Dyar was not a reader; he did not even enjoy the movies. Entertainment somehow made the stationariness of existence more acute, not only when the amusement was over, but even during the course of it. After the war he made a certain effort to reconcile himself to his life. Occasionally he would go out with two or three of his friends, each one taking a girl. They would have cocktails at the apartment of one of the girls, go on to a Broadway movie, and eat afterward at some Chinese place in the neighborhood where there was dancing. Then there was the long process of taking the girls home one by one, after which they usually went into a bar and drank fairly heavily. Sometimes, not very often, they would pick up something cheap in the bar or in the street, take her to Bill Healy’s room, and lay her in turn. It was an accepted pattern; there seemed to be no other to suggest in its place. Dyar kept thinking: “Any life would be better than this,” but he could find no different possibility to consider. “Once you accept the fact that life isn’t fun, you’ll be much happier,” his mother said to him.
—from Paul Bowles, Let It Come Down, 1952