Articles liés à The Kandy-Kolored Tangerine-Flake Streamline Baby
L'édition de cet ISBN n'est malheureusement plus disponible.
Afficher les exemplaires de cette édition ISBN
Book by Wolfe Tom
Les informations fournies dans la section « Synopsis » peuvent faire référence à une autre édition de ce titre.
Extrait :
Las Vegas (What?) Las Vegas (Can't hear you! Too noisy) Las Vegas!!!!
Hernia, hernia, hernia, hernia, hernia, hernia, hernia, hernia, hernia, hernia, hernia, hernia, hernia, HERNia; hernia, HERNia, hernia, hernia, hernia, hernia, HERNia, HERNia, HERNia; hernia, hernia, hernia, hernia, hernia, hernia, hernia, eight is the point, the point is eight; hernia, hernia, HERNia; hernia, hernia, hernia, hernia, all right, hernia, hernia, hernia, hernia, hard eight, hernia, hernia, hernia, HERNia, hernia, hernia, hernia, HERNia, hernia, hernia, hernia, HERNia, hernia, hernia, hernia, hernia
"What is all this hernia hernia stuff?"
This was Raymond talking to the wavy-haired fellow with the stick, the dealer, at the craps table about 3:45 Sunday morning. The stickman had no idea what this big wiseacre was talking about, but he resented the tone. He gave Raymond that patient arch of the eyebrows known as a Red Hook brush-off, which is supposed to convey some such thought as, I am a very tough but cool guy, as you can tell by the way I carry my eyeballs low in the pouches, and if this wasn't such a high-class joint we would take wiseacres like you out back and beat you into jellied madrilene.
At this point, however, Raymond was immune to subtle looks.
The stickman tried to get the game going again, but every time he would start up his singsong, by easing the words out through the nose, which seems to be the style among craps dealers in Las Vegas--"All right, a new shooter . . . eight is the point, the point is eight" and so on--Raymond would start droning along with him in exactly the same tone of voice, "Hernia, hernia, hernia; hernia, HERNia, HERNia, hernia; hernia, hernia, hernia."
Everybody at the craps table was staring in consternation to think that anybody would try to needle a tough, hip, elite soldat like a Las Vegas craps dealer. The gold-lame odalisques of Los Angeles were staring. The Western sports, fifty-eight-year-old men who wear Texas string ties, were staring. The old babes at the slot machines, holding Dixie Cups full of nickles, were staring at the craps tables, but cranking away the whole time.
Raymond, who is thirty-four years old and works as an engineer in Phoenix, is big but not terrifying. He has the sort of thatchwork hair that grows so low all along the forehead there is no logical place to part it, but he tries anyway. He has a huge, prognathous jaw, but it is as smooth, soft and round as a melon, so that Raymond's total effect is that of an Episcopal divinity student.
The guards were wonderful. They were dressed in cowboy uniforms like Bruce Cabot in Sundown and they wore sheriff's stars.
"Mister, is there something we can do for you?"
"The expression is 'Sir,' " said Raymond. "You said 'Mister.' The expression is 'Sir.' How's your old Cosa Nostra?"
Amazingly, the casino guards were easing Raymond out peaceably, without putting a hand on him. I had never seen the fellow before, but possibly because I had been following his progress for the last five minutes, he turned to me and said, "Hey, do you have a car? This wild stuff is starting again."
The gist of it was that he had left his car somewhere and he wanted to ride up the Strip to the Stardust, one of the big hotel-casinos. I am describing this big goof Raymond not because he is a typical Las Vegas tourist, although he has some typical symptoms, but because he is a good example of the marvelous impact Las Vegas has on the senses. Raymond's senses were at a high pitch of excitation, the only trouble being that he was going off his nut. He had been up since Thursday afternoon, and it was now about 3:45 a.m. Sunday. He had an envelope full of pep pills--amphetamine--in his left coat pocket and an envelope full of Equanils--meprobamate--in his right pocket, or were the Equanils in the left and the pep pills in the right? He could tell by looking, but he wasn't going to look anymore. He didn't care to see how many were left.
He had been rolling up and down the incredible electric-sign gauntlet of Las Vegas' Strip, U.S. Route 91, where the neon and the par lamps--bubbling, spiraling, rocketing, and exploding in sunbursts ten stories high out in the middle of the desert--celebrate one-story casinos. He had been gambling and drinking and eating now and again at the buffet tables the casinos keep heaped with food day and night, but mostly hopping himself up with good old amphetamine, cooling himself down with meprobamate, then hooking down more alcohol, until now, after sixty hours, he was slipping into the symptoms of toxic schizophrenia.
He was also enjoying what the prophets of hallucinogen call "consciousness expansion." The man was psychedelic. He was beginning to isolate the components of Las Vegas' unique bombardment of the senses. He was quite right about this hernia hernia stuff. Every casino in Las Vegas is, among the other things, a room full of craps tables with dealers who keep up a running singsong that sounds as though they are saying "hernia, hernia, hernia, hernia, hernia" and so on. There they are day and night, easing a running commentary through their nostrils. What they have to say contains next to no useful instruction. Its underlying message is, We are the initiates, riding the crest of chance. That the accumulated sound comes out "hernia" is merely an unfortunate phonetic coincidence. Actually, it is part of something rare and rather grand: a combination of baroque stimuli that brings to mind the bronze gongs, no larger than a blue plate, that Louis XIV, his ruff collars larded with the lint of the foul Old City of Byzantium, personally hunted out in the bazaars of Asia Minor to provide exotic acoustics for his new palace outside Paris.
The sounds of the craps dealer will be in, let's say, the middle register. In the lower register will be the sound of the old babes at the slot machines. Men play the slots too, of course, but one of the indelible images of Las Vegas is that of the old babes at the row upon row of slot machines. There they are at six o'clock Sunday morning no less than at three o'clock Tuesday afternoon. Some of them pack their old hummocky shanks into Capri pants, but many of them just put on the old print dress, the same one day after day, and the old hob-heeled shoes, looking like they might be going out to buy eggs in Tupelo, Mississippi. They have a Dixie Cup full of nickles or dimes in the left hand and an Iron Boy work glove on the right hand to keep the calluses from getting sore. Every time they pull the handle, the machine makes a sound much like the sound a cash register makes before the bell rings, then the slot pictures start clattering up from left to right, the oranges, lemons, plums, cherries, bells, bars, buckaroos--the figure of a cowboy riding a bucking bronco. The whole sound keeps churning up over and over again in eccentric series all over the place, like one of those random-sound radio symphonies by John Cage. You can hear it at any hour of the day or night all over Las Vegas. You can walk down Fremont Street at dawn and hear it without even walking in a door, that and the spins of the wheels of fortune, a boring and not very popular sort of simplified roulette, as the tabs flap to a stop. As an overtone, or at times simply as a loud sound, comes the babble of the casino crowds, with an occasional shriek from the craps tables, or, anywhere from 4 p.m. to 6 a.m., the sound of brass instruments or electrified string instruments from the cocktail-lounge shows.
The crowd and band sounds are not very extraordinary, of course. But Las Vegas' Muzak is. Muzak pervades Las Vagas from the time you walk into the airport upon landing to the last time you leave the casinos. It is piped out to the swimming pool. It is in the drugstores. It is as if there were a communal fear that someone, somewhere in Las Vegas, was going to be left with a totally vacant minute on his hands.
Las Vegas has succeeded in wiring an entire city with this electronic stimulation, day and night, out in the middle of the desert. In the automobile I rented, the radio could not be turned off, no matter which dial you went after. I drove for days in a happy burble of Action Checkpoint News, "Monkey No. 9," "Donna, Donna, the Prima Donna," and picking-and-singing jingles for the Frontier Bank and the Fremont Hotel.
One can see the magnitude of the achievement. Las Vegas takes what in other American towns is but a quixotic inflammation of the senses for some poor salary mule in the brief interval between the flagstone rambler and the automatic elevator downtown and magnifies it, foliates it, embellishes it into an institution
Présentation de l'éditeur :
Hernia, hernia, hernia, hernia, hernia, hernia, hernia, hernia, hernia, hernia, hernia, hernia, hernia, HERNia; hernia, HERNia, hernia, hernia, hernia, hernia, HERNia, HERNia, HERNia; hernia, hernia, hernia, hernia, hernia, hernia, hernia, eight is the point, the point is eight; hernia, hernia, HERNia; hernia, hernia, hernia, hernia, all right, hernia, hernia, hernia, hernia, hard eight, hernia, hernia, hernia, HERNia, hernia, hernia, hernia, HERNia, hernia, hernia, hernia, HERNia, hernia, hernia, hernia, hernia
"What is all this hernia hernia stuff?"
This was Raymond talking to the wavy-haired fellow with the stick, the dealer, at the craps table about 3:45 Sunday morning. The stickman had no idea what this big wiseacre was talking about, but he resented the tone. He gave Raymond that patient arch of the eyebrows known as a Red Hook brush-off, which is supposed to convey some such thought as, I am a very tough but cool guy, as you can tell by the way I carry my eyeballs low in the pouches, and if this wasn't such a high-class joint we would take wiseacres like you out back and beat you into jellied madrilene.
At this point, however, Raymond was immune to subtle looks.
The stickman tried to get the game going again, but every time he would start up his singsong, by easing the words out through the nose, which seems to be the style among craps dealers in Las Vegas--"All right, a new shooter . . . eight is the point, the point is eight" and so on--Raymond would start droning along with him in exactly the same tone of voice, "Hernia, hernia, hernia; hernia, HERNia, HERNia, hernia; hernia, hernia, hernia."
Everybody at the craps table was staring in consternation to think that anybody would try to needle a tough, hip, elite soldat like a Las Vegas craps dealer. The gold-lame odalisques of Los Angeles were staring. The Western sports, fifty-eight-year-old men who wear Texas string ties, were staring. The old babes at the slot machines, holding Dixie Cups full of nickles, were staring at the craps tables, but cranking away the whole time.
Raymond, who is thirty-four years old and works as an engineer in Phoenix, is big but not terrifying. He has the sort of thatchwork hair that grows so low all along the forehead there is no logical place to part it, but he tries anyway. He has a huge, prognathous jaw, but it is as smooth, soft and round as a melon, so that Raymond's total effect is that of an Episcopal divinity student.
The guards were wonderful. They were dressed in cowboy uniforms like Bruce Cabot in Sundown and they wore sheriff's stars.
"Mister, is there something we can do for you?"
"The expression is 'Sir,' " said Raymond. "You said 'Mister.' The expression is 'Sir.' How's your old Cosa Nostra?"
Amazingly, the casino guards were easing Raymond out peaceably, without putting a hand on him. I had never seen the fellow before, but possibly because I had been following his progress for the last five minutes, he turned to me and said, "Hey, do you have a car? This wild stuff is starting again."
The gist of it was that he had left his car somewhere and he wanted to ride up the Strip to the Stardust, one of the big hotel-casinos. I am describing this big goof Raymond not because he is a typical Las Vegas tourist, although he has some typical symptoms, but because he is a good example of the marvelous impact Las Vegas has on the senses. Raymond's senses were at a high pitch of excitation, the only trouble being that he was going off his nut. He had been up since Thursday afternoon, and it was now about 3:45 a.m. Sunday. He had an envelope full of pep pills--amphetamine--in his left coat pocket and an envelope full of Equanils--meprobamate--in his right pocket, or were the Equanils in the left and the pep pills in the right? He could tell by looking, but he wasn't going to look anymore. He didn't care to see how many were left.
He had been rolling up and down the incredible electric-sign gauntlet of Las Vegas' Strip, U.S. Route 91, where the neon and the par lamps--bubbling, spiraling, rocketing, and exploding in sunbursts ten stories high out in the middle of the desert--celebrate one-story casinos. He had been gambling and drinking and eating now and again at the buffet tables the casinos keep heaped with food day and night, but mostly hopping himself up with good old amphetamine, cooling himself down with meprobamate, then hooking down more alcohol, until now, after sixty hours, he was slipping into the symptoms of toxic schizophrenia.
He was also enjoying what the prophets of hallucinogen call "consciousness expansion." The man was psychedelic. He was beginning to isolate the components of Las Vegas' unique bombardment of the senses. He was quite right about this hernia hernia stuff. Every casino in Las Vegas is, among the other things, a room full of craps tables with dealers who keep up a running singsong that sounds as though they are saying "hernia, hernia, hernia, hernia, hernia" and so on. There they are day and night, easing a running commentary through their nostrils. What they have to say contains next to no useful instruction. Its underlying message is, We are the initiates, riding the crest of chance. That the accumulated sound comes out "hernia" is merely an unfortunate phonetic coincidence. Actually, it is part of something rare and rather grand: a combination of baroque stimuli that brings to mind the bronze gongs, no larger than a blue plate, that Louis XIV, his ruff collars larded with the lint of the foul Old City of Byzantium, personally hunted out in the bazaars of Asia Minor to provide exotic acoustics for his new palace outside Paris.
The sounds of the craps dealer will be in, let's say, the middle register. In the lower register will be the sound of the old babes at the slot machines. Men play the slots too, of course, but one of the indelible images of Las Vegas is that of the old babes at the row upon row of slot machines. There they are at six o'clock Sunday morning no less than at three o'clock Tuesday afternoon. Some of them pack their old hummocky shanks into Capri pants, but many of them just put on the old print dress, the same one day after day, and the old hob-heeled shoes, looking like they might be going out to buy eggs in Tupelo, Mississippi. They have a Dixie Cup full of nickles or dimes in the left hand and an Iron Boy work glove on the right hand to keep the calluses from getting sore. Every time they pull the handle, the machine makes a sound much like the sound a cash register makes before the bell rings, then the slot pictures start clattering up from left to right, the oranges, lemons, plums, cherries, bells, bars, buckaroos--the figure of a cowboy riding a bucking bronco. The whole sound keeps churning up over and over again in eccentric series all over the place, like one of those random-sound radio symphonies by John Cage. You can hear it at any hour of the day or night all over Las Vegas. You can walk down Fremont Street at dawn and hear it without even walking in a door, that and the spins of the wheels of fortune, a boring and not very popular sort of simplified roulette, as the tabs flap to a stop. As an overtone, or at times simply as a loud sound, comes the babble of the casino crowds, with an occasional shriek from the craps tables, or, anywhere from 4 p.m. to 6 a.m., the sound of brass instruments or electrified string instruments from the cocktail-lounge shows.
The crowd and band sounds are not very extraordinary, of course. But Las Vegas' Muzak is. Muzak pervades Las Vagas from the time you walk into the airport upon landing to the last time you leave the casinos. It is piped out to the swimming pool. It is in the drugstores. It is as if there were a communal fear that someone, somewhere in Las Vegas, was going to be left with a totally vacant minute on his hands.
Las Vegas has succeeded in wiring an entire city with this electronic stimulation, day and night, out in the middle of the desert. In the automobile I rented, the radio could not be turned off, no matter which dial you went after. I drove for days in a happy burble of Action Checkpoint News, "Monkey No. 9," "Donna, Donna, the Prima Donna," and picking-and-singing jingles for the Frontier Bank and the Fremont Hotel.
One can see the magnitude of the achievement. Las Vegas takes what in other American towns is but a quixotic inflammation of the senses for some poor salary mule in the brief interval between the flagstone rambler and the automatic elevator downtown and magnifies it, foliates it, embellishes it into an institution
In this, his first book and one of the landmarks of the New Journalism, Tom Wolfe managed to look at the American scene of the early 1960s afresh and to zero in on the more exotic forms of status-seeking then in vogue from New York to Los Angeles.
In the dances, bouffant hairdos, stock-car racing and rock concerts, Wolfe found a unique American energy, and the incandescent style that produced The Right Stuff and The Electric Kool-Aid Acid Test is already in evidence. In the title essay - Wolfe's first magazine article - he eulogizes the flamboyant 'kustomized kars' California teens constructed with artistic dedication. And there's more - Phil Spectre, Cassius Clay, Las Vegas, the Nanny Mafia, Why Doormen hate Volkswagens. Classic Wolfe!
In the dances, bouffant hairdos, stock-car racing and rock concerts, Wolfe found a unique American energy, and the incandescent style that produced The Right Stuff and The Electric Kool-Aid Acid Test is already in evidence. In the title essay - Wolfe's first magazine article - he eulogizes the flamboyant 'kustomized kars' California teens constructed with artistic dedication. And there's more - Phil Spectre, Cassius Clay, Las Vegas, the Nanny Mafia, Why Doormen hate Volkswagens. Classic Wolfe!
Les informations fournies dans la section « A propos du livre » peuvent faire référence à une autre édition de ce titre.
- ÉditeurFarrar Straus & Giroux
- Date d'édition1987
- ISBN 10 0374504687
- ISBN 13 9780374504687
- ReliureBroché
- Evaluation vendeur
Acheter neuf
En savoir plus sur cette édition
EUR 56,76
Frais de port :
Gratuit
Vers Etats-Unis
Autres éditions populaires du même titre
Meilleurs résultats de recherche sur AbeBooks
Image d'archives
The Kandy-Kolored Tangerine-Flake Streamline Baby
Edité par
Farrar Straus & Giroux
(1987)
ISBN 10 : 0374504687
ISBN 13 : 9780374504687
Neuf
Paperback
Quantité disponible : 1
Vendeur :
Evaluation vendeur
Description du livre Paperback. Etat : New. N° de réf. du vendeur Abebooks59589
Acheter neuf
EUR 56,76
Autre devise