The World According to Garp

by John Winslow Irving

  “Jesus, do they think it's you?” Garp asked her. “What the hell's the matter with your dumb colleagues, anyway? Do you fart in the halls over there? Does your shoulder drop out of socket in department meetings? Was poor Harry a stutterer in the classroom?” Garp yelled. “Am I blind?”

  “Yes, you're blind,” Helen said. “You have your own terms for what's fiction, and what's fact, but do you think other people know your system? It's all your experience—somehow, however much you make up, even if it's only an imagined experience. People think it's me, they think it's you. And sometimes I think so, too.”

  The blind man in the novel is a geologist. “Do they see me playing with rocks?” Garp hollered.

  The flatulent woman does volunteer work in a hospital; she is a nurse's aide. “Do you see my mother complaining?” Garp asked. “Does she write me and point out that she never once farted in a hospital—only at home, and always under control?”

  But Jenny Fields did complain to her son about Second Wind of the Cuckold. She told him he had chosen a disappointingly narrow subject of little universal importance. “She means sex,” Garp said. “This is classic. A lecture on what's universal by a woman who's never once felt sexual desire. And the Pope, who takes vows of chastity decides the issue of contraception for millions. The world is crazy!” Garp cried.

  Jenny's newest colleague was a six-foot-four transsexual named Roberta Muldoon. Formerly Robert Muldoon, a standout tight end for the Philadelphia Eagles, Roberta's weight had dropped from 235 to 180 since her successful sex-change operation. The doses of estrogen had cut into her once-massive strength and some of her endurance; Garp guessed also that Robert Muldoon's former and famous “quick hands” weren't so quick anymore, but Roberta Muldoon was a formidable companion to Jenny Fields. Roberta worshiped Garp's mother. It had been Jenny's book, A Sexual Suspect, that had given Robert Muldoon the courage to have the sex-change operation—one winter as he lay recovering from knee surgery in a Philadelphia hospital.

  Jenny Fields was now supporting Roberta's case with the television networks, who, Roberta claimed, had secretly agreed not to hire her as a sports announcer for the football season. Roberta's knowledge of football had not decreased one drop since all the estrogen, Jenny was arguing; waves of support from the college campuses around the country had made the six-foot-four Roberta Muldoon a figure of striking controversy. Roberta was intelligent and articulate, and of course she knew her football; she'd have been an improvement on the usual morons who commented on the game.

  Garp liked her. They talked about football together and they played squash. Roberta always took the first few games from Garp—she was more powerful than he was, and a better athlete—but her stamina was not quite up to his, and being the much bigger person in the court, she wore down. Roberta would also tire of her case against the television networks, but she would develop great endurance for other, more important things.

  “You're certainly an improvement on the Ellen James Society, Roberta,” Garp would tell her. He enjoyed his mother's visits better when Jenny came with Roberta. And Roberta tossed a football for hours with Duncan. Roberta promised to take Duncan to an Eagles game, but Garp was anxious about that. Roberta was a target figure; she had made some people very angry. Garp imagined various assaults and bomb threats on Roberta—and Duncan disappearing in the vast and roaring football stadium in Philadelphia, where he would be defiled by a child molester.

  It was the fanaticism of some of Roberta Muldoon's hate mail that gave Garp such an imagination, but when Jenny showed him some hate mail of her own, Garp was anxious about that, too. It was an aspect of the publicity of his mother's life that he had not considered: some people truly hated her. They wrote Jenny that they wished she had cancer. They wrote Roberta Muldoon that they hoped his or her parents were no longer living. One couple wrote Jenny Fields that they would like to artificially inseminate her, with elephant sperm—and blow her up from the inside. That note was signed: “A Legitimate Couple.”

  One man wrote Roberta Muldoon that he had been an Eagles fan all his life, and even his grandparents had been born in Philadelphia, but now he was going to be a Giants or a Redskins fan, and drive to New York or Washington—"or even Baltimore, if necessary"—because Roberta had perverted the entire Eagles offensive line with his pansy ways.

  One woman wrote Roberta Muldoon that she hoped Roberta would get gang-banged by the Oakland Raiders. The woman thought that the Raiders were the most disgusting team in football; maybe they would show Roberta how much fun it was to be a woman.

  A high school tight end from Wyoming wrote Roberta Muldoon that she had made him ashamed to be a tight end anymore and he was changing his position—to linebacker. So far, there were no transsexual linebackers.

  A college offensive guard from Michigan wrote Roberta that if she were ever in Ypsilanti, he would like to fuck her with her shoulder pads on.

  “This is nothing,” Roberta told Garp. “Your mother gets much worse. Lots more people hate her.”

  “Mom,” Garp said. “Why don't you drop out for a while? Take a vacation. Write another book.” He never thought he'd ever hear himself suggesting such a thing to her, but he suddenly saw Jenny as a potential victim, exposing herself, through other victims, to all the hatred and cruelty and violence in the world.

  When asked by the press, always, Jenny would say that she was writing another book; only Garp and Helen and John Wolf knew this was a lie. Jenny Fields wasn't writing a word.

  “I've done all I want to do about me, already,” Jenny told her son. “Now I'm interested in other people. You just worry about you,” she said, gravely, as if in her opinion her son's introversion—his imaginative life—was the more dangerous way to live.

  Helen actually feared this, too—especially when Garp wasn't writing, and for more than a year after Second Wind of the Cuckold, Garp didn't write. Then he wrote for a year and threw it all away. He wrote letters to his editor, they were the most difficult letters John Wolf ever had to read, much less answer. Some of them were ten and twelve pages long; most of them accused John Wolf of not “pushing” Second Wind of the Cuckold as hard as he could have.

  “Everyone hated it,” John Wolf reminded Garp. “How could we have pushed it?”

  “You never supported the book,” Garp wrote.

  Helen wrote John Wolf that he must be patient with Garp, but John Wolf knew writers pretty well and he was as patient and as kind as he could be.

  Eventually, Garp wrote letters to other people. He answered some of his mother's hate mail—those rare cases with return addresses. He wrote long letters trying to talk these people out of their hatred. “You're becoming a social worker,” Helen told him. But Garp even offered to answer some of Roberta Muldoon's hate mail; Roberta had a new lover, however, and her hate mail was rolling off her like water.

  “Jesus,” Garp complained to her, “first a sex reassignment and now you're in love. For a tight end with tits, you're really boring, Roberta.” They were very good friends and they played squash fervently whenever Roberta and Jenny came to town, but this was not frequently enough to occupy all of Garp's restless time. He spent hours playing games with Duncan—and waiting for Walt to get old enough to play games, too. He cooked up a storm.

  “The third novel's the big one,” John Wolf told Helen, because he sensed she was wearying of Garp's restlessness and she was in need of a pep talk. “Give him time, it will come.”

  “How's he know the third novel's the big one?” Garp fumed. “My third novel doesn't even exist. And the way it was published, my second novel might as well not exist. These editors are full of myths and self-fulfilling prophecies! If he knows so much about third novels, why doesn't he write his own third novel? Why doesn't he write his first?”

  But Helen smiled and kissed him and took up going to the movies with him, although she hated movies. She was happy with her job; the kids were happy. Garp was a good father and a good cook and he made love to her more elaborat
ely when he wasn't writing than he did when he was hard at work. Let it come, Helen thought.

  Her father, good old Ernie Holm, had shown signs of early heart trouble, but her father was happy at Steering. He and Garp took a trip together, every winter, to see one of those big wrestling matches out in Iowa. Helen was sure that Garp's writing block was a small thing to endure.

  “It will come,” Alice Fletcher told Garp, on the phone. “You can't forth it.”

  “I'm not trying to force anything,” he assured her. “There's just nothing there.” But he thought that desirable Alice, who could never finish anything—not even her love for him—was a poor one to understand what he meant.

  Then Garp got some hate mail of his own. He was addressed in a lively letter by someone who took offense at Second Wind of the Cuckold. It was not a blind, stuttering, spastic farter—as you might imagine—either. It was just what Garp needed to lift himself out of his slump.

  Dear Shithead,

  [wrote the offended party]

  I have read your novel. You seem to find other people's problems very funny. I have seen your picture. With your fat head of hair I suppose you can laugh at bald persons. And in your cruel book you laugh at people who can't have orgasms, and people who aren't blessed with happy marriages, and people whose wives and husbands are unfaithful to each other. You ought to know that persons who have these problems do not think everything is so funny. Look at the world, shithead—it is a bed of pain, people suffering and nobody believing in God or bringing their children up right. You shithead, you don't have any problems so you can make fun of poor people who do!

  Yours sincerely,

  (Mrs.) I. B. Poole

  Findlay, Ohio

  That letter stung Garp like a slap; rarely had he felt so importantly misunderstood. Why did people insist that if you were “comic” you couldn't also be “serious"? Garp felt most people confused being profound with being sober, being earnest with being deep. Apparently, if you sounded serious, you were. Presumably, other animals could not laugh at themselves, and Garp believed that laughter was related to sympathy, which we were always needing more of. He had been, after all, a humorless child—and never religious—so perhaps he now took comedy more seriously than others.

  But for Garp to see his vision interpreted as making fun of people was painful to him; and to realize that his art had made him appear cruel gave Garp a keen sense of failure. Very carefully, as if he were speaking to a potential suicide high up in a foreign and unfamiliar hotel, Garp wrote to his reader in Findlay, Ohio.

  Dear Mrs. Poole:

  The world is a bed of pain, people suffer terribly, few of us believe in God or bring up our children very well, you're right about that. It is also true that people who have problems do not, as a rule, think their problems are funny.

  Horace Walpole once said that the world is comic to those who think and tragic to those who feel. I hope you'll agree with me that Horace Walpole somewhat simplifies the world by saying this. Surely both of us think and feel; in regard to what's comic and what's tragic, Mrs. Poole, the world is all mixed up. For this reason I have never understood why “serious” and “funny” are thought to be opposites. It is simply a truthful contradiction to me that people's problems are often funny and that the people are often and nonetheless sad.

  I am ashamed, however, that you think I am laughing at people, or making fun of them. I take people very seriously. People are all I take seriously, in fact. Therefore, I have nothing but sympathy for how people behave—and nothing but laughter to console them with.

  Laughter is my religion, Mrs. Poole. In the manner of most religions, I admit that my laughter is pretty desperate. I want to tell you a little story to illustrate what I mean. The story takes place in Bombay, India, where many people starve to death every day; but not all the people in Bombay are starving.

  Among the nonstarving population of Bombay, India, there was a wedding, and a party was thrown in honor of the bride and groom. Some of the wedding guests brought elephants to the party. They weren't really conscious of showing off, they were just using the elephants for transportation. Although that may strike us as a big-shot way to travel around, I don't think these wedding guests saw themselves that way. Most of them were probably not directly responsible for the vast numbers of their fellow Indians who were starving all around them: most of them were just calling “time out” from their own problems, and the problems of the world, to celebrate the wedding of a friend. But if you were a member of the starving Indians, and you hobbled past that wedding party and saw all those elephants parked outside, you probably would have felt some disgruntlement.

  Furthermore, some of the revelers at the wedding got drunk and began feeding beer to their elephant. They emptied an ice bucket and filled it with beer, and they went tittering out to the parking lot and fed their hot elephant the whole bucket. The elephant liked it. So the revelers gave him several more buckets of beer.

  Who knows how beer will affect an elephant? These people meant no harm, they were just having fun—and chances are fairly good that the rest of their lives weren't one hundred percent fun. They probably needed this party. But the people were also being stupid and irresponsible.

  If one of those many starving Indians had dragged himself through the parking lot and seen these drunken wedding guests filling up an elephant with beer, I'll bet he would have felt resentful. But I hope you see I am not making fun of anyone.

  What happens next is that the drunken revelers are asked to leave the party because their behavior with their elephant is obnoxious to the other wedding guests. No one can blame the other guests for feeling this way; some of them may have actually thought that they were preventing things from getting “out of hand,” although people have never been very successful at preventing this.

  Huffy and brave with beer, the revelers struggled tip on their elephant and veered away from the parking lot—a large exhibition of happiness, surely—bumping into a few other elephants and things, because the revelers' elephant plowed from side to side in a lumbering wooze, bleary and bloated with buckets of beer. His trunk lashed back and forth like a badly fastened artificial limb. The great beast was so unsteady that he struck an electric utility pole, shearing it cleanly and bringing down the live wires on his massive head—which killed him, and the wedding guests who were riding him, instantly.

  Mrs. Poole, please believe me: I don't think that's “funny.” But along comes one of those starving Indians. He sees all the wedding guests mourning the death of their friends, and their friends' elephant; much wailing, rending of fine ctothes, spilling of good food and drink. The first thing he does is to take the opportunity to slip into the wedding while the guests are distracted and steal a little of the good food and drink for his starving family. The second thing he does is start to laugh himself sick about the manner in which the revelers disposed of themselves and their elephant. Alongside death by starvation, this method of enormous dying must seem funny, or at least quick, to the undernourished Indian. But the wedding guests don't see it that way. It is already a tragedy to them; they are already talking about “this tragic event,” and although they could perhaps forgive the presence of a “mangy beggar” at their party—and even have tolerated his stealing their food—they cannot forgive him for laughing at their dead friends and their dead friends' elephant.

  The wedding guests—outraged at the beggar's behavior (at his laughter, not his thievery and not his rags)—drown him in one of the beer buckets that the late revelers used to water their elephant. They construe this to represent “justice.” We see that the story is about the class struggle—and, of course, “serious,” after all. But I like to consider it a comedy about a natural disaster: they are just people rather foolishly attempting to “take charge” of a situation whose complexity is beyond them—a situation composed of eternal and trivial parts. After all, with something as large as an elephant, it could have been much worse.

  I hope, Mrs. Poole, t
hat I have made what I mean clearer to you. In any case, I thank you for taking the time to write to me, because I appreciate hearing from my audience—even critically.

  Yours truly,

  "Shithead"

  Garp was an excessive man. He made everything baroque, he believed in exaggeration; his fiction was also extremist. Garp never forgot his failure with Mrs. Poole; she worried him, often, and her reply to his pompous letter must have upset him further.

  Dear Mr. Garp,

  [Mrs. Poole replied]

  I never thought you would take the trouble to write me a letter. You must be a sick man. I can see by your letter that you believe in yourself, and I guess that's good. But the things you say are mostly garbage and nonsense to me, and I don't want you to try to explain anything to me again, because it is boring and an insult to my intelligence.

  Yours,

  Irene Poole

  Garp was, like his beliefs, self-contradictory. He was very generous with other people, but he was horribly impatient. He set his own standards for how much of his time and patience everyone deserved. He could be painstakingly sweet, until he decided he'd been sweet enough. Then he turned and came roaring back the other way.

  Dear Irene:

  [Garp wrote to Mrs. Poole]

  You should either stop trying to read books, or you should try a lot harder.

  Dear Shithead,

  [wrote Irene Poole]

  My husband says that if you write to me again, he'll beat your brains to a pulp.

  Very sincerely,

  Mrs. Fitz Poole

  Dear Fitzy and Irene:

  [Garp shot right back]

  Fuck you.

  Thus was his sense of humor lost, and his sympathy taken from the world.

  In “The Pension Grillparzer” Garp had somehow struck the chord of comedy (on the one hand) and compassion (on the other). The story did not belittle the people in the story—either with forced cuteness or with any other exaggeration rationalized as necessary for making a point. Neither did the story sentimentalize the people or otherwise cheapen their sadness.