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
The long-armed Santa was scanning the stage—he could see me, but I knew he was looking for Em. Stay down, stay with Nora, I was wishing for Em. I knew the snowshoer would come in low, level with the tall Santa’s ankles, but there was a wide-open space where the shooter was standing—there was no one near him. It was too big an area for Elliot Barlow to be exposed, I was worrying. Why didn’t Emory Trowbridge just shoot me—what was he waiting for? I was wondering. I’d watched him eject the shell from the first bullet. I’d seen him slide the bolt back and forward; I knew his second shot was in the chamber.
That night at the Gallows, I held my arms straight up, above my head; I waved my hands at Emory Trowbridge. I wanted the backup heavyweight to look at me, only at me. If he was looking at me, maybe he wouldn’t see the snowshoer coming—that was all I was hoping for. Trowbridge held the rifle butt tight to his shoulder, but he wasn’t sighting down the barrel. His indecision made no sense to me. He’d obviously planned this, but he’d stopped shooting. He definitely saw me; he was looking at me, with such loathing, when he suddenly turned his attention to the stage. We both did. People screamed when they saw Em standing onstage, not the same kind of scream as the caterwaul caused by the first gunshot. Em was covered with blood. It was Nora’s blood, I knew. The shooter surely knew whose blood it was. Trowbridge had wanted to shoot Em first; he’d taken aim at Em, before Nora put herself in harm’s way. Yet now, when Em just stood onstage, as still as a statue, the backup heavyweight hesitated. Did Trowbridge hesitate because Em was beseeching him to shoot her?
Em was a pro at pantomime; nothing could have been clearer. She was done with doing paralyzed by fear; she held out her arms to the shooter, palms up, the pose of a supplicant. Shoot me, the pantomimist was begging Emory Trowbridge. You killed the love of my life—please kill me, too. That’s what Em was saying. I started doing jumping jacks, like crazy. “Fuck you, Trowbridge!” I called to him. I just knew it would have killed me if he shot Em. “You were never in the Marine Corps—you never did anything!” I reminded him. But the way he looked back and forth, between Em and me, I knew I was no match for the pantomimist; she was better at beseeching, hands down.