by Philip Roth
And then the loss of the daughter, the fourth American generation, a daughter on the run who was to have been the perfected image of himself as he had been the perfected image of his father, and his father the perfected image of his father's father ... the angry, rebarbative spitting-out daughter with no interest whatever in being the next successful Levov, flushing him out of hiding as if he were a fugitive—initiating the Swede into the displacement of another America entirely, the daughter and the decade blasting to smithereens his particular form of Utopian thinking, the plague America infiltrating the Swede's castle and there infecting everyone. The daughter who transports him out of the longed-for American pastoral and into everything that is its antithesis and its enemy, into the fury, the violence, and the desperation of the counterpastoral—into the indigenous American berserk.
The old intergenerational give-and-take of the country-that-used-to-be, when everyone knew his role and took the rules dead seriously, the acculturating back-and-forth that all of us here grew up with, the ritual postimmigrant struggle for success turning pathological in, of all places, the gentleman farmer's castle of our superordinary Swede. A guy stacked like a deck of cards for things to unfold entirely differently. In no way prepared for what is going to hit him. How could he, with all his carefully calibrated goodness, have known that the stakes of living obediently were so high? Obedience is embraced to lower the stakes. A beautiful wife. A beautiful house. Runs his business like a charm. Handles his handful of an old man well enough. He was really living it out, his version of paradise. This is how successful people live. They're good citizens. They feel lucky. They feel grateful. God is smiling down on them. There are problems, they adjust. And then everything changes and it becomes impossible. Nothing is smiling down on anybody. And who can adjust then? Here is someone not set up for life's working out poorly, let alone for the impossible. But who is set up for the impossible that is going to happen? Who is set up for tragedy and the incomprehensibility of suffering? Nobody. The tragedy of the man not set up for tragedy—that is every man's tragedy.
He kept peering in from outside at his own life. The struggle of his life was to bury this thing. But how could he?
Never in his life had occasion to ask himself "Why are things the way they are?" Why should he bother, when the way they were was always perfect? Why are things the way they are? The question to which there is no answer, and up till then he was so blessed he didn't even know the question existed.
After all the effervescent strain of resuscitating our class's mid-century innocence—together a hundred aging people recklessly turning back the clock to a time when time's passing was a matter of indifference—with the afternoon's exhilarations finally coming to an end, I began to contemplate the very thing that must have baffled the Swede till the moment he died: how had he become history's plaything? History, American history, the stuff you read about in books and study in school, had made its way out to tranquil, untrafficked Old Rimrock, New Jersey, to countryside where it had not put in an appearance that was notable since Washington's army twice wintered in the highlands adjacent to Morristown. History, which had made no drastic impingement on the daily life of the local populace since the Revolutionary War, wended its way back out to these cloistered hills and, improbably, with all its predictable unforeseenness, broke helter-skelter into the orderly household of the Seymour Levovs and left the place in a shambles. People think of history in the long term, but history, in fact, is a very sudden thing.
In earnest, right then and there, while swaying with Joy to that out-of-date music, I began to try to work out for myself what exactly had shaped a destiny unlike any imagined for the famous Weequahic three-letterman back when this music and its sentimental exhortation was right to the point, when the Swede, his neighborhood, his city, and his country were in their exuberant heyday, at the peak of confidence, inflated with every illusion born of hope. With Joy Helpern once again close in my arms and quietly sobbing to hear the old pop tune enjoining all of us sixty-odd-year-olds, "Dream ... and they might come true," I lifted the Swede up onto the stage. That evening at Vincent's, for a thousand different excellent reasons, he could not bring himself to ask me to do this. For all I know he had no intention of asking me to do this. To get me to write his story may not have been why he was there at all. Maybe it was only why I was there.
Basketball was never like this.
He'd invoked in me, when I was a boy—as he did in hundreds of other boys—the strongest fantasy I had of being someone else. But to wish oneself into another's glory, as boy or as man, is an impossibility, untenable on psychological grounds if you are not a writer, and on aesthetic grounds if you are. To embrace your hero in his destruction, however—to let your hero's life occur within you when everything is trying to diminish him, to imagine yourself into his bad luck, to implicate yourself not in his mindless ascendancy, when he is the fixed point of your adulation, but in the bewilderment of his tragic fall—well, that's worth thinking about.
So then ... I am out there on the floor with Joy, and I am thinking of the Swede and of what happened to his country in a mere twenty-five years, between the triumphant days at wartime Weequahic High and the explosion of his daughter's bomb in 1968, of that mysterious, troubling, extraordinary historical transition. I am thinking of the sixties and of the disorder occasioned by the Vietnam War, of how certain families lost their kids and certain families didn't and how the Seymour Levovs were one of those that did—families full of tolerance and kindly, well-intentioned liberal goodwill, and theirs were the kids who went on a rampage, or went to jail, or disappeared underground, or fled to Sweden or Canada. I am thinking of the Swede's great fall and of how he must have imagined that it was founded on some failure of his own responsibility. There is where it must begin. It doesn't matter if he was the cause of anything. He makes himself responsible anyway. He has been doing that all his life, making himself unnaturally responsible, keeping under control not just himself but whatever else threatens to be uncontrollable, giving his all to keep his world together. Yes, the cause of the disaster has for him to be a transgression. How else would the Swede explain it to himself? It has to be a transgression, a single transgression, even if it is only he who identifies it as a transgression. The disaster that befalls him begins in a failure of his responsibility, as he imagines it.
But what could that have been?
Dispelling the aura of the dinner at Vincent's, when I'd rushed to conclude the most thoughtless conclusion—that simple was that simple—I lifted onto my stage the boy we were all going to follow into America, our point man into the next immersion, at home here the way the Wasps were at home here, an American not by sheer striving, not by being a Jew who invents a famous vaccine or a Jew on the Supreme Court, not by being the most brilliant or the most eminent or the best. Instead—by virtue of his isomorphism to the Wasp world—he does it the ordinary way, the natural way, the regular American-guy way. To the honeysweet strains of "Dream," I pulled away from myself, pulled away from the reunion, and I dreamed ... I dreamed a realistic chronicle. I began gazing into his life—not his life as a god or a demigod in whose triumphs one could exult as a boy but his life as another assailable man—and inexplicably, which is to say lo and behold, I found him in Deal, New Jersey, at the seaside cottage, the summer his daughter was eleven, back when she couldn't stay out of his lap or stop calling him by cute pet names, couldn't "resist," as she put it, examining with the tip of her finger the close way his ears were fitted to his skull. Wrapped in a towel, she would run through the house and out to the clothesline to fetch a dry bathing suit, shouting as she went, "Nobody look!" and several evenings she had barged into the bathroom where he was bathing and, when she saw him, cried out, "Oh, pardonnez-moi—j'ai pensé que—" "Scram," he told her, "get-outahere-moi." Driving alone with him back from the beach one day that summer, dopily sun-drunk, lolling against his bare shoulder, she had turned up her face and, half innocently, half audaciously, precocious
ly playing the grown-up girl, said, "Daddy, kiss me the way you k-k-kiss umumumother." Sun-drunk himself, vo luptuously fatigued from rolling all morning with her in the heavy surf, he had looked down to see that one of the shoulder straps of her swimsuit had dropped over her arm, and there was her nipple, the hard red bee bite that was her nipple. "N-n-no," he said—and stunned them both. "And fix your suit," he added feebly. Soundlessly she obeyed. "I'm sorry, cookie—" "Oh, I deserve it," she said, trying with all her might to hold back her tears and be his chirpingly charming pal again. "It's the same at school. It's the same with my friends. I get started with something and I can't stop. I just get c-c-carried awuh-awuh-awuh-awuh—"
It was a while since he'd seen her turn white like that or seen her face contorted like that. She fought for the word longer than, on that particular day, he could possibly bear. "Awuh-awuh—" And yet he knew better than anyone what not to do when, as Merry put it, she "started phumphing to beat the band." He was the parent she could always rely on not to jump all over her every time she opened her mouth. "Cool it," he would tell Dawn, "relax, lay off her," but Dawn could not help herself. Merry began to stutter badly and Dawn's hands were clasped at her waist and her eyes fixed on the child's lips, eyes that said, "I know you can do it!" while saying, "I know that you can't!" Merry's stuttering just killed her mother, and that killed Merry. "I'm not the problem—Mother is!" And so was the teacher the problem when she tried to spare Merry by not calling on her. So was everybody the problem when they started feeling sorry for her. And when she was fluent suddenly and free of stuttering, the problem was the compliments. She resented terribly being praised for fluency, and as soon as she was praised she lost it completely—sometimes, Merry would say, to the point that she was afraid "I'm going to short out my whole system." Amazing how this child could summon up the strength to joke about it—his precious lighthearted jokester! If only it were within Dawn's power to become a little lighthearted about it herself. But it was the Swede alone who could always manage to be close to perfect with her, though even he had all he could do not to cry out in exasperation, "If you dare the gods and are fluent, what terrible thing do you think will happen?" The exasperation never surfaced: he did not wring his hands like her mother, when she was in trouble he did not watch her lips or mouth her words with her like her mother, he did not turn her, every time she spoke, into the most important person not merely in the room but in the entire world—he did everything he could not to make her stigma into Merry's way of being Einstein. Instead his eyes assured her that he would do all he could to help but that when she was with him she must stutter freely if she needed to. And yet he had said to her, "N-n-no." He had done what Dawn would rather die than do—he had made fun of her.
"Awuh-awuh-awuh—"
"Oh, cookie," he said, and at just the moment when he had understood that the summer's mutual, seemingly harmless playacting—the two of them nibbling at an intimacy too enjoyable to swear off and yet not in any way to be taken seriously, to be much concerned with, to be given an excessive significance, something utterly uncarnal that would fade away once the vacation was over and she was in school all day and he had returned to work, nothing that they couldn't easily find their way back from—just when he had come to understand that the summer romance required some readjusting all around, he lost his vaunted sense of proportion, drew her to him with one arm, and kissed her stammering mouth with the passion that she had been asking him for all month long while knowing only obscurely what she was asking for.
Was he supposed to feel that way? It happened before he could think. She was only eleven. Momentarily it was frightening. This was not anything he had ever worried about for a second, this was a taboo that you didn't even think of as a taboo, something you are prohibited from doing that felt absolutely natural not to do, you just proceeded effortlessly—and then, however momentary, this. Never in his entire life, not as a son, a husband, a father, even as an employer, had he given way to anything so alien to the emotional rules by which he was governed, and later he wondered if this strange parental misstep was not the lapse from responsibility for which he paid for the rest of his life. The kiss bore no resemblance to anything serious, was not an imitation of anything, had never been repeated, had itself lasted five seconds ... ten at most ... but after the disaster, when he went obsessively searching for the origins of their suffering, it was that anomalous moment—when she was eleven and he was thirty-six and the two of them, all stirred up by the strong sea and the hot sun, were heading happily home alone from the beach—that he remembered.
But then he also wondered if after that day he had perhaps withdrawn from her too radically, become physically distant more than was necessary. He had only meant to let her know she needn't be concerned that he would lose his equilibrium again, needn't worry about her own natural-enough infatuation, and the result may well have been that having exaggerated the implications of that kiss, having overestimated what constituted provocation, he went on to alter a perfectly harmless spontaneous bond, only to exacerbate a stuttering child's burden of self-doubt. And all he had ever meant was to help her, to help her heal!
What then was the wound? What could have wounded Merry? The indelible imperfection itself or those who had fostered in her the imperfection? But by doing what? What had they done other than to love her and look after her and encourage her, give her the support and guidance and independence that seemed reasonable to them—and still the undisclosed Merry had become tainted! Twisted! Crazed! By what? Thousands upon thousands of young people stuttered—they didn't all grow up to set off bombs! What went wrong with Merry? What did he do to her that was so wrong? The kiss? That kiss? So beastly? How could a kiss make someone into a criminal? The aftermath of the kiss? The withdrawal? Was that the beastliness? But it wasn't as though he'd never held her or touched her or kissed her again—he loved her. She knew that.
Once the inexplicable had begun, the torment of self-examination never ended. However lame the answers, he never ran out of the questions, he who before had nothing of consequence really to ask himself. After the bomb, he could never again take life as it came or trust that his life wasn't something very different from what he perceived. He found himself recalling his own happy childhood, the success that had been his boyhood, as though that were the cause of their blight. All the triumphs, when he probed them, seemed superficial; even more astonishing, his very virtues came to seem vices. There was no longer any innocence in what he remembered of his past. He saw that everything you say says either more than you wanted it to say or less than you wanted it to say; and everything you do does either more than you wanted it to do or less than you wanted it to do. What you said and did made a difference, all right, but not the difference you intended.
The Swede as he had always known himself—well-meaning, well-behaved, well-ordered Seymour Levov—evaporated, leaving only self-examination in his place. He couldn't disentangle himself from the idea that he was responsible any more than he could resort to the devilishly tempting idea that everything was accidental. He had been admitted into a mystery more bewildering even than Merry's stuttering: there was no fluency anywhere. It was all stuttering. In bed at night, he pictured the whole of his life as a stuttering mouth and a grimacing face—the whole of his life without cause or sense and completely bungled. He no longer had any conception of order. There was no order. None. He envisioned his life as a stutterer's thought, wildly out of his control.
Merry's other great love that year, aside from her father, was Audrey Hepburn. Before Audrey Hepburn there had been astronomy and before astronomy, the 4-H Club, and along the way, a bit distressingly to her father, there was even a Catholic phase. Her grandmother Dwyer took her to pray at St. Genevieve's whenever Merry was visiting down in Elizabeth. Little by little, Catholic trinkets made their way into her room—and as long as he could think of them as trinkets, as long as she wasn't going overboard, everything was okay. First there was the palm frond bent into the shape of the
cross that Grandma had given her after Palm Sunday. That was all right. Any kid might want that up on the wall. Then came the candle, in thick glass, about a foot tall, the Eternal Candle; on its label was a picture of the Sacred Heart of Jesus and a prayer that began, "O Sacred Heart of Jesus who said, 'Ask and you shall receive."' That wasn't so great, but as she didn't seem to be lighting and burning it, as it just seemed to sit there on her dresser for decoration, there was no sense making a fuss. Then, to hang over the bed, came the picture of Jesus, in profile, praying, which really wasn't all right, though still he said nothing to her, nothing to Dawn, nothing to Grandma Dwyer, told himself, "It's harmless, it's a picture, to her a pretty picture of a nice man. What difference does it make?"
What did it was the statue, the plaster statue of the Blessed Mother, a smaller version of the big ones on the breakfront in Grandma Dwyer's dining room and on the dressing table in Grandma Dwyer's bedroom. The statue was what led him to sit her down and ask if she would be willing to take the pictures and the palm frond off the wall and put them away in her closet, along with the statue and the Eternal Candle, when Grandma and Grandpa Levov came to visit. Quietly he explained that though her room was her room and she had the right to hang anything there she wanted, Grandma and Grandpa Levov were Jews, and so, of course, was he, and, rightly or wrongly, Jews don't, etc., etc. And because she was a sweet girl who wanted to please people, and to please her daddy most of all, she was careful to be sure that nothing Grandma Dwyer had given her was anywhere to be seen when next the Swede's parents visited Old Rimrock. And then one day everything Catholic came down off the wall and off her dresser for good. She was a perfectionist who did things passionately, lived intensely in the new interest, and then the passion was suddenly spent and everything, including the passion, got thrown into a box and she moved on.