Some desert fathers have gotten carried away, though. Say you are a genius, and you have just done something that has never been done before. There it lies, on your legal pad or your patio, as rare as it could possibly be. In a week or a year it might glint in thousands of other minds, like the tiny repeating images in a beetle’s eye. Paul Valéry has some stern words for you: “Every mind considered powerful begins with the fault that makes it known,” he writes. And: “the strongest heads, the most sagacious inventors, the most exacting connoisseurs of thought, must be unknown men, misers, who die without giving up their secret.” Even putting an idea in words, according to Arthur Schopenhauer, is a sellout: “As soon as our thinking has found words it ceases to be sincere or at bottom serious. When it begins to exist for others it ceases to live in us.” The self-canceling quality of these verbal arguments for silence is obvious. Still, if behind them is simply the wish for a kind of privacy, for the insulation of inattention, for a few delays in the final sentencing of a thought, for a little sorrow intermixed with one’s eager self-expression, then any prudent introvert would raise a concurring absinthe glass.
Things often work better, too, when the portions of each person’s life that are wholly devoted to a quest for the rare are themselves somewhat infrequent. The staggering fluke and the exhilarating pathology ought to surprise their first discoverers as much as they surprise the rest of us. It is always more pleasing when the sweepstakes is won by the family who sent off their entry distractedly, in the midst of errands and trips to the vet, than when it is won by that man with the flat voice, in the hooded parka, who sent in five hundred thirty-seven separate entries—except that ultimately rarity accrues to him as well, once we contemplate him: all those unshaven mornings at the post office, those readings of the fine-print contest guidelines, those copyings of “Dove is One Quarter Cleansing Cream” on three-by-five pieces of paper.
For everyone besides that rare man in the parka, the provisional moral may be: Pursue truth, not rarity. The atypical can fend for itself: our innate, unconquerable human appetite for it will never let it lie low for long. And very often, when we are looking over several common truths, holding them next to one another in an effort to feel again what makes them true, rarities will mysteriously germinate in the charged spaces between them, like those lovely, ghostly zings that a guitarist’s fingers make, as they clutch from chord to chord.
(1984)
Model Airplanes
You don’t need a set of Pactra enamels, or airbrush equipment, or jewelers’ files; not forceps or a pin vise; you don’t need to know the variations in camouflage adopted by the F-5E Tiger II 527th Aggressor Squadron at Alconbury from 1976 through 1988, or know, indeed, anything at all about war or history or military hardware; you don’t need to harbor angry thoughts toward enemies abroad or at work. But a simple tube of glue, at the very least, might seem necessary for any appreciation of the plastic model-airplane kit. And some minimal grade-school exposure to glue, or “cement,” as the technical prefer to call it, is an important early step toward the attainment of later, simpler, unpolymerized pleasures. Certainly glue, especially during those long summer afternoons in the late sixties and early seventies, before oil of mustard was added to the recipe to discourage any direct attempts at mood alteration, was lovely stuff. When you tweaked off the dried wastrel from an earlier session and applied a gentle pressure to the Testor’s tube, a brand-new Steuben-grade art-blob of cooling poison would silently ensphere itself at the machined metal tip, looking, with its sharp gnomonic surface highlights and distilled, vodkal interior purity, like a self-contained world of incorruptible mental concentration, the voluptuously pantographed miniaturization of the surrounding room, and the artist’s rendering on the Monogram box top, and the half-built fighter itself, along with the hands that now reached to complete it; and as the smell of this pellucid solvent, suggestive of impossible Mach numbers and upper atmospheres and limitless congressional funding, drove away any incompatible carbon-based signals of hunger or human frailty, you felt as if your head had somehow gained admission to and submerged itself within that glowing globule of formalism and fine-motor skills. When you held a pair of halved components tightly together for ten minutes, glaring at them, willing the tiny, glue-dolloped pins to turn to toffee and join forever their complementary sockets, you weren’t worried by, you even welcomed, the bead that often reemerged along the seam as evidence of the static force of your grip, and you waved the subassembly around to speed its drying, in this way separately “flying” each wheel or pitot tube or stabilator, in order to extract its unique contribution to overall airworthiness, before you united it with the Spartan society of the fuselage. Glue was the jet fuel of 1:72 scale—inflammable, icy, dangerous. Its end wasn’t speed itself, but the appreciation of speed—an idea that needed to be pieced together slowly, over hours of chair-bound, stiff-necked application, until vibration and afterburners and the sense of being almost out of control all rotated and mapped themselves onto an alternative imaginary dimension, where they were represented by an out-of-focus desert of clean newsprint, by the weightless reflection of a watch crystal across a high wall, and by a large whitish thumbprint permanently imprinted on green plastic.
Yes, glue was good and helpful in its place, but we must now put it aside. For who has the kind of time it takes to build plastic models? Eight years ago, during a time of professional disappointment, I bought an MPC ’57 Chevy—A GREAT GASSER WITH A FLIP-UP FRONT END! read the box copy—with the idea that in putting it together I would pull myself together, since I was a ’57, too. The kit cost about as much as a paperback, and would have required roughly the same number of hours to finish, but it would have bypassed the verbal lobe completely, a promise not all paperbacks can truthfully make. Yet it sits before me now, emboxed, unbuilt. For some years I justified my failure on the grounds that I had never liked building model cars as much as building model airplanes (the discount drugstore had only had model cars for sale that impulsive afternoon)—but in the past several weeks I have bought Monogram’s USAF F-101B Voodoo and Soviet MiG-29 Fulcrum (both made in the USA), Revell’s F-15A Eagle and Israeli F-21 Kfir (both made in Japan), Revell’s Soviet Sukhoi-27 Flanker (made in Korea), Revell’s B-2 Stealth Advanced Technology Bomber (made in the USA), DML’s combined B-2 and F-117A Stealth kits (made in Hong Kong), Hasegawa’s Kfir C2 and F-14A Atlantic Fleet Squadrons and MiG-29 Fulcrum (all three made in Japan), AMT’s F-14A Tomcat (made in Italy), Lindberg’s X3 Stiletto (made in USA), and Testor’s Tomcat and MiG-29 (Italy and Japan, respectively), plus a few others—$211 worth of intercontinental plastic from three retail stores—and though I have very much enjoyed opening the boxes, though I have even made Canon copies that record exactly how each box’s contents looked when I first lifted its top, I have built none of these aircraft. But now at least I know why.
The reason is simply that, despite the compensating attractions of glue, the activity of model construction goes to its final rest in one’s memory as a long, gradual disappointment. You think deludedly that you want to own the finished thing, joined, puttied, painted, decaled, and set under glass in a diorama made of bits of hot-mounted sponge and distressed Kleenex. But what you really want is to own, say, the Monogram MiG-29 kit at the apex of its visual complexity, where it can stimulate every shock and strut of your craftsmanly ambition, before it has been harmed by the X-acto knife and pieces of things have been bonded in permanent darkness within other things; you want it to be yours when both lateral aspects of each three-dimensional component, numbered for quick reference, hang symmetrically and simultaneously available to the eye in an arrangement of rectilinear runners and fragile jointure as fully intricate and beautiful as the immense wrought-iron gates that protect the fabled treasures in the Armorer’s Chamber of the Kremlin.
Straight from the store, these kits are museums: Kremlins and Smithsonians of the exploded view, wherein you may fully and rapturously attend to a single airplane, which exists
planarly, neatly espaliered, arranged not by aerodynamic or military function, but by the need for an orderly flow of hot plastic through the polished cloisters of the mold in which it was formed—the largest and tiniest pieces nearest the sprue, or point of injection, the middle-sized pieces farther away, where they will successfully fill with a lesser fluid impulse. Nothing is hidden on these architectures; all the complex curves of wings and tailpieces are there, but everything is “straightened up,” as a hotel maid rationalizes the top of a bedside table simply by reorienting the mess at right angles, throwing nothing away; one gazes and thinks less of air-to-air combat than of those alluring ads for closet organizers or for garment bags fitted with specialized pockets. A pilot, adroitly sliced in two, headless, awaits recomposition in one crowded narthex. The elegant landing gear, twice as impressive as the real thing, is on view in the south transept. Some of the pieces don’t even offer up their final disposition at first glance: the truth—that they are relatively unconvincing bits of cockpit decor, or segments of a petty canard—would only cause unhappiness were you actually to engage with the kit and prove its necessary unfaithfulness to the real fighter. “It’s real because it’s Revell” was the manufacturer’s tag in the years I was building them; but the realism, I now realize, delights most piercingly when it is taken on faith.
The box, then, is the basilica of the unbuilt. You never quite rid yourself of the illusion that you will want to get to work on it as soon as you find a suitable chunk of time. Meanwhile you are content to wander these galleries of imaginary hobbyistic space with the indefinitely postponed intention of deacquisitioning their contents and leaving their mounts as raw and wanting as stems plucked free of after-dinner grapes. The kit is informationally richer than the completed plane. Yet richer still is the mold from which the kit limply falls, pushed out from the hand-finished, water-cooled steel cavities by a forest of long ejector pins. From this vantage, the model kit becomes the middle term, the precious domestic intermediary between the technology of injection molding and the technology of air defense. And if the injection-molding presses, the sophisticated Van Dorns or the older Cincinnati Milacrons at the Revell/Monogram factory in Morton Grove, Illinois—machines the size of locomotives, capable of animating a few hot cupfuls of viscous gray plastic into palmate arrangements of engine cowlings and smooth leading edges and external “stores” (that is, bombs and missiles), all overgrown with a fioritura of rivet heads, every half minute or so—if these massive presses had cockpits, the model enthusiast would perhaps more appropriately recline here, enthroned in the pacific din of high-volume toy manufacturing, rather than in the Kfir’s or Voodoo’s or Tomcat’s ejector seat. Fighter planes are fussy and expensive to maintain, but with oil and minimal tinkering, injection-molding machines will, in the words of Dan Burden, Revell/Monogram’s plant manager, “just run forever.” The aim of the Pratt & Whitney jet engine is to generate thrust with a spinning turbine; the aim of the Van Dorn is to move plastic along a rotating horizontal screw and force it to submit to prearranged detail with a minimum of flashing. The outcome of the Pratt & Whitney is turbulent exhaust and scattered applause at air shows; the outcome of the dutiful tonnage of the Cincinnati Milacron is a better preadolescent brain. (Hasegawa, the high-end Japanese manufacturer, includes, in a kit entirely devoted to U.S. guided bombs and rocket launchers, this educational word to parents: “It is reported that building plastic-model kits improves a child’s capability in understanding and in patience. Moving fingers helps his brain grow faster.”) The aerobatic F-15A Eagle can exceed the speed of sound in a vertical climb (at least that’s what Revell’s instruction sheet claims); the arobotic Cincinnati Milacron sits immovably anchored to a rubber shock-pad in a hangar full of its hulking, squirting confreres, slowly depreciating, ministered to by taciturn women who, but for their safety glasses, might have been milkmaids in another life. The plastic model you buy at the store is poised between these two rival poles of might, military-industrial and civilian-industrial. Its alliances are unsettled; the cozy homage it pays to lethal force is part of its attraction.
And now, with this mention of homage, we arrive, full of hushed deference, before the large blue box that holds the Stealth B-2 Bomber. Revell’s version ($12.99 at Toys R Us) is molded, quite properly, in black plastic, and comes shrouded in a clear sack with a prominent warning in French and English about the danger of suffocation. The full-scale Stealth is beautiful from a distance, although in a worrisomely Transylvanian sort of way. It is reportedly the result of astounding advances in computer-aided design and manufacturing processes. But unfortunately its continuous curves and unmitigated blackness do not seem to make for a satisfying scale model. Perhaps this is because the real Stealth, so completely the result of composite-molding machinery, itself too closely approximates the fluent, impressionable greatness of molded styrene. It is a model, and therefore a model of it can’t show off the extraordinary talent plastic has for the mimicry of other materials and textures. The kit-makers can’t be held responsible for the fact that the B-2 is so maddeningly smooth, that its featurelessness soaks up the eager radar of the visual sense and sends little back. The Cold War has moved from the upper atmosphere of spy photography to the wind tunnel, and aerodynamic drag has effectively replaced the Soviet Union as the infinitely resourceful enemy. But drag, unwelcome though it is to the airplane designer, is everything to the plastic-model enthusiast, because drag means rivets, knobs, holes, wires, hinges, visible missiles, sensors, gun blisters—all those encrustations that inspire study, and make imitation (in all-time best-selling models like the Monogram Mustang P-51 fighter) difficult enough to be worthwhile. And this consideration, oddly enough, may constitute a compelling argument against the B-2 program: the Bomber may represent an act of industrial will more impressive than anything since the Second World War; it may indeed harbor genius and patents and spin-off potential in every undulant inch; but it doesn’t at this moment look as if it will ever fill the demanding hobbyist with delight when he opens the box. And the fulfillment of that single recreational requirement, after all, given the inevitable shift away from vengeance and toward ornament that is history’s principal sequel, is the B-2’s only long-term reason for being.
But if, on the other hand, Revell/Monogram were to offer a 1:48 model of the automated tape-lamination machine that Northrop designed to manufacture the composite materials that are molded into its plane, I would sit up very quickly. There is a kit I would buy and build. And now a regressive vision rises up before me—a vision of a whole Revell/Monogram “Factory Floor” series, marketed along the lines of the “Yeager Super Fighters” series, with Eli Whitney giving the thumbs-up sign on the box in place of the craggy test pilot: authentic scale replicas of great production-lines from new and mature industries around the world. The masterpiece of this urgently needed set of kits, the one that would exact an unprecedented level of artistry from the talented mold-makers in Morton Grove—who follow, incidentally, a set of milestones similar to major wedding anniversaries, from paper drawings, through overscale basswood forms (carved and sanded with Ruskinian care and thrown out once their shape has been captured in epoxy), to the final jubilee of steel molds, engraved and polished by adepts in Windsor, Canada, or in Hong Kong (where the machinists, according to one mold-layout engineer I talked to, have an especially “soft touch” with airplane likenesses)—the final masterpiece of the series would have to be a superbly detailed, vintage 1979 Cincinnati Milacron injection press, complete with warning decals, rotating screw, and a fully removable mold block ready to produce two MiG-29s a minute around the clock. When production of the toy commenced, and the real twelve-ton machine began to sigh and kick onto its conveyor belt a model of itself—in this way manufacturing not another unbuilt airplane but the unbuilt tool responsible for all unbuilt airplanes—we would be witnesses to one of the greatest moments in the Age of Plastic. And by inciting later generations of avid modelers to acknowledge the intellectual satisfactio
ns of factory engineering early enough for any potential zealotry in that direction to take permanent hold, we might also find that in passing we had done something small but helpful toward reversing the industrial collapse of the United States.
Until this great day comes, however, we must be content to collect the airplane kits themselves, shaking them tentatively, making copies of their contents in the box, tactfully inspecting their rougher undersides, browsing their multilingual directions, and then piling them somewhere safe, unglued.
(1989)
The Projector
The finest moment in The Blob (1958) occurs in a smalltown movie theater, during a showing of something called Daughter of Horror. While the pre-McLuhanite projectionist reads his hardcover book, the Blob—a giant protean douche-bag—begins to urge its heat-seeking toxic viscosity through ten tiny slits in an air vent. Past the turning movie reel, we watch the doomed projectionist glance out the viewport at the screen, preparing for a “changeover”—an uninterrupted switch from the running projector, whose twenty-minute reel is almost over, to the second, idle one, which is all threaded and ready to roll. He senses something at his back; he turns; he gives the flume of coalesced protoplasm a level look—then it gets him. Now unattended, the first projector plays past the cue for the changeover and runs out of film. The disgruntled audience looks around and spots the Blob (in an image that must have inspired the development of the Play-Doh Fun Factory) extruding itself in triumph from all four of the little windows—two projector ports and two viewports—in the theater’s rear wall.