He didn’t know where he came from. The delicate New York way of establishing origins is to ask: “Merdeka, hah? What kind of a name is that now?” And to this he would reply that he wasn’t a lying Englishman or a loudmouthed Irishman or a perverted Frenchman or a chiseling Jew or a barbarian Russian or a toadying German or a thickheaded Scandihoovian, and if his listener didn’t like it, what did he have to say in reply?
He was from an orphanage, and the legend at the orphanage was
that a policeman had found him, two hours old, in a garbage can coincident with the death by hemorrhage on a trolley car of a luetic young woman whose name appeared to be Merdeka and who had certainly been recently delivered of a child. No other facts were established, but for generation after generation of orphanage inmates there was great solace in having one of their number who indisputably had got off to a worse start than they.
A watershed of his career occurred when he noticed that he was, for the seventh time that year, reordering prints of scenes from Mr. Howard Hughes’s production The Outlaw. These were not the off-the-bust stills of Miss Jane Russell, surprisingly, but were group scenes of Miss Russell suspended by her wrists and about to be whipped. Merdeka studied the scene, growled, “Give it to the bitch!” and doubled the order. It sold out. He canvassed his files for other whipping and torture stills from Desert Song-type movies, made up a special assortment, and it sold out within a week. Then he knew.
The man and the opportunity had come together, for perhaps the fiftieth time in history. He hired a model and took the first specially posed pictures himself. They showed her cringing from a whip, tied to a chair with a clothesline, and herself brandishing the whip.
Within two months Merdeka had cleared six thousand dollars and he put every cent of it back into more photographs and direct-mail advertising. Within a year he was big enough to attract the post office obscenity people. He went to Washington and screamed in their faces: “My stuff isn’t obscene and I’ll sue you if you bother me, you stinking bureaucrats! You show me one breast, you show me one behind, you show me one human being touching another in my pictures! You can’t and you know you can’t! I don’t believe in sex and I don’t push sex, so you leave me the hell alone! Life is pain and suffering and being scared, so people like to look at my pictures; my pictures are about them, the scared little jerks! You’re just a bunch of goddam perverts if you think there’s anything dirty about my pictures!”
He had them there; Merdeka’s girls always wore at least full panties, bras, and stockings; he had them there. The post office obscenity people were vaguely positive that there was something wrong with pictures of beautiful women tied down to be whipped or burned with hot irons, but what?
The next year they tried to get him on his income tax; those de-
ductions for the Planned Parenthood Federation and the Midtown Hysterectomy Clinic were preposterous, but he proved them with canceled checks to the last nickel. “In fact,” he indignantly told them, “I spend a lot of time at the Clinic and sometimes they let me watch the operations. That’s how highly they think of me at the Clinic.”
The next year he started DEATH: the Weekly Picture Magazine with the aid of a half-dozen bright young grads from the new Harvard School of Communicationeering. As DEATH’S Communicator in Chief (only yesterday he would have been its Publisher, and only fifty years before he would have been its Editor) he slumped biliously in a pigskin-paneled office, peering suspiciously at the closed-circuit TV screen which had a hundred wired eyes throughout DEATH’S offices, sometimes growling over the voice circuit: “You! What’s your name? Boland? You’re through, Boland. Pick up your time at the paymaster.” For any reason; for no reason. He was a living legend in his narrow-lapel charcoal flannel suit and stringy bullfighter neckties; the bright young men in their Victorian Revival frock coats and pearl-pinned cravats wondered at his—not “obstinacy”; not when there might be a mike even in the corner saloon; say, his “time-lessness.”