Chapters (63)
- Cover
- Title Page
- Dedication
- Epigraph
- ACT I EARLY SIGNS
- 1. AN UNMADE MOVIE
- 2. FIRST LOVE
- 3. A FIRST-NAME BASIS
- 4. DETERMINED NOT TO LEARN
- 5. BUT WHAT ACTUALLY HAPPENED IN ASPEN?
- 6. LITTLE RAY
- 7. ALL ABOUT SEX
- 8. HAVE YOU SEEN THEM?
- 9. MOVIES, GIRLFRIENDS, FOREIGNNESS, OUTLIERS
- 10. NOT TARZAN
- 11. SMALLNESS AS A BURDEN
- 12. INTENDED FOR LITTLE RAY AND ME
- 13. THE SNOWSHOER KISS
- 14. A JUDGMENT CALL
- 15. SEEING THINGS
- 16. WHAT HAPPENED THAT NIGHT
- 17. SON OF THE BRIDE
- 18. WHAT THE STONE SPARROWS SAW
- ACT II THE HONEYMOON ON THE CLIFF
- 19. “I SAW ME IN YOUR EYES”
- 20. A LITTLE BEHIND GIRLS HER AGE, SOCIALLY; DEFINITELY AHEAD OF; DEFINITELY BEHIND
- 21. IN CONTROL
- 22. MY SECOND-MOST UNMARRIAGEABLE GIRLFRIEND
- 23. “ALMOST PERFECT” OR “NO STRINGS ATTACHED”
- 24. MELANCHOLIC ENOUGH
- 25. THE “POLICE REPORT”
- 26. THE GETAWAY DRIVER
- 27. SEXUAL POLITICS, A FIRE, JEALOUSY
- 28. STILL GROWING
- 29. THE GOOD SHEPHERD
- ACT III RULES FOR GHOSTS
- 30. THE WOMAN WITH THE BABY CARRIAGE
- 31. WHERE HAVE THE BANANAS GONE?
- 32. A TURN IN THE ROAD
- 33. JUST SMALL ENOUGH
- 34. OUR MARINE
- 35. AT THE WHALE SHIP
- 36. BOOK SIGNINGS
- 37. THINGS TO DO WITH A PENIS
- 38. PLAGUE SONG
- 39. WENGEN
- 40. THE NIGHT OF THE SANTAS
- 41. STARTING SOMETHING
- 42. A NORMAL LIFE
- 43. A BOHEMIAN LIFESTYLE
- 44. MEN WHO SHOULD BE CASTRATED
- 45. LOGE PEAK
- 46. “FOUND YOU!”
- 47. WRITTEN IN THE SNOW
- 48. FIVE YEARS, FOUR MOVIES
- 49. NOT A GHOST
- 50. EM AS ISHMAEL
- 51. “O CANADA”
- 52. THE LESBIANS’ CHILDREN
- 53. THE VOICE ON THE SUBWAY; THE SILENCE IN THE ROCK GARDEN
- ACKNOWLEDGMENTS
- ABOUT THE AUTHOR
- ALSO BY JOHN IRVING
I didn’t want to imagine Emmanuelle taking a shit on the putting green; I really must have known I shouldn’t be imagining Emmanuelle at all. My mother was pointing out how the River Bend residents wobbled; they even wobbled when they walked—not that all of them could walk, my mom told us. “Imagine the River Benders squatting—they’d fall over!” Little Ray was saying. I didn’t want to imagine the River Benders I’d met squatting, my grandmother included.
“I don’t think dumping is all that athletic a thing, Ray,” Molly told my mom, but I was trying to tune them out. Should I make contact with Emmanuelle, her athleticism notwithstanding? Could I spend the rest of my life not knowing where the voyage of the Pequod ended for my grandmother? Did I believe her reading Moby-Dick to me had made me a writer? My childhood attachment to Exeter had ended; not even my uncles were around to remind me of it.
Uncle Martin and Uncle Johan were both in their seventies when their voyage on the Pequod ended. Nora said they were living like boys again. They’d moved up north, to be near the skiing; they’d traded their cars for a truck, like a couple of Carroll County old-timers. They’d bought a house near North Conway, and Uncle Martin and Uncle Johan went everywhere and did everything together. “With one truck,” as Nora put it, “they had to.” My uncles never got tired of each other’s company; they just loved fooling around together. Everywhere they drove, they would sing along with the song on the radio.
I last saw Uncle Martin and Uncle Johan when they came to New York to see Nora and Em onstage at the Gallows. It was the first and only time my uncles saw Two Dykes, One Who Talks; it was understood (but unspoken) that they wouldn’t have enjoyed themselves as much if my aunts had been alive and with them. My uncles had laughed and laughed; they’d loved the show. They’d loved seeing the snowshoer, too; Uncle Martin and Uncle Johan kept telling the snowshoer how pretty she was as a woman.
My uncles also loved Damaged Don, who’d written and was singing a new song. That night at the Gallows, we were told it was the premiere of “No Lucky Star,” but, predictably, it was the same old song, and Damaged Don sang it in the same, near-death drone.