Back The Last Chairlift
Chapters (63)
  1. Cover
  2. Title Page
  3. Dedication
  4. Epigraph
  5. ACT I EARLY SIGNS
  6. 1. AN UNMADE MOVIE
  7. 2. FIRST LOVE
  8. 3. A FIRST-NAME BASIS
  9. 4. DETERMINED NOT TO LEARN
  10. 5. BUT WHAT ACTUALLY HAPPENED IN ASPEN?
  11. 6. LITTLE RAY
  12. 7. ALL ABOUT SEX
  13. 8. HAVE YOU SEEN THEM?
  14. 9. MOVIES, GIRLFRIENDS, FOREIGNNESS, OUTLIERS
  15. 10. NOT TARZAN
  16. 11. SMALLNESS AS A BURDEN
  17. 12. INTENDED FOR LITTLE RAY AND ME
  18. 13. THE SNOWSHOER KISS
  19. 14. A JUDGMENT CALL
  20. 15. SEEING THINGS
  21. 16. WHAT HAPPENED THAT NIGHT
  22. 17. SON OF THE BRIDE
  23. 18. WHAT THE STONE SPARROWS SAW
  24. ACT II THE HONEYMOON ON THE CLIFF
  25. 19. “I SAW ME IN YOUR EYES”
  26. 20. A LITTLE BEHIND GIRLS HER AGE, SOCIALLY; DEFINITELY AHEAD OF; DEFINITELY BEHIND
  27. 21. IN CONTROL
  28. 22. MY SECOND-MOST UNMARRIAGEABLE GIRLFRIEND
  29. 23. “ALMOST PERFECT” OR “NO STRINGS ATTACHED”
  30. 24. MELANCHOLIC ENOUGH
  31. 25. THE “POLICE REPORT”
  32. 26. THE GETAWAY DRIVER
  33. 27. SEXUAL POLITICS, A FIRE, JEALOUSY
  34. 28. STILL GROWING
  35. 29. THE GOOD SHEPHERD
  36. ACT III RULES FOR GHOSTS
  37. 30. THE WOMAN WITH THE BABY CARRIAGE
  38. 31. WHERE HAVE THE BANANAS GONE?
  39. 32. A TURN IN THE ROAD
  40. 33. JUST SMALL ENOUGH
  41. 34. OUR MARINE
  42. 35. AT THE WHALE SHIP
  43. 36. BOOK SIGNINGS
  44. 37. THINGS TO DO WITH A PENIS
  45. 38. PLAGUE SONG
  46. 39. WENGEN
  47. 40. THE NIGHT OF THE SANTAS
  48. 41. STARTING SOMETHING
  49. 42. A NORMAL LIFE
  50. 43. A BOHEMIAN LIFESTYLE
  51. 44. MEN WHO SHOULD BE CASTRATED
  52. 45. LOGE PEAK
  53. 46. “FOUND YOU!”
  54. 47. WRITTEN IN THE SNOW
  55. 48. FIVE YEARS, FOUR MOVIES
  56. 49. NOT A GHOST
  57. 50. EM AS ISHMAEL
  58. 51. “O CANADA”
  59. 52. THE LESBIANS’ CHILDREN
  60. 53. THE VOICE ON THE SUBWAY; THE SILENCE IN THE ROCK GARDEN
  61. ACKNOWLEDGMENTS
  62. ABOUT THE AUTHOR
  63. ALSO BY JOHN IRVING

I’m making a very small point. In other respects, I wouldn’t quarrel with a word Em wrote in that letter. She’s a real writer. “Nothing has changed because you know who your father is, except you know where your writer gene comes from,” Em wrote; she also echoed what Molly had told me privately.

“We should keep this business about who your father is to ourselves, Kid,” was the way Molly put it.

To my knowledge, only Nora had looked into the legal side of it. Was it, or is it, a crime in Colorado for an eighteen-year-old woman to have sex with a fourteen-year-old boy? What mattered, Molly told me, was my mother’s job. Little Ray taught beginners how to ski; most of them were children. “Fourteen and younger, Kid,” was the way Molly put it. It was hard to miss her point. “I’m not saying what you writers do is immoral—stealing stuff that real people say, or do, seems fair to me,” the trail groomer told me. “But there’s people who would say what your mom did is definitely immoral—to have you in such a way that you would be all hers. If you see what I mean, Kid,” Molly said. “Legal or illegal, fourteen is underage.”

On the evidence of Paul Goode in The Kindergarten Man, I was not “all hers.” Was it a lie of omission—to keep what Molly called “this business” to ourselves? It was what Nora always said: everything was about sex and secrets. Everyone who knew Paul Goode was my father loved my mother; we were committed to protecting her.

The snowshoer, even as a woman, was too much of a gentleman of the old school to brag about my mom’s escapade to the little Barlows, who were congratulating themselves for being the first to recognize the noir genius of Paul Goode. Goode was forty-seven when The Kindergarten Man made him a movie star and a Hollywood celebrity—a little long in the tooth to be discovered. At my mom’s wedding, it had been Susan Barlow who said, “I know we’re going to be seeing more of him.”

But Elliot Barlow, as a man and as a woman, knew how to be discreet. Little Ray was very much more and somewhat less than a wife to the snowshoer, who would never tell tales out of school about her.