fantasyland,
so why not move off your smug-harbor quilty-bed dead center and cut loose—go ahead and say it—Shazam!—juice it up to what it's already aching to be: 327,000 horsepower, a whole superhighway long and
soaring, screaming
on toward

... Edge City, and ultimate fantasies, current and future ... Billy Batson said
Shazam!