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
That night, when Molly went home, she took Mr. Barlow with her—the two of them leaving my mom asleep upstairs in our house. When I was getting into bed with Grace, she said she was sorry she ever used the word weird for anyone in my family. “Em is alone tonight—I doubt she’s sleeping with your mother,” Grace told me. “You should go find Em and sleep with her—I know you would rather be in bed with Em than with me, anyway,” Grace said, but she said it nicely. There was no edge to it. “Just don’t sleep with your mom,” Grace added, as I went looking for Em. That had an edge to it.
I found Em in the guest bedroom I’d moved my clothes to. “You have enough clothes for the rest of your life,” Em said to me. “I’m sorry about your mom,” she said, holding me while I cried. “You’re my rescue job now,” Em told me. A little later, she said, “I’ve not thought about two writers living together—I’m trying to imagine it.”
“I’ve thought about it—I can imagine it,” I told her. My hand inadvertently touched her breast. I hadn’t meant to touch her there. I put my hand somewhere more neutral, like her hip—a bony part of her hip, I think, but I’m not sure where my hand ended up.
“You imagine things faster than I can—as a writer,” Em said.
“Imagining things faster isn’t necessarily a virtue—not as a writer,” I said.
“The idea of two writers living together—I’m trying to imagine it,” Em repeated. Very slowly, but deliberately, she took my hand from her hip, or wherever that bony part was, putting it back on her breast. We fell asleep this way—two writers, trying to imagine what was possible.
In the morning, around the time Matthew usually came looking for me, Em reminded me that my mother was alone in one of the guest bedrooms. “You should be with her, I think—I’ll bet Ray would like that,” Em said.