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
As for Em’s writer genes, not knowing if she had any, she did what an imaginative fiction writer would do—she made up some simply awful writer genes for herself. In her inchworm way of crafting a short story, Em imagined her self-hating lesbian mother as an autobiographical novelist with no imagination at all. The writer mom’s first novel incorporated the sobbing mother’s confession to her teenage daughter—the part about the lesbian daughter who is “doomed” to have her mom’s genes, as Em had written in “A Family Comes Out.” Worse, Em’s fictional autobiographical novelist describes in soporific detail her sexual relationships with women her daughter knows—not only with several mothers of her daughter’s friends, but also with one of her daughter’s contemporaries. While Em herself had written about this, albeit briefly, in “A Couple of Latecomers Get Divorced,” there is nothing spare in the prose style of the writer mom, whose autobiographical logorrhea is fueled by her self-righteousness. If gay women, such as herself and her “doomed” daughter, do “degrading things” and are “unredeemable”—well, in the writer mom’s opinion, “homosexual men do much worse things.” Sparing no detail, the lesbian mother’s first novel describes the horrible things her “homo husband” has done with other gay men.
In Em’s third-person omniscient voice, all this happens in one short story—in which Em seems to be barely involved. Even the title sounds detached and academic. “The Problem with Autobiographical Novels” doesn’t sound like fiction, which it is. Em’s awful mother, who (by her own admission) was a worse wife, wasn’t a writer. Not yet. I read Em’s short story in manuscript. “The Problem with Autobiographical Novels” would be published in Ploughshares. Em’s awful mom—with whom, of course, Em wasn’t speaking—read Em’s short story there. So did Em’s much-worse dad.
In “A Family Comes Out,” the gay dad ineffectually beats himself with his belt in his daughter’s bedroom, while confessing his homosexuality and denouncing his wife’s lesbian affairs. In “A Couple of Latecomers Get Divorced,” the gay father tells his nonspeaking daughter that he should be castrated for the things he’s done with other men. He changes his mind rather quickly about castration—“maybe just a vasectomy,” the chickenshit dad decides.