With all due respect to late-February Boston, summer’s the season I dread: in childhood the season of boredom; in early maturity, of physical assaults, desertions, and extremely bad decisions. I’m fish-belly pale, with one carcinoma already knifed out, and even ten minutes at 29°C are enough to begin scooping gray matter from my dutch-oven skull and reduce me to a monosyllabic zombie shambling more or less in any direction you lead.
If my most memorable warm-weather traumas had been triggered by mechanical rather than organic failure, Alfred Bester’s ‘Fondly Fahrenheit’ would be the seasonal selection.
Instead I thought of this stripped-down barely-a-story, simple enough for even the sun-addled to follow. In the summer an upwardly mobile Manhattanite’s fancy turns to thoughts of a Westchester County home — “white, with a lawn, with grown-up trees” — which proves one egg too many for his juggling to handle.
Highsmith was a diagnostician of gender roles, generally presenting the threat of physical violence as a comorbidity of maleness. But, as ‘Blow It’ demonstrates, the Highsmith-male trinity of presumed competence, prescribed sense of agency, and near-absolute absence of rational motive doesn’t need bloodshed to generate recognizable nightmares. What say let’s climb out of these sweaty clothes and into a dry martini?
First published in The Black House, William Heinemann, 1981; reprinted in The Selected Stories of Patricia Highsmith, Norton, 2001. Picked by Ray Davis. Davis lives in the blessedly temperate San Francisco area and publishes his own and others’ work to pseudopodium.org from a cool dark basement. You can read his individual Personal Anthology here.