A Model World and Other Stories

by Michael Chabon

  “Wait!” said Chaya. She was writing furiously now, in a pointed, ribbony script almost like cursive Hebrew, and he waited, one hand on the knob, for her to finish, and hoped that Dr. Feldman would not call out again. When she put down her pen she took a red, white, and blue airmail envelope from another drawer, folded the slip of pink paper in half, slid it into the envelope, and ran her tongue along the flap. Then she bent over the desk again and, brushing her hair from the face of the envelope, wrote out what Nathan knew even from a distance to be his name and address.

  “There, I wrote you a letter from Jerusalem,” she said, turning toward him. “Don’t read it until tomorrow.”

  “Okay,” said Nathan. “Good-bye.” He hugged her awkwardly, afraid that he might get an erection, and then eased open the basement door. “Have fun in Jerusalem.”

  “But I’m already there,” she said, continuing in this teasing and mysterious vein. She put a hand on each of his shoulders and kissed him on the cheek. Nathan took the letter from her, a little uncertainly. Probably it was just a bunch of scribble, or an apology for not wanting to have sex with him.

  “I know what you’re doing!” said Dr. Feldman, with that weird Yisraeli accent of his, and Nathan went out naked into the night. He was not quite so drunk anymore, and this time the trip around the house, past the swimming pool, did not seem especially fine or ominous. The dog next door to the Feldmans’ caught wind of Nathan and began to rail at him, and he ran the rest of the way, all the while trying to determine if Dr. Feldman and his Uzi were in pursuit. As he was running across the Feldmans’ yard and into the neighbors’, the white towel finally slipped from his waist and fell away, nearly tripping him; he left it to Chaya to explain how it got there, and went naked the rest of the way.

  He came around to his side of the car and hesitated with a hand on the door. They were asleep, all three of them, Felix E. and Tiger slumped in opposite corners of the backseat, Buster stretched out across the front seat of the car. The radio played very softly and threw green light across Buster’s thighs. They were snoring with the lustiness of children, and Nathan felt a surge of pity for them and wished that they might just keep on sleeping. When he got into the car, he knew, his friends would want to know what, or rather how much, Chaya had given him; and when he showed them the letter, they would want to read what she had written. He was afraid that its contents might somehow embarrass him, and now he looked for somewhere to conceal it.

  At first he considered retrieving the discarded towel, but he was afraid to go back, and anyway, if he wrapped the letter in the towel it would make a pretty suspicious bundle. Then he looked around at the lawn on which they were parked, to see if it held any place in which he could hide the letter, but there was only the silver expanse of lawn, an entire neighborhood of grass and flat moonlight. Under the front windows of the neighbors’ house stood one small row of bushes, and he tried poking the envelope deep into this, but you could see it from a mile away, reflecting the light of the moon like a shard of mirror glass, and he retrieved it and looked around again.

  Just when he was about to give up and try to hide the letter somewhere in the Frenches’ car itself, under a mat, or even in the glove compartment, he spotted a bird feeder, about twenty feet away, hanging from the low branch of a young maple tree. It was shaped like a small transparent house, with a peaked plastic roof and glass walls, about half-filled with birdseed. Nathan unhooked it from its wire and turned it over, his hands shaking with fear and with the aptness of his plan. He pulled off the plastic base of the bird feeder and laid the letter within, burying it amid the smooth and rattling seeds. When he returned the little house to its hook, the letter was nearly invisible, and he trotted back, with a certain air of coolness, to the big yellow LTD.

  His friends clambered upright when Nathan climbed back into the car; they were sober and embarrassed, and slapped Nathan constantly on the side of his head. They demanded to know what had happened to Nathan in Chaya’s room, and as they drove slowly home he made up a story, filled with sophisticated orgasms, and accurate anatomical impressions, and some bits of sexual dialog in half-remembered Hebrew. The other boys seemed on the whole to believe him, although they were surprised, and blamed malt liquor and hormonal agitation, when halfway through the tale Nathan suddenly burst into tears—then stopped, and resumed his lying account.

  The next night Nathan sneaked out of the house after his mother and Ed had gone to sleep. He rode half an hour on his bicycle, through the darkness, to retrieve the letter from Jerusalem. There was no moon, and black shapes seemed to dart and loom across his path. He pulled up in front of the Feldmans’ house and contemplated it for a moment, straddling the hard bar of his bike. There was no sign of the towel he had dropped. He hated it that Chaya was not there in her house anymore, that she could so quickly be gone. He had a great curiosity to read what she had written him, but when he crept across to open up the little bird feeder, past the two long scars in the lawn from the wheels of the LTD, he found there was nothing inside it anymore but birdseed. The hairs on the back of his neck stood on end, and he whirled, half expecting to see Chaya, with the letter in her hand, laughing at him from behind the curtain in the low side window of her bedroom. He looked around on the grass, in the row of low shrubs, in the branches of the maple, but the letter was nowhere to be found, and after a few more minutes of baffled searching he got back on his bicycle and pedaled home. As he lay in bed that night he tried to imagine what she might have set down in her letter, what professions of love, what unhappiness, what nonsense, what shame, what news of the planet of her childhood. Then he fell asleep.

  One Saturday a few weeks afterward, Nathan and his stepfather were in the kitchen, trying to work their way out of an incipient argument about whether or not tuna salad ought to be made with chopped gherkins, the way Ed’s grandmother had always made it. The dispute was merely the latest and perhaps the most trivial in what was becoming a disheartening routine for Nathan and Ed, and this particular volley of intransigent politeness had just begun to make Nathan’s stomach hurt—without inclining him to capitulate—when Mrs. Shapiro-Knipper entered the kitchen, carrying the Saturday mail.

  “Two things,” she said, handing Nathan two envelopes, one of them tricolor and heartstopping.

  “I’m going to put pickles,” said Ed. “You’ll see. It’s an acquired taste.”

  This time, though everything Ed liked to eat, from raw oysters to pizza with pineapple and ham, seemed to be an acquired taste, Nathan let it pass. He rose from the kitchen table and carried the two letters out into the hallway and down to his bedroom. The second, in a plain business envelope, was evidently from his father, who had never before sent a letter to Nathan, and Nathan sat on his bed for a long time without opening them, just thinking about mailmen, and sealed envelopes, and the mysteries of the post.

  He supposed that the neighbor had found Chaya’s letter hidden in the bird feeder before Nathan could retrieve it, and had finally gotten around to affixing a stamp to it and sending it along. Since, in the past weeks, Nathan had decided that he was in love with Chaya, and had been busy erecting all the necessary buttresses and towers and fluttering pennants in his imagination, the surprise arrival of her letter, which he had presumed lost, was a delicious addition to the structure, and he delayed as long as he could stand before finally tearing open the envelope.

  Dear Nathan,

  Sometimes it is very hot here. I have a thousand boyfriends. It is scary if a gun goes off in the night.

  You made me laugh a lot of times in class I remember.

  “Take it easy.”

  Love,

  Chaya

  He was sharply disappointed. He hated the fact that he had made her laugh, for one; and it angered him, unreasonably, he knew, that all of the other things—and there were so few of them—she had written were hypothetical, as insubstantial as her Planet of the Birds, or as his parents’ marriage, or as the baby that was growing in his stepmoth
er’s belly. He stuffed the bogus letter back into the envelope and tore it to pieces.

  He was still feeling bad when at last he brought himself to open the letter from his father. It was a brief, barely legible note, on a sheet of legal paper. After some facetious chitchat about the Red Sox and Ricky’s karate lessons, Nathan’s father had written, “Your mother tells me that you have made some new friends and she is a little worried because you’re going around with your shoes untied. Tie your shoelaces. Don’t be angry with us, Nate. I know that everything seems different now but you have to get used to it. I will always love you as much as I will love any new Shapiros that come along.”

  “Nathan?” his mother called to him through the door of his room. “Come on and eat.”

  “I hate it with gherkins,” said Nathan, but his heart had gone out of the argument, and he stood up to join his mother and Ed for lunch. Hastily he dried his eyes, and scrambled to gather up the letter from his father and the scraps of Chaya’s letter that were scattered across his bed. It was as he laid them carefully in the Roi-Tan cigar box in which he kept his most important papers that he noticed the strange and beautiful postage stamp in the torn corner of the airmail envelope, and the postmark, printed in an alien script.

  A Biography of Michael Chabon

  Michael Chabon is an acclaimed and bestselling author whose works include the Pulitzer Prize–winning novel The Amazing Adventures of Kavalier & Clay (2000). One of America’s most distinctive voices, Chabon has been called “a magical prose stylist” by the New York Times Book Review, and is known for his lively writing, nostalgia for bygone modes of storytelling, and deep empathy for the human predicament.

  Born to two lawyers, Robert and Sharon, in Washington, DC, in 1963, Chabon was raised in Columbia, Maryland. As a young boy, he became interested in writing and storytelling through the encouragement of his teachers. His parents divorced when he was eleven, and his father moved to Pittsburgh, Pennsylvania. Until Chabon graduated high school, he would spend nine months a year with his mother in Maryland and summers with his father in Pittsburgh. He then moved to Pittsburgh fulltime to attend Carnegie Mellon and Pittsburgh universities.

  After receiving his undergraduate degree, Chabon sought an MFA in creative writing from the University of California at Irvine. His master’s thesis attracted the attention of professor Donald Heiney, an award-winning author, who sent the manuscript to his agent without telling Chabon beforehand. The book, The Mysteries of Pittsburgh (1988), set off a bidding war among publishers and earned Chabon a large advance and bestselling success at the age of twenty-four. The experience was gratifying but disorienting. Chabon worked for the next five years on a novel called Fountain City, a sprawling manuscript that he never completed.

  After abandoning work on his would-be second novel, and ending his first marriage to poet Lollie Groth, Chabon poured his frustrations into a new manuscript, about a writer struggling to complete a 2,611-page book after a string of previous successes. The novel, Wonder Boys (1995), was another bestseller and became a film of the same name in 2000, starring Michael Douglas, Frances McDormand, and Robert Downey, Jr. His story collections A Model World and Other Stories (1991) and Werewolves in Their Youth (1999) further displayed Chabon’s literary talents, but he cemented his place among the country’s foremost novelists with the publication of The Amazing Adventures of Kavalier & Clay. The book, which chronicles the adventures of two Jewish cousins in New York City against the backdrop of World War II, earned Chabon a Pulitzer Prize, among other accolades. His subsequent novels include The Yiddish Policemen’s Union (2007), which also met with critical and commercial success and won the Nebula, Hugo, and Locus awards for science fiction, among other honors.

  Chabon married the novelist Ayelet Waldman in 1993, and the couple has four children. Aside from narrative fiction, Chabon has worked as a screenwriter, helping with adaptations of his work and with movie projects such as Spider-Man 2. He has also contributed essays to magazines such as Harper’s and the New Yorker. An outspoken proponent of genre fiction, Chabon published Maps and Legends, a collection of critical essays defending literature as a vehicle for entertainment, in 2008.

  Chabon lives in Berkeley, California.

  All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this ebook onscreen. No part of this text may be reproduced, transmitted, downloaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of the publisher.

  This is a work of fiction. Names, characters, places, and incidents either are the product of the author’s imagination or are used fictitiously. Any resemblance to actual persons, living or dead, businesses, companies, events, or locales is entirely coincidental.

  The stories in this collection were originally published in the following: Gentleman’s Quarterly: “More than Human” (1989); Mademoiselle: “Blumenthal on the Air” (1987); The New Yorker: “Admirals” (1987), “The Halloween Party (1988), “The Little Knife” (1988), “The Lost World” (1990), “Millionaires” (1990), “A Model World” (1989), “Ocean Avenue” (1989), “S ANGEL” (1990), and “Smoke” (1990).

  copyright © 1991 by Michael Chabon

  cover design by Connie Gabbert

  978-1-4532-3411-2

  This edition published in 2011 by Open Road Integrated Media

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  New York, NY 10014

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  EBOOKS BY MICHAEL CHABON

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