by John Barth
Au contraire: the scent seems to be on me since crazy April, and will not leave me be in abstemious May. Young “Mary Jane” in the beach hotel this weekend: a ringer for Jeannine Mack 20 years ago except less well washed and high on grass instead of bourbon; hoping His Nibs the Director would notice her, but settling in the woozy meanwhile for the worn-down nib of her ex-Freshman-English prof. Nothing wrong with shagging a former student, Mister Chancellor, Members of the Board of Regents: anyhow she was C+ in class, high B in bed (my curve is lower than in yestersemester); I was tired, my mind was elsewhere (hi, Bea), and I don’t dig sex with the inarticulate, though those 21-year-old bodies are, as the children say, Something Else—not even conceived yet, Y.T., when I was first laid.
Which fetches us to the other anniversary we celebrate on this date, fortunately unbeknownst to Prinz: the loss of my virginity in 1947. And to my second Remarkable Reenactment of the day. Home from the sea I drive at sundown: beaten, wordless, Mary Jane’s juices drying on me and mine on her, the Bea-Prinz image beprinted on my ego like a cattle brand. I stand her to dinner, drop her off at her dorm (C you later, Allgelehrte), and head for mine. I pause to consider a pause at 24 L St., Dorset Heights, and decide against it: I have begun to love milady A., but it isn’t she I wish to see in this particular distraction. I reflect that we have not coupled, she and I, since May Day, near two weeks gone. This reflection, itself coupled with the scents and images of Bea-Plus, not surprisingly reminds me of that time in my life when I was chastely loving Magda while humping Jeannine around the yacht-club circuit. Harry Truman days. And that reminds me…
The Lighthouse is dark but for the driveway light. Peter’s pickup advises me that the closer I get the less. Angie is abed but waiting to say good night: I bring her saltwater taffy and a coin with her name lettered round it so:
We speak awhile in the dark of angels, stars, and Ocean City. As I kiss her good night I think of her mother and other bad news. She mortifies me with the giggled observation that my mustache smells like “Bibi” (her pet name for her vulva, Truly, derived in baby days from pee-pee, to make water). My not very inspiring private history seizes me by the throat. Dear menstruating, masturbating, certainly motherless, uncertainly fathered child: what is to become of you? Peter, Magda: why do you put up with us, and what on earth would we do if you didn’t? Dear Mother, dying next door: Am I legit, prithee, and does terminal cancer hurt awfully? Marsha Blank, chucker of responsibilities, exacter of two eyes for an eye and whole dentitions for a tooth: let him look to’s balls, whoever fills you now! Germaine, Germaine: why am I taken with the crazy craving, even as I write these words, to do it over again, and specifically with you? Why not get a child on Magda, tat for tit for tat?
Et cetera. Nighty-night, Ange. Not a little shaken, I go downstairs for a nightcap. No ale in the kitchen: since Peter and the twins, great do-it-themselfers, finished the basement into a Family Room (in which our old camera obscura stands like an improbable TV), all alcohol is stowed belowstairs, in the fridge behind the “wet bar.” It is nearly midnight. I pour a Labatt’s India Pale, turn down the rheostated lights, and contemplate an actual Choptank lighthouse winking from the c.o. screen every 2½ seconds, off to westward. It does not suggest what I am to do with the second half of my life.
Familiar female footsteps overhead: Magda, in her slopping slippers. She pauses in the kitchen—Ambrose? Mm hm—then pads on down. Can’t seem to get to sleep. Cotton nightgown, demure. How was Ocean City? Don’t ask. Pours herself one. We almost drove down to watch the shooting. Glad you didn’t. Did you really do the water-message thing? Yup. Peter says if they’re hiring you to be Ambrose in the picture, they ought to hire me to be Magda. Your ass is too big, Mag. Happy anniversary.
She said it first, raising her mug, and when I asked, neutrally, Which one, she replied, cheerfully, Who cares about that stupid note in a bottle? I mean your 22nd year of prickhood. Ah. We sipped to it. I couldn’t assess her tone, quite. How are you, dear Magda?
As is her wont with me, she answered calmly, gravely, fully. She was okay, all things considered. She no longer feared, as she had last winter, that she would kill herself. She had assumed, when we began our affair in ’67, that it would be brief and end in the destruction of someone she much loved: Peter by suicide; me by homicide; herself by either; the children somehow. For she had hoped and expected that we two would chuck the world and go away together—to Italy, to Italy—and she had imagined that Peter, despite his best resolves and infinite responsibility, would find the situation unendurable. Since things had not gone as she’d wished, she was relieved that nothing fatal had ensued. But that fact reminded her that her love for me, and whatever it was I’d felt for her, had been inconsequential; she hated that. With all her heart she wished still that we had run off to Italy, if only for a season, and let the chips fall where they might. She did not hate Peter for being complaisant (out of his fancied and unwarranted guilt for having let Marsha once seduce him); but she didn’t admire him for it, either. She did not hate me for having been unable to love her as she’d loved me: she only regretted it—almost, but not quite, to the point of self-destruction.
Most of all she lamented my refusal to make her pregnant. Marsha’s opinion to the contrary notwithstanding, Magda believed me capable of loving deeply; but even if I’d gone so far as to marry her (which she’d never expected), she would not have given my love for her more than two years—inspired as it was in part by the shock of my divorce. Inasmuch as she herself would never cease to love me, she wished as strongly now as ever that we’d had a child together, through whom she could gratify that love. A child—and my removal from the scene—would have been the fittest end to our affair, in her judgment. It was only because I’d not given her that child that she was able to bear, indeed required, my continued presence in the house: I was surrogate for the child who was to have been surrogate for me. And how are you, Ambrose?
Oh, shot to hell. I told her the story of my set-down on the beach and my rewakened interest in Bea Golden. The former mightily amused her, as I meant it to. She hoped and trusted I was teasing her about the latter. I’m drawn to has-beens, I said. The exhausted. The spent. Maybe I’ll write an old-fashioned novel: characters, plot, dialogue, the works. Maybe I’ll remarry and start a family.
That hurts, Ambrose.
Sorry, said I, taking her hand. It’s late. I’m tired and a little drunk. What I really feel is a mighty urge to go forward by going back, to where things started. Rewind, you know. Rebegin. Replay.
That is known as regression, Magda declared; I bid you good night. She leaned to buss me; got wind of old Bibi, perhaps; anyhow made a small sound of pain, an indeterminate whimper. I held her to it. I don’t know what yours are like, Yours, but Lady Amherst’s lips are pleasingly dry and firm; Jeannine Mack’s (in the old days) were hot and hard; “Mary Jane’s” just lately were wet and thin and a touch maloccluded; Marsha Blank’s I don’t remember—but Magda Giulianova’s, now as a quarter-century ago, are two extraordinary items of flesh. A man cannot kiss those lips without craving to take one into his mouth; a man at once wants more… come on, Language, do it: read those lips, give them tongue! Language can’t (film either, I’m happy to add; it’s the tactile we touch on here, blind and mute) do more than pay them fervent, you know, lip service.
Tears. Not her, Magda prayed. Meaning Marsha! I shook my head. Time to end the mystery, at least the evening; I wanted that mouth again, that man cannot kiss without tumescing. To cool us down (so I truly, innocently intended) I told her gently of Germaine.
Something of a male chauvinist, Magda was at first startled and a bit amused (the lady had once been pointed out to her in a shopping plaza). The woman’s fifty, Ambrose! Etc. Then relieved, clearly, that her successor was no smashing 25-year-old. Then curious: bona fide British nobility? Well, part Swiss, and not born to the gentry; more of a scholar than a blue blood; disappointed writer, actually, like yours truly. Then more curious, and a
touch excited: What’s she like? Is she crazy about you? Are you madly in love? Well, let’s say ardently in sympathy. Remarkable woman, Germaine Pitt: I suspect she’s as given to Erotic Fantasy as I am, for example. Then more excited than curious: Did you have to teach her how to do it right, the way you did me, or had she had a string of lovers already?
Magda.
She was glad, she said. She’d been worried for me since our breakup. I needed sexual companionship, not just the odd lay. She’d known I was sleeping with someone; had hoped and prayed it was someone good both in and out of bed… Breathier now, and tearier, that remarkable lower lip shaking. But God I miss it, Ambrose (Magda seldom uses nicknames, nor enounces that trochee without stirring me to the bowels. I think I know who Ambrose is only when Magda speaks the name): it isn’t fair; Peter can’t do it; you shouldn’t have showed me those things are real; I was satisfied enough; I don’t want to be unfaithful to him; it’s only sex; who gives a fuck; anyway that’s not it, that’s just not it. I miss you. I love you. I’m going crazy.
Ditto, Truly. Look here, Mag…
You mustn’t refuse me when I beg you, Ambrose.
Magda, you know as well as I. She was on me then: the lips, the lips, hands, hair. Poor John Thomas, thought his shift was done, took a bit of coaxing he did. Magda favors the rec-room Barcalounger, herself on top: still shy of her heavied hams, she eases herself onto me with a happy gasp, slips the gown off to give me her breasts and shoulders, goes to it. I’d early learned—unemancipated Mag!—in these circumstances to give detailed running orders for my gratification. When she gets it off she never cries out (there’s usually a sleeping child, or adult, about), just closes her eyes and makes a small, awestruck sound that goes on and on.
Sex.
Now what. She sat there a postclimactic while, holding shrunk J.T. tight in her vaginal fist and giving me serene instructions. I was not to worry. She would not keep after me to make love to her or otherwise infringe on my new attachment, which she approved. I should fetch—Mrs. Pitt? Mrs. Amherst?—over to meet the family as soon as possible: it would help her, Magda, to see us together as a couple, and to have the family so see. I should make plans to move out of the Lighthouse—in easy stages, for Angela’s sake. Maybe first to the old Menschhaus up the street, now that Mother’s hospitalizing had left the place vacant. Angela of course must stay with them, until and unless… A few tears here (J.T. was released). Soon the twins would be off on their own; dear Angela was all she had left. Why hadn’t I given her a baby? She quickly calmed, apologized. I reminded her she’d doubtless be a grandmother before very long: young Connie had the looks of an early breeder, and Carl was obviously a stone-horse: both would marry within the year and get offspring at once.
This talk pleased her; she climbed off me, smiling. I’ve done an immoral thing, Ambrose, she said then, and I don’t care what you or anybody thinks. I thought she meant this anniversary reenactment of our original infidelity, and waved it away; reminded her wryly I’d been doing retakes all weekend. Not that, she said. All those months I begged you to make me pregnant, and you said No, it wouldn’t be right, I never once tried to trick you. I wanted everything we did to be together, 100%. The IUD was in there, every time, even when you’d forget to remind me.
Magda.
But you were so selfish yourself, completely selfish. I’m not blaming you. You can’t make a person love another person. You can only pray for it…
Mag?
And I won’t bother you, Ambrose. I love you, always will, and I wish you well. I even know you love me, in your way. But I want that baby. So tonight I cheated. I wasn’t even going to tell you.
I closed my eyes. You know I’m practically sterile.
Not absolutely. When was your last ejaculation?
Hum. Not counting this one? This morning.
That hurts a bit. But you filled me up. And I’m ovulating; I can tell.
Not a Chinaman’s chance, Mag.
I’ve never understood that saying, she said. There are so many Chinese. Anyhow, we Catholics believe in miracles. Don’t be angry. If nothing comes of it I’ll settle for grandchildren, like you said. I’m going up to bed now, so it won’t all run out.
And having come, with a smile and a little tossed kiss she went.
Truly, Yours, I am back not where I started but where I stopped: restranded on the beach of Erdmann’s Cornlot, reading your water message; relost in the funhouse—as if Dante, in the middle of life’s road, had made his way out of the dark wood, gone down through Hell and up Mount Purgatory and on through the choirs of Heaven, only to find himself back in the dark wood, the right way as lost and gone as ever.
Jeannine. Germaine. Magda. Longest May 12 on record. No copy of this one to milady. What would it spell, deciphered?
Ambrose His Story.
S: The Author to Jacob Horner. The story of a story called What I Did Until the Doctor Came.
Department of English, Annex B
State University of New York at Buffalo
Buffalo, New York 14214
U.S.A.
Sunday, May 11, 1969
Jacob Horner
c/o Remobilization Farm
Fort Erie, Ontario
CANADA
Dear Mr. Horner:
Some years ago—fourteen, when I was a young college instructor in Pennsylvania—I wrote a small novel called The End of the Road. Its “hero,” an ontological vacuum who shares your name, suffers from attacks of futility manifested as literal paralysis, to cure which he submits to the irrational therapies of a nameless doctor at an establishment (on the Eastern Shore of Maryland) called the Remobilization Farm. In the course of his treatment, which includes teaching prescriptive grammar at a nearby state teachers college, Horner becomes involved in and precipitates the destruction of the marriage of one of his colleagues, a morally intense young historian named Joe Morgan. Mrs. Morgan, “caught” between her hyperrationalist husband, whom she loves, and her antirationalist “lover,” whom she abhors, finds herself pregnant, submits to an illegal abortion at the hands of the Doctor, and dies on the operating table. Her husband, in a state of calm shock, is quietly dismissed from his post. Jacob Horner, contrite and reparalyzed, abdicates from personality and, with the Doctor and other patients, removes to an unspecified location in the wilds of Pennsylvania. The narrative conceit is that he writes the story some years later, from the relocated Farm, as a first-person exercise in “Scriptotherapy.”
If I were obliged to reimagine the beginnings of The End of the Road, I might say that in the fall of 1955, having completed but not yet published my first novel, I began making notes toward its companion piece: a little “nihilist tragedy” to complement the “nihilist comedy” of The Floating Opera. At twenty-five I was married, had three young children, was getting by on the four thousand a year I was paid for grading one hundred freshman themes a week, and moonlighting in local dance bands on the weekends. As there was seldom money in those years for an evening’s baby-sitter, much less a genuine vacation from responsibility, I now invent and grant myself retroactively this modest holiday:
It is the last week of the calendar year. A live-in baby-sitter, unprecedented luxury, has been engaged to care for the children for the weekend, so that their parents can drive with another couple up into the Allegheny National Forest for two days of skiing. We have never skied before, never seen a ski slope. The expense will be dizzying, by our standards, even though we’ve borrowed and improvised appropriate clothing and plan to cook camp dinners on a hot plate smuggled into our room: equipment must be rented, lodging also, the sitter paid, car expenses split, lift tickets purchased. We are intimidated by the novelty of such adventure, much as we enjoy the long drive with our friends up into the bleak mountains, Iroquois country, where natural gas and oil rigs bob like giant bugs in the rocky clearings, and black bears are still hunted among the laurels and rhododendron. Skiing has not yet become popular in these parts; metal and fiberglass skis, s
tretch pants, plastic boots with buckles, snow-making machines—all have yet to be invented. We have never been to New England, much less to the Rockies or to Europe; the whole enterprise, with its international vocabulary and Alpine ambiance—chalets, stem christies, wedeln, Glüwein, après-ski—is outlandish, heady, alarming. We make nervous jokes about broken legs and Nazi ski instructors.
The facilities are primitive: at the slopes (a modest 400-foot vertical drop, but to us tidewater folk even the beginners’ hill rises like the face of a building), rope tows and Poma lifts; at the lodge—but there is no lodge, only a dirt-floored warming hut at the base of the mountain, with picnic tables, toilets, and vending machines. We rent our equipment—wooden skis with cable bindings, double-laced leather boots—not there but at a cheaper place near our Gasthaus, also chosen for economy: a rude board-and-batten farmhouse just purchased (the proprietor’s wife tells us crossly) from “a bunch of crazies” who in her opinion had used the place for dark unspecified goings-on. She refers to her husband as “he,” without further identification: “He had to go ahead and buy it. We’re still clearing out the junk. He says it was some kind of a rest home, but there’s an awful lot goes on, if a person knew. He’s crazy himself, you ask me.” She is a Seneca woman in her fifties with the odd name of Jimmie Barefoot.
The place is overheated but drafty, clean but cluttered, as if the former occupants have moved out hastily, taking only their necessaries, and the new have tidied up but not removed the leavings. In our room there are a pile of boardinghouse Victorian furniture in dark oak, sentimental 19th-century engravings of moon-faced children and pet animals, a glass-fronted bookcase with the complete works of Walter Scott, and the 92 volumes of Balzac’s Comédie Humaine in cheap turn-of-the-century editions with matched green bindings.
