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
One day, Grace would tell me, the ultrasound picture, which she’d had framed, faded from sight; the image whitened, until there were no details. I could only imagine that the tiny penis on the fetus was the first detail to disappear. Notwithstanding what a tiny penis it was, its meaning had once been so clarifying for us. We were going to have a baby boy. At the time, one rift between Grace and me had been avoided—we hadn’t been able to agree on a girl’s name. From the Barrett side of her family, Grace was asking me about Deirdre, Elizabeth, or Beryl; from the Barnard side, Grace asked me about Mary, Kate, or Rebecca. For a girl’s name, I really wanted Nora or Rachel. There was no one alive who called my mother Rachel anymore; my mom was Ray to everyone.
Rachel was not a rescue ship in this instance. Grace had the highest esteem for Melville and Moby-Dick, but a girl who’d tormented Grace in school had been a Rachel—not a nice one—and I could sense Grace’s misgivings about Nora. I knew Nora could be a bully to younger, prettier women, but I didn’t know the particulars of Grace’s fleeting contact with Nora and Em. Grace had seen Two Dykes, One Who Talks onstage at the Gallows; she’d introduced herself to Nora and Em backstage, at my mom’s prompting. A ski-school student of Ray’s from Vermont, now a New Yorker—a Clara Swift look-alike, but a pretty girl in her own right; in my imagination, those two dykes might have given Grace more than a once-over; they might have looked her up and down, but I didn’t know what (if anything) actually happened.
Grace was a fiction editor who became a publisher; she admired Emily MacPherson’s writing. Backstage at the Gallows, Grace thought it was strange that Em wouldn’t speak to her; Grace assumed that Em’s not speaking was part of her pantomime act. My mother and Molly had to explain later: Em didn’t talk. At first, Grace only said that Em’s not speaking hurt her career as a fiction writer. Later, when Grace was pregnant, she said: “When our child is learning to talk, it will be confusing to be around a nonspeaking adult—Em’s not talking will seem unfriendly, or just weird, to a child.” I let it go, although I knew what Grace was thinking. Em’s not talking seemed unfriendly, or just weird, to Grace. I not only could sense Grace’s misgivings about Nora; Grace’s misgivings about Em were there from the start.