“Care to elaborate?” Zipperstein said.
“Well, Professor, here’s a subject dear to my heart—offing yourself.” The other students tittered as Thurston warmed to his topic. “It’s purportedly autobiographical, this book. But I’d contend, with Barthes, that the act of writing is itself a fictionalization, even if you’re treating actual events.”
Bart. So that was how you pronounced it. Madeleine made a note, grateful to be spared humiliation.
Meanwhile Thurston was saying, “So Handke’s mother commits suicide and Handke sits down to write about it. He wants to be as objective as possible, to be totally—remorseless!” Thurston stifled a smile. He aspired to be a person who would react to his own mother’s suicide with high-literary remorselessness, and his soft, young face lit up with pleasure. “Suicide is a trope,” he announced. “Especially in German literature. You’ve got The Sorrows of Young Werther. You’ve got Kleist. Hey, I just thought of something.” He held up a finger. “The Sorrows of Young Werther.” He held up another finger. “A Sorrow Beyond Dreams. My theory is that Handke felt the weight of all that tradition and this book was his attempt to break free.”
“How do you mean ‘free’?” Zipperstein said.
“From the whole Teutonic, Sturm-und-Drang, suicidal thing.”
The flurries swirling outside the windows looked like either flakes of soap or flash of ash, like something either very clean or very dirty.
“The Sorrows of Young Werther is an apt reference,” Zipperstein said. “But I think that’s more the translator’s doing than Handke’s. In German the book’s called Wunschloses Unglück.”
Thurston smiled, either because he was pleased to be receiving Zipperstein’s full attention or because he thought German sounded funny.
“It’s a play on a German saying, wunschlos glücklich, which means being happier than you could ever wish for. Only here Handke makes a nice reversal. It’s a serious and strangely wonderful title.”
“So it means being unhappier than you could ever wish for,” Madeleine said.
Zipperstein looked at her for the first time.
“In a sense. As I said, something is lost in translation. What was your take?”
“On the book?” Madeleine asked, and immediately realized how stupid this sounded. She fell silent, the blood beating in her ears.
People blushed in nineteenth-century English novels but never in contemporary Austrian ones.
Before the silence became uncomfortable, Leonard came to her rescue. “I have a comment,” he said. “If I was going to write about my mother’s suicide, I don’t think I’d be too concerned about being experimental.” He leaned forward, putting his elbows on the table. “I mean, wasn’t anybody put off by Handke’s so-called remorselessness? Didn’t this book strike anyone as a tad cold?”
“Better cold than sentimental,” Thurston said.
“Do you think? Why?”
“Because we’ve read the sentimental, filial account of a cherished dead parent before. We’ve read it a million times. It doesn’t have any power anymore.”
“I’m doing a little thought experiment here,” Leonard said. “Say my mother killed herself. And say I wrote a book about it. Why would I want to do something like that?” He closed his eyes and leaned his head back. “First, I’d do it to cope with my grief. Second, maybe to paint a portrait of my mother. To keep her alive in my memory.”
“And you think your reaction is universal,” Thurston said. “That because you’d respond to the death of a parent a certain way, that obligates Handke to do the same.”
“I’m saying that if your mother kills herself it’s not a literary trope.”
Madeleine’s heart had quieted now. She was listening to the discussion with interest.
Thurston was nodding his head in a way that somehow didn’t suggest agreement. “Yeah, O.K.,” he said. “Handke’s real mother killed herself. She died in a real world and Handke felt real grief or whatever. But that’s not what this book’s about. Books aren’t about ‘real life.’ Books are about other books.” He raised his mouth like a wind instrument and blew out bright notes. “My theory is that the problem Handke was trying to solve here, from a literary standpoint, was how do you write about something, even something real and painful—like suicide—when all of the writing that’s been done on that subject has robbed you of any originality of expression?”
What Thurston was saying seemed to Madeleine both insightful and horribly wrong. It was maybe true, what he said, but it shouldn’t have been.
“‘Popular literature,’” Zipperstein quipped, proposing an essay title. “‘Or, How to Beat a Dead Horse.’”
A spasm of mirth traveled through the class. Madeleine looked over to see that Leonard was staring at her. When the class ended, he gathered up his books and left.
She started seeing Leonard around after that. She saw him crossing the green one afternoon, hatless in winter drizzle. She saw him at Mutt & Geoff’s, eating a messy Buddy Cianci sandwich. She saw him, one morning, waiting for a bus on South Main. Each time, Leonard was alone, looking forlorn and uncombed like a great big motherless boy. At the same time, he appeared somehow older than most guys at school.
It was Madeleine’s last semester of senior year, a time when she was supposed to have some fun, and she wasn’t having any. She’d never thought of herself as hard up. She preferred to think of her current boyfriendless state as salutary and head-clearing. But when she found herself wondering what it would be like to kiss a guy who chewed tobacco, she began to worry that she was fooling herself.
Looking back, Madeleine realized that her college love life had fallen short of expectations. Her freshman roommate, Jennifer Boomgaard, had rushed off to Health Services the first week of school to be fitted for a diaphragm. Unaccustomed to sharing a room with anybody, much less a stranger, Madeleine felt that Jenny was a little too quick with her intimacies. She didn’t want to be shown Jennifer’s diaphragm, which reminded her of an uncooked ravioli, and she certainly didn’t want to feel the spermicidal jelly that Jenny offered to squirt into her palm. Madeleine was shocked when Jennifer started going to parties with the diaphragm already in place, when she wore it to the Harvard-Brown game, and when she left it one morning on top of their miniature fridge. That winter, when the Rev. Desmond Tutu came to campus for an anti-apartheid rally, Madeleine asked Jennifer on their way to see the great cleric, “Did you put your diaphragm in?” They lived the next four months in an eighteen-by-fifteen room without speaking to each other.
Though Madeleine hadn’t arrived at college sexually inexperienced, her freshman learning curve resembled a flat line. Aside from one make-out session with a Uruguayan named Carlos, a sandal-wearing engineering student who in low light looked like Che Guevara, the only boy she’d fooled around with was a high school senior visiting campus for Early Action weekend. She found Tim standing in line at the Ratty, pushing his cafeteria tray along the metal track, and visibly quivering. His blue blazer was too big for him. He’d spent the entire day wandering around campus with no one speaking to him. Now he was starving and wasn’t sure if he was allowed to eat in the cafeteria or not. Tim seemed to be the only person at Brown more lost than Madeleine. She helped him negotiate the Ratty and, afterward, took him on a tour of the university. Finally, around ten-thirty that night, they ended up back in Madeleine’s dorm room. Tim had the long-lashed eyes and pretty features of an expensive Bavarian doll, a little prince or yodeling shepherd boy. His blue blazer was on the floor and Madeleine’s shirt unbuttoned when Jennifer Boomgaard came through the door. “Oh,” she said, “sorry,” and proceeded to stand there, smiling at the floor as if already relishing how this juicy bit of gossip would play along the hall. When she finally did leave, Madeleine sat up and readjusted her clothes, and Tim picked up his blazer and went back to high school.
At Christmas, when Madeleine went home for vacation, she thought the scale in her parents’ bathroom was broken. She got off to
recalibrate the dial and got back on, whereupon the scale again registered the same weight. Stepping in front of the mirror, Madeleine encountered a worried chipmunk staring back. “Am I not getting asked out because I’m fat,” the chipmunk said, “or am I fat because I’m not getting asked out?”
“I never got the freshman fifteen,” her sister gloated when Madeleine came down to breakfast. “But I didn’t pig out like all my friends did.” Accustomed to Alwyn’s teasing, Madeleine paid no attention, quietly slicing and eating the first of the fifty-seven grapefruits she subsisted on until New Year’s.
Dieting fooled you into thinking you could control your life. By January, Madeleine was down five pounds, and by the time squash season ended she was back in great shape, and still she didn’t meet anyone she liked. The boys at college seemed either incredibly immature or prematurely middle-aged, bearded like therapists, warming brandy snifters over candles while listening to Coltrane’s A Love Supreme. It wasn’t until her junior year that Madeleine had a serious boyfriend. Billy Bainbridge was the son of Dorothy Bainbridge, whose uncle owned a third of the newspapers in the United States. Billy had flushed cheeks, blond curls, and a scar on his right temple that made him even more adorable than he already was. He was soft-spoken and nice-smelling, like Ivory soap. Naked, his body was nearly hairless.
Billy didn’t like to talk about his family. Madeleine took this as a sign of good breeding. Billy was a legacy at Brown and sometimes worried that he wouldn’t have gotten in on his own. Sex with Billy was cozy, it was snuggly, it was perfectly fine. He wanted to be a filmmaker. The one film he made for Advanced Filmmaking, however, was a violent, unbroken twelve minutes of Billy throwing fecal-looking brownie mix at the camera. Madeleine began to wonder if there was a reason he never talked about his family.
One thing he did talk about, however, with increasing intensity, was circumcision. Billy had read an article in an alternative health magazine that argued against the practice, and it made a big impression on him. “If you think about it, it’s a pretty weird thing to do to a baby,” he said. “Cut off part of its dick? What’s so different about a tribe in, like, Papua New Guinea putting bones through their noses and cutting off a baby’s foreskin? A bone through the nose is a lot less invasive.” Madeleine listened, trying to look sympathetic, and hoped Billy would drop the subject. But as the weeks passed he kept returning to it. “The doctors just do it automatically in this country,” he said. “They didn’t ask my parents. It’s not like I’m Jewish or anything.” He derided justifications on the basis of health or hygiene. “Maybe that made sense three thousand years ago, out in the desert, when you couldn’t take a shower. But now?”
One night, as they were lying in bed, naked, Madeleine noticed Billy examining his penis, stretching it.
“What are you doing?” she asked.
“I’m looking for the scar,” he said somberly.
He interrogated his European friends, Henrik the Intact, Olivier the Foreskinned, asking, “But does it feel supersensitive?” Billy was convinced that he’d been deprived of sensation. Madeleine tried not to take this personally. Plus there were other problems with their relationship by then. Billy had a habit of staring deeply into Madeleine’s eyes in a way that was somehow controlling. His roommate situation was odd. He lived off campus with an attractive, muscular girl named Kyle who was sleeping with at least three people, including Fatima Shirazi, a niece of the shah of Iran. On the wall of his living room Billy had painted the words Kill the Father. Killing the father was what, in Billy’s opinion, college was all about.
“Who’s your father?” he asked Madeleine. “Is it Virginia Woolf? Is it Sontag?”
“In my case,” Madeleine said, “my father really is my father.”
“Then you have to kill him.”
“Who’s your father?”
“Godard,” he said.
Billy talked about renting a house in Guanajuato with Madeleine over the summer. He said she could write a novel while he made a film. His faith in her, in her writing (even though she hardly wrote any fiction), made Madeleine feel so good that she started going along with the idea. And then one day she came up onto Billy’s front porch and was about to rap on his window when something told her to look in the window instead. In the storm-tossed bed, Billy lay curled, John Lennon–style, against the spread-eagled Kyle. Both were naked. A second later, in a puff of smoke, Fatima materialized, also naked, shaking baby powder over her gleaming Persian skin. She smiled at her bedmates, her teeth seed-like in purple, royal gums.
Maddy’s next boyfriend wasn’t strictly her fault. She would never have met Dabney Carlisle if she hadn’t taken an acting class, and she would never have taken an acting class if it hadn’t been for her mother. As a young woman, Phyllida had wanted to be an actress. Her parents had been opposed, however. “Acting wasn’t what people in our family, especially the ladies, did,” was the way Phyllida put it. Every so often, in reflective moods, she told her daughters the story of her one great disobedience. After graduating from college, Phyllida had “run away” to Hollywood. Without telling her parents, she’d flown out to Los Angeles, staying with a friend from Smith. She’d found a job as a secretary in an insurance company. She and the friend, a girl named Sally Peyton, moved into a bungalow in Santa Monica. In six months Phyllida had three auditions, one screen test, and “loads of invitations.” She’d once seen Jackie Gleason carrying a chihuahua into a restaurant. She’d developed a lustrous suntan she described as “Egyptian.” Whenever Phyllida spoke about this period in her life, it seemed as if she was talking about another person. As for Alton, he became quiet, fully aware that Phyllida’s loss had been his gain. It was on the train back to New York, the next Christmas, that she’d met the straight-backed lieutenant colonel, recently returned from Berlin. Phyllida never went back to L.A. She got married instead. “And had you two,” she told her daughters.
Phyllida’s inability to realize her dreams had given Madeleine her own. Her mother’s life was the great counterexample. It represented the injustice Madeleine’s life would rectify. To come of age simultaneously with a great social movement, to grow up in the age of Betty Friedan and ERA marches and Bella Abzug’s indomitable hats, to define your identity when it was being redefined, this was a freedom as great as any of the American freedoms Madeleine had read about in school. She could remember the night, in 1973, when her family gathered before the television in the den to watch the tennis match between Billie Jean King and Bobby Riggs. How she, Alwyn, and Phyllida had rooted for Billie Jean, while Alton had pulled for Bobby Riggs. How, as King ran Riggs back and forth across the court, outserving him, hitting winners he was too slow to return, Alton began to grumble. “It’s not a fair fight! Riggs is too old. If they want a real test, she should play Smith or Newcombe.” But it didn’t matter what Alton said. It didn’t matter that Bobby Riggs was fifty-five and King twenty-nine, or that Riggs hadn’t been an especially great player even in his prime. What mattered was that this tennis match was on national television, during prime time, billed for weeks as “The Battle of the Sexes,” and that the woman was winning. If any single moment defined Madeleine’s generation of girls, dramatized their aspirations, put into clear focus what they expected from themselves and from life, it was those two hours and fifteen minutes when the country watched a man in white shorts get thrashed by a woman, pummeled repeatedly until all he could do, after match point, was to jump feebly over the net. And even that was telling: you were supposed to jump the net when you won, not lost. So how male was that, to act like a winner when you’d just been creamed?
At the first meeting of Acting Workshop, Professor Churchill, a bald bullfrog of a man, asked the students to say something about themselves. Half the people in the class were theater majors, serious about acting or directing. Madeleine mumbled something about loving Shakespeare and Eugene O’Neill.
Dabney Carlisle stood up and said, “I’ve done a little modeling work, down in New York. My age
nt suggested I should take some acting lessons. So here I am.”
The modeling he’d done consisted of a single magazine ad, showing a group of Leni Riefenstahl–ish athletes in boxer briefs, standing in a receding line on a beach whose black volcanic sand steamed around their marble feet. Madeleine didn’t see the photograph until she and Dabney were already going out, when Dabney gingerly took it out of the bartending manual where he kept it safely pressed. She was inclined to make fun of it but something reverential in Dabney’s expression stopped her. And so she asked where the beach had been (Montauk) and why it was so black (it wasn’t) and how much he’d gotten paid (“four figures”) and what the other guys were like (“total a-holes”) and if he was wearing the underpants right now. It was sometimes difficult, with boys, to take an interest in the things that interested them. But with Dabney she wished it had been curling, she longed for it to be the model UN, anything but male modeling. This, anyway, was the authentic emotion she now identified herself as having felt. At the time—Dabney cautioned her against touching the ad before he got it laminated—Madeleine had rehearsed in her mind the standard arguments: that though objectification was de facto bad, the emergence of the idealized male form in the mass media scored a point for equality; that if men started getting objectified and started worrying about their looks and their bodies, they might begin to understand the burden women had been living with since forever, and might therefore be sensitized to these issues of the body. She even went so far as to admire Dabney for his courage in allowing himself to be photographed in snug little gray underpants.
Looking the way Madeleine and Dabney did, it was inevitable that they would be cast as romantic leads in the scenes the workshop performed. Madeleine was Rosalind to Dabney’s wooden Orlando, Maggie to his brick-like Brick in Cat on a Hot Tin Roof. To rehearse the first time, they met at Dabney’s fraternity house. Merely stepping through the front door reinforced Madeleine’s aversion to places like Sigma Chi. It was around ten on a Sunday morning. The vestiges of the previous evening’s “Hawaiian Night” were still there to see—the lei hanging from the antlers of the moose head on the wall, the plastic “grass” skirt trampled on the beer-sodden floor, a skirt that, should Madeleine succumb to the outrageous good looks of Dabney Carlisle, she might, at a minimum, have to watch some drunken slut hula in to the baying of the brothers, or, at a maximum (for mai tais made you do crazy things), might even don herself, up in Dabney’s room, for his pleasure alone. On the low-slung couch two Sigma Chi members were watching TV. At Madeleine’s appearance, they stirred, rising out of the gloom like openmouthed carp. She hurried to the back stairs, thinking the things she always thought when it came to frats and frat guys: that their appeal stemmed from a primitive need for protection (one thought of Neanderthal clans banding together against other Neanderthal clans); that the hazing the pledges underwent (being stripped and blindfolded and left in the lobby of the Biltmore Hotel with bus fare taped to their genitals) enacted the very fears of male rape and emasculation that membership in the fraternity promised protection against; that any guy who longed to join a frat suffered from insecurities that poisoned his relationships with women; that there was something seriously wrong with homophobic guys who centered their lives around a homoerotic bond; that the stately mansions maintained by generations of dues-paying fraternity members were in reality sites for date rape and problem drinking; that frats always smelled bad; that you didn’t ever want to shower in one; that only freshman girls were stupid enough to go to frat parties; that Kelly Traub had slept with a Sigma Delt guy who kept saying, “Now you see it, now you don’t, now you see it, now you don’t”; that such a thing wasn’t going to happen to her, to Madeleine, ever.
The Marriage Plot Page 4
