Now the music stopped. I smiled my thanks. Diamond Jim Brady, reincarnated as the demented son of a Cleveland chauffeur, handed the Gypsy a twenty-dollar bill.

The Gypsy was quite suave at first, imagining that he had received a dollar.

Sarah, believing it to be a dollar, too, thought I had tipped much too much. "Good God," she said.

But then, perhaps to taunt Sarah with the bill that she would have liked me to take back, but which was now his, all his, the Gypsy unfolded the wad, so that its astronomical denomination became apparent to all of us for the first time. He was as aghast as we were.

And then, being a Gypsy, and hence one microsecond more cunning about money than we were, he darted out of the restaurant and into the night. I wonder to this day if he ever came back for his fiddlecase.

But imagine the effect on Sarah!

She thought I had done it on purpose, that I was stupid enough to imagine that this would be a highly erotic event for her. Never have I been loathed so much.

"You inconceivable twerp," she said. Most of the speeches in this book are necessarily fuzzy reconstructions — but when I assert that Sarah Wyatt called me an "inconceivable twerp," that is exactly what she said.

To give an extra dimension to the scolding she gave me: The word "twerp" was freshly coined in those days, and had a specific definition — it was a person, if I may be forgiven, who bit the bubbles of his own farts in a bathtub.

"You unbelievable jerk," she said. A "jerk" was a person who masturbated too much. She knew that. She knew all those things.

"Who do you think you are?" she said. "Or, more to the point, who do you think I am? I may be a dumb toot," she said, "but how dare you think I am such a dumb toot that I would think what you just did was glamorous?"

This was the lowest point in my life, possibly. I felt worse then than I did when I was put in prison — worse, even, than when I was turned loose again. I may have felt worse then, even, than when I set fire to the drapes my wife was about to deliver to a client in Chevy Chase.

"Kindly take me home," Sarah Wyatt said to me. We left without eating, but not without paying. I could not help myself: I cried all the way home.

I told her brokenly in the taxicab that nothing about the evening had been my own idea, that I was a robot invented and controlled by Alexander Hamilton McCone. I confessed to being half-Polish and half-Lithuanian and nothing but a chauffeur's son who had been ordered to put on the clothing and airs of a gentleman. I said I wasn't going back to Harvard, and that I wasn't even sure I wanted to live anymore.

I was so pitiful, and Sarah was so contrite and interested, that we became the closest of friends, as I say, off and on for seven years.

She would drop out of Pine Manor. She would become a nurse. While in nurse's training she would become so upset by the sickening and dying of the poor that she would join the Communist Party. She would make me join, too.

So I might never have become a communist, if Alexander Hamilton McCone had not insisted that I take a pretty girl to the Arapahoe. And now, forty-five years later, here I was entering the lobby of the Arapahoe again. Why had I chosen to spend my first nights of freedom there? For the irony of it. No American is so old and poor and friendless that he cannot make a collection of some of the most exquisite little ironies in town.

Here I was again, back where a restaurateur had first said to me, "Bon appetit!"

A great chunk of the original lobby was now a travel agency. What remained for overnight guests was a narrow corridor with a reception desk at the far end. It wasn't wide enough to accommodate a couch or chair. The mirrored French doors through which Sarah and I had peered into the famous dining room were gone. The archway that had framed them was still there, but it was clogged now with masonry as brutal and unadorned as the wall that kept communists from becoming capitalists in Berlin, Germany. There was a pay telephone bolted to the barrier. Its coinbox had been pried open. Its handset was gone.

And yet the man at the reception desk in the distance appeared to be wearing a tuxedo, and even a boutonniere!

As I advanced on him, it became apparent that my eyes had been tricked on purpose. He was in fact wearing a cotton T-shirt on which were printed a trompe l'oeil tuxedo jacket and shirt, with a boutonniere, bow tie, shirtstuds, handkerchief in the pocket, and all. I had never seen such a shirt before. I did not find it comical. I was confused. It was not a joke somehow.

The night clerk had a beard that was real, and an even more aggressively genuine bellybutton, exposed above his low-slung trousers. He no longer dresses that way, may I say, now that he is vice-president in charge of purchasing for Hospitality Associates, Ltd., a division of The RAMJAC Corporation. He is thirty years old now. His name is Israel Edel. Like my son, he is married to a black woman. He holds a Doctor's degree in history from Long Island University, summa cum laude, and is a Phi Beta Kappa. When we first met, in fact, Israel had to look up at me from the pages of The American Scholar, the Phi Beta Kappa learned monthly. Working as night clerk at the Arapahoe was the best job he could find.

"I have a reservation," I said.

"You have a what?" he said. He was not being impudent. His surprise was genuine. No one ever made a reservation at the Arapahoe anymore. The only way to arrive there was unexpectedly, in response to some misfortune. As Israel said to me only the other day, when we happened to meet in an elevator, "Making a reservation at the Arapahoe is like making a reservation in a burn ward." He now oversees the purchasing at the Arapahoe, incidentally, which, along with about four hundred other hostelries all over the world, including one in Katmandu, is a Hospitality Associates, Ltd., hotel.

He found my letter of reservation in an otherwise vacant bank of pigeonholes behind him. "A week?" he said incredulously.

"Yes," I said.

My name meant nothing to him. His area of historical expertise was heresies in thirteenth-century Normandy. But he did glean that I was an ex-jailbird — from the slightly queer return address on my envelope: a box number in the middle of nowhere in Georgia, and some numbers after my name.

"The least we can do," he said, "is to give you the Bridal Suite."

There was in fact no Bridal Suite. Every suite had long ago been partitioned into cells. But there was one cell, and only one, which had been freshly painted and papered — as a result, I would later learn, of a particularly gruesome murder of a teen-age male prostitute in there. Israel Edel was not himself being gruesome now. He was being kind. The room really was quite cheerful.

He gave me the key, which I later discovered would open practically every door in the hotel I thanked him, and I made a small mistake we irony collectors often make: I tried to share an irony with a stranger, It can't be done. I told him that I had been in the Arapahoe before — in Nineteen-hundred and Thirty-one. He was not interested. I do not blame him.

"I was painting the town red with a girl," I said.

"Um," he said.

I persisted, though. I told him how we had peeked through the French doors into the famous restaurant. I asked him what was on the other side of that wall now.

His reply, which he himself considered a bland statement of fact, fell so harshly on my ears that he might as well have slapped me hard in the face. He said this:

"Fist-fucking films."

I had never heard of such things. I gropingly asked what they were.

It woke him up a little, that I should be so surprised and appalled. He was sorry, as he would tell me later, to have brought a sweet little old man such ghastly news about what was going on right next door. He might have been my father, and I his little child. He even said to me, "Never mind."