Chapters (18)
- Cover
- Title Page
- Copyright
- THE WOMEN WHO GOT AWAY
- LUNCH HOUR
- NEW YORK GIRL
- MY FATHER ON THE VERGE OF DISGRACE
- THE CATS
- OLIVER’S EVOLUTION
- NATURAL COLOR
- LICKS OF LOVE IN THE HEART OF THE COLD WAR
- HIS OEUVRE
- HOW WAS IT, REALLY?
- SCENES FROM THE FIFTIES
- METAMORPHOSIS
- RABBIT REMEMBERED
- Books by John Updike
- About the Author
“He did?” This is horrible. Harry’s affair with Thelma she and Ronnie have together buried, never mentioning it once they were past the courtship stage of confessing everything. They had triumphed, they were the survivors, Harry and Thelma were shades, corpses, sinking deeper into bloodlessness in their buried coffins, their skins crumbling, drawing tight like that little sacrificed Peruvian girl they found on the mountaintop, unbearable to think about. But to hear now that at the same time he was seeing Thelma he was chasing that fat old slut all over Diamond County is as if Harry from beyond the grave is denying her peace just as he did when alive. He couldn’t just be ordinary, respectable, dependable. He thought he was beyond that. This girl, both shy and sassy, pleasant yet with something not quite right about her, is his emissary from the grave. Janice wants nothing to do with it, with her. She asks, “Why would he do that?”
The girl puts her knees together to lean forward for emphasis but her dress is so short the triangle of her panties shows anyway. “To find out about me, my mother said. She wouldn’t tell him. She wanted to keep me pure from him. Then I guess when she saw she would be, you know, leaving me, she had second thoughts and wanted me to know.” The girl’s eyes are less milky now, here in the muted living-room light, and flash with importance, the importance her story gives her.
“Why?” Janice cries, fighting back a pressure. “Why not let the past lie? Why stir up what can’t be helped? Excuse me,” she says. “I must refresh my tea.” She doesn’t even pretend to go into the kitchen, she pours some more dry sherry into the cup right there at the sideboard, where the girl could see if she turned sideways to look. But back in the front room Annabelle sits staring across at the heavy green glass egg, with a bubble inside, on top of the dead television with the other knickknacks Bessie Springer had collected as a sign of her prosperity as Daddy’s car business took hold. Mother and her fur coat, Mother and her blue Chrysler—it was a simpler world back then, when your pride was satisfied with such things. The girl, with all that leg bared by sitting low on the sofa and her navy sweater fallen off her naked arms, has a sluttish way of putting forth her body that must be her own mother living in her. And there is a blandness, a fatherless blankness, her face in profile taking the light as mutely as the egg of green glass.