". . . And live decent hours—Junior and his brothers, about two o'clock in the morning they'd head out to the stash, the place where the liquor was hidden after it was made . . ."
I was feigning the tones of an Ingle Hollow moonshiner, in order to create the illusion of seeing the action through the eyes of someone who was actually on the scene and involved in it, rather than a beige narrator. I began to think of this device as the downstage voice, as if characters downstage from the protagonist himself were talking.
I would do the same thing with descriptions. Rather than just come on as the broadcaster describing the big parade, I would shift as quickly as possible into the eye sockets, as it were, of the people in the story. Often I would shift the point of view in the middle of a paragraph or even a sentence. I began a story on Baby Jane Holzer, entitled "The Girl of the Year," as follows:
"Bangs manes bouffant beehives Beatle caps butter faces brush-on lashes decal eyes puffy sweaters French thrust bras flailing leather blue jeans stretch pants stretch jeans honeydew bottoms eclair shanks elf boots ballerinas Knight slippers, hundreds of them, these flaming little buds, bobbing and screaming, rocketing around inside the Academy of Music Theater underneath that vast old moldering cherub dome up there—aren't they super-marvelous!
"'Aren't they super-marvelous!' says Baby Jane, and then: 'Hi, Isabel! Isabel! You want to sit backstage—with the Stones!'
"The show hasn't even started yet, the Rolling Stones aren't even on the stage, the place is full of a great shabby moldering dimness, and these flaming little buds.
"Girls are reeling this way and that way in the aisle and through their huge black decal eyes, sagging with Tiger Tongue Lick Me brush-on eyelashes and black appliqués, sagging like display-window Christmas trees, they keep staring at—her—Baby Jane—on the aisle."
". . . A reviewer called me a 'chameleon.' He meant it negatively. I took it as a compliment. A chameleon . . . but precisely! . . ."
As you see, the opening paragraph is a rush of Groovy clothes ending with the phrase "—aren't they super-marvelous!" With this phrase I shifted into the point-of-view of Baby Jane, looking through her eyes at the young girls, "the flaming little buds," who are running around the theater. The description continues through Jane's eyes until the phrase "they keep staring at—her—Baby Jane," whereupon the point-of-view shifts to the young girls, and the reader is suddenly looking through their eyes at Baby Jane: "What the hell is this? She is gorgeous in the most outrageous way. Her hair rises up from her head in a huge hairy corona, a huge tan mane around a narrow face and two eyes opened—swock!—like umbrellas, with all that hair flowing down over a coat made of . . . zebra! Those motherless stripes! Oh, damn! Here she is with her friends, looking like some kind of queen bee for all flaming little buds everywhere."
In fact, three points-of-view are used in that rather short passage, the point-of-view of the subject (Baby Jane), the point-of-view of the people watching her (the "flaming little buds"), and my own. I switched back and forth between points-of-view continually, and often abruptly, in many articles I wrote in 1963, 1964, and 1965. Eventually a reviewer called me a "chameleon" who instantly took on the coloration of whomever he was writing about. He meant it negatively. I took it as a great compliment. A chameleon . . . but precisely!
Sometimes I used point-of-view in the Jamesian sense in which fiction writers understand it, entering directly into the mind of a character, experiencing the world through his central nervous system throughout a given scene. Writing about Phil Spector ("The First Tycoon of Teen"), I began the article not only inside his mind but with a virtual stream of consciousness. One of the news magazines apparently regarded my Spector story as an improbable feat, because they interviewed him and asked him if he didn't think this passage was merely a fiction that appropriated his name. Spector said that, in fact, he found it quite accurate. This should have come as no surprise, since every detail in the passage was taken from a long interview with Spector about exactly how he had felt at the time:
"All these raindrops are high or something. They don't roll down the window, they come straight back, toward the tail, wobbling, like all those Mr. Cool snowheads walking on mattresses. The plane is taxiing out toward the runway to take off, and this stupid infarcted water wobbles, sideways, across the window. Phil Spector, 23 years old, the rock and roll magnate, producer of Philles Records, America's first teen-age tycoon, watches . . . this watery pathology . . . it is sick, fatal. He tightens his seat belt over his bowels . . . A hum rises inside the plane, a shot of air comes shooting through the vent over somebody's seat, some ass turns on a cone of light, there is a sign stuck out by the runway, a mad, cryptic, insane instruction to the pilot—Runway 4, Are Cylinder Laps Main-side DOWN?—and beyond, disoriented crop rows of sulphur blue lights, like the lights on top of a New Jersey toothpaste factory, only spreading on and on in sulphur blue rows over Los Angeles County. It is . . . disoriented. Schizoid raindrops. The plane breaks in two on takeoff and everybody in the front half comes rushing toward Phil Spector in a gush of bodies in a thick orange—napalm! No, it happens aloft; there is a long rip in the side of the plane, it just rips, he can see the top ripping, folding back in sick curds, like a sick Dali egg, and Phil Spector goes sailing through the rip, dark, freezing. And the engine, it is reedy—